Design360° 2020 Limited Boxed Package
NO.85 設計夜場 Design Nightlife
Where there is music, there is visual. Music as an important field of youth culture, its related visual design is where imagination and creativity grow most wildly. This issue focuses on club music and design. We invited 7 Design-clubbers to form the Line-up. Music and design being indispensable to their lives, all of them are club lovers and some are even club owners themselves. Similar to club music, graphic design in the club is usually disctintive from the mainstream and looks carefree — which is rare — that they only concern whether it feels right. Such design is often personal: the spiritual communication of the designer and musician outweighs the function of design. It is this freedom and wilfulness that have given birth to various visual experiments, which keeps surprising us even in the era of image explosion.
NO.86 個體引力 Individual Gravity
Since the emergence of design, design organizations have had various forms. With the development so far, a lot of individual design studios are thriving with numerous outstanding skills from design, curating, installation to coding as well as fewer human resources. Under the influence of the Internet and globalization, the stability of occupations has been significantly weakened, and new demands bring about new working methods. “Studios” thus have developed different forms. Among them, “collective” has become a high-frequency word in the creative field, which refers to a spontaneously formed micro collaborative network with a high degree of division of labor. This network gathers designs from all over the world and seeks the most suitable creative person for each project. Compared with large design firms, independent studios often have a different scene: a freer state, a more flexible partnership, a larger creative space, and a more equal work structure.
NO.87 地方創生設計 Place-making Design
“Cultural innovation” is becoming a buzzword in various industries these days. People start making cultural creation products from their local traditional culture, and since regional development is getting more attention, the demand for active products and brands from local cultures is also gradually increasing. However, in many cases, such creative products easily fall into a superficial understanding of traditional culture or a shallow appropriation of traditional images. So when we discuss about how to capture the core of local culture and represent it with design and creativity, the vast but vague concept of “culture innovation” might have become insufficient to describe the essence of the matter. A new concept called “Place-making design”, on the other hand, may offer designers a more delicate and substantial direction guidance in their exploration.In this issue, we invited designers from various regions who use design and creativity to explore the characteristics of a certain place so as to vitalize its charm. In their eyes, local culture and traditions are not disengaged objects or images.
NO.88 今日韓國設計 Today’s Korean Design
In recent years, many people may have a vague feeling: in an unguarded moment, South Korea has become Asia’s “suddenly arising” and important design force. It is extremely difficult to completely describe a country’s design ecology in an issue of the magazine column. We found that even the selected segments are quite difficult to be linked together. The attempt to divide the domain or topics for discussion of Korean design turns out to be in vain — because the interviewers we’re looking for have such unique personalities that are hard to classify and define. Such a “fun-having” attitude in graphic design has given the younger Korean designers a vibrate, vivid image, which we consider the most prominent trait of the current Korean design scene. Therefore we had made it the focus of this issue, and of all our interviews with 13 designers.
NO.89 字體實驗 Typeface Experiment
Text is a unique part of graphic design. It covers all visual related content like brand logos, product packaging, event posters, etc. However, designers’ desire to explore the possibilities of typefaces are not easily satisfied by merely catering to the needs of the clients. During work and daily life, more and more designers are collecting their “funny” ideas as inspiration, with which they will then find proper time to experiment, using open and various design thinking. In these typeface experiments and activities, typeface has surpassed its original definition. Stepping out of its job to accurately convey information, it has become a way for graphic designers to observe and think. While these type forms and discoveries may yet to be put into actual use, the results of these attempts may inspire the birth of other experiments, and thus further broaden the definition of graphic design. Meanwhile, when designers extract certain content from experiments and gradually form a systematic logic, they will become a direct and powerful “weapon” for self-enhancement. Experiments in this sense may also provide designers and readers with a new way to interpret things.
NO.90 Award360° Special Issue
The market environment is ever changing, and visual design is often the frontier test ground and reaction end. Award360°, making “annual” as its core concept, apart from being the collector of one-year best design works, also aims to inspire more thought on the background trends. Designers have made their own exploration and gave their own answers in design language, form, concept, and materials, responding to which is the ever-changing macro-environment. As a judge described, the world is changing so fast and we never know how the design scene will respond to it. Between the reality of today and the exploration of the future, Award360° will find the balancing point together with the designers, and focusing on the most active change and frontier of design with a flexible posture.