Chow Keung's mother was a movie lover, and would always bring along the young Chow Keung to theatres. His talent showed from early and his mother's friend introduced him into the field. He started from the basics and slowly moved up the ladder, to become a full-grown artist after three years of apprenticeship.

Be it a poster at the entrance or a billboard on the facade, a good artist would spare no effort on every little detail. To capture the facial expressions, the grid method would be employed to reproduce an enlarged image. Words would be aligned using pre-drawn lines, and different font styles would be chosen for different designs accordingly.

During his years in Vietnam as a poster artist, drawing opera and film stars such as Yam Kim Fai, Pak Suet Sin, Leung Sing Po, Linda Lin Dai, Lucilla You Min, Patricia Lam and Mak Kay was most memorable to Chow Keung. Whenever he painted his favorites, extra care would be made capture their minute facial expressions. But the greatest enemy of a hand-drawn poster is rain. To prevent paint from being washed away by rainwater, Chow Keung would therefore cover his works with waterproofing spray.

In the late 1960s, Chow Keung opened a martial arts school in Hong Kong, and at the same time, worked as a movie stuntman. In the early 1980s, recommended by Selina Chow Liang Shuk Yee, Chow Keung picked up the paintbrush again, and drew for many theatres including Full House, Oscar, Ace and Good View, to name a few. Chow Keung eventually retired in the late 1980s as the hand-drawn movie poster business dwindled.