liam lee's profile

诗经设计诗

Poster
Illustrator
作为一个平面设计师,每天研究各种项目背景、受众、同业水准、视觉潮流……然后做“适合的设计”,随着时代的变迁设计的“前瞻性”变得越来越重要。多年来一直坚持业余时间“放飞自我”做视觉艺术实验,形成了“职业时间”和“业余时间”的双重角色,将从实验中得到的理论和方法,运用在商业设计中,提升商业设计的艺术特质从而具有独特的个性和前瞻性。当然,我做的并不好,也在学习的路上。

在此次创作之前,《诗经》我从未认真读过,认知仅停留在“所谓伊人在水一方”这样众人皆知的语句上。2018年夏天,中国集邮总公司的郭志义找到我希望能合做一本《诗经》的邮票书,准备参加第九届书籍展。我以诗经为题材创作字形设计,大略读了一下选摘的诗文之后,我接下了这个事儿,时间非常紧张,再加上从未认真读过《诗经》,设计起来十分艰难,最后索性就乱来了。

从此《诗经》便成为了我每日业余创作主题,一直到2019年9月,不停的反复修改,九十月是每年的投奖季,同时也想给这个项目一个阶段性的展示机会,结合“字剧场”、“十万光年计划”一起推出,整体定名为《诗经设计诗》。系列共12幅字形设计作品,因为还有一半尚未定稿,只能分四季来发表,每一季都会以创意衍生品的形式物化出来与大家分享。

题外话,做设计这么多年,遇到过非常多的人喜欢“模仿、借鉴”,喜欢“拿来主义”,社会浮躁,相信你也是身不由己,但是希望大家互相尊重,诚心求教我还是愿意分享的。


As a graphic designer, I study various project background, audience, industry level, visual trend every day. Then do "appropriate design", with the change of The Times design "forward-looking" has become more and more important. Over the years, I have been insisting on "letting myself fly" in my spare time to do visual art experiments, which has formed the dual roles of "professional time" and "spare time". I will apply the theories and methods obtained from the experiments in commercial design, so as to enhance the artistic characteristics of commercial design and thus have unique personality and foresight. Of course, I did not do well, also on the way to study.
Before this creation, I had never read the book of songs carefully, and my cognition was only limited to the well-known statement that "the so-called Iraqi people are in the water side". In the summer of 2018, guo zhiyi from the general office of China philately came to me and asked me to make a stamp book of the book of songs together for the ninth book exhibition. I took the book of songs as the subject matter creation glyphs design, big skim read the selected poems, I took this matter, time is very tight, plus never seriously read the book of songs, the design is very difficult, finally just chaos.
From the book of songs became my daily amateur creative theme, until September 2019, revising, 9 October is the annual awards season, at the same time also want to give this project a stage show opportunities, combined with the word "theater", "hundreds of light years plan", as the poem "the book of songs design as a whole. There are 12 glyphs in the series. Half of them have not been finalized, so they can only be published in four seasons. Each season will be materialized and Shared with everyone in the form of creative derivatives.
As an aside, during my years of designing, I have met many people who like "imitation, learning from others" and "borrowing from others". The society is impetuous and impetuous. I believe that you cannot help yourself.


草图本规格:
尺寸:180mmX260mm,厚7mm
工艺:封面4个Pantone色印刷,内文锁线胶订
纸张:封面290g高阶映画,内文88页100g白色书写纸。
制作:海德堡6色印刷机
数量:100套

海报
尺寸:500mmX700mm
工艺:3个Pantone色印刷
制作:海德堡6色印刷机
数量:20套

草图本以轻薄为主,内文全白纸无网格无网点,4本一套,限量生产100套。
海报每款仅制作了20张。
草图本和海报在我微店有售,喜欢的朋友请移步微店支持一下。

《诗经设计诗》第一季有四幅作品,《秦风·蒹葭》《鲁颂·駉》《小雅·鹤鸣》《小雅·采绿》。我的字形设计其实都很简单而感性,挺难用高级言语解释的。

《秦风·蒹葭》算是我最熟悉的一首,就用了我常用的一种表现形式,尽量做到疏密有致,有对比有变化,最喜欢“所谓伊人在水一方”那一句的设计感觉,很多看过稿子的友人都圈了这句。

《鲁颂·駉》这首诗本来不熟悉,但当我读到“思无邪”这个词的时候突然想到了W公司墙上写着的就是这句话,于是我想用非常锋利外放的图形来设计,整体感觉非常的张扬刺激。

《小雅·采绿》这作品设计了表现形式完全不同的两版,把第二版作为定稿,喜欢它的原因是实验了一种新图形化的表现形式,立体空间、矛盾空间,打破常规笔画的结构形状,完全用图形来进行重构。

《小雅·鹤鸣》这组整体感觉想要体会一下瘦金书的感觉,突出了节点,让笔画形成线的感觉,整体秀气挺拔。这组作品是最难应用的,多少都有不妥。
草图本和海报在我微店有售,喜欢的朋友请移步微店支持一下。


请!点!赞!再!走!~
诗经设计诗
Published:

Owner

诗经设计诗

Published: