Interviews with Qiuyu Li

I started to want to be a designer from about 2013, first self-taught, then enrolled in the graduate school of Osaka University of Arts, studying while studying design. It wasn't going well from the beginning, but it has grown rapidly since 2019, and now I can already find my own originality and design more smoothly.

I was originally interested in art from an early age, and when I grew up I realized the beauty of design and decided to become a designer.

At first, I think it's a problem consciousness. And I think it is important that the idea for the problem is logically established. On the contrary, I don't think the problem of technique is so important, because the problem of skill etc. will naturally improve if you practice over time.

My design seeks to suppress emotions as much as possible and maximize reason. Of course, we don't eliminate all emotions, we just keep them to the bare minimum.

It is important to have a passion for life. Design ideas exist from everywhere in our lives, and it is extremely important to think about things with an awareness of the problem, rather than simply taking it for granted.

My growth path isn't going well, but fortunately, I've been walking with my family and friends who always support me. I really appreciate it from the bottom of my heart.

It will be easier for you to grow by using social media, sharing your work, and showing your work to many people.At the same time, please think about what kind of design you want to make without being influenced by the surrounding environment. It is also important to design while predicting the future, not just looking at the present.

I'm not familiar with other countries, but in Japan, especially artists who concentrate on contemporary art, I think their horizons are still narrow. I only know my own world. In order to overcome this problem, I think we should actively communicate with people who are more interested in other fields.

Gathering information is extremely important as a designer, so brew coffee, check the latest news, and watch interesting videos. Then read and study the design profession. I often make works at night.

You're the one who sticks to your personal style. Of course, the client is important, so we have to consider the needs of the other party, but we also think that the individuality of the designer should never be lost. The problem is that it is important to strike a good balance between the two.

I don't think there are any particular rules for this criterion. It depends on the person.I think it is more important to have a design that is suitable for the project than to consider whether it is a good design.

Once you've completed all the goals you're looking for, you're done. I think it should be decided at the discretion of the individual.

This time Utopia City Poster is the biggest design work, and the others are about the visual book currently being produced. It took a lot of time to collect a large amount of materials before making this work.

There are many. The most respected and influenced person is L Lissitzky, and the others are Josef Muller Brockmann. There are many other legendary designers, so I can't count them.

I'm from China, but I've been living in Japan for a long time now. I have lived in Asia for a long time, but I am not particular about Asian culture and try to seek an international culture that is common throughout the world. In his youth, he was influenced by punk rock and has an extremely disliked attitude toward the bad things in the world.

Respecting each other and actively communicating will make it easier to work. In my case, I often design by myself, but I am happy to work with people. Working in a team may push the boundaries of one person and create even better designs.

I think designers are responsible for guiding the trends of the times. To give a very simple example, Coco Chanel's fashion design changes the perception of women's clothing. In short, it can be said that design has the power to change the culture and perception of the times.

It is very effective for testing your own ability, and you can inform many people about your work, and you will feel a sense of accomplishment through participating.

The origin of Chinese characters can be traced back to pictographic characters, which often retain their pictorial features in their forms. This logo design of a music-related company, the design concept revolved around "sound" and "audio sources." The design elements were crafted using visual elements symbolizing "ear" and "sound waves."This inspiration from the origin of Chinese characters brings a unique and culturally meaningful visual expression to the logo, combining the rich history of Chinese characters with the music industry.

In general, company logos need to be easy to read, but for this logo, we took a bold approach by sacrificing the legibility of the characters to appeal to the aesthetic and cultural aspects of kanji. To convince the client, I made efforts in communication.

Based on the client's feedback, we plan to register this logo for future use on company merchandise such as T-shirts and other goods.

I spent about a month on gathering materials, making proposals, production, and meetings. However, it feels like we needed a bit more time for adjustments and revisions afterwards.

This is a commissioned project, and while it is commissioned, I still aim to deliver a logo that is as innovative as possible.

This project is one I personally handled.

This project was commissioned by a company related to music. Therefore, when considering inspiration, I focused primarily on elements related to 'sound'.

When creating designs related to kanji, I am strongly influenced by my former graduate school professor, Yoshimaru Takahashi.

My mentor's designs strongly reflect Japanese cultural aspects and are used in various products and branding across Japan and Asia. However, my personal style and design philosophy are diametrically opposed to my mentor's, focusing on constructivism and Swiss typography.

I believe that visually expressing the company's image clearly is a distinctive feature.

The name was chosen to reflect the company's goal of fostering an individualistic team, as per the client's narrative.

I completed this design using Adobe Illustrator.

I originally didn't have much attachment to traditional culture, but through this experience, I've realized that using traditional culture appropriately can be surprisingly beneficial.

This was completed solely by myself.

The main role would be to promote kanji culture through visuals.

Research on the development of kanji is essential.

While I'm not concerned about creating a memorable logo, I am worried about the legibility of the characters in this logo.

I hope to show my design to more people and receive evaluation from experts.

We need to think more deeply about the disregard for the functionality of the characters in this case.

The inspiration for this design is 1920s modern typography. The purpose is to study the future development and possibilities of modern typography based on the modeling philosophy that was sought at that time. Rather than mechanical and groundbreaking, this design seeks freedom of modeling. Strictly speaking, we are pursuing a good balance between mechanical and free.

The array of letters is the focus. Achieve visual stimulation without traditional modern typography through random size and arrangement.

We will do our best to further develop this series and find many possibilities. We also believe that this means of design expression is applicable to other designs. I would like to experiment a lot on this.

It doesn't take much time to produce, but collecting and organizing materials takes the longest time.

This design is my doctor's research work. Originally strongly influenced by modern typography, but with the changing times, I really wanted to break through the limits of modern typography, so I started this research.

This design was created for the purpose of experimentation. Although not for commercial purposes, this design's means of modeling, if established as a theory, could be applied commercially in the future.

First, I was influenced by the 1920s design, which I like. Besides, I have been doing design research on typography for a long time, so I was also quite interested in further expanding the new possibilities of typography.

Representative of Constructivism, El Lissitzky

El Lissitzky produced many experimental works to create a new culture for the new Soviet society of the time.

This typographic work is derived from and influenced by modern typography, but instead of arranging the letters in a linear grid system as in modern typography, the architectural elements serve as guides, and the letters are arranged randomly. More possibilities of form can be created.

All the elements that appear in this design are derived from Soviet-era buildings, and the features of Soviet modernist architecture eliminate all decorations and are built in a similar style, which makes the cityscape very groundbreaking. It looks like the scenery I wrote in Thomas More's book "Utopia".

I always use Adobe Illustrator on working.

Incorporated cultural aspects, we are prejudiced and things are not easy to see. I try my best to see things from a prejudiced and objective standpoint.

Now I design and produce almost exclusively by myself. One person is more flexible, but there is a limit to what one person can do. If possible, I wish I could collaborate with someone else in the future.

This poster series was created to expand the possibilities of typographic modeling. This means of modeling may serve to indicate one direction of typographic expression.

The mechanics of character alignment are influenced by modern typography. Since this design is characterized by the incorporation and utilization of architectural elements, it is necessary to examine the material research phase and many photographic documents of Soviet-era buildings.

I think it was the influence of the old modern typography. Because it is unconsciously affected.

It depends on the influence and popularity of the competition.

We have some direction for the new possibilities of modern typography.

We believe it is worthwhile to explore in this direction in the future to see what effect this means of modeling can have when applied to Chinese characters.

I was born in Beijing, China in 1992, arrived in Japan in 2013. After obtaining a Bachelor's degree in Information Science, he pursued his research in design under the guidance of Prof. Yoshimaru Takahashi, In 2024, obtained a Doctorate in Fine Arts. That same year, joined TOMBO Inc., a design firm based in Osaka. With a strong interest in the design principles of 20th-century constructivism, Alex aims to revitalize traditional constructivism by incorporating East Asian aesthetics and exploring new possibilities. My experimental results have garnered numerous awards both domestically and internationally.A member of prestigious organizations such as the World Design Consortium (WDC), International Association of Designers (IAD), International Design Club (IDC), and Alliance of International Business Associations (AIBA), Alex actively engages in these communities, contributing to their missions and initiatives.

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From a young age, I am deeply interested in art, which led to his education in art, and as I grow up, I awakened my unique sense of beauty, which led me to enter an art university and to the idea of becoming a designer. I think it is possible to be influenced by the environment around you.

I am not forced to, I chose the path of design. I have a feeling of admiration for El Lissitzky, which is probably one of the reasons why I choose the path of design. Also, my parents support my decision, so I ended up choosing the path of design.

Typography production is overwhelmingly large. The influence of modern typography in the 1920s is strong, and I am exploring new possibilities of typography by rediscovering from a modern standpoint based on history.

My career to date has not been easy. I have endured quite a lot of stress, and finally now I have a few achievements to show for it. And according to my experience, you must first have a strong belief in design. Strong perseverance and hard work that you accumulate day by day. I have been called a genius sometimes, but I know properly that I actually pay many times more effort than others.

First of all, a design work has a life, and if we consider it with a personality, the difference between each design work will be the difference between the designers. The difference between each design work is the difference between the designer and the work itself, because the designer's worldview, personality, and all other aspects of the design work are injected into the design work.

Design is not simply a matter of good or bad. The design can be said to be a good design if you take advantage of the appropriate functions. Also, a design that clearly conveys the author's intentions and has an impact on the world is a good design. Basically, the judgment criteria depend on the person.

We believe that design, as something that plays a role in society, can also help develop culture. This is considered the value of design. We believe that investing in design is the same as investing in cultural development projects.

If you have time, it is recommended to make a poster about your favorite music, this is one design training, while honing your sensitivity, the sound source can help you improve your information organization skills by converting visual information, and also train your design expression skills.

I would like to complete my own visual book and publish it for many people to see. Currently this is being produced little by little. I want to complete it as soon as possible.

Perhaps the best trick is for him to make the effort. Besides, the other one is the study of culture is just as important as the effort. Studying the liberal arts can improve one's ability to think and broaden one's horizons. Most design ideas are found in general education.

My designs are influenced by the work of El Lissitzky, a representative of the Russian avant-garde, the Bauhaus and Frankfurt School, the new typography of Jan Tschichold, and the Swiss designer Josef Müller Brockman. As pillars of design, we consider these theories to be of significant referential value to the development of design.

I feel that there are many people around me who do typography of Chinese characters, but this is probably the cause of the environment in which I was born and raised.

There is no particular best work. Because the next new work will definitely be better than the previous one. In other words, my latest work is the best design.

Designers are, in a sense, similar to researchers. The most basic skill is the ability to think. Design requires analysis and theory building, so advanced thinking skills are essential. A wide range of knowledge is necessary to develop thinking skills. It is also very important with regard to culture, especially a high level of aesthetics.

If I hadn't become a designer, I'd probably be in a rock band. I grew up listening to rock music in my youth, so the influence of rock music on my personality is still strong. I also like to cook, so maybe I will become a chef, like Gordon Ramsay.

We believe that design is a work of art with some practical utility, a method of communication between people, and a bridge that connects one era to the next as a marker of the culture of an era.

My mother is the most supportive and understanding. In my father's case, he also supports and understands me. The understanding of my family is really the most helpful. The road to becoming a good designer is never easy, and if people don't understand you, it creates extra stress and could break your faith. Fortunately I have a good family.

I think it's the family that has been so supportive and cooperative. Another one would be that sturdy old Mac book of mine, I have already changed my new Mac book now, but I have a lot of gratitude for that old Mac book.

My living situation and also my social environment are affected. It is also quite hard to have people around you who don't understand you. These disorders are mostly psychological, but sometimes I think that psychological disorders are not half as destructive as they seem, and we should be careful.

I don't think it needs to be over presented, especially if it is a graphic design work. If a hint is absolutely necessary, I think it is sufficient to present the background and intention of the production.

In the future, I plan to take more interest in cultures related to Asia and produce a visual book on unique Asian customs. The book will be based on 72 Season conditions related to weather phenomena and agricultural life in Asia. Through typography, I intend to create images of various weather phenomena and landscapes of agricultural life.

I think it is my goal that my work will have some impact on the world. Perhaps most designers would agree.

Design plays a role against creating a new culture in society and at the same time, there is a need for a proper perception of design from society and the environment. It is very irresponsible for designers to be lightly perceived as just a painter, and this is not good for the development of design, nor for the development of culture.

For me, design is a means of communication, like language, and countries of different cultures can be connected through design. The other is to provide some convenience to actual social life and to form some social culture, and I think these are the roles of design.

A visual book on 72 Season is in the works. It is a very time-consuming production. And before I can make it, I have to look up some knowledge about the customs, so that I have some understanding of them, which will help me in the production. When it is all done, it will be a visual book. At the same time, posters for the exhibition are being made at the same time.

I am personally interested in design projects such as visual books, series posters, etc. on some culture or history. Most of these design projects are generally exhibition oriented.

Regarding the current topic of NFT, I predict that blockchain technology can be utilized in many situations in the future. At that time, we believe that the relationship with design should be focused on.

So far, the most common designs have been those that fulfill a social role, but I believe that this trend will continue, while design works related to cultural aspects will appear more and more. At that time, the line between art and design will become even more blurred.

Depending on the size of the job, if the project is small enough and we have a good meeting, we can finish everything, including revisions, in less than a week. Larger projects require more time. However, client meetings usually take longer than expected, and therefore the completion time will be longer than expected.

You should start by gathering relevant information, understanding the intent of the project, and setting the direction of production.

We are aware that we are creating the culture of the next generation, and it is the mission of designers to create means of communication that transcend time and space.

Given that design has a role in creating culture, I think design sets trends. But in some cases, sometimes trends are influenced by trends, especially young designers.

The connection between science and technology is crucial to contemporary design development. In the case of graphic design, color science and basic formative principles are the result of the application of science and technology. In short, it is the role of design to reflect technology.

I have always used Adobe Illustrator and recently tried Affinity Designer as well. The operation is mostly similar, but there are a lot of things that I am not used to, and once you get used to it, it is an easy to use software.

The use of color can make a product stand out by creating clarity as well as changing the mood of the design, and in certain cases, say, the application of color psychology, the use of color can affect the functionality of the design. Materials and environment are similar in this regard.

I want you to understand my production intention in my design, because my production intention includes the message I want to send out, not only technical matters such as the method of expression. Usually I often send messages about culture. I want to evoke the importance of a culture through my designs.

First of all, it is a pleasure to be interesting. After that, we pay attention to the artist's intention in creating the work, and consider from what perspective the artist created the work, what techniques were used, and how it would be best expressed if we were to create it ourselves.

The personality and values to be desired are those of a partner similar to yourself. Because we can easily empathize with each other, communication costs are lower and communication is smoother.

The influence of El Lissitzky, a representative of constructivism, is strongest. His method of expression, which draws out new possibilities of form by adding new value to elements and imagining space and movement, has had a great influence on my typography.

Affected. I was influenced by Chichold's book Asymmetric Typography. I think this book is the foundation of modern typography. Not all of the theories are valid, but by understanding the essence of the theories in depth, I believe that my design skills will grow even more.

I think we will learn through years of design work, that is, through countless experiments ventilated. At the same time, always be thinking about design theory. After a few years of this, you should be a master designer.

If possible, I would like to meet with Lissitzky. We might collaborate. It would be interesting to discuss the future possibilities of constructivist figurative expression.

I am very proud of the awards I have received so far, and they are important evidence of my recognition of my abilities. It is a really important experience for me to realize my own growth through winning awards.

I like the contrasting color scheme. In terms of specific colors, I might like red. I didn't have a specific favorite place, but I like quiet places. I like spring and summer, but the most motivating time was fall. I don't have any particular likes or dislikes when it comes to food, and I think I like most foods.

Failed experiences are more important than you think. When I first designed it, it was not accepted for a long time. I thought about giving up at that time. But I didn't give up, and after only two years of creating more design works than others, I finally reached a turning point.

To create good design work, some stimulation is necessary. For that stimulation, looking at the work of one's peers can be very effective. So every day I always admire the work of other designers and analyze their production intentions. I learn a lot from that.

When I was a child, designing as I do now was completely unexpected. Sure, I was educated about art at a very young age, but I still didn't have a clear goal in mind, so I had no idea what I was going to do.

We can't think about what will happen thousands of years from now, but it is important to properly complete what we can now. Nevertheless, since the development of design is deeply related to the technological aspect, we can expect that the methods of expression will be richer than they are today as a result of technological progress.

I would like to let you know the origin and historical background of the formative philosophy of my design. I would be grateful if my design work could serve an educational role by motivating people to study the history of design.

It is important for art to express one's feelings and emotions in some form, and it does not have to be completely understood by people. On the contrary, it is important for design to make people understand and convey the intention. However, looking at history, we must not deny that art and design are deeply connected. In short, even if you design, you should have some interest in art.

TOMBO Inc. is a design firm based in Osaka. We are a team of nine dedicated members, and we also have an office in Tokyo. At TOMBO Inc., we strive for high-quality design, offering the best proposals and friendly service to our clients. Our office environment is homey and vibrant, characterized by a lively and energetic team. Each member brings their unique strengths to the table, working together as a cohesive unit to tackle projects. TOMBO Inc. is committed to realizing our clients' visions, using the power of design to create both emotion and value. With our passion and creativity, we deliver designs that exceed expectations.

For me, there are two aspects to design. One aspect, design is a means of communication, like language, and through design you can convey your thoughts to the world. Another aspect is that design is a social role

I like modern typography in the 1920s. More specifically, I like the simple, clear design. The reason is that visual elements are information, and excessive use of visual elements can create extra stress and obscure important information that conveys the design. That's why I like simple modern designs.

I like designs that are simple and clear in intent.

I would have liked a design that was visually stimulating. But I don't really approve of works that excessively appeal to my personal tastes. For example, designing a color scheme by simply choosing colors based on personal likes and dislikes may disrupt the equilibrium necessary for the design.

We designed a character logo for a sushi restaurant. Based on the initial proposal and incorporating the client's feedback, I made improvements to create a cuter logo that perfectly aligns with the brand's ambiance. I am proud to have delivered a design that has delighted our client.

Utilizing geometric elements tends to result in a distinct design. In addition, letter and string forms can serve the same value and function as geometric elements.

In general, good ideas are more likely to be generated at night. At night, people have more time to themselves, so they can concentrate more easily, and when people are concentrated, they can think objectively and deeply about things, which is the basic condition for generating the best ideas at that time.

Most importantly, we must consider the client's requirements first. After satisfying this requirement, the designer's originality may be fulfilled to the extent appropriate. It must be in equilibrium.

When I design, I always consider the harmony between individual elements from an analytical point of view. I strive to convey the message I want to convey as clearly as possible.

When I complete a design, I feel very satisfied and relieved, but after a while, I feel empty and start thinking about making an even better design. It feels exhausting, but in this way you will probably move up and up in your design skills.

I think it is important to actively communicate to the world that the design is a success, not just individual efforts. By showing your design to many people, you will hear advice from various perspectives, and this is important advice that will help you improve your design.

From my point of view, the design work is first judged on whether it clearly conveys the author's intent, and then the overall visual quality. For example, the elements used in a design have absolutely no meaning to the function of the design, and I will not approve a design that is abused simply because of personal likes and dislikes.

Design plays a role against creating a new culture in society and at the same time, there is a need for a proper perception of design from society and the environment. It is very irresponsible for designers to be lightly perceived as just a painter, and this is not good for the development of design, nor for the development of culture.

From the perspective of design history, design is deeply connected and interacts with the development of art. Therefore, we expect that future developments will develop in this manner.

I participated in an exhibition held at the Heiwa Paper Gallery in Osaka. This exhibition was organized by the Japan Typography Association and brought together various creators. My exhibit was a poster commemorating Helvetica. Through this design, I aimed to celebrate and express the history and charm of Helvetica, a symbol of typography. The poster received positive feedback from visitors, and the exhibition allowed us to share the allure of design with many people.

My designs are influenced by the work of El Lissitzky, a representative of the Russian avant-garde, the Bauhaus and Frankfurt School, the new typography of Jan Tschichold, and the Swiss designer Josef Müller Brockman. As pillars of design, we consider these theories to be of significant referential value to the development of design.

My design always discovered fascinate structures among them, and based on these structures, It will explore new possibilities for typography through the composition of letters and architectural structures. With an awareness of space, It aims for a more expansive diversity of typographic expression and a modern typography that is appropriate for today's aesthetics.

I'm from Beijing, China, and now I live in Osaka, Japan. Asians are influenced by their unique sense of writing. My design aims to be completely international, excluding the concept of nations, so no matter where I live, I first focus on what countries have in common. I think that although there are different cultures, if you look closely, you will find that there are many similarities between human beings.

Until now, most of the time, exhibitions and events have been the first opportunity to connect with companies and collaborate on projects. There are also connections through social media, but there are few substantive projects.

In general, companies often choose designers who fit their own philosophy. Also, award-winning designers are often chosen. Designers who actively disseminate their design work are also often chosen.

I will fully understand the client's requirements, think of ideas based on them, make experimental prototypes and plans, discuss with the client, and if there is an agreement, I will work on the final product.

1. Lissitzky's book "For Voice". 2. Favorite Moka express. 3. Perfume Package. 4. A' Design Award trophy

5. Wooden tableware

My life is like building a kingdom, from a person with nothing, meeting a partner, going through countless competitions, losing some, but getting back up there, trying again and getting stronger. I am building my kingdom.

Don't hesitate to make a lot of designs, and then you should show your work to many people and send it out to the world, giving you confidence. You will get a lot of opportunities and contacts by being active. This is a great advantage for young designers.

In general, it is considered crippling for designers to have to consider the client as their first priority and not be able to live their lives in their own way. However, if one deeply understands the essence of design, this concern disappears, and one can feel a very strong sense of accomplishment in being closely connected to society. This is one of the positive aspects of becoming a designer.

In my opinion, the surest way to improve one's design skills is to look at and analyze a lot of excellent design work, to understand the author's intentions and theories, and to create a lot of work at the same time.

Designers are, in a sense, similar to researchers. The most basic skill is the ability to think. Design requires analysis and theory building, so advanced thinking skills are essential. A wide range of knowledge is necessary to develop thinking skills. It is also very important with regard to culture, especially a high level of aesthetics.

I have always used Adobe Illustrator and recently tried Affinity Designer as well. The operation is mostly similar, but there are a lot of things that I am not used to, and once you get used to it, it is an easy to use software.

I think a good way to manage time more efficiently is to create a planning chart. However, since the planning chart is a method that assumes intensive work, I think that time outside of intensive work should also be utilized. For example, we can use the time on the train to think of ideas or design directions.

Depending on the size of the job, if the project is small enough and we have a good meeting, we can finish everything, including revisions, in less than a week. Larger projects require more time. However, client meetings usually take longer than expected, and therefore the completion time will be longer than expected.

I am often asked, "Do you paint?" This depends on the environment, but where I am from, I feel like I don't understand design properly. I think this is a problem with the local education system. Therefore, I think we need to make more efforts to spread design knowledge and design culture in the future.

For me, the most important experience is not particularly important. Because all work experiences are important to me.

Most of my clients are company representatives that I have met at trade shows and events. By meeting them in person, they learn about my design philosophy and design skills, and then I have the opportunity to collaborate with them.

I like sophisticated, clear designs best, but I also very much like designs that are visually stimulating. But just because a design is visually stimulating doesn't mean it is unintentional.

In the future, I plan to take more interest in cultures related to Asia and produce a visual book on unique Asian customs. The book will be based on 72 Season conditions related to weather phenomena and agricultural life in Asia. Through typography, I intend to create images of various weather phenomena and landscapes of agricultural life.

I have been designing alone for a while now, but I am also looking for compatible partners and teams on a daily basis.

A visual book on 72 Season is in the works. It is a very time-consuming production. And before I can make it, I have to look up some knowledge about the customs, so that I have some understanding of them, which will help me in the production. When it is all done, it will be a visual book. At the same time, posters for the exhibition are being made at the same time.

I will always be in touch via social media and email. We may discuss things in person if necessary. Sometimes we talk via video call if we can't meet.

As a designer, health care is also very important. Healthy eating, drinking, and rhythm of life can have a positive impact on your design work by keeping you in a positive mood at all times.

In fact, if we look at the origins of Chinese characters, they are inherently simplified pictograms, fundamentally similar to the nature of logos. Rather than something I developed, it was more of a rediscovery of the graphic qualities within Chinese characters. Through this exploration, I gained a renewed awareness of the rich visual language and design potential embedded within these characters. This insight naturally guided me to incorporate these pictographic qualities into my design, merging the traditional aesthetics of Chinese characters with modern logo design. This approach allows the logo to retain cultural depth while achieving contemporary visual clarity. This process of rediscovery helped me establish a new connection between Chinese characters and modern design, making the design both unique and resonant with traditional significance.

We usually focus on the functional aspect of Chinese characters in conveying meaning, which often leads us to overlook their inherent graphic qualities. My inspiration came from the “Dongba” script, a set of pictographic symbols used by the “Naxi” people in Yunnan, China, which reminded me of the pictorial nature embedded within Chinese characters. This logo incorporates many characters related to “sound,” and their ancient oracle bone script forms display similar graphic traits. To maintain visual harmony, I integrated the ancient shapes of oracle script with modern simplified characters, making subtle adjustments along the way. This approach allowed me to naturally blend the essence of traditional oracle script with a contemporary design language, achieving a balance that honors ancient roots while aligning with modern visual expression.

The A' Design Award is one of the world’s largest and most prestigious design competitions, with a jury composed of experts from diverse professional fields, making the judging criteria highly multifaceted. This logo is based on Chinese characters, which may not be easily understood by those outside of the Chinese character cultural sphere. Therefore, conveying its meaning through visual expression became the most effective approach. I feel truly honored to receive this award, as it validates my efforts to successfully blend cultural heritage with commercial design needs. This recognition also motivates me to continue exploring how to convey the depth and beauty of traditional culture through visual language on a global stage.

First, during the discussions with the client, I clarified the primary intended use of the logo. Although the logo would appear on printed materials such as business cards and posters, its main purpose was for the company’s merchandise, like T-shirts. Therefore, in the design process, my priority in color selection was to ensure the logo’s functionality and adaptability on these products. I opted for a black-and-white, achromatic approach, as it offers high adaptability across various materials, printing methods, and background colors while maintaining clarity and recognizability. This black-and-white design also provides visual consistency and a clean impact in different applications, ensuring that the logo effectively communicates the brand image across various contexts.

Initially, the client did not fully recognize the cultural significance embedded in the Chinese characters, so my first proposal was a very conventional text-based logo. However, as our discussions progressed, the client expressed a desire for the logo to be used on merchandise. While a traditional Chinese character logo could work, it lacked playfulness and distinctiveness. To address these potential issues, I proposed this new concept and elaborated on the cultural meaning behind it. Fortunately, the client later explored the historical origins of the characters and recognized their cultural value. Ultimately, we reached a consensus, enhancing the logo with elements of interest while meeting commercial needs. In a sense, this logo became a collaborative creation, shaped by both of our perspectives and goals.

The size specification is primarily based on balancing usability and visual clarity. When designing this logo, I considered the client's needs, as it was intended to appear on merchandise such as T-shirts, where it needed to have a fun and unique shape. Therefore, I paid particular attention to the clarity of details and printing accuracy throughout the design process. The recommended minimum height is 15 millimeters to ensure that even at smaller sizes, the logo retains its details and does not lose recognizability when scaled down. However, depending on the specific application, I do not rule out using a smaller size if needed. In cases where the logo is scaled below 15 millimeters, I might make minor adjustments to simplify certain intricate elements or enhance key lines, ensuring that the logo remains recognizable and consistent with the brand, even at reduced sizes.

Constructivism emphasizes the reduction and reassembly of elements to create new meanings. This concept closely relates to the essence of Chinese characters and other scripts, as they are fundamentally composed of points and lines. In this regard, there are many parallels between constructivism and the design of Chinese characters. Therefore, when creating the “Listening to Extraordinary Dreams” logo, I applied the principles of constructivist shaping by replacing certain points or lines in the characters with other relevant elements, making their forms more interesting and dynamic. This approach not only enhances visual appeal but also adds cultural depth to the logo.

First, before creating the design, I conducted thorough research on visual languages and symbols related to music, including elements like musical notes, sound waves, and instruments, to incorporate these industry characteristics into the design. Secondly, I combined traditional Chinese character forms with modern design language to create a visual effect that embodies both cultural heritage and contemporary aesthetics. This blend not only attracts audiences interested in traditional culture but also meets the aesthetic demands of modern consumers.

During my research, I discovered that Chinese characters evolved from pictographs, but not every character directly originates from a single graphic. Some characters are formed by combinations of symbols that represent sounds, while others are created from multiple symbolic representations. The development of Chinese characters is a fascinating process. This understanding of the evolution of characters made me realize that Chinese characters are not just tools for writing; they are also carriers of culture. This complexity inspired me to explore diverse forms of expression in my logo design.

Exploring traditional culture and the origins of Chinese characters has made me aware of the role that visual elements play in writing. Visual elements are not merely decorative; they play a crucial role in conveying cultural connotations and emotions. This understanding will encourage me to pay more attention to cultural contexts in my future design work and to attempt to effectively combine traditional elements with modern design principles. Through this approach, I can also promote the transmission and innovation of culture within my designs.

Soviet modernist architecture is known for its bold, exaggerated forms combined with distinct geometric shapes. This visual style immediately captivated me because it balances order with exaggeration, creating a unique visual impact. I wanted to apply this sense of structure and boldness to typography, as modern typography no longer focuses solely on readability but also needs to serve a visual expressive function. Soviet modernist architecture provided the perfect inspiration, allowing me to create a type design that combines both structural integrity and strong visual expression.

Firstly, the form of Soviet modernist architecture inherently carries a strong sense of order, which greatly facilitated maintaining basic readability during the typesetting process. Its geometric structure helped ensure that the clarity of the text was not compromised. At the same time, the bold and exaggerated forms of Soviet modernist architecture provided guidance for the artistic expression of the typesetting, encouraging me to push the boundaries and create visually impactful effects. In this way, I was able to find a balance between functionality and artistic expression, ensuring that the poster not only communicated the information clearly but also showcased a strong artistic presence.

Constructivism, Bauhaus, and Swiss style all inevitably pursue the creation of an order to maximize the functionality of design. They have had a profound influence on me, and I have always held them in high regard. However, as times change, I believe it is essential to challenge the existing order. The main method I used was to break the text down into countless elements. Only by deconstructing the traditional form of the text can new possibilities arise in design. This approach helped me break free from conventional frameworks and discover my own unique artistic voice.

Design requires rationality, as it effectively ensures functionality. However, this does not mean that sensibility should be completely abandoned. Sensibility reflects the human spirit and can prevent the design from becoming too monotonous or dull. Rationality is embodied in the clarity of structure and the orderly arrangement of elements, ensuring effective communication and visual flow. This is based on the functional needs of printing and the pursuit of design simplicity. However, sensibility is reflected in the use of shapes, colors, and the personalized design of typography. It is the harmonious coexistence of rationality and sensibility within a single design that gives the work a deeper cultural significance and emotional expression.

There are no strict requirements for the paper material, but to align with the atmosphere of Soviet Modernism, matte paper is an ideal choice. Of course, using other materials would still be feasible. As for the poster size, due to the large number of posters in this series, the 515mm x 728mm dimension is the most economical and practical choice while maintaining the visual impact.

At the beginning of the design process, I usually establish a basic order to ensure the functionality of the design. However, this order doesn’t need to be overly rigid. If it's followed too strictly, it can limit the diversity and creativity of the design. Therefore, I prefer to maintain a certain level of flexibility, allowing for unexpected shapes and variations to emerge. These spontaneous elements often add unique interest and creativity to the design, enhancing its overall appeal.

Through the creation of this work, I came to realize that postmodern printing is not merely a continuation of traditional printing techniques, but it emphasizes freedom of expression and diversity. During the creative process, I intentionally explored how to break free from the constraints of traditional printing techniques, incorporating more experimental elements and innovative methods. The core of postmodern printing no longer focuses solely on information transmission; instead, it emphasizes the expression of visual form, individuality, and the creation of cultural symbols. I believe that in the fields of art and design, the future of printing will place more emphasis on personalized customization, diversified modes of expression, and the in-depth exploration of cultural connotations.

I believe design and art should not be viewed separately, as they are closely related and mutually influential. Experimental works are not solely aimed at serving commercial purposes; rather, they seek to explore new possibilities. This exploration has a profound impact on the evolution of design and its applications in the commercial sphere. When we regard print design as an exhibition art piece, it allows us to interpret it from a broader perspective, granting print design greater expressive power and cultural value.

East Asian aesthetics pursue an imagery that embodies an intangible or ambiguous beauty. This beauty is more unpredictable and dynamic in its form, which is precisely its charm. Inspired by this, I aim to bring more variation into the shapes of the characters. By breaking conventional line and shape arrangements, I create a sense of flow and layering within the text visually. This approach not only enriches the expressiveness of the work but also helps me to better balance the contrasts between precision and spontaneity, order and freedom, within the design.

As times and technology advance, people’s perception of text has evolved. Text is no longer merely a tool for conveying meaning; its role in visual expression is increasingly recognized. This poster series aims to explore the expanded possibilities for text as a form of visual representation. I believe that future design trends will place a greater emphasis on customization, where innovative visual expression will play an even more significant role.