It all begins without an idea.

Comic Strips and the Daily Page

Tung Pui-Sun’s engagement with comic work unfolded within the conditions of regular publication, where drawings appeared at fixed intervals and became part of everyday reading. His work circulated through both newspapers and magazines, embedded in the rhythm of daily and weekly print rather than presented solely as independent narratives. Within this environment, he produced not only long-running serialized strips but also single-panel and short-form editorial drawings, responding to specific topics, columns, or moments in time.

Over the years, Tung created a wide range of serialized strips featuring recurring characters and social archetypes. Titles such as 《當代豪放女》 (The Modern Uninhibited Woman / The Uninhibited Woman), 《鞋底秋》 (Sole-Fall Chow), 《朱義盛》 (Chu Yisheng), 《老千王》 (King of Swindlers), and 《安定榮》 (Anding-wing) reflect the breadth of his comic output. These works drew from urban life, work culture, personal relationships, and everyday observation, unfolding through familiar situations rather than spectacle.

Alongside serialized narratives, Tung regularly produced standalone editorial panels. These single images were designed to be read independently, often accompanying commentary, lifestyle columns, or topical features. With no reliance on extended story arcs, they condensed observation into a single gesture or exchange, using economy of line and composition to register humour, irony, or social nuance within the confines of the printed page.

Although Tung is closely associated with both the drawing and writing of his comic work, this dual role did not arise from editorial assignment or personal ambition. It emerged from his own standards. Dissatisfied with story ideas supplied by others, he chose to develop his own concepts and plots, maintaining that he could not commit his hand to material he did not consider sound. Once he assumed responsibility for the ideas, both his serialized strips and editorial panels gained coherence and readership, and from that point onward he continued to conceive the work himself.

At periods of peak production, Tung sustained multiple serialized strips while also producing editorial panels across newspapers and magazines. This practice did not end with a single phase of his career. He continued creating comic strips and editorial drawings well into his late seventies, maintaining regular output and visual clarity under ongoing publication demands. Read cumulatively, this body of work forms a record of everyday experience as it was observed, filtered, and returned to readers through the cadence of the printed page.

無中生有的漫畫人生

漫畫與報刊連載

董培新的漫畫創作，離不開定期出版的節奏。他的作品按時出現在報章雜誌上，成為讀者日常閱讀的一部分，隨著每日或每週刊登的節奏融入生活，而不是以單行本的形式獨立呈現。在這樣的環境下，他既創作長期每日連載的漫畫，也繪製單格或短篇的插畫，回應時事、專欄或特定社會議題。

多年來，董培新筆下誕生了許多性格鮮明的連載漫畫，也塑造了不少讓人印象深刻的人物與社會面貌。《波士周時威》、《當代豪放女》、《鞋底秋》、《朱義盛》、《老千王》、《安定榮》等作品，題材來自城市生活、職場百態、娛樂圈的八掛新聞與日常百態，從平凡處境入手，不靠離奇情節，卻自有一番趣味與共鳴。

連載之外，他也定期每天創作獨立的單格漫畫。這些畫作自成一格，無須情節鋪陳，經常與評論、生活專欄或時事專題並排刊出。用簡練的線條與構圖，在有限的版面，幽默地諷刺時弊。

董培新既畫也創作，一手包辦漫畫的圖像與構思。這不是編輯的安排，也不是出於個人野心，而是來自他對作品的要求。對於別人提供的故事點子，他常常覺得不滿意，認為用這樣的素材無法認真下筆，乾脆自己構思情節。從此，無論連載漫畫還是單格插畫，全都出自他一人之手，作品因此更顯其獨特風格和創作思路，也迅速累積了讀者緣。

創作高峰時期，他同時連載多篇作品，並持續為各家報章雜誌供稿，從未中斷。這樣的創作方式，不是繪畫創作生涯某個階段，而是貫穿了他整個生涯。即使到了年近80歲，他仍然定期供稿，筆力不減，線條依舊清晰有力。細讀這些作品，就像是看一部用漫畫筆觸記錄下來的香港日常史——由他觀察，經過他篩選，再順著印刷的節奏，一格一格地送到讀者眼前。