ARTWORK “YOUTUBE RECOMMENDATIONS” BY LIU ZHIYI 2022
我在刚举办的上海个展“千千万万”中，谈到重复这个概念。重复是最为机械、最为刻板的。重复令人觉得无趣、缺乏新意。但在Gilles Deleuze的观点中，重复才带来差异的可能性。重复令有心人注视微小的差异、变易和变状。重复是常态，一种将量变累积，成为质变的基础。
重复还是专业的常态。所谓专业，就是在重复中磨研内容，将细节打磨、再打磨。重复打磨内容时，还锻炼了耐性。重复多了，累积成经验。经验是我一直难以判断的概念。公平说，经验论对于专业，是好坏参半的。但不至于像Gilles Deleuze说的，“是人们见所未见、闻所未闻的最为疯狂的概念创造活动。”我看到的经验论是专业实践的残余。因为我看到，经验总和专业锁在一起。可能，人被称为专业者，其实是重复的叠加者。
Design Summer也是重复的一种，一年又一年，内容永远不变，细节总是不同。
2024，盛夏又至，重复再次。
At the recent “Innumerable” solo exhibition in Shanghai, I delved into the theme of repetition, a concept often dismissed as mechanical, tedious, and lacking in creativity. However, according to Gilles Deleuze, it is repetition that fosters the potential for variation. Repetition draws our attention to the subtle differences and changes around us, serving as a fundamental aspect of our world, where accumulation of the same eventually triggers a qualitative transformation.
In any field of expertise, repetition is the norm. It is through consistent repetition that professionals refine their work, achieving perfection in the minutiae. This process cultivates patience and helps one build up experience. The value of experience, however, is ambiguous to me. To be fair, empiricism has its pros and cons, though it is not exactly “the most insane creation of concepts ever seen or heard” as described by Deleuze. I understand empiricism to be a by-product of extensive professional practice. Experience is often equated with professional ability, suggesting that perhaps professionalism is merely the result of persistent repetition.
Design Summer is a form of repetition too. Every year, the content seems unchanging, but the details are always new.
This year, as summer approaches once again, we shall embrace repetition.
我们通过键盘、鼠标，与Adobe设计软件进行交互——InDesign、Illustrator或是Photoshop，这些功能强大的软件会帮助我们完成日常设计工作，将我们的创意视觉化呈现。但，这些软件也固化和限制了我们的思维和决策。每一次按下键盘或鼠标，程序预先设定的变化就会发生。从某种意义上，我们是在执行软件开发者的设计方案。
掌控键盘
在工作坊中，我们将开发一套设计系统。当我们按下键盘中的指定按键，我们自己，而非他人预设的变化将会产生。为此，我们将用到专为字体设计开发的程序Glyphs 3。不过请不要担心，我们不是设计字体，至少，不是传统意义上的设计字体。从技术层面上讲，我们设计的不仅仅是字母，而是生成设计系统的动态元素。
享受设计
工作坊的目标是先开发一套工具，然后用它来设计海报、书籍、画册等等。我们将深入研究形式、色彩、动态、声音等多个维度。无论幽默或严肃、抽象或直观、大或小、吵闹或安静，只要能感受到设计的快乐，所有表现方式都可以尝试。最令人兴奋的是，到最后，就连你的祖父母也能参与到你的设计实验中来。
Through the keyboard and mouse of our computer, we interact with powerful design tools from software developers such as Adobe. Programs like InDesign, Illustrator, or Photoshop assist us in our daily design work and in translating our thoughts into visuals. At the same time, these tools also shape and limit our thinking and decisions. Every time we press a key or click on a pixel, exactly what others have predetermined happens. In a way, one could say that we execute the design proposals of those software developers.
Let's take over the keyboard.
In the workshop, we will develop design systems that we can execute using the keyboard. This means that when we press a specific key, exactly what we want should happen, not what others have intended. For this, we will make use of Glyphs 3, a program developed for font design. But don't worry, we won't be designing a font, at least not in the traditional sense. Technically, we will be developing a font that produces your animated, dynamic design system instead of letters.
Let's have fun.
The goal of the workshop is to first develop the tool with which you will then design posters, books, booklets or whatever you can think of. We will delve into various dimensions such as form, color, movement, and sound. Whether it's humorous or serious, conceptual or intuitive, small or large, loud or quiet – all approaches are welcome as long as they bring you joy. The exciting part is that, by the end, even your grandparents can engage in experimenting with the design tool you've crafted.
Dirk Laucke是设计工作室Laucke Siebein的创始人之一，工作室位于荷兰阿姆斯特丹和德国奥芬巴赫。专注于在传播领域提供专业设计服务，注重设计理念的实现及应用。Laucke Siebein的作品曾荣获多项国际大奖，受到广泛宣传。Dirk Laucke经常在各大艺术院校授课，并发表演讲。
Dirk Laucke is founder and co-owner of the Amsterdam and Offenbach based design studio Laucke Siebein. It offers a wide range of expertise in the field of communication and the implementation of high-quality design concepts. Laucke Siebein’s concepts and designs have been awarded with international design prizes and have been published widely. Dirk Laucke regularly teaches at art academies and give lectures on the studio’s work.
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More info:
studio-laucke-siebein.com
Class OK:
Creativity
Freedom Healing
创造力、自由、治愈，这三个词语希望能引起你的共鸣。对我而言，它们是我生命中非常重要的元素。
创造力————是我人生经历的基本构成、是成长的动力，是内心燃烧的火焰。给我提供温暖和养分，让我保持清醒。创造力在文化表达和身份认同中，也发挥着核心作用。它是文化交流的桥梁，让我们理解和欣赏文化多样性。
自由————令我在创作中摆脱一切的束缚。我经常进入内心自由自在的状态，随着时间感和自我意识的减弱，无拘无束地探索和表达。这种自由让我感到释放，让我尽情探寻内心的想法、情绪和自我，不必担心他人的审视或限制。
创造力————也是治愈和宣泄的手段。让我对经历、情绪、创伤有更深入的理解。它将内心的不安转化为真实的表达，成为自我发现、反省、治愈的工具。
在工作坊中，你将自由地表达。我们的目标是共同制作完成一场视听投影。可以是诗意的、概念的、文字的、抽象的、叙事的，呈现方法没有对错之分，希望我们一起在DS享受设计、玩得开心。
Here are three words for you: Creativity, Freedom, Healing. I hope these words resonate within you. For me personally these three words refer to very important elements of my life.
Creativity is a fundamental aspect of my human experience. It fuels my personal growth and fulfillment. It is the fire, that burns within me, that keeps me warm, awake and nourished. Creativity plays a central role in the expression of my culture and my identity. But it also serves as a bridge between cultures, fostering my cross-cultural understanding and appreciation.
Freedom, in the context of my creativity, refers to the liberation from constraints and limitations, both external and internal. I often enter a state of flow where my sense of time and self-awareness diminish, allowing for uninhibited exploration and expression. This freedom fosters a sense of empowerment, as I feel liberated to explore my ideas, emotions, and identities without fear of judgment or restriction.
Furthermore, my creativity can serve as a means of healing and catharsis. I process and make sense of my experiences, emotions, and traumas. It enables me to channel my inner turmoil into tangible forms of expression. In this way, creativity becomes a vehicle for self-discovery, introspection, and healing.
During the 11 days of the workshop that we will spend together, it will be my pleasure and joy to accompany you in your personal creative process, where you will express yourself freely. Our common goal will be to create an audiovisual projection show. There is no right or wrong way to do this. You can do it in any way you want, be it poetic, conceptual, text-based, abstract, narrative etc. I hope we will have fun together and that you will enjoy this opportunity.
1968年出生于维也纳，Oliver Kartak已从事品牌形象、传播设计、摄影和电影导演工作30多年。他是一名独立设计师、艺术家、维也纳应用艺术大学设计学院院长、教授。
1996年，Oliver Kartak在维也纳成立了自己的工作室，并开始指导商业广告、MV及电视作品。2006年，他作为导演和编剧完成了自己的第一部故事片。他的个人摄影作品曾在巴黎《Purple》、阿姆斯特丹《Baby》、伦敦《Dazed and Confused》杂志发表，曾与红牛、Viasat、Sky TV、奥地利广播公司ORF等客户合作。
Oliver Kartak自2007年起担任维也纳应用艺术大学教授。他与学生的合作聚焦数字媒体、叙事与思辨设计。他的个人艺术作品中应用了AI图像生成技术。Oliver Kartak认为成熟的设计师可以接受任何创意挑战，不必拘泥于所谓的专业领域。
Born in Vienna in 1968, Oliver Kartak has been working in the fields of brand identity, communication design, photography and film direction for over 30 years. He works as an independent designer and artist and is Professor of Design and Dean of the Institute of Design, both at the University of Applied Arts Vienna.
In 1996 he set up his office in Vienna and began directing commercials, music videos and TV productions. In 2006 he completed his first feature film as director and screenwriter. His personal photographic work has been published in Purple Magazine (Paris), Baby Magazine (Amsterdam) and Dazed and Confused (London). Previous clients include Red Bull, Viasat, Sky TV and the Austrian Broadcasting Corporation ORF.
Since 2007 Oliver Kartak has been a professor at the University of Applied Arts Vienna. His work with young students has a strong focus on digital media, storytelling and speculative design. His personal artistic work makes use of the emerging technology of AI image generation. Oliver believes that a skilled designer can take on any creative challenge and need not be restricted to specialist areas.
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More info:
klassekartak.com
Class PM:
Multilingual Layouts
书籍和杂志的图文编排是一项具有挑战性的工作，尤其是在中、英两种语言及文字系统需要同时出现之时。在工作坊中，我们将结合文字、图片、网格系统，从实验性设计、经典版式中探索双语编排的多种可能性。
Designing a layout for a book or magazine can be challenging. Especially when different languages and different writing systems (e.g., Chinese and English) have to work together. In this course we will develop such layouts — with text, lots of text, images (maybe) and grid systems where they are needed. All approaches are possible — from artistic-experimental designs to classical typography.
导师：
Phillipp Majdamin
(德国)
Phillipp Majdamin毕业于莱比锡视觉艺术学院版式与字体设计专业。在毕业创作中，他使用不断变化的实验性字体设计了博物馆形象。2014年开始，他以独立设计师的身份活跃在柏林艺术和设计界。他喜欢字体设计、图文编排和书籍设计，经常在项目中使用自己设计的字体。目前，他作为自由设计师，与hesign柏林工作室合作书籍、字体设计项目。
Phillipp Majdamin studied Typography and Type Design at the Academy of Visual Arts Leipzig. For his diploma thesis, he developed a museum identity with a constantly evolving series of experimental fonts. Since 2014 he has been working independently in Berlin in the field of art and design. He enjoys working at the interface between type design, typography and book design. He often uses self-designed fonts for graphic design projects. He works as a freelance book- and type-designer at hesign Berlin.
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More info:
bblamage.net / bblamage-fonts.net
Class AS:
Introduce
Ourselves in VI
如何设计自己的视觉形象？如何用自己的形象来设计海报和包装？
让我们用自己的双手、个性、喜好、词语、颜色来创作，用视觉形象来介绍自己。
What about designing your own visual identity (V.I.)?
Do you want to design posters and wrapping paper using your V.I.?
Let's introduce ourselves in VI. Make it with your own hands using your own personality, favorite things, favorite words, favorite colors, etc.
导师：
关本明子
Akiko Sekimoto
(日本)
平面设计师、艺术指导，1976年出生于日本东京，在东京艺术大学获得硕士学位后，成立自己的设计工作室“HIDAMARI”，目前任教于东京艺术大学。关本明子的工作涉及品牌创立、产品起步、后期发展等各个阶段，致力于创作出受人喜爱又兼具实用功能的设计。她曾获得东京ADC、JAGDA奖、红点奖、DFA银奖等多项国际大奖。
Graphic designer / Art director
Born in 1976 in Tokyo, Akiko Sekimoto received her M.D. at Tokyo University of the Arts and currently runs her own design studio“HIDAMARI Ltd.”, and is a teacher at Tokyo University of the Arts. Her works include the direction of company, brand and product launches and developments. Her goal is to create the designs that are loved and functioned for a long time. She has won many awards including Tokyo ADC Award, JAGDA Award, Red Dot Award, Design For Asia Awards Silver, Design For Asia Awards Silver.
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More info:
akikosekimoto.com
Class HK:
Typography and
Font Design
(9:00--12:00)
我们将在工作坊中探索拉丁排版和字体设计的基础。课程将涵盖多种字体类型，无衬线字体、衬线字体、点阵字体、镂板字体、以及手写体。课程中，我们将详细讲解拉丁字体设计的知识，进行绘制字体的创作练习，最终使用Glyphs和AI软件完成设计作品。
A workshop over 11 days exploring the basic of Latin typography and font design. The group will through lectures and exercises by hand and on screen create letters and digital fonts covering multiple font categories such as Sans, Serif, Dot-Matrix, Stencil and Handwriting. There will be an emphasis on work outside of the class room. We will work in Glyphs + Adobe Illustrator with English language setting.
2000年，Henrik Kubel与Scott Williams在伦敦合作成立了独立字体设计工作室A2/SW/HK + A2-TYPE。该工作室专注于设计、艺术指导、字体设计，与莫斯科地铁、纽约时报杂志、领英等众多客户合作，曾荣获纽约TDC、Graphis、D&AD、东京TDC等字体设计奖。
Henrik Kubel在丹麦设计学院、英国皇家艺术学院获得硕士学位，曾于皇艺教授字体设计多年。他擅长设计复杂的字体系统，无论用于内文的小号字体，还是用于展示、标题的大号字体都十分专业，其作品极具现代风格。他曾获得丹麦艺术基金支持、KVE纪念奖，现任国际平面设计联盟（AGI）英国分会主席。
With Scott Williams, Henrik Kubel established A2/SW/HK + A2-TYPE, an independent Design and Typography studio in London in 2000. The studio specialises in design, art direction and typeface design and works internationally with a wide range of clients.
Kubel holds MA’s from Denmark Design School and Royal College of Art in London, and taught typography at RCA for many years. He is an expert in designing complex font systems with a contemporary feel and is highly specialized in creating typefaces for small point sizes as well as fonts for display use across all touchpoints.
A2-TYPE has been recognised with typeface design awards from TDC in New York, Graphis, D&AD, and Tokyo Type Directors Club. Kubel is the recipient of the 3-year artist working grant from the Danish Art Foundation, KVE Memorial Award and is the current national president of AGI in UK.
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More info:
www.a2swhk.co.uk / www.a2-type.co.uk
Class MK:
Design and Print
一位平面设计师，就是介入印刷品的工作。了解更多的印刷工艺，才称得上专业。自始至终，我都在实验印刷技术，我认为这是我工作的一部分，有些像执着于烹饪味道的厨师。
As a graphic designer, one should integrate design with print. One can only be regarded as a professional when he or she knows much more about printing. As a part of my work, I have always been experimenting with printing skills and techniques, somewhat like a chef obsessed with flavors.
导师：
古平正义
Masayoshi Kodaira
(日本)
1970年出生于日本大阪。在秋田设计公司工作后，于1997年成为独立设计师，后于2001年在东京成立FLAME公司。担任艺术总监及平面设计师，活跃在艺术、建筑、时尚、音乐和其他文化领域，同时指导及编辑音乐录像和商业电影。他曾合作多个知名品牌和机构，包括三宅一生、Fender、路易威登、日默瓦、百加得、海德堡、哈佛大学设计研究院、东京艺术博览会、21_21 DESIGN SIGHT、横滨美术馆等。他曾荣获THE ONE SHOW（纽约）的金铅笔奖和银铅笔奖、D&AD（伦敦）的黄铅笔奖和木铅笔奖、东京ADC奖、纽约TDC优秀字体奖。
Born in Osaka, Japan, in 1970. After working at Akita Design Kan Inc., became independent in 1997 and established FLAME Inc. in Tokyo in 2001. Work as an art director and graphic designer for art, architecture, fashion, music, and other cultural fields. Also directs and edits music videos and commercial films. Works include: ISSEY MIYAKE, Fender, LOUIS VUITTON, RIMOWA, BACARDI, HEIDELBERG, Harvard University Graduate School of Design, ART FAIR TOKYO, 21_21 DESIGN SIGHT, Yokohama Museum of Art, and others. Awards include: Gold and Silver Pencils at THE ONE SHOW (New York), Yellow and Wood Pencils at D&AD (London), the Tokyo ADC Award, and the Typographic Excellence at New York Type Directors Club.
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More info:
flameinc.jp
Class IM:
Analog Pleasure
–
Crafting a Joyful
Design Experience
在工作坊的前半程，我们将沉浸在徒手创作的世界，体验抛开电脑的快乐，动手尝试各种技术，建立并收集各种创作方法。后半程，我们将把收集到的经验转移到电脑上，将新发现的方法融入创作中，寻找个人设计表达的更多方式。我们将站在全局视角进行设计实验，探索徒手创作与电脑设计融合的更多可能。让我们尽享徒手的乐趣，来一场愉快的设计体验。
In this workshop, we'll dive into the world of analog creation. The focus is on the joy of non-digital design experiences, trying out various hands-on techniques, and building a diverse collection of analog methods. In a second part, we'll transfer gathered experiences into the digital realm. We'll integrate these newfound methods into our own creative works, expanding personal design expressions and approaches. The workshop provides space for experimental play, nurtures the development of a holistic design perspective, and facilitates the fusion of analog and digital design methods.
导师：
Isabelle Mauchle
(瑞士)
Isabelle Mauchle曾于卢塞恩应用科学与艺术大学学习纺织品设计，之后于苏黎世BfG担任字体设计师，继续深造学习，并于2010年成立个人平面设计工作室。她的多幅海报作品曾斩获国际大奖，还有许多作品被收藏于苏黎世设计博物馆。她不仅是一位平面设计师，还积极参与独立剧院的舞台设计、服装设计、联合剧作和表演工作。
Isabelle Mauchle studied Textile Design at HSLU Design & Art. She further honed her skills as a Typographic Designer at BfG Zurich and has been operating her own graphic design studio since 2010. She has received awards for several of her posters. A curated collection of her work is archived at the 'Museum für Gestaltung Zürich.' Beyond her role as a graphic designer, she is actively involved as a scenographer, costume designer, co-author and performer in the independent theatre scene.
