The Meeting In The Sky

Kite Illustrations



From fishing cats to rare birds, I illustrated 69 animal species — each one reimagined as a kite, designed to be seen from the sky. These became the foundation of a visual system, which was then transformed by traditional Sri Lankan kite artisans into over 2,000 handcrafted kites.

We designed every form with clarity and charm in mind — sometimes, all it took was a single dot to bring a creature to life. Each kite was carefully colored to stay legible in flight, seen through translucent paper and sunlight.

I worked closely with my creative director, Kumkum Fernando, to develop the full illustration system for this project.

Project by Ki Saigon for Cinnamon Life.



Creative Agency: Ki Saigon
Creative Director/Designer: Kumkum Fernando
Head of Planning: Indraneel Guha
Illustrator: Luongdoo
3D Designer: Tue Nguyen
Consultant: Roshan Rajapaksha
Production Coordinator/Photographer: Nuwan Attanayake
Structural Engineers: Arzath Sajeer, Lahiru Galatharaarachchi
Artisan: Kavishka Gayashntha, Chaminda Perera, Chandra Kanthi, Gayani Madushanika, Sumith Kumara, Waruni Hansamali, Chanuka Hasindu, Damith Chalana
Installation Art Handlers: Madhuranga Roshan, Meril Munasinghe, Samantha Kaluarachchi, Prasath Dammika, Idusara Nimnath, Chaminda Gayan, Malith Lahiru, Thmidu Suranjith, Isuru Nissanka, Ishan Sewwandi Sampath, Dinesh Sampath, K. Samantha,Suranga Ranaweera, Damith Wijebandara, Thusitha Aththanayaka, Lalith Sanjeewa, Asri Udakara, Damith Wije Bandara
Music: Numa Gama
Research assistant: Ranni Tran























Read more from this journey:
🔗 Thích Thú Sri Lanka

🔗 When Lines Found Life: Crafting Animal Personalities

🔗 Meeting In The Sky: A Vibrant Blend of Nature and Arts


Thích Thú Sri Lanka


A personal artist book made between Vietnam and Sri Lanka. Quiet, hand-bound, and held together with a rubber band.



Thích Thú Sri Lanka is a personal artist book created after my first illustration exhibition in Colombo, Sri Lanka. While the original project — The Meeting in the Sky — was a large-scale kite installation featuring over 2,000 handcrafted animal-shaped kites, this book is far more intimate: an archive of impressions stitched together through paper, objects, and quiet details.







The title, Thích Thú, is a Vietnamese word that carries a quiet kind of playfulness. “Thích” means to enjoy, and “Thú” means animals — but when combined, the phrase simply means “delight.”
I chose it because it felt light, personal, and true to the heart of this project.
A name that holds both the joy of seeing animals take flight, and my own quiet affection for them.










One of my favorite details is a stitched bookmark with a 1000 rupees note sewn on the back — the exact cost of a local head massage. I kept it there like a tiny voucher to use if I ever return.




One part of the book is a round zine — shaped like the inox plate used during a dinner I had at the kite artisan’s home.

I remember chatting with a friend while brainstorming how to capture that memory, and the idea of making the zine round — like a plate you could open — just clicked. I wouldn’t have landed on that shape without that conversation.


So I made it. A small, circular piece to hold a quiet evening I didn’t want to forget.






Not everything was made by hand.
But the parts that mattered were.


Book Credits
Art Direction &Illustration – Luongdoo
Design – Luongdoo
Creative Contributor – Thanh Van
Book Photography – Thuat V
Book Production - Cropmarks
Kite Photography – Nuwan Attanayake

Developed from The Meeting in the Sky, led by Kumkum Fernando for Cinnamon Life, produced by Ki Saigon. Special thanks to Radiesha for her invitation and support throughout the journey. With appreciation to Indraneel Guha for the time and trust that made this project possible.


The road home is packed with color.


We wrapped the spirit of Tết into every box — dragon, unicorn, and all.





For Pepsi’s 2024 Lunar New Year campaign, we illustrated Vietnam’s most familiar holiday ritual: motorbikes loaded with gifts, streets buzzing with flowers, and families heading home. The packaging blends iconic Tết symbols with the Unicorn and Dragon — two mythical figures that represent joy and strength. Bold, festive, and unmistakably Vietnamese, each box becomes more than a container — it’s a celebration in motion.














The elements are meticulously arranged in a captivating layout. Each cluster of details captures the vibrant and dynamic atmosphere.

The use of a gold gradient color on the petals adds a touch of premium sophistication to the packaging.





Millions of Pepsi Tết packagings are proudly transported across Vietnam, from urban to rural areas, from the North to the South. They find their place on shelves in local stores and supermarkets, waiting to be bought and taken home as a meaningful gift for the New Year of the Dragon.




💥 🐲 💥

Client: Pepsi
Year: 2024
Creative Agency: Ki Saigon
Creative Director: Kumkum Fernando
Creative Planner: Indraneel Guha
Associate Creative Director: Chungg Hoàng
Account Manager: Quang Nhật
Lead Illustrator: Luongdoo 
Supporter: Chung Hoàng / Huỳnh / Hồng / Huy / Uri / Lê
Photography: Thuật Võ
Scope of work: Packaging Design



4P's - Letters To The Future

The Book That Lasts A Thousand Years



Creating illustrations for the Letters to the Future project, which entails a captivating series of letters to our distant descendants, narrated through the medium of recycled plastic.




Kumkum Fernando, one of the individuals behind this project, reached out to me to discuss the project and asked if I would be interested in taking on the role of visual lead for this book. With a team of dedicated staff, we gathered handwritten letters from individuals across the globe, spanning countries such as Australia, Japan, Vietnam, Myanmar, Thailand, Mongolia, Israel, Tibet, India, Sri Lanka, America, and Argentina. After scanning them, the letters were meticulously digitized, with each one being translated into English if necessary.

In some heartfelt letters, the writers reflect on the past and look forward to the future; in others, they express a desire for peace and express their gratitude for the local environment, including the trees, wildlife, and motherland.

In the final stage, I was tasked with thoroughly examining each of those letters and carefully considering the illustrations that accompanied them.
Project: Letters to the future
Creative agency: Ki Saigon
Sponsored by: Pizza 4P’s
Creative Director: Kumkum Fernando
Director of Strategy: Indraneel Guha
Lead Illustrator: Duc Luong (Luongdoo)
Designer: Quang Nguyen, Luongdoo, Chung Hoang
Producer: Tue nguyen & Khanh tran
Artist: Zac Buehner
Design Intern: Dong Quan
Official Photography: Wing Chan
Production House: VAIB
Videography: Justin Ngiam
Music: Numa Gama

Recognized by D&AD 2022, Letters to the Future, Shortlist
 -
See the full project at: LINK

Behind the Colors of Peace

Digital illustration for Pizzas For Peace



On World Peace Day, Pizza 4P’s and Ki Saigon launched Pizzas For Peace, a campaign that turned symbols of conflict into handmade pop-up flowers. Each pizza box unfolded into a blooming 3D form, with colors blending two national flags. My role was to create the flower templates — the digital color maps for something that would eventually be folded by hand.





Project: Pizzas For Peace
Creative Agency: Ki Saigon
Client:  Pizza 4P’s Corporation
Creative Director: Kumkum Fernando
Kumkum Fernando
Illustrator: Duc Luong (Luongdoo)
Artist: Zac Buehner
Copywriter: Indraneel Guha
Planning Director: Indraneel Guha
Account Assistant: Huy Tran
Producer: Tue Nguyen
Producer Assistant: Tran Khanh
Production Assistant: Hoang Nguyen, Quan Nguyen, Dinh Minh
Production Company: VAIB Production
Photographer: Wing Chan
Photographer’s Assistant: Ai Ha
Videographer: Justin Ngiam

Recognized by D&AD 2021, Pizzas For Peace, Packaging Design/Shortlist
 -
See the full project at: LINK




At first, I thought I could just start coloring. I opened Illustrator, picked some tones, and began filling shapes.




That’s when Kumkum, our creative director, walked past my screen and said,

“Wait. What are you doing?”

“Don’t just color random or freestyle. You need to look at how the actual paper folds — what parts show, what parts get hidden. And make sure the color proportions are right, so people can recognize both countries.”




He was right. I hadn’t yet understood how the paper would behave in real space. What seemed balanced on screen could vanish, clash, or say nothing at all.
Zac Buehner, the folding artist, had already created a mock-up of the flower. He gave me one early on. I unfolded it carefully, laid it flat, and traced the fold lines into vectors. Even flattened, the creases were still visible. They quietly revealed which parts would be tucked away, and which parts would bloom into view. That became my guide. From there, I started planning how the colors should flow, where to hold back, and how to balance the percentage between each flag.




It was the first time I realized that even something as “digital” as color had to respond to gravity, folds, and real-world mechanics.
Kumkum had another line that stayed with me:

“It’s not about making it pretty. Make it precise. People need to feel the flags — not just see the petals.”






Later, during print checks, I visited the workshop with another teammate. The final flowers were folded there by friends and family of a local household who had worked with paper for years. It wasn’t a production line. Just a few tables, quiet conversations, and steady hands turning flat prints into something with weight and meaning.

This project came together because each person brought their care, whether through folding, directing, testing, or coloring. I’m proud of the part I played, but even more thankful for the craft and collaboration that held it all together.
 ‘Có Lương Là Có Niềm Vui’      ‘Có Lương Là Có Niềm Vui’      ‘Có Lương Là Có Niềm Vui’      ‘Có Lương Là Có Niềm Vui’      ‘Có Lương Là Có Niềm Vui’      ‘Có Lương Là Có Niềm Vui’      ‘Có Lương Là Có Niềm Vui’      ‘Có Lương Là Có Niềm Vui’      ‘Có Lương Là Có Niềm Vui’      ‘Có Lương Là Có Niềm Vui’      ‘Có Lương Là Có Niềm Vui’      ‘Có Lương Là Có Niềm Vui’