口合雨田丰丰巾日生
IP/I-I/-\I_I_F_VI
IP/I-I/-\I_I_F_VI
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Category：Poster & Other
Client：KAMI! 紙上太空展 KAMI! The Paper Space Show
Years：2017
Designer：陳品丞 Chen Ping-Chen
Photographer：宋濟達 Narwhal, 董佳斌 Dong Chia-Bin
Organizer ：東玖紙業 Dongjiu Enterprise CO Ltd.,
Organizer ：東玖紙業 Dongjiu Enterprise CO Ltd.,
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2017年3月，我受邀參加「KAMI！紙上太空展」。每位創作者需以指定的紙材及題目進行創作。我分配到的是主辦方東玖紙業名為「采漾紙」的新印刷用紙，題目則是「哈雷彗星」。
嚴格來說，「哈雷彗星」是個「已知」的資料，但這個「已知」卻離我非常遙遠，遠到即便掌握了許多data，對於哈雷彗星仍有像「未知」一樣龐大的想像空間。也許自然萬物皆是如此，越是了解、就越會感到神秘。
我雖然以設計師的身份受邀，但也許是因為面對「哈雷彗星」這樣的題目時油然而生的「渺小感」，在創作時我的企圖心降到了最低。在我從資料中理出一些具體的想像以後，便幾近全然地忠於自我的「創作慾」－基於哈雷彗星的圖片顏色，我創造了五個像是精蟲或紙飛機等的圖形。而基於彗核主要成分為塵埃與冰，我以結晶般的多邊形分解了彗核。在素材確定以後，我以不同方法去嘗試采漾紙的表現，例如折、捲、動態卡片、印刷加工、加上燈箱…等，也許能讓觀者從中對采漾紙有更進一步的了解。
與其說我「設計了什麼」，倒不如說我單純地「玩出了什麼」。創作是自由的、想像也是自由的。對觀者而言，這些作品可能「什麼都不是」，也可能「什麼都是」。一直以來，我對於「技能必須帶來產值」的思考模式已經非常適應，這次能有機會「認真地去玩」，也讓我得以重新省思「設計」之於我的定義。
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In March of 2017 I was invited to participate in the “KAMI! The Paper Space Show.” Each artist must create their works with designated papers and themes. I was assigned to the new printing paper “Cai Yang Paper” named by the host Dongjiu Enterprise CO Ltd., with the theme “Halley’s Comet.”
Technically, “Halley’s Comet” is a “known” subject, but this “known” subject is so remote, there is room for imagination as infinite as the “unknown” despite so much available data. Perhaps this is the same with everything in the universe, the more you understand, the more mysterious things become.
Although I was invited as a designer, I had worked on the project with the least ambition ever, probably because of the “sense of triviality” that grew as I confronted such theme as the “Halley’s Comet.” Having organized some tangible ideas based on references, I almost totally indulged in my “thirst for creation”—considering the colors in the Halley’s Comet pictures, I designed five images resembling sperm, paper plane and other objects. As the comet nucleus consists mainly of dust and ice, I dissected the nucleus into crystalloid polygons. After the materials have been confirmed, I experimented with different methods such as folds, rolls, animation cards, printing and light box to see what Cai Yang Paper could accomplish. Maybe this would help the spectators gain a more profound understanding of the Cai Yang Paper.
Therefore, instead of explaining “what I have designed,” I would rather just discuss “what I have obtained out of the game.” Creation is boundless, as is imagination. For the spectators, the works may be “nothing” or “anything.” I have long adapted well to the mindset about how “technology must yield,” and with the chance given to let me “play seriously,” I was able to reconsider what “design” meant to me.
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