Bronze Graphics, Illustration and Visual Communication Design · 2022
Utopian City Poster
by QiuYu Li
- A' Design Award 2022 Bronze Winner in Graphics, Illustration and Visual Communication Design
- Awarded April 15, 2022
- CLIENT: QiuYu Li
- Estimated Number of Design Views: 20,091
- Verification code E11328FBCE · Verify this award
About Utopian City Poster
With the spread of digital information, the opportunities for writing and reading have become much less than before, instead visuals are important. Utopian City Planning is rethinks about modern typography, the motifs and letters found in architecture are fused to create a new order of typography and explores new visual possibilities for typography. At the same time, also emphasizes the relationship with the "clarity" of typography.
Press Kit
- Unique Properties
- This poster is created while exploring a new order of typography, fusing architectural motifs and letters. The Modern typography has a result of its extreme pursuit of functionality. As the sensibilities disappear, the design becomes the same without individuality. This is the opposite of the modern values that aim for diversity, and based on this problem, visual expression that allows sensibilities and reason to coexist is the goal.
- Dimensions & Packaging
- Width 515mm Height 728mm etc for physical products, matte paper.
The poster is best reproduced as printed matter. You can create a special atmosphere by the texture of the paper. - Tags
- Graphic Design, Typography, Bauhaus, Modern Typography
- Production Technology
- The poster is best reproduced as printed matter. You can create a special atmosphere by the texture of the paper. I always make designs with Adobe Illustrator. For me, Adobe Illustrator is the best software for designs that do not use photo materials than Adobe Photoshop.
- Design Challenge
- The influence of Constructivism, Bauhaus and Swiss style is too strong. At the beginning, it is hard to jump out of it. When disassembling and transforming letters, I must refrain from reading the letters.
- Project Duration
- The project started in September 2021 in Osaka Japan, exhibited in Osaka University of Arts Graduate Student Exhibition in November 2021.
- Operation Flow
- This poster will be used as an experimental poster for typography and as an exhibit for design exhibitions. Typography posters have the same function as works of art.
- Research
- Influenced by Constructivism, Bauhaus, and the Swiss international style, and Aiming for a Post Modern typography that coexists with reason without losing sensibilities .
- Inspiration
- Soviet Modernist architecture is steadily disappearing with the dismantling of the Soviet Union. Aside from politics, it has a meaning to be recorded as a symbol of an era. while this poster is a visual experiment, it also aims to record the culture of an era. Rethink the past for the future and discover some new possibilities.
- Image Credits
- Image #1: Creator QiuYuLi, Independent production, 2021.
Image #2: Creator QiuYuLi, Independent production, 2021.
Image #3: Creator QiuYuLi, Independent production, 2021.
Image #4: Creator QiuYuLi, Independent production, 2021.
Image #5: Creator QiuYuLi, Independent production, 2021. - Patents
- Copyrights belong to QiuYu Li, 2021.
Colors of Utopian City Poster
Design Interview about Utopian City Poster
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.
Grand Interview about Utopian City Poster
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.