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Type-of-Graphics

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Typefaces are to text what accent and cadence are to speech: they create an immediately recognizable “voice.” Thanks to digital typography, designers have access to tens of thousands of different typefaces, each of which can steer a project in a different direction and give it a different visual identity. Don’t like the fonts on offer? You can always create your own — you just need to design some 250 characters, including upper- and lower-case letters and punctuation. If you’re working in a language like English, that is.

But what if you’re a designer working in Chinese, creating a typeface that needs tens of thousands of characters to be considered “complete”? How do you tackle a project that’s bound to outlive you, and why even start in the first place?

I sat down with Caspar Lam, of the New York-based studio Synoptic Office, to talk about his team’s new typeface, Ming Romantic, and the challenges of Chinese font innovation.


本篇文章来自新茶媒体合作伙伴 MAEKAN 的内容交换。在 Neocha 上阅读更多 MAEKAN 的文章,请 点击此处

 

字体设计之于文字,就像声调和抑扬顿挫之于一篇演讲来说一样重要,同样都提供后者一个能轻易被辨识出来的 “风格”。归功于数位排版,设计师现在可以在网上接触到上千万种不同的字体,让作品的视觉风格更加多元化。但如果你还是找不到想要的字体呢?你还有另一种选择:设计出 250 个大小写字母和标点符号,创建属于你自己的字体。当然了,前提是你用的语言是英语。

但是,如果你是一名中文设计师,创建一套数位的中文字体则需要设计出上千万个不同的字元,才能称得上“完整”。要如何完成这项说不定一辈子都做不完的工作,更重要的是,为何一开始还选择去做这件事?

我带着这样的疑问来到了纽约设计工作室 Synoptic Office,和字体设计师 Caspar Lam 一起讨论 明日体 的构思,以及在设计中文字体时所面临的挑战。

It all began with a simple enough request.

Before founding Synoptic Office, while working at a design studio, Lam was tasked with finding a romantic Chinese font for his client, Vogue China, which was looking something akin to Didone — an unadorned, modern typeface characterized by a striking contrast between thin horizontal and thick vertical lines.

The problem? No such type existed.


这一切都始于一个简单的提问。

在创立 Synoptic Office 之前,Caspar 曾在纽约一间工作室工作。当时他在为客户《Vogue China》寻找一种风格浪漫的中文字体,类似 Didone 字体这样的设计——简洁、现代、横竖笔画的对比强烈,竖线要细,而横线要粗。

问题是,并没有这样的中文字体。

After completing the project with Vogue China, Lam discussed the idea of creating a font with Synoptic’s co-founder and creative director, YuJune Park, and their design team, which included Abby Chen, Dustin Tong and Gabriela Carnabuci. “We were sitting together in a room and we said, ‘Oh, why don’t we make a Chinese typeface?’” Lam recalls. “How hard could that be? Literally, it was that naive.”

Thus began Synoptic’s five-year journey to explore and reinvent the way modern Chinese typefaces are created.


结束这个项目后,Caspar 与工作室共同创办人暨创意总监 YuJune Park 以及其团队成员,包括设计师 Abby Chen、Dustin Tong 和 Gabriela Carnabuci,一起讨论了设计字体的想法。Caspar 回忆说:“我们坐在一个房间里,讨论着 ‘我们为什么不自己去制作中文字体?这能有多难呢?’ 我们当时的想法就是这么天真。”

就这样,Synoptic Office 开启了一项长达五年的项目,重新探索和塑造了中文字体的设计方式。

Ming Romantic came about from a combination of circumstance, curiosity and, as Lam concedes, “youthful optimism.”

The team originally wanted to include an accompanying Korean typeface in a similar style, a plan they abandoned within the first month, once the enormity of the project became apparent.

Why? Several factors make creating a new Chinese typeface exceedingly difficult, many of which have existed since antiquity.

For starters, written Chinese is vast and intricate.

This complexity gives the script its richness, but it has also hindered its ability to make full use of technological innovations that elsewhere proved transformative.


明日体是對周遭环境的審視、好奇心、以及 Caspar 所说 “年轻的乐观主义” 结合之下的产物。

团队最初原本還计划创建一款类似风格的韩文字体。但是在项目开始的一个月后,他们就放弃了这个想法,因为很快他们就意识到这个项目的艰巨性。

为什么?创建新的中文字体之所以如此困难有很多原因,其中一些原因甚至可以说是自古以来一直存在的。

首先,汉字的数量非常庞大,结构复杂。

这种复杂性既丰富了语言,同时也阻碍了它像其它语言一样充分应用于新兴科技。

For the Western world, the impact of the printing press was huge. It’s probably a simplification, but when every book had to be copied by hand by a team of monks, a machine that could churn out Bibles at the pull of a lever was revolutionary.

It led to the greater dissemination and democratization of knowledge in the West. And as printing technology progressed, so did the typefaces conceived to meet different design challenges, such as cost-saving italics, which allowed a printer to fit more letters onto a block.


对于西方国家来说,印刷技术的影响是巨大的,毕竟在一个只能手抄《圣经》的时代,突然出现一个拉一下开关,就能大批生产出畅销书的机器,在当时绝对称得上是一项革命性的发明。

打印机的出现让知识得以在西方国家更大范围地传播出去。随着印刷技术的不断发展,字体设计也在不断向前推进,以迎合更多不同的设计挑战。例如,人们发明斜体字,让打印机可以将更多字母装入同一个方格,以节省成本。

“If they created a block for every character, that’s also a huge undertaking. You needed an emperor or somebody with a lot of money hire a lot of people to do this type of work and sustain it.”

“如果你为每个字都创造一个方格,那将是一个巨大的工程。你首先需要一个像皇帝一样富有的人的资助,才能去雇用一大堆人来做这件事。”

These developments would eventually lead to the first modern” Roman typefaces, Bodoni and Didot, with their sharp serifs and high contrast between vertical and horizontal line weights. The set of typefaces that descend from these two, collectively known as Didone, would also become the conceptual basis for Ming Romantic.

In case you’re wondering why it’s called Ming Romantic, it’s named for the dynasty during which ceramic, wood, and bronze movable type gained popularity, in a marked a shift away from calligraphic script styles based on brush strokes. And the Mingti typeface, also named for this period, marked the starting point for their exploration.

Although movable type was invented in China as early as 1040 AD, printing was long limited by the costs of producing large character sets.

Individual characters or even whole texts were carved onto woodblocks, which were then inked and stamped onto paper, in a process known as xylography. But this process required the support of a wealthy patron such as the emperor. If there was no block for a given character, a new one had to be carved.


发展到后来,诞生了第一批现代罗马字体 Bodoni 和 Didot,这些字体有着明显的衬线、和强烈的横竖线粗细对比。以这两种字体为基础发展的字体都被统称为 Didone,同时也是明日体的灵感之源。

也许你会想知道为什么取名为 “明日体”,它的命名取自明朝。在这个朝代,陶瓷、木材和铜板活字印刷术得到了广大的普及,意味着中文字体开始有了不同于手写书法字体的风格转变。同样的 “明日体” 也标志了一个世代,是对中文字体重新探索的开端。

虽然活字印刷术早在公元 1040 年就在中国被发明和使用,但关于中文印刷业及字体的后续发展,最大的限制因素是生产如此大量字符模具,随之而来的巨大成本。

在古代,人们喜欢在木版刻上文字或整篇文章,然后再将印有墨水的木版压印到纸上,这一过程被称为 “木版印刷术”。但这背后需要相当雄厚的资金支持,通常只有皇帝才做得到。因为这项工作必须有人随时待命,一旦木板被用完了,就必须马上再雕刻一个新的出来。

And a similar issue persists today. A non-designer can do a quick browse of DaFont and find tens of thousands of different typefaces for English, but a committed search of similar sites for Chinese will yield only a fraction of that number — even as the demand for new Chinese typefaces has grown.

While an alphabetic typeface can be created by a single designer with sufficient passion or compensation, making a usable Chinese typeface requires a team of designers working together over several months — or in Synoptic Office’s case, several years.

This is because a typical Western typeface needs only about 250 characters, a number that includes the alphabet in upper and lower case, punctuation marks, and special characters like currency signs and the ampersand.

The problem is that a modern Chinese typeface needs those Roman characters along with 2,500 to 3,000 common-use Chinese characters to be useable for simple texts such as titles.

As it happens, the 250 or so Western characters used in most Chinese typefaces are included for completeness and are usually copied from other typefaces. The results are Roman characters that are jarringly out of place next to the Chinese typeface, something of a bastardized Times New Roman. Lam and I joked that these characters look like an afterthought, a job left to a hapless intern.

But for a typeface intended for professional use – for body text, for example – where the variety of characters is bound to be greater, thousands more are needed. Some estimate that as many as 80,000 are needed for a typeface to truly be considered “complete.”


同样的问题至今仍然存在。即使你不是设计师,也能在 DaFont 这样的字体网站上轻松找到成千上万种英文字体。但是當搜索中文字体时,结果却廖廖无几。然而人们现在对于新的中文字体的需求正在与日具增,也有越来越多人愿意资助这项工作。

要创建新的罗马字母字体,只要有资金资助和足够的热情,一位设计师单枪匹马就能完成这项工作。然而,要创建一款可用的中文字体仍然需要一个团队的设计师工作好几个月,或是像 Synoptic Office 这样,努力了数年才行。

一般来说,西方字体只需要大约 250 个字符,其中包括大写和小写字母、标点符号以及其他特殊符号如$或 &。

问题是在现代中文里,除了需要那些罗马字符外,光要写出一个简单的标题,就需要 2500到 3000个常用中文字符了。

大多数中文字体中附带的 250 个西方字符只是为了确保其完整性,通常都是直接借用其它字体的。结果是两者摆在一起看起来极不协调,像是一种变异的 Times New Roman 字体。Caspar 和我开玩笑,这些被借用的字符感觉就像是一个倒霉的实习生,被派去收拾別人的烂摊子。

但是对于一款用于专业用途的设计字体,譬如用在正文部分,字符的种类一定要更丰富才行。起码需要超过八万个字符以上,才能算的上 “完整”。

“Theoretically, you could work on this forever, because the character set is so huge. If we want people to use it quickly, maybe we should set expectations and say ‘well, maybe we won’t complete it on the first go.”

“理论上,你可以花上一辈子的时间去设计,因为中文字实在太多了。如果想要人们可以更快的使用到,也许我们应该换个方式,不用一次就全部完成所有的字。”

It bears mentioning that Synoptic Office isn’t a type foundry – that is to say, they don’t create typefaces full-time. I asked Lam how they executed a project of such magnitude in the background, while working on other jobs, over five years.

He began by comparing approaches used by type foundries. One of these involves writing a character by hand, scanning it into a graphics program and live-tracing it. But as Lam notes, this was not a suitable approach for Ming Romantic, as their design aim was to distance it from handwriting and instead explore typography.

Taking a page out of the software development playbook, Synoptic is releasing Ming Romantic in successive versions. This means the team’s work can be published even before it’s complete – and with so many characters left to go, it can be hard to pinpoint when that will be.


值得一提的是,Synoptic Office 并不是一间专门的字体设计公司,他们没办法投入所有时间来做这件事。于是我问 Caspar,他们是如何在五年多的时间里,利用工作之余持续进行一个如此大规模的项目?

他首先跟我比较了字体设计公司和 Synoptic Office 使用方法的不同。其中一种方法是先手写,扫描进绘图软件里再描图。但是正如 Caspar 所说的,这种方式不太适合明日体,因为它的设计精神本来就是要摆脱手写字型,以去探索更多印刷字体的风格。

Synoptic Office 则是采取分阶段,以不同版本推出的发布形式。这意味着字体可以在完成前就先曝光,毕竟这个项目要完成的字符如此之多,很难精确的预定出具体的完成日期。

Yet even with the advantages of graphic design software and scripting languages that can produce characters with similar elements based on successful iterations, individual characters still need to be finessed or adjusted to be visually pleasing, Lam explains.

That means carving out time every day for drawing a character on a blank grid on a screen. In the beginning, the time commitment meant the net output was maybe only one to three characters a day.

These characters sit on a large master list that the team goes through over and over again until items are completed, with milestones set in increments of 500 characters.

Intrigued, I ask him how the team celebrates.

“With a cup of coffee,” he laughs. “Or maybe just walking around, because it takes a toll on your eyes. I already have very bad eyesight, so you can feel your eyes degenerating after a while, and you know that this is actually not good for you in the long run!”

Besides the consistency of the entire character set, Lam points out another crucial criterion – Does it look Chinese?

“After the initial explorations were done, it became a little more robust and efficient. Because then you could copy a lot of the forms you drew previously and then modify them for forms that are similar,” he says.


因为绘图软件和脚本语言的帮助,他们可以依据重复的笔画元素去创作更多字符。但是 Caspar 解释说,即便如此,他们仍然需要一个一个字去加工处理或调整,视觉上才能达到一致平衡,让人看得舒服。

这意味着他们每天要抽出时间在电脑上绘制字符。一开始,他们每天只能做一至三个字符。

“最初试验工作的阶段完成后,工作流程就变得更加顺畅和高效率。因为你可以复制之前绘制过的偏旁,然后在做类似字符时直接在它的基础上修改就行了。”

团队把这些所有字符列成一份工作清单,过了一遍又一遍直到项目完成。每完成 500 个字符,对他们来说都算得上是一个里程碑。

有趣的是,当我问团队会如何庆祝时,他笑着说:“就喝杯咖啡。或者是起来走走,因为这项工作挺伤眼睛的。我的视力本来就不好,过了一段时间又感觉到视力在退化。长远来看,这其实对健康不是很好。”

但是,除了要针对所有字符的一致性进行测量和调整之外,Caspar 还指出另一个关键的标准——新的字体看起来够像中文吗?

Contrary to a popular myth, Chinese characters are not pictograms. Over 80% of characters are logosyllabic (or pictophonetic, if you prefer). What that means, simply, is that a typical character contains an element that hints at its meaning (the character’s “radical”), and an element that hints at its pronunciation.

In their countless combinations, these elements take on slightly different shapes and proportions that the design has to account for. What’s more, not only do characters have to follow universal visual design principles, they also have to look authentic.

As someone whose Chinese handwriting, acquired at university, looks like the legible but clumsy penmanship of a child, I don’t have the lifetime of practice necessary to judge authenticity.

But authenticity is important, and to show why, Lam mentioned the contrasting case of writing by Chinese learners of English. Sure enough, a glimpse at some writing samples shows a few extra features that are decidedly not native to English handwriting styles. These anomalies are pretty easy to spot, especially if you’re just working with the standard 26-letter Roman alphabet.

For example, you’d likely think something was off if the capital ‘D’ in Delaware appeared as small as the adjacent lower case ‘e.’

With so many “moving parts” in a character, in both typography and writing, there are a lot of extra things that could look off to the Chinese eye. This made creating Ming Romantic more daunting, but also more interesting.


人们向来有个误解,以为每个汉字都是 “图画” 一样的象形字。但其实超过 80%的中文字都是意音文字,或者说是形声字。大部分中文字由不同的 ‘偏旁’ 组成,有些偏旁表示发音,有些则表示意义。一部份的字仅由一个偏旁组成,一部份则由不同偏旁共组、或者是延伸的变体。

在这些由无数种偏旁组合出的中文字中,偏旁的形状、大小比例、位置会稍有不同,都会影响到字体的设计。除了要符合客观的美学要求,更重要的是,它们必须拥有 ‘正宗性’,也就是看起来要够像中文字。

Caspar 说自己一直到大学才开始学写中文,写字看起来就像小学生那种一笔一划、很生疏。“我可能还没有资格去判断明日体是否真的像正宗的汉字。”

但这件事却很重要,例如在一些英文的书写样本中,你可以察觉到一些不符合传统英文手写的装饰细节。这些不对劲的小地方很容易就能被发现,特别是当我们用标准的 26个罗马字母时。

例如, Delaware 这个单词的大写字母 D 与相邻的小写字母 e 一样大时,即使这是字体的设计意图,你也能看出有点不对。

中文字里面有这么多组合的部分,不论是印刷体还是手写体,更为容易出现让你觉得去看來奇怪的小地方。这也让设计明日体的过程充满更多难关和乐趣。

“We wanted to pursue it because it was such an interesting topic for us. In our studio, we tend to pursue projects that we find to be of cultural relevance and of cultural interest.”

It would be unfair to suggest that the point of Ming Romantic was simply to see how a Chinese typeface could be created from scratch. Aside from the practical challenge of producing a typeface through more intuitive and efficient methods, Ming Romantic also poses a stylistic, and even cultural challenge to the existing visual norms of printed Chinese.

Despite the small but growing body of innovative Chinese typefaces, Chinese culture remains heavily attached to its history in the calligraphic arts for its expressiveness.

Lam describes a sort of “mental barrier” in the Chinese context, offering the example of his family and friends’ questions about Ming Romantic.

When they’d ask what kind of calligraphic face he was working on, he’d have to explain the difference between typography and calligraphy: the former has “an aspect of mechanical reproduction and product,” while the latter is a means of personal expression.

It’s this ingrained attachment to an esteemed tradition that makes giving the two arts “their space” a great, if unacknowledged, challenge for Chinese typography.


“我们之所以投入这件事,是因为它对我们来说非常有趣。我们喜欢做与文化相关或具文化意义的工作。”

如果说明日体,仅仅是为了试验看看中文字如何从头开始创作,这是不恰当的。除了一一克服创建中文字体的困难,明日体的创作尝试用更直观、更有效的方法去制作中文字体。这在视觉设计、甚至文化领域上都是一大挑战,也是对现存中文视觉规范的突破。

尽管中文设计字体目前为数不多,但有在逐步成长。其中很多设计都包含书法的元素,这项传统艺术凭借其丰富的表现力,始终是中华文化的代表。

Caspar 指出人们对于汉字有一种 “认知上的障碍”。他举例道,当他与家人朋友谈论自己在创建明日体时,他们都会问他是在研究哪种书法。这时他必须解释印刷体和书法之间的区别,前者是 “机械复制的产品”,后者是 “个人表达的手段”。

正是对这种根深蒂固的想法进行质问,使得区分这两种字体艺术,成为一个尚未被人们意识到的挑战。

“Even Chairman Mao was a calligrapher. It’s a very reactionary activity for a revolutionary, but it highlights the sort of myth we have as part of our cultural identity, or who we are as Chinese.”

“就连毛主席也是一位书法家。对于他这位革命家来说这是一种相对保守的行为。但书法确实强调了一种文化上的身份认同,充分说明了 ‘我是一个中国人’ 的概念。”

As the first combination of traditional Chinese characters and a high-contrast modern Western typeface, Ming Romantic is an exciting development, but Lam points out that history isn’t entirely devoid of similar attempts.

When he and Park discussed their font at the Typographics 2016 design festival, they showed many remarkable examples of typefaces from the 1950s and after – a relatively unrecognized heritage of Chinese experimentation in typography.

“Experimentation in Chinese type has a somewhat rocky history, because Chinese has tended to allow the forms which are considered canonical, while the rest of the experimentations tend to get buried,” he explains. Outside the art and design worlds, the visible lack of provocative Chinese fonts in everyday life seems to confirm this.

“So you always hear about the great calligraphers or the things that worked. And the things that haven’t worked, you have to search really hard to find them.”


作为中文传统字体和西方现代字体的首次结合,明日体是中文印刷字体中一次令人兴奋的发展。但 Caspar 说其实之前早就有过类似的尝试。

当和 YuJune 在 Typographics 2016 设计节上讨论明日体时,他们展示了1950年代以来许多重要的字体设计案例。这些字体可以说是中文印刷体被埋没的文化遗产。

“中文印刷字体的发展并非一帆风顺,因为中国自古以来只鼓励符合常规的东西,而其余实验性的设计往往会被埋没掉。”他解释道。在艺术和设计界之外,日常生活中很难看到有趣的中文字体。这正好印证了 Caspar 所说的。

“所以你总是能听到人们在谈论哪位伟大书法家,或是哪些已经成功的事迹。而那些还没成功的,你往往要很努力、花上更多力气才能找得到。”

To fully grasp the impact of an achievement like Ming Romantic, you could think of it this way: how many projects fail to reach their full potential, or are never even started, because they lack a typeface to express their visual identity? It’s as if you only had, say, Times New Roman, Arial and (perish the thought) Comic Sans at your disposal.

While Lam stops short of suggesting Chinese design would “mushroom” if it had more typefaces for its creative energies, he does believe more typefaces would allow for more directions and greater freedom. For now, he can proudly count Ming Romantic as the first Didone-style Chinese font and celebrate the end of the first leg of a much longer journey.

At the time of this writing, Ming Romantic’s initial release, unveiled in New York on February 1st, included 2,300 traditional characters in three weights.


要真正明白明日体的成就,你可以这样来思考:有多少失败的设计项目尝试做到跟他们一样的事情、或根本还没开始,因为缺乏合适的字体基础来符合设计上的需求。这就好像跟你说:你当然可以自己设计,但只能用 Times New Roman、Arial、Comic Sans 这三种字体来做一样。

虽然 Caspar 并未明说,但如果中国能有更多创新字体来引导其创作能量,中文设计字体的发展会更快速。更多的字体选择可以为设计作品提供更多方向和创作空间。现在,他们可以自豪地把明日体称为第一款 Didone 风格的中文字体,团队也终于可以庆祝,在这一段漫长旅程中取得了阶段性的胜利。

在写这篇文章的同时,明日体于2月1日在纽约推出第一版,一共收录 2300个繁体字,三种不同的粗细版本。

After our chat, I asked Lam by email what was next for Ming Romantic. Aside from taking some much-needed rest to distance and reflect on the project, he mused about a potential simplified Chinese version, subject to demand.

True to Ming Romantic’s original spirit, there may even be bolder explorations down the road.

“One idea which I find fascinating is exploring ‘ligatures’ in the typeface,” he writes, referring to combinations of two or more characters into one, such as in Æ. But in light of the very history that inspired Ming Romantic, that could be a slippery slope.

“In some way, this is a dangerous idea because ligatures have their origins in handwriting, and going too deeply into this area would turn a typeface into a script.”


上次见面后,我又发了邮件问 Caspar 明日体的下一步计划是什么。Caspar 表示,除了打算休息一下,也要继续思考明日体更多可能性,例如创建简体字的版本。

忠于创建明日体的初心,他们之后可能会有更大胆的作为。

“我还有一个想法一直很感兴趣,那就是字体中的 “连字”。指的是将几个字元组合成一个字元,类似英语的Æ。但有鉴于当初启发他们创建明日体的那些经验,这种想法可能会带来 ‘滑坡效应’。

“某种意义上说,这是一个危险的想法,因为连字起源于手写体。如果在这个领域继续深入,这一款印刷字体可能会再次变为手写体。”

Media Partner: MAEKAN

Contributor: Nate Kan
Images Courtesy of Synoptic Office


媒体合作伙伴: MAEKAN

供稿人: Nate Kan
图片由 Synoptic Office 提供

True Colors

In India, one of the minority of countries where homosexuality is illegal, the LGBTQ community continues to face discrimination and hardship on a daily basis. A decade ago, in an even more conservative environment, with fewer places to voice their frustration, many queer people would go online in search of someone who shared their experiences. For them, perhaps the greatest source of support was simply being understood.


印度仍是世界上少数把同性关系列为非法行为的国家,生活在这里的 LGBTQ(女同性恋、男同性恋、双性恋、变性者等“性别酷儿”人群)日常也充满着歧视和困境。时间往前推溯十年,在民风更是保守的当时,身为社会少数人群的他们,痛苦没法对谁诉说,也许只能上网去寻找一个与自己拥有同样遭遇的陌生人。他们最有力的支持来源,无外乎“能被理解”。

Founded in 2008, Gaysi Family is India’s largest online queer forum. It’s a digital space where the gay desi community can express themselves however they like. (“Desi” is a term for the inhabitants and diaspora of India, Pakistan, and Bangladesh, and the website’s name is a play on “gay desi.”) The site boasts a variety of contributions from the queer community, including personal stories, works of fiction, poems, songs, illustrations, and comics.

“The purpose of Gaysi is to let you know you’re not the only one,” says MJ, one of the founders, who is openly lesbian. “The coming out process is never easy because who you come out to is not just one person. Sometimes it’s your whole family or the entire society. And the fact that you know you have company can be very helpful.”

In 2013, they launched a new endeavor: Gaysi Zine, a print publication that portrays LGBTQ life through a meticulously curated round-up of stories and visuals, with a larger dose of art.


Gaysi Family 2008 年创立,作为印度最大的线上同志论坛,欢迎所有来自德西desi,即生活在南亚次大陆上的印度裔和拥有相同文化意识)且拥有同志身份认知的人,来到这自由地说出任何想说的话,因此酷儿人群各种形式的投稿作品,从亲身经历、小说、诗歌、插画、漫画都广见于网站上。

“Gaysi 的目的就是要让你知道你不是唯一。出柜无论对谁来说都很困难,因为你出柜的对象往往不是一个人,而是家庭、甚至整个社会。知道有人与你站在一起,会有很大的帮助。创办人之一 MJ 说,她同时也是一名公开出柜的同性恋者。

到了 2013 年,他们有了新的尝试——发行《Gaysi Zine》,一本文字与图像创作的合集,增添更多艺术成分去描绘 LGBTQ 的生活。

With a blend of topical and artistic content, Gaysi Zine is currently gearing up to publish issue six. The magazine is an extension of Gaysi Family’s ongoing mission to provide an open and inclusive space for the queer community. As before, 80% of every issue’s art and stories come from the region, and by using a style with bold, commanding visuals, Gaysi Zine lets readers leap over the language barrier and experience queer life in an accessible way.


作为一本兼具议题和艺术性的杂志,《Gaysi Zine》即将发行第六期,它沿袭着 Gaysi Family 的主旨,致力于提供酷儿人群一个公开、包容的空间。并且和往常一样,它有 80% 的内容都由住在印度地区的 LGBTQ 人群提供。其沟通方式具有强烈的视觉风格,让人能跳脱语言分界,直接体会酷儿的感受和情绪。

“Stories on the website are shared in black and white of words. But color is the essence of queers,” says Priya Gangwani, one of the magazine’s editors. “Images can capture our life much more precisely.”

Gangwani recalls how hard it used to be to find LGBTQ information in India. Before she discovered Gaysi, she thought she was the only one to have such “abnormal” thoughts about people of the same sex. As she’s gone from reader to regular contributor to editor, she’s witnessed to the country’s shift away from the repressive times of the past to the more progressive attitude of today, when queer visibility is gradually growing in India’s mainstream media.  With Gaysi at the lead, these shifts are changing the face of India’s queer community.


网站上的故事毕竟是由黑与白的文字被分享的,但酷儿的世界是缤纷、充满多样的色彩,图像更可以捕捉我们的生命精随。作为《Gaysi Zine》的编辑之一,Priya Gangwani 和我们分享道。

回想起自己在发现 Gaysi 之前,因为社会上资讯极度的不流通,Priya 还以为自己是全印度唯一对同性抱有异常遐想的人。从发现 Gaysi 到成为固定撰稿人,再到如今成为其编辑,Priya 仿佛见证了从那样压抑的年代走到现在,同志议题在印度主流媒体的能见度逐渐提升的过程。而由 Gaysi 所引导的力量,也正渐渐改变着印度酷儿族群的样貌。

Gaysi Zine – Issue #5 is now available on the Neocha Shop in limited supply.

To pay via PayPal or international credit card, please check out through our Shopify. To pay with AliPay or WeChat, please visit our Weidian.

 

Product Details:

  • Year of Publication: 2017
  • Number of Pages: 156 (including front and back cover)
  • Size: 21.5 x 28 cm
  • Price: $30 USD

Gaysi Zine》第五期现已于 Neocha商店限量发售。

如需使用PayPal或国际信用卡支付,请转至我们的 Shopify 页面;如需使用支付宝或微信支付,请至我们的微店

 

详情

  • 出版年份:2017
  • 页数:156 (包括封面和封底)
  • 尺寸: 21.5 x 28 厘米
  • 价格: ¥190 RMB


《Gaysi Zine》第五期

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Website: www.gaysifamily.com
Instagram: @gaysifamily

 

Contributor: Yi Xuan


网站www.gaysifamily.com
Instagram: @gaysifamily

 

供稿人: Yi Xuan

Unexpected Boxes

A behind-the-scenes look at how Unexpected Boxes was created.

Taiwanese artist Sydney Sie is a photographer and graphic designer who creates surreal, dream-like pictures that blur the line between imagination and reality. Using pastel colors and playful illusions, her work radiates a gentle feminine energy that eases viewers into each scene. Sie approaches every project like they’re her personal playgrounds, places where she can use candy-colored backdrops, mundane props, and familiar body parts to play games of hide-and-seek with the viewers.


来自台湾的谢昕妮(Sydney Sie)是一名摄影师,也是一名平面设计师。如果说要用一个词来概括她的作品,那或许就是:如梦似幻。

她的作品经常充斥着渐变的色彩、错位的视觉效果和柔软的女性气息。平凡的人物和场景,似乎统统隐匿在纯色背景之后,相片中呈现出来的只有经过筛选的景物,宛如置身真实与虚假的边界,并将其镶嵌到一个糖果色的故事气氛中去。

An image from Unexpectable Boxes
An image from Unexpectable Boxes

From the color usage to the methodical compositions, Sie’s experience as a graphic designer shines through in her photography work. But this intermingling of cross-medium concepts doesn’t end there. Having graduated with a degree in animation, influences from her major are also evident in her work – this is perhaps most apparent in her usage of close-up shots and attention to layering. Sie believes merging concepts from all three is what allows her to tell a complete story. In her eyes, photography should be more than just documenting reality – they’re opportunities to create something completely original and never before seen.


无论从色调还是构图的角度来看,Sydney 的作品都带有平面化的风格,那是因为平面设计出身的她,在研究所时期读了动画专业,所以她常用特写镜头,构图也更分解化。但 Sydney 觉得,这样反而更接近“完整呈现”,因为对她来说,摄影不仅仅是“记录”,更是“创造”。

A behind-the-scenes look at how Unexpected Boxes was created.
A behind-the-scenes look at how Unexpected Boxes was created.
A behind-the-scenes look at how Unexpected Boxes was created.

“I like to capture the surreal moments of ordinary life,” Sie tells us. “Rather relying on the pre-existing beauty of subject matters I’m capturing, I like to create unique settings and look at things from atypical perspectives.”

Each one of Sie’s projects is a window into the varied terrains of her active imagination, and this willingness to push the limits of her creative boundaries is what has captivated viewers again and again.


“我喜欢去捕捉现实生活中的超现实时刻……我喜欢去创造一个新的空间,或是新的构图,不依赖本来就很美好的东西。”但或许这就是 Sydney Sie 作品的魔力,让人在她创造的色彩梦境中,不断流连徜徉。

An image from Unexpectable Boxes
An image from Unexpectable Boxes
An image from Unexpectable Boxes
An image from Unexpectable Boxes
An image from Orange Requiem
An image from Orange Requiem
An image from Orange Requiem
An image from Orange Requiem
An image from Orange Requiem
An image from Orange Requiem

Website: www.sydneysie.com
Behance: ~/sydneysie
Instagram: @sydneysie
Vimeo: ~/sydneysie

 

Contributor: Chen Yuan


网站: www.ydneysie.com
Behance: ~/sydneysie
Instagram: @sydneysie
Vimeo: ~/sydneysie

 

供稿人: Chen Yuan

What’s the Point in Growing Up?

 

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Born in Taipei, having studied in Milan, and now based in Shanghai, Ning (aka Kang Yung-Ning) is a designer and entrepreneur whose intercultural experiences have broadened her mind and shaped her creative interests. In the past, she’s found success as a high-end menswear designer, stylist consultant, and lecturer. In more recent years, she co-founded XSPLUSLAB, an eyewear brand designed specifically for kids, and Speechless, an online fashion and lifestyle platform. Eager to learn and experiment, Ning’s career path has been a path filled with many twists and turns. Even now, it’s difficult to define her job roles and responsibilities, which might change on a day to day basis. She sums everything up by simply saying, “It’s a bit complicated!”


生于台北,留学米兰,现在长居于上海的 Ning(康韵宁) 形容自己是一位专业“不务正业”的跨文化人士。除了担任一线品牌的男装设计师、造型顾问和学院讲师之外,她还创办了儿童眼镜品牌 XSPLUSLAB 以及时尚创意平台 Speechless。当被问及怎么定位自己的时候,Ning 的反应是,“哇,这很复杂,实在一言难尽!

Despite her cross-disciplinary interests, Ning has been able to balance all of her creative and entrepreneurial pursuits. Unsurprisingly, when asked what she would prioritize to if she had to choose between her personal life and work life, Ning went with the latter. But she admits, it’s often difficult for her to determine where one ends and the other begins. “I discover inspiration for my work everywhere in life,” she says. “It might come from spotting a row of interesting buildings, a particular floor tile, how random colors interact with one another, graffiti art on the street, or even a fallen leaf.”


在不同领域间游走,天秤座的她也形容自己是一个很平衡的人,尽管有很多不同的身份,也能尽量让这些角色达到彼此平衡,并且每个工作都全力以赴。如果要工作与生活二选一,Ning 毫不迟疑地选择工作,原因是她认为做自己喜欢的事,工作也像生活一样。她喜欢四处搜集与流行,时尚,艺术及生活相关的资讯。“生活中大大小小的事物都能为我带来灵感,走在路上看到一排特殊的建筑,路上的一块砖头,不同的色彩搭配,墙角的一个涂鸦,甚至是一片落叶,都能带给我灵感。”

In early 2016, Ning met Vic, an eyewear designer. At the time, Ning worked full-time as a menswear designer. But the two had a mutual interest in using their respective expertise to create something fun for kids; this resulted in the idea of designing playful eyewear for children. To their surprise, the project – initially created just for fun – received an overwhelming amount of positive feedback. This success would sow the seeds for the two to launch XSPLUSLAB not long after. Their vision for the brand is simple – create eyewear for stylish kids and adults with a child-like sense of wonder. But aside from simply designing glasses, Ning aims to communicate an underlying message of “Never grow up.” She hopes the brand can help foster creativity in the youth and inspire people of all ages to live their life without constraints.


2016 年初,Ning 碰到了她现在儿童眼镜品牌的合作伙伴 Vic,那时的 Ning 以从事男装设计的工作为主,而 Vic 是个很资深的眼镜设计师。因为两人对于小朋友的生活方式有着共同的想法,他们以做着玩的心态设计制作了一些儿童眼镜,没想到反响非常好。此后,两人就将这个概念发展为了现在的 XSPLUSLAB,一个专为有自我主见的酷小孩和童心未泯的有趣大人设计眼镜和配饰的原创品牌。而制造眼镜之外,Ning 也更想将这种“不想长大”的生活态度传递出来,和大家分享勇敢创新、充满创意的生活方式。

Aside from XSPLUSLAB, a large portion of Ning’s time is dedicated towards Speechless, an online platform that curates a collection of quirky lifestyle and fashion-related stories. “On one particularly hot day, when I was walking around town with my friend, I noticed a group of older folks in public with their shirts rolled up, revealing their stomach. To me, it felt almost like a fashion statement. I thought it was so much fun, but I couldn’t quite explain why. Not long after, I realized I had other interesting observations and ideas about fashion that I wanted to share. And so, Speechless was born,” she says, explaining that her long-term vision is for the platform to grow into an archive of stories that’s able to captivate people of all professions, races, cultures, and genders. “Maybe it’s a naive idea, but we’re open to everything. On this platform, I want people to not worry about ‘stepping over boundaries.’ There shouldn’t be any!”


说起 Speechless,这个 Ning 一手创立的线上生活形态资讯平台,背后还有个可爱又有点搞笑的小故事。“当初和朋友走在街头,看到夏天时大叔们因为天气闷热,把衣服卷到肚皮上散热,一群人站在路口形成有趣的‘时尚风景’,觉得说不出的逗趣景象,加上自己有许多对于生活趣事和时装及美感的看法想跟大家分享,于是便有了Speechless。” Ning 想借助这个平台,和一群对新鲜事物充满好奇的人们分享资讯,他们不按常理出牌,喜欢打破沙锅问到底,勇于打破常规,当然还有,充满幽默感。Ning 希望透过 Speechless 推广一种没有边界,跨产业、跨种族、跨文化、跨性别的理念,创造一个单纯且有趣的意见交换与分享平台。“在这里因为我们单纯而开放的多元精神,大家不必在意互踩界线!哈哈,因为我们也没有界限!”

“I’m both a dreamer and a dream maker,” Ning tells us. “I’m interested in sharing my experiences with people eager to learn so that they can make it closer to their own dreams. I think the best way to live life is to keep an open mind about everything. Kids and adults think differently. Adults already have preconceived notions about many things in life, but kids are different. They look at things in a different light – they don’t see limitations.” Ning often reminds people to retain their child-like sense of wonder about the world, to be receptive to different ideas, and create by thinking outside of the box. She wants people from all walks of life – especially designers, stylists, and fashion enthusiasts – to see that life can be lived without the mental limitations we often place on ourselves and spread the message that by harnessing our creativity, we hold the key to unlocking endless possibilities.


我是一个梦想家(Dreamer),也同时是一个梦想实现家(Dream maker) 。因为我在做梦的同时,也会把自己的经验传达给很多学生,帮助他们更靠近梦想。” Ning 和我们分享道,我觉得最有趣的生活状态就是对任何事物都采取开放的态度。”所以 Ning 常提醒自己用小孩子的态度对待世界,“孩子的生活和成人的生活不同,成人对事物已经有既定的印象,可是小朋友不一样,小朋友没有带有色眼镜,也没有任何的限制。” Ning 希望用更开放的心胸和更多元化的想法去创作,把这种没有界限的生活方式带给所有人,包括设计师,和那些对时尚和设计有热情的人们。

If you’re interested in checking out more designs from Ning and XSPLUSLAB, they’re now available at the POY Art Designer Concept Store.

 

Address:
Aegean Shopping Mall
1588 Wuzhong Road 1F 123A
Minhang District, Shanghai
People’s Republic of China

 

Website: xspluslab.com
Facebook: ~/xspluslab
Instagram: @absolutespeechless
WeChat: SPEECHLESS_Official

 

Contributor: Ye Zi
Videographer: Yang Bingying & Ye Zi

Photographer: Chan Qu


想看到更多 Ning 和 XSPLUSLAB 的更多作品,可以到半境空间设计概念店参观。

 
 

地址:
中国
上海市闵行区
吴中路1588号 1F 123A
爱琴海购物公园

 

网站: xspluslab.com
脸书: ~/xspluslab
Instagram: @absolutespeechless
微信: SPEECHLESS_Official

 

供稿人: Ye Zi
视频摄影师: Yang Bingying & Ye Zi

照片摄影师: Chan Qu

The Eye of Binhai

 

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Tianjin Binhai Library is a futuristic space that was recently unveiled in October of 2017. Designed by Dutch architects MVRDV in collaboration with the Tianjin Urban Planning and Design Institute, the library is part of a greater plan to launch a cultural district in Tianjin.


2017 年 10 月,天津滨海图书馆正式开幕。该图书馆由荷兰 MVRDV 建筑设计事务所与天津市城市规划设计研究院合作设计,并作为天津滨海建成文化中心的一部分。

The highlight of the library is the auditorium. Boasting a spherical centerpiece that looks like an iris within the oval-shaped opening, the atrium has been nicknamed “The Eye.” Inside the atrium, terraced bookshelves run from floor to ceiling, rippling across the ceiling as if following the contour of the luminous orb.


整个图书馆的最精彩的部分是中庭的发光球形报告厅。这中庭有一个球形的中心,看起来像一个椭圆形的虹膜,因此又被命名为“眼睛(The Eye)”。再往里走,成排的书架从地板开始堆叠,既作为阶梯、座椅,且一直延伸到天花板,仿佛描绘出了中间发光球的轮廓。

The actual library is impressive in its own way. While less visually striking than the atrium, the building contains five levels and an area of 33,700 square meters with enough space to house a collection of 1.2 million books. The first and second floors contain reading rooms, books, and lounge areas, while the upper levels contain meeting rooms, offices, computer and audio rooms, as well as two rooftop patios.


而整座图书馆也独具自己的特色。虽不及中庭发光球的视觉震撼,但图书馆总面积达 33,700 平方米,足足有 5 层,设计藏书总量达 120 万册。一楼和二楼设有阅览室、藏书区和休息区,上层则设有会议室、办公室、电脑和音响室以及两个屋顶露台。

From initial design to opening, the library took only three years to complete, making it MVRDV’s fastest completed project to date. It’s a breathtaking achievement of design that’s quickly establishing a reputation as a must-see landmark for those visiting Tianjin.


由于施工周期比较紧张,图书馆从最初的设计到最终落成只花了三年的时间,成为 MVRDV 迄今为止进度最快的项目。这可谓是一个惊人的设计成就,并已成为天津必去的标志性地标。

Address:
347 Xu Sheng Road
Binhai New District, Tianjin
People’s Republic of China

Hours:
Tuesday ~ Sunday 10:00 ~ 18:00
Monday 14:00 ~ 18:00

 

Websitemvrdv.nl
Facebook: ~/MVRDVRotterdam
Weibo~/mvrdv

 

Contributor & Videographer: George Zhi Zhao
Images Courtesy of MVRDV


地址:
中国
天津市滨海新区
旭升路347号

开放时间:
周二至周日 10:00 ~ 21:00
周一 14:00 22:00

 

网站mvrdv.nl
脸书: ~/MVRDVRotterdam
微博
: ~/mvrdv

 

供稿人与视频摄影师: George Zhi Zhao
图片由 MVRDV 提供

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Blue & White Porcelain

Shann Larsson is a Hong Kong-based mixed media artist of Eurasian descent. Having been raised in Germany, Sweden, Indonesia, and Hong Kong, Larsson’s creative process has been deeply influenced by her exposure to these different cultures. Her latest project, Blue & White Porcelain, is a playing card deck that reflects the influences of her mixed cultural background. While the front-facing graphics and coloration are based on 14th-century Chinese ceramics, the card backs are influenced by modern Scandinavian porcelain, which tends to incorporate abstract and geometric characteristics. Building on the Chinese influences, the graphical elements on the rest of the cards, aside from the aces, are all based on the 12 animals of the Chinese zodiac.


Shann Larsson是一位现居香港的多媒体艺术家。身为一名欧亚混血,她成长于德国、瑞典、印尼和香港这四个地方,而这样的成长背景也深深影响到了她的作品创作。这在她近期的一件产品设计作品《Blue & White Porcelain》亦能体现出来。在扑克牌的牌面设计上,Shann以中国明朝时期青花瓷的纹样和颜色作为灵感,而牌背则借鉴了另外一种较为现代的瓷器——产于斯堪的纳维亚、独特风格的瓷器,其中包含了抽象元素和几何特征。在图案设计中,Shann还融入了中国的十二生肖,来展现牌面的大小等级。

In the printing process, Larsson used a Spot UV varnish on individual cards and the packaging, which gave it a special coating that augmented the colors of her watercolor paintings; the glossy surface is also a reference to the lustrous qualities of real ceramics. Understanding that design is a balancing act, Larsson finalized the project with the use of the simple, minimal Novecento font, which complemented her complex graphical designs.


在制作产品时,Shann选用了一种叫做局部UV的印刷方式,赋予卡片和卡盒一种微妙的光泽感,这样光滑的触感也正呼应了产品的瓷器主题。为了视觉上的均衡,Shann选用了简洁的字体Novecento,这种干净极简的字体正好中和了牌面上精细又复杂的设计图案。

Blue & White Porcelain recently won a Junior Award at the Red Dot Award: Communication Design event and it’s now available in the Neocha Shop.


《Blue & White Porcelain》还是2017红点奖:传达设计部分的得奖作品!现正于Neocha商店限量发售。

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Sharon Larsson的《Blue & White Porcelain》

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Website: shannlarsson.com
Facebook: ~/shannlarssonsart
Behance~/shannlarsson 
Instagram@shannlarssondesign

 

ContributorYe Zi
Images Courtesy of Shann Larsson


网站shannlarsson.com
脸书:~/shannlarssonsart
Behance: ~/shannlarsson 
Instagram@shannlarssondesign

 

供稿人: Ye Zi
图片由Shann Larsson提供

Functionality & Permanence

Chairs, having existed since the beginning of civilization, have taken on different forms as society and technology evolved. And for Joyce Lin, an American-born Taiwanese artist and designer, chairs are much more than inanimate objects for people to rest their buttocks on – they’re iconic, familiar, and possess anthropomorphic qualities that parallel the human form. “I think that furniture objects are powerful because whether they’re practical or not, they evoke a type of environment that is accessible to most everyone,” Lin explains of her fascination. “To me, furniture represents reality. So when I use it in my work, I see myself manipulating or altering that reality.”


自人类文明诞生以来,椅子就已经存在,并随着社会和技术的发展而呈现出不同的形式。Joyce Lin是一名生于美国的台湾艺术家和设计师,对她来说,椅子不仅仅是供人坐下的无生命之物,它更是一种符号——它们有一种亲切感,还被赋予了一种拟人化的性质。“我认为家具蕴含巨大的能量,因为无论它们是否实用,都能令人们联想起一种大多数人都能拥有的环境。”Joyce解释说,“对我来说,家具代表着现实。所以当我使用家具创作时,我会感觉自己是在操纵或改变某个现实。”

Exploded Chair
Exploded Chair

As a recent graduate with a double major in both biology and furniture design  – two seemingly unrelated fields – the 23-year-old designer realized that she can take concepts from the former and integrate it into the latter. “Biology and geology have given me a lot of insight into understanding internal structures and systems on a broad scale,” Lin shares. “They tell us where we, and everything in our environment, come from, how they have evolved over time, and how they are evolving now. It challenges my assumptions about how and why things work – how parts come together or fall apart – which translates to how I work in the studio. Learning about science keeps me interested and makes me love and care about the world in a way that I hope is expressed in my work.” 


作为一名刚毕业的23岁设计师,Joyce同时修读了生物学和家具设计——两个看似毫无关联的专业,她发现,自己可以从生物学的一些概念中获得灵感,然后将其融入到家具设计中。“生物学和地质学给了我很多洞察,帮助我从更广泛的范围去深入去了解事物的内部结构和系统。”Joyce解释道,“这两个学科能告诉我们,人类以及环境中的一切来自哪里,是如何随着时间的推移而演变,今后又会如何发展。它挑战了我对于事物如何和为什么会运作的种种假设和想法,每个部件如何组合、如何分解,这些最后都成为了我在工作室里创作的思路。学习科学让我始终对外界满怀兴趣,从而更能去热爱和关心这个世界。我希望这一点能最终体现在我的作品中。”

Exploded Chair

For Exploded Chair, one of Lin’s most well-received project, she dissects a wooden spindle chair, encasing its dismembered parts within transparent acrylic containers. Each individual piece that makes the chair whole is isolated and shifts freely in their respective containers. While most people naturally believe that these disembodied pieces of wood are what makes the chair a chair, Lin’s reimagining of the traditional chair challenges this concept. This project plays off of the audience’s expectations and is her way of making viewers question the function of a chair and contemplate the role of different materials as well as the meaning of permanence.


在Joyce颇受好评的作品之一《Exploded Chair》(肢解座椅)中,她解剖了一张木椅,将“肢解”下来的部分再各自装进透明的亚克力容器里。曾组合椅子的各个部位,现在都被单独隔开了,在各自的容器里兀自晃动。大多数人自然会觉得,是由于这些“肢解”的部件才能形成了一张椅子,但Joyce对传统座椅的重新设计,摆脱了这个概念。这个设计挑战了观众的期望,使观众质疑椅子的功能,思考不同材料的作用以及永恒性的意义。

Used Chair
Used Chair
Used Chair

In an older project, titled Used Chair, Lin manipulates the anthropomorphic elements that she’s observed in the seating furniture with the idea of creating a “subservient” chair. The final creation bends the traditional wooden legs into human-like limbs, positioned to almost look as if the chair was groveling on its knees. Lin intended for this project to be a statement piece on the relationship dynamic between people and objects. In a separate project, titled Fused Chair, Lin salvaged parts from five discarded chairs. The bottom part of the final creation is formed of distinctively identifiable parts from the original chairs. Moving up, they begin to disintegrate into generic cubic shapes before finally forming into a smooth seating surface and back support. Presenting the chair’s evolution in three different stages, this piece is meant to display the gradual process of change and visualize how materials transform into a final product.


在此前的一个项目《Used Chair》(二手椅)中,Joyce重新设计她在椅子上观察到的那些拟人化元素,打造出一张“顺从”的椅子。她将传统的椅子木腿被弯曲成像人一样的四肢,看起来,这把椅子几乎就像跪在了地上。在另外的项目《Fused Chair》设计中,Joyce的目的是探讨人与物之间的关系动态。这件作品是Joyce从五把椅子上取出零件,最终组装而成的。在椅子的底部,她所使用的5张椅子的不同部件还清晰可辨。这些部件开始分解成一般意义的立方形状,一步步往上堆叠,直到最终融合成一个光滑的椅座和椅背部。这一设计呈现出椅子演变的三个不同阶段,用来表达变化的渐进过程。

Fused Chair
Fused Chair
Fused Chair

Viewing Lin’s work, the often hard-to-discern line between art and design might feel even blurrier. But she shares her understanding of the key differences between the two, explaining that she sees art as being more about expression, research, and communication while design is about applying research towards a practical goal. “Of course, you can do both at once,” she adds. “Most things hold multiple functions. At the core, both are embodiments of an idea or philosophy regarding our lived experience. I’d say that my goals are more about expression and communication, but honestly, I’ll do anything that excites me. As long my work affects people in an exciting and meaningful way, I don’t care what form it takes.”


纵观Joyce的作品,你会发现艺术与设计之间原本模糊的界线变得更加模糊了。她对两者差异的理解为:艺术是一种表达、研究和交流,而设计是为了将研究应用于实际的目标。她说:“当然,两者兼得也是可以的,大多物件都具备多种功能。从本质上来说,这两者都是在诠释关于我们生活经验的想法或哲学理念。我觉得我创作时会更倾向于表达和交流,但是说实话,只要是让我觉得兴奋的项目我都会去做。我只希望作品能令人们感到兴奋和觉得有意义,什么样的形式并不重要。”

Website: joyce-lin.com
Behance: ~/jlin

 

Contributor: David Yen


网站: joyce-lin.com
Behance: ~/jlin

 

供稿人: David Yen

Vans Custom Culture Asia

Vans has brought the Custom Culture Competition to Asia for the first time ever this year. With a well-established reputation for individualism and self-expression, the Vans brand spirit is perfectly embodied through this competition. Working with the goal of rallying Asia’s creative community and providing a new platform to help showcase the region’s burgeoning creators, the contest invites everyone to flaunt their creativity for a chance to see their design make its way onto a pair of these iconic canvas shoes.


今年,Vans 首次将 Custom Culture 鞋履设计比赛带到亚洲。这一比赛充分体现了Vans 一向推崇个性化和自我表现的品牌精神,致力凝聚亚洲创意社区,为新兴艺术家提供一个新的创意平台。比赛邀请一众亚洲艺术家,尽情发挥他们的设计创意, 获奖者的设计将会被用于设计该品牌的全新帆布鞋产品。

For the competition, Vans has invited various respected artists from around Asia as both mentors and judges. Mentors will help the selected finalists to flesh out and complete their final design. These mentors include Chinese visual artist Lin Wenxin, South Korean illustrator Original Punk, Hong Kong-based woodworking atelier Start from Zero, Singapore-based husband-and-wife creative duo Sabotage, self-taught Malaysian street artist Fritilldea, and India-based street artist duo Varsha Nair. Judges include renowned San Francisco-based illustrator Jay Howell, Nini Sum of the Shanghai-based artist duo IdleBeats, plus many more.


在今年比赛中, Vans邀请了亚洲各地备受推崇的艺术家作为导师和评委。导师将帮助决赛选手改善其设计作品。这些导师包括来自重庆的视觉艺术家林文心, 韩国插画家Original Punk, 香港木艺画室Start from Zero, 新加坡夫妻组合艺术家Sabotage, 自学成才的马来西亚街头艺术家Fritilldea和印度街头艺术家组合Varsha Nair。评委则包括来自旧金山的著名插画家Jay Howell,来自上海 IdleBeatsNini Sum等等。

Now, the six talented finalists from China, Korea, Hong Kong, Malaysia, Singapore, and India have all finished their designs alongside their respective mentors. The final round will decide who will win a trip to House of Vans London and have their creation debuted in stores Asia-wide next year! See the final entries below and vote for your favorites by clicking here.


现在,六位来自中国、韩国、香港、马来西亚、新加坡和印度才华横溢的设计师分别在各自导师的帮助下完成了最后的鞋履设计。最后一轮比赛的结果将会决定谁最终能赢得前往参加House of Vans伦敦站的机会,获胜的设计还将在明年亮相亚洲地区的Vans门店公开发售!下面是所有最终入围的决赛作品,来看看哪一款是你的最爱,点击此处,为它投上一票。


Felix / China

“The initial idea of this design is to make it appealing to a large audience while also bringing the Vans spirit alive. The reason I used this color combination is because I wanted to design a pair of summer shoes. It’s mainly green, dotted by red, with a little watermelon feeling.”


Felix / 中国

“这款设计的最初想法是让它既能吸引主流大众,同时也能诠释出Vans的品牌精神。之所以用这种颜色组合,原因是我想要设计一款夏季穿的鞋子。主色调是绿色,加上红色的点缀,有一种西瓜的感觉。”


Kim Young Hyun / Korea 

“My design is inspired by comics. It’s a bit different from what people see in popular comics. This idea I came up with can be easily executed on a pair of Authentic shoes. I wanted to make a scary character in a witty situation, in order to maximize the humorous atmosphere.”


Kim Young Hyun / 韩国

“我的设计灵感来自漫画,风格跟一般流行的漫画有点不同。我所想出来的创意很适合用在Authentic系列的鞋子上。我想要创作出一个恐怖的角色,把它放在诙谐的情景中,最大限度地突显出一种幽默的气氛。”


Taka / Hong Kong 

“First things first, it’s got to be something I would wear. I like to wear simple colored shoes for ease of outfit matching. I wanted to create something for everyday use, yet as an artist, it has to be a recognizable shoe that was designed by me.”


Taka / 香港 

“首先,我的设计必须是我自己会想穿的鞋子。我喜欢穿色彩单调的鞋子,这样容易搭配服装;我想创造一款适合日常穿着的鞋子,但作为一个艺术家,我也希望它能成为一款独特的鞋子,让人一看就知道是我的设计。”


Khiddir Baharudin / Malaysia

“My design was inspired by how Vans has influenced the people in different parts of Asia. The design portrays different cultures in Asia, with people from Malaysia, Singapore, China, India, and Korea,  focusing on traditional outfits, transportation, and architectures from the ’60s and ’70s.”


 Khiddir Baharudin / 马来西亚

“我的设计灵感来自Vans在亚洲不同地区的影响。这款鞋子展示了亚洲不同的文化,有来自马来西亚、新加坡、中国、印度和韩国的人们,不同的传统服装、交通景观、60年代及70年代的建筑。”


Edmund Seah / Singapore

“As an artist, I paint on various platforms, bringing the style and flow of the Japanese craft onto different media apart from the skin. I do not merely want to create a pretty image without flow and form.”


Edmund Seah / 新加坡

“作为一个艺术家,我会在不同的平台上绘画,将日本手工技艺的风格和韵律展示在不同的媒介上,包括肌肤。我不想要徒有美丽外表,而没有韵律和形式的画。”


Anaghaa Chakrapani / India

“My inspiration for the shoe comes from the local essence of places I’ve traveled. I’ve traveled to many major cities in Asia. The elements in my shoe are inspired by the things I’ve observed and loved in the Asian region and my motherland India.”


Anaghaa Chakrapani / 印度

“这款鞋子的灵感来自我旅游时所去过的那些地方的文化精髓。我去过亚洲的各大城市,我设计这款鞋子的灵感就来自我在亚洲,包括在我的祖国印度,所观察到的一切,以及我所热爱的事物。”

Website: houseofvansasia.com

 

Contributor: David Yen
Images Courtesy of Vans


网站: houseofvansasia.com

 

供稿人: David Yen
图片由Vans提供

Herschel Supply’s China Debut

With a newly opened Shanghai office and a strong showing of upcoming releases at this year’s YO’ HOOD streetwear trade show, Herschel Supply appears ready to take the Middle Kingdom by storm. The Vancouver-based brand, founded by brothers Lyndon and Jamie Cormack, has been producing quintessential bags and accessories for North American urbanites since 2009. Herschel’s foray into China is an opportunity for the brothers to introduce their products and share the brand’s spirit of exploration and thoughtful designs to a new, massive audience.


Herschel Supply先是在上海开设新办公室,又在刚结束的YO’HOOD世界顶尖潮流品牌新品展上亮相品牌新品,看来,这个加拿大包袋品牌已经准备好大举进军中国。品牌由Lyndon Cormack和Jamie Cormack两兄弟成立,总部位于温哥华,自2009年以来,品牌包袋已经成为北美都市潮人的必备配饰,今年,他们进军中国也将标志着品牌一个全新的开始。这也会为两兄弟提供一个机会,向全然不同的消费者分享他们的探索精神与设计美学。

What sets Herschel apart from all the other brands entering China is its open-mindedness and ambition – the brothers aren’t merely interested in introducing a Western aesthetic into China. Chatting with Lyndon, he shared some plans of upcoming collaborations with local Chinese designers and brands. Speaking passionately, Lyndon says, “Being a global brand is about collaborating with artists around the world and bringing their stories to the global audiences. It’s not enough to bring North American stories to China, we want to bring stories from China back to North America.” Taking into account Herschel’s recent collaboration with Japanese streetwear brand WTAPS, the brand appears genuinely keen on facilitating creative collaborations in not only China but throughout Asia and the rest of the world.


或许,Herschel Supply最有别于其它进入中国的品牌的一点是他们的开放性和抱负——他们可不仅仅是想将西方美学引入中国。最近,我们与Lyndon聊了一下,他充满热情地介绍了他与中国当地艺术家和品牌在接下来的合作计划。Lyndon说:“我们希望透过与世界各地的设计师合作,把品牌打造成为一个全球品牌,将设计师的故事分享到世界各地。不仅仅是把北美的故事带到中国,同时也要把中国的故事带回北美地区。”考虑到他们最近与日本服饰品牌WTAPS的合作,Herschel似乎确实很急切地希望能有更多创意合作,不仅是中国,而是在全球范围内。

Beyond an interest in the cross-pollination of cultures, Lyndon places great importance on respecting and understanding cultural nuances from region to region. When releasing new collections, the brand carefully considers the needs of different regions in terms of both functionality and aesthetics. Hinting at features of upcoming designs, Lyndon shared his observations of Chinese cities: “Sometimes when you leave home for the day, you won’t return until late at night. In North America, most people rely on cars so they can leave things there and bring more with them. For China, people have to be more thoughtful with what they’re bringing with them every day.”


除了跨文化地域的合作,Herschel也明白到尊重和充分理解不同地区在文化上的细微差异的重要性。他们在新品中就考虑到了不同地区在功能和美学方面的潜在需求。Lyndon分享了他对中国城市的一些观察——当然,这些观察很可能会成为新品的设计特点。“有时,当人们离开家后,可能就要到深夜才会再回家。在北美,大多数人都很依赖汽车,他们可以把物件放在车上,所以也能带更多物件出门。但在中国,人们必须在平日随身带什么物件上考虑更多。”

One of the most surprising aspects of Herschel might be where its products are manufactured. Even though its design aesthetics are firmly rooted in North American heritage, much of Herschel’s products are manufactured in China, a matter that the brand has happily maintained transparency around. “The factories and the amount of technologies in China they’ve been investing in to ensure they’re cutting-edge and leading is far superior to what we’ve seen in other countries,” Lyndon beams. “We want to make our products in the best place we can and it happens to be right here in China.”


虽然他们的设计和美学风格都源自北美,但是Herschel的产品大部分都是在中国制造的,这一点令很多人大感意外。但是,对于这一点,品牌一直保持完全的透明度。Lyndon骄傲地说:“中国的工厂和他们为了保持先进地位、引领行业而对技术的投资远远超过了我们在其它国家找到的工厂。我们想要找最好的工厂来制造我们的产品,而这个工厂恰巧就在中国。”

As our conversation came to an end, Lyndon optimistically commented on China’s fast-developing fashion scene, “Before, Chinese kids might’ve wanted to be like American kids. Now, Chinese kids want to dress like Chinese kids. I think it’s going to come full circle. What’s going on here is going to influence everything in North America and Europe as well.”


在我们的谈话最后,Lyndon谈及中国的时尚行业,他乐观地说:“之前,中国的年轻人可能会想追随美国年轻人的潮流。但现在,中国的年轻人只想要穿出中国的风格。我觉得这就像是一个循环。现在,在中国发生的变化也会影响到北美和欧洲。”

Website: www.herschelsupply.co
Weibo: ~/HerschelSupply
Instagram: @herschelsupply

 

Contributor: David Yen
Images Courtesy of Herschel Supply


网站www.herschelsupply.co
微博~/HerschelSupply
Instagram@herschelsupply

 

供稿人: David Yen
图片由Herschel Supply提供

The Line Between Fashion & Art

Every year, London’s Central Saint Martin hosts the BA Fashion Show, featuring collections from the year’s graduating designers. This year, Chinese designer Xiaoming Shan received special mention at the end of the show for creativity, making it the first time that a designer, aside from the winners, was given recognition in the speaker’s notes. Looking beyond Shan’s bold use of colors and shapes, deeper themes are present in his work, often based on his observations of modern times. “Everyday, you encounter different people, things, and events,” he says. “Even if you’re not consciously aware of it, they become catalysts for inspiration.” For Shan, finding creativity from his life experiences seems to come quite naturally.


Xiaoming Shan毕业于世界最负盛名的的时装设计学院之一的英国中央圣马丁艺术设计学院,今年,他的设计获得了年度毕业秀的特别创意提名。回看他的作品,引人瞩目的不仅仅是他对颜色和图案的大胆运用,背后的设计理念也远超越了这些强烈的视觉元素。他在不同时期的作品也往往带着当下的影子,叙述着当下发生的事。“每天接触到的不同的人,物,事,都会成为日后创作的良药,即使你不会特别留意他们。”在他眼里,一切积累与输出发生得如此自然。

Discussing some of the biggest changes he’s undergone since attending CSM, Shan shares: “I suppose it’s the way I view clothing. I feel like I’m slowly breaking away from this preconceived notion of what clothing can or can’t be, and it’s allowed me the freedom to pursue what feels right to me.” His eccentric and colorful designs are a clear departure from conventional fashion – it’s a visual representation of his understanding of pop culture, style, himself and his relationships. When viewing Shan’s work, perhaps we can temporarily set aside the idea of how certain things “should” be done and learn from how Shan creates what he wants to create.


谈及自己求学期间最大的改变,Xiaoming Shan表示:“看待服装的态度吧,感觉自己慢慢从“服装”这个字眼中走了出来,可以更自由的做你认为对的事情。”他的作品也的确有别于我们一贯理解的服装概念,它们戏剧性的呈现了他对当下流行文化的思考,关于我们对自己风格的取舍,关于本我与他我。也许我们也可以暂时抛下我们认为“应该做”的成见,看看Xiaoming Shan呈现的他“想要做”的。

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供稿人: Shou Xing
Images Courtesy of Xiaoming Shan


微博: ~/XIAOMINGSHAN_official
Instagram: @xiaomingshan_official

 

供稿人: Shou Xing
图片由Xiaoming Shan提供