Tag Archives: graphic design

Geometric Thinking with Liam Lee

In celebration of Chinese New Year, Beijing-based graphic designer Liam Lee recently released a poster comprised of the Chinese characters fu (福), lu (禄), shou (寿), and xi (禧). The significance of these four characters comes from their appearance on spring couplets and their widespread usage as an auspicious greeting for family and friends during New Year celebrations. Lee deconstructs the familiar blessing into individual characters and restructures them into separate phrases to expand on their meaning. Fu, forms fu hai (福海), which means a world of happiness; shou forms the phrase shou shan (寿山), which is a blessing for longevity; xi forms xi qi (喜气), which means jubilant delight; and lu forms the phrase feng lu (丰禄), which wishes for good fortune and wealth. As a call out to his own Mongolian ancestry, Lee also included a Mongolian translation alongside each Chinese phrase.


这一组汉字设计海报,来自蒙古族的图形设计师李岩松(Liam Lee),图中呈现的是“福、禄、寿、禧”四个汉字,寓意着对美好生活的期盼和祝福,而李岩松从新的角度出发,使用新的设计技法,做了一次不同的尝试——将 4 个单字组词为“福海、寿山、喜气、丰禄”,同时加入了蒙古文字释义。这种独特的平面构成 + 数学几何造字的方法,是李岩松步入设计之途的十余年里逐渐形成的个人风格。

Being a veteran designer who’s worked in graphic design for over a decade, this latest project is an impressive showcase of how his unique compositional style and eye for geometry has developed over the years. While graphic design is his bread and butter nowadays, prior to his official foray into the field, he worked alongside Yue Xin in 2001, a trailblazer in the world of Chinese type design. “I was also exposed to the works of Nod Young around that time, so it’s safe to say these two have greatly influenced all of my design work, and for that, I’m immensely grateful to both of them,” he says with a warm smile. “Even though many of my designs are heavily influenced by calligraphy, I actually don’t come from a background in the discipline. I’m first and foremost a graphic designer, but I enjoy and feel inspired by calligraphy of all forms. When I work, I often find myself referencing the stroke order, pen movements, and composition of old Chinese calligraphy.”


对汉字图形设计的热衷,源于 2001 年,李岩松当时与设计前辈岳昕老师共事,正式接触了字体,“之后(我)偶然看到前辈 Nod Young  闹老师的设计作品,受到很大启发,借此向两位老师致敬。”李岩松笑说,“虽然作品常以‘字形’示人,但我不是一个字体设计师,而是个图形设计师。我也没有专门练过书法。只要是写得好看的书法,我都喜欢。我创作的时候会参考书法的运笔、连笔、动势、构图。”

As the result of his diverse influences and an ongoing passion for a wide variety of calligraphy, Lee’s designs rarely stick to one uniform aesthetic. He unabashedly extracts concepts and techniques from graphic design and wields them as building blocks for his calligraphy-inspired works. “I especially like to design in grids – any shape or density,” Lee explains of his methods. “I work and think in geometric shapes but I like to try and conceal specific patterns in my end design. I like to keep it interesting by experimenting and seeing what I can come up with.”


因此,李岩松的设计并不仅仅拘泥于同一种格式,此后也一直在尝试用平面构成的技法结构汉字,将汉字视作若干几何图形单元像积木一样拼插组合。“我特别喜欢在网格里做设计,各种形状的网格,我可以把网格做的非常密集,我觉得在网格里用一种几何化的规律做设计然后再将规律隐藏起来,这是一件非常有趣的事。”

Behance: ~/LiamSoso

 

Contributor: Chen Yuan


Behance: ~/LiamSoso

 

供稿人: Chen Yuan

Everyday Abstractions

Andhika Ramadhian is a 21-year-old Indonesian graphic designer and photographer who creates stunning minimalist images. Inspired by architectural design and the works of other minimalist photographers, Ramaddhian began capturing scenes from his daily life with his iPhone and DSLR camera. Most of his postprocessing involves Photoshop, which is used to masterfully render a layer of magical surrealism onto his mundane snapshots. Ramadhian, with his keen understanding of color and geometric harmony, uses his artistic talents to transform the ordinary into the extraordinary. In his own words, “I create another world which is completely abstracted from the reality of my imagination.”


Andhika Ramadhian,一位21岁的来自印度尼西亚平面设计师和摄影师,他用镜头创作了惊人的极简主义图片。受到建筑设计和其他极简派摄影师的启发后,Andhika 就着手用他的 iPhone DSLR 相机捕捉日常生活中的场景。为了实现超现实的图像质量,Ramadhian的后期处理方法需要用 Photoshop 进行大量的编辑。凭借着对色彩和几何和谐的敏锐理解,Andhika 创造出神奇的瞬间,将平凡变成非凡。用他自己的话说,我创造了另一个完全脱离了我想象的现实的世界。

Instagram: @andhikaramadhian

 

Contributor: George Zhi Zhao


Instagram: @andhikaramadhian

 

供稿人: George Zhi Zhao

Saigon Emoji

Emojis have become an indispensable part of modern communication, allowing people to easily convey their feelings and thoughts at the mere click of a button. In 2015, to the surprise of many, the “Face with Tears of Joy” emoji was even selected as Oxford Dictionaries Word of the Year. Seeing this, Saigon-based designer Maxk Nguyn had an idea: “Why don’t I mix those tech icons with symbols of daily life in Saigon?” This light bulb moment culminated into the Saigon Emoji project. From streetside fruit vendor selling baskets of Instagram likes and Facebook Reactions to old mailboxes with unread notifications and a street cleaner sweeping away the past hour’s internet browsing history, Nguyễn’s fun series embeds these familiar digital symbols and emojis with photos of Saigon locals as a way of presenting the city and its stories through a universal language.


近年来,Emoji表情符号成为了现代人沟通过程中一个不可缺少的元素,一些无法用语言表达的想法或情感却可以用一个emoji符号轻松传递。emoji的喜极而泣符号更是在2015年的时候破天荒地成为了英国牛津字典的年度风云词汇。听到这则新闻,来自越南西贡 (胡志明市)的设计师 Maxk Nguyễn冒出了一个想法:当这种简单的数位图画影像和西贡的生活景象结合在一起,结果会是怎样? 《Saigon Emoji》就此诞生。坐在路边贩售水果的越南阿姨,果篮里装满的却是爱心和点赞符号;老房子的旧式信箱右上角冒出红色的未读邮件数字;清道夫的扫把下是上一小时的网络浏览记录。Nguyễn将这些数位符号带入西贡人的日常生活中,用emoji这个无国界之分的语言,讲着他家乡的故事。

Instagram@maxknguyen
Behance~/maxknguyen
Facebook: ~/Maxknguyen91

 

Contributor: Ye Zi


Instagram@maxknguyen
Behance~/maxknguyen
脸书~/maxknguyen91

 

供稿人: Ye Zi

Letters to the Future

Influenced by French philosopher Jean Baudrillard, the new ten-frame series by Chinese artist austin_sandwich explores the concept of hyperreality. The idea is that the human experience is simply a simulation of reality, and we’re unable to discern whether we’re truly living in reality or not. With each stamp-shaped frame, Zhu teases this concept by superimposing unlikely, surreal objects – such as statues of Greek gods, mysterious stairwells, and even the Los Angeles Walt Disney Concert Hall (a nod to Baudrillard referencing Disneyland as a prime example of hyperreality) – onto an identical backdrop, a geologic formation that changes in color from scene to scene. The retrofuturistic aesthetic that Zhu employed for this series is a way for him to express the relationship between our modern society and our future society. His ultimate goal is to “make people consider our lifestyles and living environments today and how it’ll affect the future.” See the series in its entirety below.


中国插画家austin_sandwich 的最新作品来源于法国哲学家让·鲍德里亚(Jean Baudrillard)作品中模拟物带来的一种超现实概念(Hyperreality)。按照这个概念,人类的经历只是对现实的简单模拟,我们无法辨别,自己到底是生活在现实或摸拟中。朱凌志将整个系列以邮票的框架呈现,把一系列看似毫无关联的事物叠加在一起,譬如希腊诸神的雕像,神秘的楼梯,甚至是洛杉矶迪斯尼音乐厅 (因为让·鲍德里曾在书中指迪斯尼乐园是超现实概念的典型例子),放在到同一个背景上。背景中的山地是一样的,但在不同场景中呈现了不同的色彩。在这一系列作品中,朱凌志以复古未来主义的审美,表达现代社会与未来社会关系,讲述他的意图——“让人们思考我们今天的生活方式和环境,以及它对未来的影响。”下面一起来欣赏这个全新系列吧。

Behance~/austinsshoa941
Instagram@austin_sandwich
Weibo~/austin_sandwich

 

Contributor: David Yen
Images Courtesy of austin_sandwich


Behance~/austinsshoa941
Instagram@austin_sandwich
微博~/austin_sandwich

 

供稿人: David Yen
图片由austin_sandwich提供

Conversation

Sunkyung Kim and Wonjun Jeong are the creative duos behind the South Korea-based art collective Sailors Studio. Their newest photography series, Conversation, features delicately distorted portraits that are projected across a fleeting cloth, tossed into twilight landscapes. The duo began experimenting with this fluid portrayal of the human face in their earlier photo series, Floating Life, where the cloth acted as “a screen to absorb a variety of images which tell the story of life and death”.


Sunkyung KimWonjun Jeong 是韩国艺术工作室Sailors Studio的两名艺术家。他们的最新摄影系列《对话》(Conversation),将精美的人像投射于飘逸的布料上,映衬暮色的风景背景。在早期的摄影系列《浮动生活》(Floating Life)中,他们第一次尝试创作这种充满液态动感的人像作品,用布料“作为屏幕,展现一系列影像,讲述有关生命和死亡的故事”。

From the Floating Life series
From the Floating Life series
From the Floating Life series

Whilst their previous photo series explored the themes of life and death, Conversation focuses solely on the former and delves into the topic of self-discovery. The work was originally inspired by French philosopher Emmanuel Levinas’ conception of responsibility, which states that being human meant that one is responsible for someone other than oneself, known as “the Other.” The cloth that is tossed into the air depicts one’s relationship with the Other, with each moment captured symbolizing a conversation. Through these portraits, “one finds one’s essence through the Other.” See the complete series below.


尽管他们以前的摄影作品探讨了生与死的主题,而这一次在《对话》中,他们只关注前者,深入探讨自我发现的主题。深受法国哲学家伊曼纽尔·莱维纳斯(Emmanuel Levinas)的责任观的启发,其中指出,作为人类,对他人的责任是与对自己的责任所不同的,这一点可以被称为“对方”。通过捕捉交谈中的每一个瞬间的特征,所完成的肖像告诉我们,“我们可以通过对方发现自我的本质”。下面一起来欣赏一下这一系列的作品吧。

Behancesailors-studio
Instagram@zza_sam

 

Contributor: Whitney Ng


Behancesailors-studio
Instagram@zza_sam

 

供稿人: Whitney Ng

Between Two Ideals

Sydney-based designer and illustrator Joy Li arrived in Australia at the age of one after her parents immigrated over from mainland China. Growing up in an Asian household while living amongst a Western society has meant that Li has spent her entire life “wedged between two ideals.” Her latest project, Living as an Asian Girl, aims to showcase the frustration that many Asian women living in Western societies experience. This three-part series takes inspiration from social media, pop culture and internet memes. Although the presentation is light-hearted and approachable, Li seeks to shed a truthful light on the “difficulty in reconciling with conflicting identities and its subsequent effect on our psychological well-being.”


Joy Li是一名设计师和插画家。一岁时,她随父母从中国移居澳大利亚。作为一个生活在西方社会,却在亚洲家庭里成长的女生,Li的人生注定会夹在“两种价值观之间”。因此,在她的最新的设计项目《Living as an Asian Girl》中,Li希望向观众传达许多亚洲女性在西方社会生活会遇到的挫败和苦恼。整个项目分为三部分,灵感来自社交媒体、流行文化和网络爆红现象——虽然Li的表现手法走的是轻松有趣的路线,但她希望这件作品能传达给观众“在不同的身份间找寻平衡的艰难,以及它对我们心理上的影响”。

Words to My Daughter – “Dear Joy, I ____ You.”

Li arranges snippets of her everyday household conversations into a chart that measures each phrase’s frequency, tonal value and emotional impact. The sizing of the text correlates to the frequency that these phrases are heard. While such phrases may be eerily common across most Asian households, often uttered as a means of showing affection, they’re atypical and unexpected in Western society. Li’s intention is to shed light on these cultural contrasts while documenting her personal struggle with defining her own identity.


对女儿说的话—— 《Dear Joy, I ____ You.》

在这个作品中,Li记录了生活中妈妈经常和她说的话,并根据这些短语出现的频率、音调和冲击力作为标准,将短语以不同大小排布在网格上。出现越频繁的短句尺寸就越大,而且排列在最显眼的位置。观众透过这幅作品仿佛可以瞬间代入Li的生活。这样“关心式”的语句在亚洲家庭很常见,但以西方社会崇尚自由的标准来说,就显得有些突兀了。Li将这种有趣的对比记录在她的作品里,向观众直面传达了她成长环境的矛盾和挣扎。

Visual Serenade of Twitter Sentiments  – “A Sad Ballad for Asian Girls”

In this second piece, Li explores how Asian girls are represented online by correlating tweets into an image based on their delivery. The data was derived from Twitter searches relating to the keywords “Asian women” and “Asian girls”, with results ranging from offensive to empowering.


Twitter帖子的视觉小夜曲——《A Sad Ballad for Asian Girls》

在第二部分里,Li 将Twitter上搜索的帖子内容和根据这些内容形成的图像放在一起,进而探讨亚洲女孩在网络上的形象。她在Twitter网站上搜索“亚洲女性”和“亚洲女孩”的关键词,收集了一系列的帖子,其中既有侮辱性的内容,也有倡导女性赋权的内容。

A Character Quiz – “Who’s Your Token Asian?”

Along with limited representation amongst mass media, Asian women are also constantly pigeonholed into certain stereotypes. Li created this visual flow chart that takes viewers through a series of questions to discover their “token Asian.”


一个性格测验——《Who’s Your Token Asian》

除了大众传媒上营造的狭隘形象,人们对亚洲女性也存在一定的刻板印象。Li创作了一个视觉流程图,通过一系列的问题,让观众一步步发现和反省自己对亚洲女性的刻板印象。

Li describes herself as someone who draws inspiration from the past as much as the future and hopes that her work can “delight the mind’s eye and invite a sense of nostalgia.” What started off as a personal project has evolved into a beacon of truth that resonates with Asian women from all over the world.


Li形容自己是一个从过去和未来中找寻灵感的设计师,她希望自己的作品能够取悦观众的心灵和触发怀旧感。在最初,这只是Li自己的一个个人项目,现在已慢慢转变成一个追寻真相之旅,一个让世界各地的亚洲女性都深有共鸣的项目。

Websitejoyli.com.au
Behance~/joyyli
Instagram@_joyli

 

Contributor: Whitney Ng


网站joyli.com.au
Behance~/joyyli
Instagram@_joyli

 

供稿人: Whitney Ng

Us and the Cosmos Beyond

The imaginative universe that Ryo Hsu has crafted is wonderfully eccentric, a surreal world with astronauts exploring a strange stretch of outer space that’s populated with mysterious shapes and floating popsicles. Despite boasting an impressive body of work, the Shanghai-based illustrator and graphic designer has never received a formal art education and has been completely self-taught. Hsu originally worked as a professional hair stylist but never quite felt creatively fulfilled in the role. His ongoing love of illustration and design, combined with his dedication and fearlessness to experiment, eventually led him to take a leap of faith and pursue his creative interests full-time. Recently, we had the chance to speak to this multifaceted autodidact to find out about some of the underlying concepts in his work and what inspires him.


来自上海的插画家和平面设计师Ryo Hsu从未接受过正式的艺术教育,却创作了一系列令人印象深刻的作品。在这之前Hsu是一名专业的发型师,但发型师的工作未能让他充分发挥自己的创意才华。因为一直以来对插画和设计的热爱,投入和冒险精神,Hsu大胆决定改行,全身心投入自己感兴趣的创意事业。Hsu创造的插画天马行空,那是一个超现实的幻想世界。在这里,宇航员探索着充满神秘形状和浮动冰棍的奇妙空间。最近,我们有机会采访到这位拥有多方面才华的艺术家,了解他的作品中所蕴含的一些概念和创作灵感。

Neocha: Can you tell us about how you got started with design and illustration?

Ryo Hsu: I think it stems from my childhood infatuation with manga and comics. I’ve never stopped drawing, and eventually, I was introduced to digital software, which led to me to experiment with new approaches. In the beginning, I had trouble finding an aesthetic that would translate what I envisioned into a visual format, so I just kept experimenting and trying out different mediums.


Neocha: 你是如何开始接触平面设计和插图的呢?

Ryo Hsu: 可能是源自我小时候喜欢画漫画的经历。画画在我的成长中一直没有停止过,直到我接触到数字软件后,开始新的尝试。但一开始并没有找到能将内心所想完全表达出来的风格,各种喜欢的类型都会去尝试一些。

Neocha: Who or what do you consider to be your biggest influences?

Ryo Hsu: Aside from visual influences, music is the most impactful factor for me. I’ve loved rock music since I was a young kid, and I played in a band. It’s been ten years now, and bandmates come and go; I often just jam by myself. Music is an abstract art to me – it’s intangible. You can’t see it or touch it. Comprehension is completely dependent on an inner level. My artwork is often the result of imagery that pops up in my head from when I would listen to music. Even though I love rock music, I listen to a bit of everything. When I’m working, I most often listen to post-rock, dream-pop, and so on; these genres aren’t convoluted by the presence of vocals or lyrics, so a lot of it is up to my own imagination. As for influences of other artists, Tadanori Yokoo and Dali probably influence me the most. I’m also quite interested in astronomy, sci-fi, surrealism, and I buy a lot of books related to these matters. My artistic style came about naturally. It’s a combination of all of these interests.


Neocha: 你觉得对自己影响最大的人或事物是什么?

Ryo Hsu: 除了视觉,对我创作影响最大的恐怕是音乐,因为我从小很喜欢摇滚乐,然后就开始玩乐队,现在算来也有10年了,只是乐队分分合合,大多时候都是自己在玩。音乐本身是一种抽象的艺术,看不见,摸不到,必须完全靠精神去领悟。所以我的作品往往来源于我在听到某些音乐时脑海里所产生的画面感。虽然喜欢摇滚乐,但基本上什么都听,而创作时常听Post-rock、Dream-pop之类的音乐,因为这类曲子没有过多人声和歌词干扰,也就给我带来很多想像的空间。说起艺术家的话,横尾忠则和达利对我的影响是很大的。另外我也对天文、科幻、超现实主义非常感兴趣,会买很多关于天文类的书籍,所以当有一天我开始试着将我所听到的音乐与这些结合起来便是目前的风格。

Neocha: Space is a prevalent theme in your surreal and abstract illustrations. Can you tell us more about that? What is your fascination with space and what does space mean to you?

Ryo Hsu: I’m pretty obsessed with astronomy. I have a lot of astronomy-related books at my house. On clear nights, I like to observe constellations and ponder about the life forms that may exist in distant galaxies or if we’re the only living organisms out there.


Neocha: 太空是你的超现实和抽象插图作品中的一贯主题。能跟我们介绍一下这个主题吗?你为什么对太空如此迷恋?对你而言,太空意味着什么?

Ryo Hsu: 我对天文类的内容非常着迷,家中有天文图鉴和相关知识的书籍,也常常喜欢在晴朗的夜空辨识星座和行星,去猜测离我们遥远的星系有着怎样的生命,还是我们只是宇宙中唯一有生命的群体。

Neocha: What are some recent projects that you’re working on?

Ryo Hsu: Besides my professional work, I like to doodle and sketch in my free time. I recently published a small zine with Bananafish with all the random daily drawings I’ve accumulated. Also, I was fortunate enough to have my work selected for the Chinese version of the Japanese sci-fi novel The Next Continent.


Neocha: 你目前手头上有哪些项目在进行?

Ryo Hsu: 除了正式作品外,我只要有时间,平时都会画点小插画,最近把自己累积的一些日常插画与香蕉鱼合作出了一套小豆本,同时自己的插画也有幸被选中作为日本硬科幻小说《第六大陆》中国版的封面。

Neocha: What is the message that you intend to communicate through your personal work?

Ryo Hsu: In the world as we know it now, humans seem to be the masters. But looking outwards, we’re just a tiny blue planet in the solar system. Even beyond that, there are so many unknown mysteries in the universe and places that we probably won’t be able to reach in many lifetimes. But the pioneers of our world are always endlessly looking to further the exploration of extraterrestrial knowledge. My work aims to express the loneliness between people, the sense of isolation between us the rest of the universe, and the longing to understand the unknown. The universe is deep and infinite. There is so much that we don’t know and so much more for us to explore.


Neocha: 你希望通过自己的作品传递什么样的信息?

Ryo Hsu: 在我们目前已知世界中,人类仿佛成为了主宰,但放眼望去,我们不过是太阳系中的蓝色小小星球,在这之外还有更多未知的世界,也许我们几辈子都无法到达更远的地方,但我们的先驱者总是不懈地去探索地外文明。我的画作中一方面会表达人与人之间的孤独感,人类与之宇宙的孤独感,另一方面也有着对未知世界的憧憬。宇宙深邃无穷,总有各种未知等待我们去探索。

Website: ryohsu.com
Behance: ~/ryohsu

 

Contributor: David Yen


网站: ryohsu.com
Behance: ~/ryohsu

 

供稿人: David Yen

Visual Taipei

Curated by Taiwanese visual artist Page Tsou, Visual Taipei is an impressive exhibition that brings together 61 visual artists, illustrators, and designers from around the world. Held in Taipei’s Songshan Cultural and Creative Park as part of International Design House, the exhibition has been proudly described by Page as a realization of his dreams. By inviting some of the most talented international communication artists together into one single exhibition in Taipei, he hopes to explore the relationship between the worlds of art and design, and the interaction between digital artworks and hand-painted artworks. Out of the 61 artists, 20 have been selected to present their unique vision of Taipei City through their art.


由台灣視覺藝術家鄒駿昇策展的《Visual Taipei》是一個令人嘆為觀止的展覽,展出了世界各地的61名視覺藝術家,插畫家和設計師的作品。在臺北的松山文化創意園區舉行,作為國際設計大展的一部分,駿昇驕傲的說這是他的夢想成真。通過邀請這些才華橫溢的國際藝術家,在臺北匯聚一堂,他希望能夠探索藝術和設計的關係,以及數碼和手工藝術作品之間的互動。在這61名藝術家中,20人被邀請用他們的作品去展示他們眼中的臺北。

Taipei Life: There's Food on My Fly (2016) by Stefan Glerum / 《Taipei Life: There's Food on My Fly》 (2016) 作者: Stefan Glerum
Taipei Life (2016) by Sophie Casson / 《Taipei Life》 (2016) 作者: Sophie Casson

“I am really excited to show everyone the different works created by these 20 artists about Taipei. It’s interesting to see how these artists show Taipei in their own style,” Page says. “It’s hard to define what Taipei is, and it’s interesting to see how other people see this topic, not just foreigners, but also people from different cities in Taiwan.”


駿昇說“我很激動能夠展示給大家,由這20個藝術家創作的關於臺北的獨特的作品。能夠看到這些藝術家用他們自己的風格去展示臺北。是很難去定義臺北的,看到不同的人是怎麼看臺北是很有趣的,不只是外國人,還有來自臺灣不同城市的人。”

Taipei Life (2016) by Paul Blow / 《Taipei Life》 (2016) 作者: Paul Blow
The City (2016) by Martin Nicolausson / 《The City》 (2016) 作者: Martin Nicolausson
T for Taipei (2016) by Jim Stoten / 《T for Taipei》 (2016) 作者: Jim Stoten

Browsing through the works of these twenty artists, some unsurprising elements make appearances, such as scooter bikes and Taipei 101. However, it’s fascinating to see the ways that these talented artists reinterpret these familiar aspects of Taiwan’s capital through their own means. For example, in graphic designer Martin Nicolausson’s The City, he presents the iconic Taipei 101 as a structure in an abstract landscape that’s seemingly self-contained within a person’s mind. Paul Blow’s Taipei Life is a vivid illustration of a lady racing by on a bright red scooter, with two dogs in tow.


瀏覽這20個藝術家的作品,有很多預想中的元素,像是臺北的101大樓和機車。儘管如此,還是令人驚喜的看到這些才華橫溢的藝術家,他們對於臺北熟悉的方面的重新理解。舉例來說,平面設計師Martin Nicolausson的《The City》,他把標誌性的臺北101放在看似裝在人腦中的抽像風景。而Paul Blow的《Taipei Life》生動地描繪了一位載著兩隻狗的女士騎著亮紅色的機車。

Taipei (2016) by Benoit Tardif / 《Taipei》 (2016) 作者: Benoit Tardif

Besides the familiar cityscape where Taipei 101 looms over hordes of scooters, the city is also known for it’s accessibility to nature. In Hannah Warren’s City Lungs: Da’an Forest Park, she focuses on the famous Da’an Forest Park of Taipei and presents it in her lively and colorful illustrative style. Netsko Seki’s Taipei uses the green of Taipei’s mountains, the blue of the city’s skies, and lush reds of a sunset as the backdrop to her illustration, which is populated with famous Taipei landmarks and locals going about their day.


不僅是臺北101和成群的機車這樣熟悉的城市風光,這個城市也是被眾多的自然景點讓人熟知。在Hannah Warren的《City Lungs: Da’an Forest Park》中,她用她生動和多彩繪畫風格展現了的臺北的大安森林公園。 Netsko Seki的《Taipei》用臺北的山的綠色,天的藍色和夕陽的紅色作為她插畫的背景,描繪了城市中生活的人們和著名的臺北地標。

Taipei (2016) by Vita Yang / 《Taipei》 (2016) 作者: 楊謹瑜
City Lungs: Da'an Forest Park (2016) by Hannah Warren / 《City Lungs: Da'an Forest Park》 (2016) 作者: Hannah Warren
Taipei (2016) by Natsko Seki / 《Taipei》 (2016) 作者: Natsko Seki

It’s also unsurprising to see traditional Taiwanese marketplaces and street food make appearances in the collection of artworks. Adrian Johnson’s Night Market presents his vision of a local food stall as geometric blocks of color. In Joohee Yoon’s vision of Taipei, the Korean artist shows a lady frantically preparing a bowl of shaved ice, one of the most beloved local desserts. Illustrator Tatsuro Kiuchi’s One Day in Taipei  instead opts for a calm local street market scene in which a schoolgirl is idly browsing a selection of fresh produce.


也理所應當地在這些作品中看到了傳統的台灣市場和街頭小吃。 Adrian Johnson《Night Market》展現了他眼中用作為幾何色塊構成的本地小吃攤。韓國藝術家Joohee Yoon眼中的臺北,是一個女人瘋狂地製作著本地人喜愛的甜品刨冰。插畫師Tatsuro Kiuchi的《One Day in Taipei》描繪了本地街市,一個女學生正無所事事地看著一堆新鮮蔬菜。

One Day in Taipei (2016) by Tatsuro Kiuchi / 《One Day in Taipei》 (2016) 作者: 木內達郎
Night Market (2016) by Adrian Johnson / 《Night Market》 (2016) 作者: Adrian Johnson
Mochi Jelly (2016) by JooHee Yoon / 《Mochi Jelly》 (2016) 作者: JooHee Yoon

Kaohsiung-based artist Croter Hung’s vision of Taipei also involves food stalls, albeit they only play a minor role in his contributed work; his Toa-ka-lak Taipei  is a dizzying piece of artwork that blends temples, roads, congested traffic, and even Taiwan’s Presidential Office Building into a surreal and chaotic sprawl of fun, nuanced details. Similarly playful is Antti Kalevi’s submission, an abstract piece of work that’s filled with formless shapes, and umbrella-wielding pedestrians, which speaks of the rainy weather that Taipei is infamously known for.


高雄藝術家洪添賢眼中的臺北也有描繪到小吃攤,儘管只是他作品中的一小部分,他的《Toa-ka-lak Taipei》摻雜了寺廟,馬路,擁擠的交通,甚至有台灣的總統府,在他超現實的插畫裡充滿了微妙的細節,匯集成好玩又混亂的浮世繪。 Antti Kalevi的作品簡單有趣,充滿了不規則形狀色塊的抽像作品,撐著傘的行人,訴說著台北那街知巷聞的梅雨季節。

Toa-ka-lak Taipei (2016) by Croter Hung / 《Toa-ka-lak Taipei》 (2016) 作者: 洪添賢
Taipei Life (2016) by Antti Kalevi / 《Taipei Life》 (2016) 作者: Antti Kalevi

Despite the spectrum of artistic styles, the twenty artists have all managed to showcase Taipei for the diverse and multifaceted city that it is through their own unique vision. “I hope that people feel like the content is good enough to want to spend at least an hour there without feeling bored. It will be interesting and easy to understand, and not like some overly abstract or conceptual art. I hope that’s a way for people to learn something from some of these artists that have come from all over the world, including several very talented Taiwanese artists,” Page says. “Changing people’s attitudes takes some time, but the dialogue has started now in Taipei, which is important. I think the World Design Capital is making the city more lively and energetic, and also helping us to build our connections with other parts of the world.”


除了變化多端的藝術風格和每個人獨特的視角,這20個藝術家成功地展現了臺北的多樣性和多面性。 駿昇說“我希望人們能覺得內容夠好,可以至少在裡面花一個小時而不覺得無聊。因為是有趣且容易理解的,不像是很多過於抽像或概念的藝術。我希望這樣能讓人,從這些來自世界不同國家的藝術家身上,包括幾個來自台灣的優秀藝術家,學到一些東西。改變人們的態度是需要花時間的,但是這個對話已經在臺北開始,這是很重要的。我認為世界設計之都正在讓這座城市更有生機和活力,也幫助我們和不同國家建立聯繫。”

Untitle (2016) by Hsiao-Ron Cheng / 《Untitle》 (2016) 作者: 鄭曉嶸

This story is part of a content partnership and media exchange between Neocha and World Design Capital Taipei 2016.


本篇文章來自內容合作夥伴Neocha和2016臺北設計之都的媒體交換。

Website: wdc2016.taipei
Facebook: ~/visual-taipei

 

Contributors: David Yen, Saskia Kerkvliet


網站: wdc2016.taipei
臉書: ~/visual-taipei

 

供稿人: David Yen, Saskia Kerkvliet

Every City Has a Bloodline

Think of your daily commute – that twice a day round trip bringing you from point A to point B on the road (nearly) always travelled. For the vast majority of big city dwellers, public transport is not only a thrifty choice, but also one of convenience and efficiency; in a city populated by the millions, traffic can be time crippling. This journey has become one of our most consistent daily rituals – it’s almost like our bodies become systematically aware of when to alight and the number of minutes it takes to walk through an interchange. Seoul-based Art Director Kim Ji-Hwan of ZERO PER ZERO design studio, describes subway systems as the “bloodline” of each city – the crux that seamlessly links people and places together.


매일 반복되는 출퇴근을 생각해보자. A 지점에서 B 지점까지 길을 따라 (거의) 항상 여행하듯 매일 왕복한다. 대부분의 대도시 거주자들에게 대중 교통이란 단순히 저렴할 뿐만 아니라 편리하고 효율적이기도 한 교통수단이다. 따라서 대중 교통을 이용한 여정은 이제 우리 삶의 일상적인 의식 중의 하나가 되어버렸다 – 우리의 몸은 거의 조직적으로 어디에서 하차해야 할 지 그리고 인터체인지를 걸어 나가는데 몇분이나 걸릴 지 이미 아는 듯하다. 서울에 소재한 제로퍼제로 디자인 스튜디오의 김지완 아트 디렉터는 도시의 지하철 시스템을 도시의 “혈관” – 사람들과 장소를 매끄럽게 연결하는 중심점 – 이라고 부른다.

In 2006, Kim spent a year in Japan as an exchange student at Tama Art University; his stay in Tokyo fuelled his interest in subway lines, fascinated by how each transit system could feel so familiar and foreign – a feeling that hinged completely on one’s own understanding of the city. Whilst at Tama, Kim was inspired to create an infographic map of the famed Tokyo Metro system, which was to become the first of many maps in his City Railway System series. Ten years later, his studio, ZERO PER ZERO have produced infographic maps that span major cities around the world, including Tokyo, New York City, Seoul, Paris, Beijing, Osaka, Barcelona, Berlin, Amsterdam, London and Hokkaido.


2006년 김지완은 Tama Art University의 교환 학생 자격으로 일본에서 1년을 보냈다. 도쿄에서 보낸 시간 동안 그는 지하철에 관심을 갖게 되었다. 그는 각각의 교통 시스템이 얼마나 서로 비슷하면서도 상이한 지에 대하여 매력을 느꼈다. Tama에서 공부하는 동안 그는 저명한 도쿄 메트로 시스템의 인포그래픽 맵을 만들어야겠다는 영감이 들었다. 었덨다. 그것이 그의 “도시 철도 시스템 (City Railway System)” 시리즈의 여러 맵 중 첫번째 맵이었다. 10년 후, 그의 스튜디오인 제로퍼제로는 도쿄, 뉴욕, 서울, 파리, 북경, 오사카, 바르셀로나, 베를린, 암스테르담, 런던과 홋카이도를 포함하는 전 세계의 주요 도시들을 아우르는 인포그래픽 맵을 제작 해 냈다.

Kim has an ingrained affinity with Tokyo, stating that the original map is still his favourite – the Tokyo map was given a fresh update this year, entitled New Tokyo. Amongst the twists and turns of each city’s railway system, Kim has thoughtfully included tourist attractions and iconic sites to give map owners a true sense of each city’s space. Each ZERO PER ZERO map is characterised by a motif that symbolises each individual city. Osaka’s motif is especially interesting, as the map also features neighbouring cities, Kyoto, Kobe, Nara and Wakayama. Inspired by the octopus in Osaka’s famous local snack, Takoyaki – “In this map, the Osaka metropolitan area is visualised as an octopus with the head being Osaka and the legs sprawling out to the other four cities.”


도쿄에 대한 깊은 애정을 가진 김지완은 아직도 도쿄 오리지널 맵에 가장 애착이 간다고 한다. 도쿄 맵은 올해 새롭게 개정되어 “뉴 도쿄”라는 이름으로 선보였다. 각 도시의 철도 시스템을 적절히 변형하는 가운데도 김지완은 도시의 관광 명소와 상징적 장소들을 지도에 사려깊게 배치하여 지도를 보는 사람들로 하여금 도시 각 공간의 진정한 의미를 깨닫게 한다. 제로퍼제포에서 제작되는 모든 맵은 각 도시를 상징하는 모티브를 형상화하였다. 이중 오사카의 모티브는 특히 흥미로운데, 지도적 측면에서 오사카 맵은 인근의 교토, 코베 나라 및 와카야마까지 소개하고 있다. 오사카의 유명한 지역 음식인 문어, 타코야키에 영감을 받아 제작된 이 맵에서 문어의 머리에는 오사카 메트로폴리탄 지역을 표현하고 4개의 다리는 다른 4개 도시로 퍼져 나가는 모습을 하고 있다.

New Tokyo and Tokyo - Inspired by the “Rising Sun” on the Japanese flag.
신 도쿄와 도쿄 – 일본 국기의 “떠오르는 태양”을 모티브로 제작
New New York City and New York City - Inspired by Milton Glaser’s "I♥NY" logo.
신 뉴욕과 뉴욕 – 밀톤 글레이저의 "I♥NY"을 모티브로 제작
Seoul - Inspired by the bends of Han River. 서울 – 굽이져 흐르는 한강을 모티브로 제작
Paris - Inspired by the iconic Eiffel Tower. 파리 – 파리의 상진인 에펠탑을 모티브로 제작
Beijing - Inspired by the Chinese character, 中. 베이징 – 중국 한자中자를 모티브로 제작
Osaka – Inspired by the Octopus and Takoyaki. 오사카 – 문어와 타코야키를 모티브로 제작
Barcelona - Inspired by famous Spanish architect, Antoni Gaudi. 바르셀로나 – 저명한 스페인 건축가 안토니 가우디를 모티브로 제작
Berlin - Inspired by the city’s symbol, the Bear. 베를린 – 시의 상징인 곰을 모티브로 제작
Amsterdam - Inspired by the Dutch symbol, the Tulip. 암스테르담 – 더치의 심볼인 튤립을 모티브로 제작
London - Inspired by the Union Jack. 런던 – 유니언 잭을 모티브로 제작
Hokkaido - Inspired by the city’s world famous powder like snow. 홋카이도 – 세계적으로 유명한 파우더 눈을 모티브로 제작

Kim hopes that his maps can serve as both a helpful guide for new visitors and a long lasting reminder of the beauty in each city for those who call it home. The commute may be just a slither of time in the day, but it is also the best time to zone out and reflect on the beautiful city that surrounds you.


김지완은 그의 맵이 도시를 방문하는 사람들에게는 가이드로서의 도움이 되고 그 도시에 사는 사람들에게는 도시의 아름다움을 오랫동안 기억에 남는데 도움이 되기를 바란다. 하루에 있어서 출퇴근은 그저 의미없이 흘려 보내는 시간이라고 생각할 수도 있다. 하지만 그 시간은 자신이 머물던 지역에서 벗어나 자신을 둘러싼 아름다운 도시의 모습을 감상할 수 있는 최고의 시간인 것이다.

Websitezeroperzero.com

 

Contributor: Whitney Ng


웹사이트zeroperzero.com

 

기부자: Whitney Ng

The Work of Muntasir Mohamed

Born and raised in Kuala Lumpur, Muntasir Mohamed is a visual artist and graphic designer who specializes in making digital art. In 2015, he assumed the role of lead designer at Everyday Studios, a new creative studio founded by his friend Sharina Shahrin. Together, the two of them aspired to further advance the development of the Malaysian art scene and provide more opportunities for young emerging artists in the region. “The creative scene in Kuala Lumpur is booming now and the creatives here are making some really impressive strides with their craft. Their progression is motivation for myself to further push the boundaries of my own craft,” Muntasir says. His abstract digital creations explore a diverse range of subjects, from melting psychedelic colors, to Kanye West tribute art, to Givenchy-esque floral designs. Neocha recently had the chance to speak with this versatile artist about his creative approach and how hip-hop culture ties into his artwork.


Dilahirkan dan dibesarkan di Kuala Lumpur, Muntasir Mohamed ialah seorang artis visual dan pereka grafik. Beliau pada masa ini bekerja sebagai ketua pereka di Everyday Studios, studio kreatif yang telah diasaskan oleh rakan karib beliau, Sharina Shahrin. Kedua-dua mereka memiliki pemikiran yang sama iaitu ingin memupuk kancah seni Malaysia dan menyediakan lebih banyak lagi peluang untuk para penggiat kreatif muda di rantau ini.”Kancah dunia kreatif di Kuala Lumpur sedang berkembang mekar dan penggiat kreatif di sini, dengan karya kraf mereka, mengorak langkah yang agak mengagumkan. Melihat pada kemajuan mereka, menjadi motivasi untuk saya melebarkan sempadan seni kraf saya sendiri.” Antara hasil karya peribadi beliau, dari lukisan pemandangan yang kelihatan berasal daripada dunia lain dan cairan palet alunan warna-warna psikedelik hingga ke rekaan bunga-bungaan mirip Givenchy dan penghargaan buat Kanye West. Neocha baru-bari ini berpeluang untuk bertemu ramah dengan beliau tentang pengaruh, pendekatan kreatif dan pandangan beliau tentang budaya hip-hop.

Neocha: How would you describe your own work?

Muntasir: It would be hard to describe, as my work has been constantly evolving over the last few years. As cliché as it might sound, I started making art at a very young age. I was, and actually still am heavily inspired by comics and manga art. Those were the major factors in my passionate pursuit to become an illustrator. Nowadays, my artwork is starting to take a more digital and abstract approach.


Neocha: Bagaimanakah anda memerihalkan hasil karya anda?

Muntasir: Amat sukat untuk saya huraikan, kerana hasil karya saya berubah-ubah dalam tempoh beberapa tahun ini. Bunyinya memang agak klise, tetapi saya telah mula berkarya semenjak usia muda lagi. Dahulu, dan sekarang ini juga, saya masih kuat dipengaruhi oleh seni komik dan manga. Itu merupakan faktor utama dalam kegigihan saya mengejar kerjaya sebagai seorang ilustrator. Sekarang ini, hasil seni saya sudah mula menerima pendekatan yang lebih digital dan abstrak.

Neocha: What mediums or software do you, or have you worked with in the past? What are your preferences nowadays?

Muntasir: I primarily work with Adobe Photoshop now. But creative software like Premiere Pro, After Effects and Adobe Illustrator are programs that I am constantly honing my skills in. Back when my own artwork focused more on illustration and sketching, I would use graphic pens, rendering markers, and watercolor. In the past, I have also worked with materials such as acrylic paint, spray paint, and perspex sheets.


Neocha: Apakah media atau perisian yang anda sedang atau telah gunakan pada masa lalu? Apakah kecenderungan anda pada masa ini?

Muntasir: Pada masa ini, saya banyak menggunakan Adobe Photoshop. Tetapi perisian kreatif seperti Premiere Pro, After Effects dan Adobe Illustrator ialah program yang secara berterusan saya gunakan untuk mengasah kemahiran daya. Dahulu, ketika kerja-kerja saya banyak bertumpu kepada ilustrasi dan melakar, saya menggunakan pen grafik, pen marker kemasan lukisan dan catan air. Saya juga pernah menghasilkan karya dengan media seperti catan akrilik, cat semburan, dan kepingan perspeks.

Neocha: Do you feel like there is a sense of cohesiveness in your work? Or rather a progression or change in style? How so?

Muntasir: I find that I am now going through an interesting transitional period from physical to digital when it comes to my art. I look forward to seeing where this will take me and what I can create out of it. Most of what I do comes organically to me – otherwise, I wouldn’t be confident and satisfied in what I make. Every artist has their forte or preferred style. I aim to be as versatile and flexible as possible with my creativity.


Neocha: Adakah anda merasakan terdapat kejeleketan dalam hasil karya anda? Atau mungkin kemajuan atau perubahan dalam gaya? Apakah sebabnya?

Muntasir: Saya merasakan bahawa saya melalui tempoh transisi yang menarik dari fizikal ke digital apabila memperkatakan tentang hasil seni saya. Saya menanti-nantikan untuk melihat ke mana ia akan membawa saya dan apa yang saya dapat cipta daripadanya. Kebanyakan karya yang saya hasilkan datang kepada saya secara organik – jika tidak, saya tidak berkeyakinan dan puas dengan apa yang saya telah hasilkan. Setiap artis ada kehandalan atau gaya tersendiri yang mereka gemari, saya menuju ke arah menjadi versatil dan fleksibel yang sebaik mungkin dengan daya kreativiti saya.

Neocha: Japan and Japanese culture in general seems to influence you a lot; for example, Japanese kanji appears on a lot of your work. Why is that?

Muntasir: Japan and its culture has always been a big inspiration when it comes to my creativity and aesthetics. I am very fond of legendary artists, like Katsushika Hokusai and Utagawa Hiroshige. The detail and craftsmanship that went into their works were something to behold, and made me even more interested in the world of Japanese art. Anime is another major factor in the growth of my artistic career. I grew up as a huge fan of Dragon Ball Z. When I was younger, I would find myself drawing the characters, which usually turned out horrendous. But it helped me to hone and improve on my illustrative skills.


Neocha: Negara dan budaya Jepun nampaknya muncul dengan kerap dalam hasil karya anda. Apakah pengaruh di sebaliknya ke atas anda?

Muntasir: Negara Jepun dan budayanya memang selama ini telah menjadi inspirasi besar saya apabila memperkatakan tentang kreativiti dan nilai estetika saya. Saya amat cenderung dengan artis legenda seperti Katsushika Hokusai dan Utagawa Hiroshige. Ketelitian dan ketrampilan yang diterapkan dalam hasil karya mereka adalah sesuatu yang mengasyikkan untuk diamati, dan membuatkan saya lebih berminat tentang dunia seni Jepun. Anime ialah satu lagi faktor dalam perkembangan kerjaya seni saya. Saya membesar sambil menjadi peminat tegar Dragon Ball Z. Semasa saya muda, saya terjurus untuk melukis watak-wataknya, yang mana kebiasaannya hasilnya memang teruk. Tetapi, ia juga telah membantu saya mempertajamkan dan menambah baik kemahiran mengilustrasi saya.

Neocha: Hip-hop culture is also clearly prominently in your work. When did you become interested in hip-hop and what drew you to hip-hop culture?

Muntasir: Hip-hop has played a major role in my life since I was very young. I was exposed to hip-hop by my brother, who was a really big fan of Tupac Shakur. I have always been fascinated by the lifestyle surrounding hip-hop and rap. A lot of us are usually reminded of the negative aspects perpetuated by hip-hop culture, but you have to remember that the lifestyle has also bred some of the most creative and inspiring individuals. What I love about hip-hop is that it keeps me motivated and constantly inspired.


Neocha: Budaya hip-hop nampaknya tertera dengan jelas dalam hasil karya anda. Bilakah anda mula meminati hip-hop dan apakah yang menarik anda ke arah budaya hip-hop?

Muntasir: Hip-Hop telah memainkan peranan besar dalam hdup saya semenjak saya kecil lagi. Hip-hop telah diperkenalkan kepada saya oleh abang saya yang merupakan peminat tegar Tupac Shakur. Saya memang selama ini teruja dengan gaya hidup berkisar dalam hip-hop dan rap. Kebanyakan kita biasanya diberi peringatan tentang aspek-aspek negatif yang dipaparkan oleh budaya hip-hop, tetapi kita harus ingat bahawa gaya hidup ini telah melahirkan individu-individu yang paling kreatif dan penuh inspirasi. Apa yang saya suka tentang hip-hop adalah ia membuatkan saya bermotivasi dan secara berterusan memberi saya ilham.

Neocha: How would you describe the state of hip-hop culture in Kuala Lumpur?

Muntasir: Hip-hop culture has been a driving factor in the youth of Kuala Lumpur for a very very long time. Take a walk in the busy streets of Kuala Lumpur and it is evident that hip-hop is a culture that is perpetuated through the youth. For many years, we’ve had a number of rappers that set the standard in the music industry out here. These individuals have birthed the influx of young talented musicians making wavy music over the last few years. It’s very exciting to see.


Neocha: Bagaimanakah anda memerihalkan suasana budaya hip-hop di Kuala Lumpur?

Muntasir: Budaya hip-hop telah menjadi faktor yang memacu muda-mudi Kuala Lumpur sejak sekian lama lagi. Cubalah bersiar-siar di sepanjang jalan yang sibuk di Kuala Lumpur dan memang jelas sekali hip-hop ialah budaya yang telah meresapi jiwa muda-mudi ini. Semenjak bertahun-tahun lamanya, kita telah ada sebilangan rapper yang menetapkan standard dalam industri muzik di sini. Individu-individu ini telah melahirkan dengan banyaknya ahli muzik muda yang berbakat yang menghasilkan muzik beralun sepanjang beberapa tahun yang lepas. Amat teruja untuk disaksikan.

Neocha: What are your plans for the future? Are there any upcoming projects?

Muntasir: There are so many things I want do and achieve in my life as a visual artist. I was recently made the creative director for an up-and-coming clothing brand, which has always been a dream of mine. It has been an absolute pleasure to work with the brand so far. I wish I could say more, but where’s the fun in that?


Neocha: Apakah rancangan anda untuk masa depan? Adakah apa-apa projek yang bakal dilaksanakan?

Muntasir: Ada banyak perkara yang saya ingin lakukan dan capai dalam hidup saya sebagai artis visual. Baru-baru ini saya telah dilantik sebagai pengarah kreatif untuk jenama pakaian yang baharu dan sedang naik, yang sentiasa menjadi impian saya. Sesungguhnya, saya berasa amat seronok bekerjasama dengan jenama ini setakat ini. Saya harap ada banyak lagi yang saya boleh katakan, tetapi, tidak seronoklah begitu, bukan?

Contributor: David Yen


Penyumbang: David Yen