pygmalion.xyz
未标题
Untitled
Shichao Yang 杨 始朝
GRA 462 Visual Communication VI Visual Communication Design The Design School Herberger Institute for Design and the Arts Arizona State University
ĺş?
Prologue
viii
Untitled
Untitled is a default state that indicated the existence of objects. Due to this vague wording, the affected subject and the content object have established an unbalance dependency relationship. That is, the expectation of the unknown driven by curiosity promoted the subject to approach the content actively. Untitled is an initiative practice to abandon kitsch. Milan Kundera has written in The Unbearable Lightness of Being: Kitsch causes two tears to flow in quick succession. The first tear says: How nice to see children running on the grass! The second tear says: How nice to be moved, together with all mankind, by children running on the grass! It is the second tear that makes kitsch kitsch. The first tear makes you feel good about yourself, and the second tear makes you feel belonging.
Prologue
未标题
ix
未标题是表明对象存在的一类公允指代。基于这种暧昧 措辞，受体主体与内容客体建立了不对等的依赖关系， 即由好奇心驱动的对未知的期许，推动了主体主动向客 体接近。
未标题是一种主动背离刻奇的实践。米兰·昆德拉在《生 命不能承受之轻》写道： 当看见草坪上奔跑的孩子，由刻奇引起了两行前后 紧密相连的热泪：第一行眼泪是：看见了孩子在草 地上奔跑， 多好啊；第二行是，和所有的人类在一起， 被草地上奔跑的孩子们所感动， 多好啊。 他强调： “第 二种眼泪使刻奇更加刻奇”。
第一行眼泪让你自我感觉良好，第二行眼泪让你感到有 了归属。
序
x
Untitled
Untitled erases the required attractiveness to become special, but because it erases the external, it gains attractiveness based on the inner. It becomes special in an ordinary way, instead of outstanding in a particular way. I believe that any content-based design will not become a kitsch behavior at any time. Because this method neither exists to gain recognition nor the constraints of the atmosphere, but demonstrates the design intention through independent expression. Special is generally less useful than normal, and less rewarding in the long term. Special things demand attention for the wrong reasons, interrupting potentially good atmosphere with their awkward presence. Jasper Morrison
April 22th, 2020
Prologue
未标题
xi
未标题抹去了为了变得特别所需要的吸引力，却又因为 抹去外在得到了基于内在的吸引力。因此它以平凡的方 式变得特别，而不是以特定的方式变得出众。
我相信任何基于内容的设计无论何时都不会成为刻奇的 行为，因为这种方式并非为了博取认同或气氛的约束而 存在，而是通过独立表达来释放设计的意图。
特殊通常较之寻常缺乏实用性，且从长远来看更 难令人满足。特殊的事物在不必要处使人分心，且 以其不搭调的形式打破潜在的良好氛围。
贾斯珀·莫里森
二〇二〇庚子年三月三十
序
Prologue
索引
xiii
Index
调研
序
viii
2
Research info-graphic, social issue topic
开场
16
Signal clock, poster show
定调
58
Amendment presentation, reflection
策划
70
Curation exhibit theme, campaign, digitalization
备忘
110
Memorandum postscript, acknowledgment, specification
调研
Research
4
Research
Untitled
info-graphic
未标题
I think that sorting the data into categories and displaying it in an artistic way, it is a meditation in itself.
信息示图
5
我认为把数据分门别类并以艺术性的方式展示 出来，这件事本身就是一种正念。
调研
6
Untitled
Weekly Total Steps 每周总步数
Weekly Average Temperature (℉) 每周平均气温（华氏度）
In the summer of 2019, I feel honored to join CH-LAB Ningbo as a member of the summer internship training program (CH-POOL).
在 2019 年的夏天，我有幸加入宁波川合创意 成为了暑期实习培育计划的一员。
During the ten-week period, my phone recorded detailed daily steps data. This data is used as an important reference and combined with other data from my living environment to form this data set of infographics. After comparing the data, I decided to position the comparison of the data on changing trends and correlations. The graphs of some data clearly reflect similar trends.
在十周的项目过程中，我的手机记录了详细的每 日步数，这个数据作为重要参考和我的生活环 境的其他数据结合起来组成了这份信息图的数 据集。在对比数据后，我决定将数据的比较定 位在变化的趋势与相关性上。部分数据的图表 很清晰的体现了相似的发展趋势。
Weekly File Production 每周新增的文件数
Weekly Weather 每周天气
Research
info-graphic
未标题
The two examples above are visual representations of the correlation between the total number of steps per week, the number of files and the average temperature. They use Cinema 4D as a modeling and rendering tool. All the elements in the scene are derived from the projects I made within ten weeks and other elements in the studio. I centered on the average temperature to compare the quantity of files and the total of steps per week because they look more relevant. But in these experiments, the trend is not well reflected, and other decorative elements destroy the visual hierarchy.
信息示图
7
以上列出的两个例子是对每周总步数，文件数 和平均温度的相关性的视觉化呈现。它们使用 了 Cinema 4D 作为建模和渲染工具。场景中 的所有元素都来源于我在十周内做的项目和工 作室内的其他元素。我以平均温度为中心展开 对文件数量和每周步数的比较，因为它们看起 来更加相关。但在这些实验中，趋势并没有很 好地体现出来，且其他装饰性元素破坏了视觉 的层级关系。
调研
8
Untitled
week
files
˚f
steps
1
13
84
50563
2
9
73
34913
3
69
76
40417
4
99
76
44291
5
33
75
50576
6
17
81
32845
7
84
85
34175
8
73
84
33840
9
67
83
36039
10
104
84
60988
D I A R Y AT 6/10 – 8/18
Research
fish
qing
yang
ting
a’tong
anzi
info-graphic
未标题
9
After turning to the expression of the flat graphics, the trend of the data becomes more intuitive. While files mostly indicate the workload in the studio, steps serve as a natural factor represented the fluctuation of weather, yet monitor the activities like field research we did at several spots.
在转向平面的表达后，数据的趋势显得更为直 观。文件数主要显示了工作室的工作量，而步数 则是代表天气变化的自然因素，但同时也监测 了我们外出调查研究的活动。
Hand illustration courtesy at the right bottom corner by LIAO Xirui during the internship, shows characteristic of our mentor friends in the design studio. She is a talented illustrator yet also do product design as major.
实习期间廖熹瑞提供了在右下角的手绘插图， 展示了设计工作室中我们导师朋友的特点。她 是一位有才华横溢的插画家，但同时主要从事 产品设计。
信息示图
调研
10
Untitled
What is a social issue?
社会问题是什么？
Social issue refers to the universal problem of a society. Social issues are social phenomena that cause the common life of human beings, the whole country or a part of individuals to be adversely affected due to social relations or social environment imbalance. Social issues must be caused by the disorder of one or more social phenomena. They generally have wide influence and attract the attention of many people. They need to be resolved by collective action of the government or members of society.
Research
社会问题，指社会所面临之普遍性问题。社会问 题是由于社会关系或社会环境失调，致使人类 全体、国家整体或一部分个体的共同生活受到 不良影响的社会现象。社会问题必须有一种或 数种社会现象产生失调的情况，一般有广泛的 影响力并引起许多人的注意，需要透过政府或 社会成员集体的行动方能解决。
social issue topic
未标题
11
Based on my background, I prefer to treat the Chinese society as the context of observation. For a long time, the mainstream reports on China have been full of prejudice, and the propaganda of Chinese local media has also been full of inflammatory arguments. I think my background can help me keep the facts and opinions as pertinent as possible in describing these issues.
立足于我的成长环境，我更倾向于以中国的社 会背景作为观察的语境。长期以来，外界对中国 的主流报道充斥着偏见，而中国本土媒体的宣 传同样遍布煽动性的论调。我认为我的背景能 够帮助我在这些问题的描述上尽量保持事实和 观点上的中肯。
Top 上
Bottom 下
Nationalism and Populism 民族主义与民粹主义
社会问题选题
Patient-doctor Disputes 医患矛盾
调研
12
Untitled
Time is a dimension in the real world. This mind map provides ideas for clarifying the relationship between social issues and time.
时间是现实世界中的一个维度。这张思维导图 为厘清社会问题与时间的关联提供了想法。
The clock is also a part of the social issue project and will be expanded in detail in the next chapter.
时钟同时也是社会问题项目的一部分，在下一 章中会详细展开。
Research
social issue topic
未标题
社会问题选题
13
调研
14
Research
Untitled
social issue topic
未标题
15
I can immediately recall many social problems in China, and they are all very acute and complicate. But in hot issues, overtime culture established a connection with time topic because of its time attribute.
我马上能想到许多中国的社会问题，且它们都 是非常尖锐而复杂的问题。但在热点问题中，加 班文化因它的时间属性与时间建立了联系。
Overtime has long been prevalent in China, often viewed as a hallmark of dedication and long-term success. The 996 event in early 2019 caused multiple communities to pay attention to the social issue of overtime. The 996 work system refers to a work system that starts at 9 am, ends at 9 pm and works six days a week. Aside from any health harm, companies that mandate 996 work system without proper compensation are violating Labor Law of PRC.
长期以来，加班在中国很普遍，通常被视为奉献 和长期成功的标志。2019 年初的 996 事件引 起了多个社区对加班问题的共同关注。996 工 作制指的是早上九点上班，晚上九点下班，一周 工作六天的工作制。 除却对健康造成的损害外， 在没有适当补偿的情况下强制执行 996 制度的 公司都在违反中国的劳动法。
社会问题选题
调研
开场
Signal
18
Félix González-Torres “Untitled” (Perfect Lovers) 1991
Untitled
“Don’t be afraid of the clocks, they are our time, time has been so generous to us. We imprinted time with the sweet taste of victory. We conquered fate by meeting at a certain TIME in a certain space. We are a product of the time, therefore we give back credit were it is due: time. We are synchronized, now and forever. I love you.” (1988)
Félix González-Torres 完美的恋人 1991
“不要害怕那时钟，它是我们的时间。时间已经对我们过于慷慨了。我们 用胜利的甜美给时间刻上印记。我们用在某个特定的时间和空间相遇征服 了命运。我们是时间的产物，因此当时间将至，我们也以时间来回馈。 我们是同步的，现在直至永远。 我爱你。”（1988） *译：Yichen Zhou
Signal
clock
未标题
10:47:10
19
06:20:35
The experiment demonstrated the early possibilities of clock, which fully discusses the relevance of visual language to communication abilities.
实验展示了钟面时间表示法的早期可能，它纯 粹探讨了视觉语言与传达效果的关联性。
The center vertical line indicates the hour hand, the inner circle indicates the minute hand, and the outer circle indicates the second hand.
居中垂线表示时针，内圈表示分针，外圈表示秒 针。如果不借助参考线，很难通过直接观察得 到准确时间。
Sketch are attached on the next page. The following clock face plans are all related to China’s overtime culture.
草图在下一页附上。接下来的钟面方案都与中 国的加班文化相关。
时钟
开场
20
Signal
Untitled
clock
未标题
1
21
2
1
The first clock face shows an employee working constantly. Time pass, a lot of coffee cups appera on his/her table. He/ She was tireless, unable to distinguish between day and night, nor notice when he/she overturned the coffee cup. The hand in the center of the screen shows the signs of coffee overturning.
第一款钟面描述了一位员工在不停工作。随着 时间的过去，他 / 她桌上的咖啡杯越来越多。他 / 她不知疲倦，分不清昼夜，也没有注意到什么 时候把咖啡打翻了。画面中央的指针表示了咖 啡打翻的痕迹。
2
The second clock face is a bloodshot eyeball. This clock does not even have hands, so it is only symbolic. Usually bloodshot eyes indicate that its owner has not rested well, or has never rested.
第二款钟面是一个布满血丝的眼球。这款钟甚 至没有指针，所以它只具有象征意义。通常布满 血丝的眼球代表它的主人没有休息好，或者从 未休息过。
时钟
开场
22
Untitled
3
4
3
The third clock face shows a scroll wheel and a villain prostrate on it. The idea of the scroll wheel comes from the hamster’s treadmill, and the villain refers to the wage slave. Once the wheel turns, the hamster will not stop unless it has exhausted its strength. The wage slave is same as hamster.
第三款钟面显示了一个滚轮和匍匐在它上面的 颜文字化的小人。滚轮的创意来源于仓鼠的跑 步机，小人则指代了社畜。滚轮一旦转动，除非 仓鼠用尽了力气，否则不会停下来。社畜也是如 此不断被榨干所有力气。
4
The fourth clock face is an alternative to the third. It extends the scroll wheel into a ring-shaped high wall that can trap employees, and refers to the devastation of overtime culture on wage slaves. Magenta is taken from the standard color of the 996,ICU movement: # DC3660, I think it reflects the aggressiveness of the work system.
第四款钟面是第三款的替代品。它将滚轮延伸 为可困住员工环形高墙，指代加班文化对社畜 的摧残。洋红色取自 996，ICU 运动的标准色 #DC3660，我认为它体现了加班文化的侵略性。
Signal
clock
未标题
This is the final clock face. Its surface is laseretched with excerpts from the Labor Law of the People ’s Republic of China, and the content contained is directly related to the illegal activities of the overtime culture. In this way, to convey the current situation that the Chinese labor law does not effectively protect the legal rights of workers.
时钟
23
这是钟面的最终形式。它的表面用激光蚀刻有 中华人民共和国劳动法的节选，所包含内容均 与加班文化的违法行为直接相关。通过这种方 式，来传达中国劳动法没有有效保护劳动者的 合法权利的现状。
开场
24
Clock Face Etched with Labour Law of the PRC
刻有《中华人民共和国 劳动法》节选的钟面
frosted acrylic (top side)
磨砂亚克力 （正面）
Minute Hand with Sphere Object
带球体的分针
clear acrylic, sprayed ping-pong
透明亚克力， 喷漆乒乓球
Pedestal & Ascent
基座与升部
white acrylic, clear acrylic tube
白色亚克力， 透明亚克力管
Quartz Clock Movement (high torque)
石英钟机芯 （高扭矩）
LED Light Strip (with battery case)
LED 灯带 （附电池盒）
Shell
过渡层
plywood, 4 layers
四层胶合板
Signal
Untitled
clock
未标题
The clock body simulates the office atmosphere at night. The clock can be illuminated by the LED strip hidden under the base. The frosted acrylic on the top simulates the frosted glass walls of offices, which allows light to pass through in a subtle way. The ascent of the clock is composed of transparent acrylic tubes, so that the audience can see what is happening from God’s perspective. Through the acrylic tube, the dark ball is driven by the hour hand and keeps moving. From the metaphorical level, it refers to the fact that the wage slave is forced to work overtime.
时钟
25
整个钟体模拟了夜间的办公室氛围。通过藏在 底部的 LED 灯带，钟体可以被照亮。顶部的磨 砂亚克力则模拟了一些办公室的磨砂玻璃墙， 它使光线以熹微的方式透过。钟体的高度部分 由透明亚克力管构成，使观众能够以上帝视角 来查看正在发生的事。在亚克力管中，黑色的球 被指针带动而不停运动，从暗喻的层面指社畜 被迫不停加班的事实。
开场
28
Untitled
On the other hand, only the vague dark spot can be seen through the top layer with the engraved legal provisions, which means that many workers did not get real protection even if they are suffer a lot. This project called for more public opinion exposure and citizen action from the social perspective.
Signal
从另一个方面来说，透过刻满法律条文的顶层 只能看到模糊的黑影，这意味着许多劳动者即 使受害亦得不到确实的保护。这个项目呼吁了从 社会层面呼吁更多舆论曝光和公民行动。
clock
未标题
时钟
29
开场
30
Signal
Untitled
poster show
未标题
31
For the past decade, ASU Visual Communication Design students have hosted the poster show to fundraise for the senior show in May next year.
过去十年以来，亚利桑那州立大学视觉传达设 计系的学生主持了海报展，以筹措资金举办于 次年 5 月进行的毕业设计展。
In Fall 2019, the 14th annual Visual Communication Design Poster Show and Auction of the Design school have received posters donated from renowned graphic design professionals across the globe.
在 2019 年秋季，设计院收到了许多全球知名 的平面设计专业人士捐赠的海报，它们将在第 十四届平面设计海报展暨拍卖会上展出。
海报展
开场
32
Untitled
Arizona State University Visual Communication Design
Arizona State University Visual Communication Design
Wherever November 9 06:00 p.m.–08:30 p.m.
Wherever November 9 06:00 p.m.–08:30 p.m.
1
2
1
This is the only typographic poster. “POSTER”, “SHOW” has been added to the paper texture to refer to the posters.
这是唯一的一款纯文字海报。"POSTER", "SHOW" 被加入了纸张的质感，以指代海报。
2
This picture poster is made up of nearly 200 identical rectangles stacked with a 1 ̊ angle difference. It implies the great quantity of posters.
这款图片海报由近 200 相同矩形以 1 ̊ 角度差 堆叠而成。它暗示了海报的数量之多。
Signal
poster show
33
未标题
wrap yourself in the VCD poster show Visual Communication Design Program
Poster Show
WIRED
The Design School
Social Science Building
November 9 06:00 p.m.–08:30 p.m.
3
Poster Show
Social Sciences Building
The Design School
asupostershow.com
November 13 06:00 p.m.–09:00 p.m.
Visual Communication Design Program
4
3
Similar to the previous scheme, this scheme shifts the perspective to the edge of the poster. It provides a stable visual tension, but also refers to the twisted rope, expressing the aspiration of connecting the audience with the poster show.
与前一个方案相似，这个方案将视角转移到了 海报的边缘。它提供了一种稳定的视觉张力，同 时也与扭转的绳相联系，表达了将观众与海报 展连接在一起的愿景。
4
This iteration only modified the copy and information layout.
这个迭代仅修改了文案和信息布局。
海报展
开场
Visual Communication Design Program
November 13 06:00 p.m.–09:00 p.m.
asupostershow.com
image based verdict
The Design School
Social Sciences Building
Poster Show
wrap yourself in the VCD poster show
36
Untitled
Nominated Theme Poster Design by Tyler Owens-TO
Signal
poster show
未标题
37
2020/4/14 3:00 PM
SY I actually want to ask, what’s the deep concept of the poster? I want to documented it.
海报展
我实际上想问的是，海报的深层意图是什么？ 我想把它们记录下来。
开场
38
Signal
Untitled
poster show
未标题
39
TO I saw this design that Karl martens had made, and obviously took a lot on inspiration from the effect that he made with the layering, from there I recreated it and then added the paper folds from the 2nd year transparency poster so that it would add another layer to the composition & reference a poster more because without the folds it doesn’t communicate a piece of paper, also the students will recognize the reference to the transparency project.
我参考了卡尔·马滕斯（Karl Martens）的设计， 显然从他对分层的效果中汲取了很多灵感，并 从那里重新创造了它，然后在第二年的透明海 报上添加了折叠效果，从而又为结构和第二年 项目的联系增加了一个层次，因为没有褶皱就 无法传达这是一张纸，而且学生也会意识到这 是对透明度项目的引用。
At first I didn’t know what to name it and I didn’t want to add a pun and try to make it funny, but when I finally did add a not serious name the copy on the poster made more sense with the design and made it a better poster, at the end I realized that the design didn’t have to be so serious and I can experiment with a more playful tone and the design will still resonate.
起初我不知道该把它命名为什么，我也不想加 一个双关语并尝试使其有趣，但是当我最终确 实写下了一个不太认真的名称时，海报上的文 案变得对设计更加呼应，并使其成为更好的海 报，最后我意识到设计没有不必这么认真，我可 以尝试更有趣的语气，且设计仍会引起共鸣。
I also initially didn’t start with any concept besides that I liked the Karl martens design, and that made me feel like a bad designer, but then I designed backwards starting with the image and then adding the concept to it, which was also a sort of lesson to me that you can assign meanings to images even when not intended.
除了对卡尔·马滕斯（Karl martens）设计的热 衷之外，我最初也没有任何想法，这让我感到自 己是一个糟糕的设计师，但后来我从图像开始 进行反向设计，然后将概念加入其中。给我的一 个启发，即使图像没有意义，也可以为其赋予另 外的含义。
海报展
开场
40
Untitled
TO Also after making the poster I began to notice other similar designs such as:
同样在完成海报后，我开始注意到其他类似的 设计，例如：
TO I felt concerned that I took too much inspiration from Karl Martens so I tried to look for more similar designs to make myself feel better, and was able to find a lot.
我感到担心的是，我从卡尔·马滕斯（Karl Martens）设计中汲取了太多，因此我尝试寻找 更多类似的案例，以使自己得到更多佐证，最终 我找到了许多类似的。
但是，对那时的我来说，折叠式透明性和版式 的使用对我来说是独一无二的，而且我了解到 不必对所有设计都全然严肃，这一点对我很有 价值。
But then the use of folded transparency and layout with the typography felt original to me and also what I learned about not having to be serious in all my designs was valuable so it felt worth it.
Signal
poster show
未标题
41
SY I did’t read it, does the hole indicate a punch? And also in your poster.
我从未读过这本书，这些洞和你的海报设计中 的洞是否指被打穿的孔？
TO Not necessarily, it just indicates depth, so that with the fold there are 3 layers.
不一定，它仅仅指示了层级，在这里包括折叠部 分一共有 3 层。
SY So all fold parts are fold to the upside?
那么所有折叠部分都向上翻吗？
TO Yes folded up.
是的。
海报展
开场
42
Untitled
SY Are these size of area that fold calculated or on some reason? Also the placement of the depth indicator?
这些翻折的面积是基于特定的计算或出于其他 原因吗？ 另外这些标记参差的洞的位置呢？
TO That was just calculated by eye mostly, but the line it makes can’t be leading your eye to the center of the top of the paper or the center of the paper horizontally because that makes the composition too static, also the fold can’t be at 90 degrees because that also makes it too static.
多数情况下，这只是目测得出的，但是它所形成 的线条不能使您的眼睛看到纸张顶部的中心或 水平方向的纸张中心，因为这会使构图过分死 板，而且折痕也不能是90 度，因为这样做也会 使（这个结构）僵化。
And then the circles are also calculated by eye just to place them so that they are balanced creating the right amount of tension.
然后，圆的位置也是目测的得出的，它们使结构 平衡以产生适当的张力。
Also making sure not to intersect the type in a weird way so it doesn’t make too much noise visually.
另外，同时也确保文字不会以一种怪异的方式 相遇，以免在视觉上过多的分散注意力。
Also the concept was also playful. Playful and depth I guess. I guess designers can play with depth.
这个概念也很有趣。 我觉得有趣且有深度。设 计师可以（也应该在设计中）尝试层次感。
Signal
poster show
未标题
43
SY A pun.
一语双关。
TO Yeah but overall I don’t like puns. At all.
是的但总体来说不喜欢这些。
SY What’s the reason?
为什么呢？
TO That was because I didn’t have a concept so I had to distract people with a pun.
因为我没有足够充分的设计意图以至于不得不 用双关语转移人们的注意力。
SY How about when you have one?
但如果你有充分的意图呢？
TO If I have a concept maybe I won’t have to use humor, but also the pun was because the poster wasn’t for me, other people maybe like puns and they will see the poster and their the ones who have to notice it or like it, also the pun did fit the playfulness of the dynamic sort of pointless visuals so that’s why it worked. And then people will wonder why there is a hole so I had to say whole. That’s one of the things I learned from making it that a design has to explain itself.
如果我有一个概念，也许我不必用幽默，但使用 双关语是因为海报不是为自己做的，其他人可能 喜欢双关语， 他们和发现这些的人会看到海报， 或者就像它一样，双关语也确实适合产生动态 无意义的视觉效果的趣味性，这就是它起效的 原因。 然后人们会想知道为什么有一个洞，所 以我不得不提到（这是个）* 洞。 这是我从设计 中学到的东西，那就是设计必须自圆其说。
海报展
开场
Posters
Clocks
a whole lot of 11.13.19 6–9.00
asupostershow.com by web committee
Location
Special Thanks
posters 0pm
46
Untitled
4 columns minimal sitewide layout
Signal
poster show
未标题
海报展
47
开场
48
Untitled
guide design for the venue by event design committee
Signal
poster show
未标题
海报展
49
开场
50
Untitled
impress
2019/08/08
Signal
17 minutes poster challenge
poster show
Shichao Yang
LIAO XIRUI
zy21941@nottingham.edu.cn
开场
海报展
51 未标题
52
Signal
Untitled
poster show
未标题
海报展
53
开场
54
Signal
Untitled
poster show
未标题
海报展
55
开场
56
Signal
Untitled
poster show
未标题
海报展
57
开场
定调
Amendment
60
Untitled
Why should anyone care about my topic?
为什么别人要关心我的主题？
To introduce people outside of mainland China to topics they are not familiar with, it is necessary to also introduce the background of the issue. For instance, overtime culture has basically no such tradition in Europe and America countries for historical reasons. Similarly, you must tap into the common ground of people, so that you can get a wider resonance when presenting the topic.
要向中国大陆以外的人们介绍他们不熟悉的话 题，必须同时介绍问题产生的背景。比如加班文 化，因为历史原因在欧美地区基本上没有这种 传统。同样的也必须挖掘人们的共同点，这样 在描述话题时才能得到更广泛的共鸣。
Amendment
presentation
未标题
陈述
61
定调
62
Untitled
996 is an Inhuman Working Schedule
landing slide of thesis presentation
Amendment
presentation
未标题
63
996 = work 9am–9pm 6 days a week
陈述
定调
64
Untitled
Developers’Lives Matter Gaining more publicity only recently, this work schedule, however, has long been a known “secret� practiced in a lot of companies in China.
First reported introduced the 996 work schedule, without paying employees overtime.
Announced adoption of 996 work schedule in the annual convention.
Reported some departments have begun implementing the 996(5) schedule.
Sept. 2016
Jan. 19, 2019
Mar. 15, 2019
timeline of the 996 event
Amendment
presentation
未标题
65
Project “996,ICU” launched, ranked as the second repository on GitHub in 2 weeks.
The repository blocked by several major browsers from Mainland China.
Employees at Microsoft and GitHub put forward a petition in support of the 996, ICU campaign.
Mar. 26, 2019 to present
Apr. 3, 2019
Apr. 18, 2019
陈述
定调
66
Untitled
Stuck at the Office
Everyday
10.6% 24.7%
2 or 3 days per week
19.2%
1 day per week
A quarter of people surveyed in China said they worked overtime everyday. Almost 90% of people worked overtime.
Never 45.5%
Sources: Weibo and Boss Zhipin, a Chinese job-hunting website. Survey of 2,268 people in April on Weibo, a Chinese service akin to Twitter
Nose to the Grindstone
5.4% 2.9%
21.8%
No days off ½ day off weekly
Roughly two out of three Chinese surveyed don’t get a regular two-day weekend break.
1 day off a week
36.2%
Alternating weekly 1 day off or 2 2 days off a week
33.6%
Sources: Weibo and Boss Zhipin, a Chinese job-hunting website. Survey of 2,268 people in April on Weibo, a Chinese service akin to Twitter
Why does it matter?
Amendment
presentation
67
未标题
Karōshi : Death by Overwork Overwork culture is not new in Asia.
Cultural phenomena such as being unable to leave work until one’s boss leaves and regularly clocking more than 80 hours of overtime a month have been reported for decades.
When You Are One of Them Proportion Of Overtime Working Over 10 Hours in Each Profession.
The evidence shows design related job ranked as the 3rd highest among other professions of overtime.
34
25.5
17
8.5
0
Product
Tech
Design
R & D
Legal
陈述
PR
Operation
Sale
Purchase
HR
Finance
CS
定调
68
Untitled
Developer Community Developers safeguard their legitimate rights and interests in the spirit of open source. 955.WLB (Work-Life Balance) 996.LIST (Blacklist)
license Anti 996
Amendment
reflection
未标题
69
The original idea of the campaign for the social issue was to introduce solutions to China’s overtime culture and proceed from the 996 working system. The expected solution is to create a blacklist for job seekers. This idea is based on the form system that the developer community has developed on GitHub, but I hope this application can be targeted at all job seekers, so it will reflect a consistent and friendly experience for various users.
最初对于社会问题企划的想法，是借由介绍中 国的加班文化并从 996 工作制出发给出解决方 案。预计的方案是制作一个面向求职人的黑名 单。这个想法基于开发者社区已经在 GitHub 上开发出的表单系统，但我希望这个应用能面 向所有求职者，所以它会体现面向各种用户的 一致的友好体验。
After the presentation, I received many different feedbacks. Which impressed me the most is that even though I have introduced my target audience, there is still feedback that thought the target audience for this project is ambiguous.
在陈述结束后，我收到了许多不同的反馈。其中 最让我印象深刻的是，即使我已经介绍过我的 目标受众，仍有一条反馈认为这个企划的目标 受众含糊不清。
Since not all listeners were satisfied with this result, I eventually turned to a plan that fully introduced the 996 work system.
由于并不是所有受众都能对这个结果满意，所 以我最终转向了完全介绍 996 工作制的企划。
反思
定调
策划
Curation
72
Curation
Untitled
exhibit theme
未标题
73
The graduation exhibition also needs a theme, and this theme is also produced by poster competition. The overall atmosphere of the graduation exhibition will be determined by the elements on the poster with the highest number of votes.
毕业展同样需要一个主题，而这个主题也是由 海报票选产生。毕业展的整体气氛将由得票数 最高的海报上的元素决定。
In accordance with established practice, the nominated topics will also appear on the cover of the handbook of the 2020 graduation exhibition. This book will record everyone’s social issues or the Psyche project in cooperation with NASA.
按照惯例，被提名的主题也会出现在 2020 年 毕业展的手册的封面，这本书会记录每个人的 社会问题或与 NASA 合作的 Psyche 项目。
But 2020 is unique in history. Because of the outbreak of the novel coronavirus, the graduation exhibition was transferred to the online form, which corresponds to the concept of theme adapt proposed by Amanda Sia, which was finally nominated. We showed great adaptability.
但 2020 年在历史上是绝无仅有的。因为新冠 疫情的爆发，毕业展被转移到线上进行，这一点 恰好对应了最终被提名的由 Amanda Sia 提出 的主题适应（adapt）的概念。我们展现了绝佳 的适应性。
会场选题
策划
74
Untitled
1
2
1
The early dea of th s typograph c poster spread out the names of all the students n a s ngle column and cop ed a lot t mes, and got a ntense macro effects. nsp red by th s, the next terat on vers on was produced.
这个纯文本海报的早起想法将本届所有学生的 名字以单列形式铺开并大量复制，得到了大量 的宏观的效果。受此启发，产生了下一个迭代 版本。
2
Th s terat on made more cop es. nsp red by a p cture s m lar to the prev ous spread, some name set were overlapped and offset to form an effect s m lar to a damaged pr nter. At the same t me, t also has a strong sense of layer ng, wh ch can feel the correspond ng dens ty and echo the theme t tle.
这个迭代做了更多复制。同样受到一张类似前 页效果的图片启发，将部分名字重叠错位，以形 成类似损坏的打印机的效果，同时也有强烈的 层次感，能够感受到对应的密度，呼应主题。
Curation
exhibit theme
未标题
75
ō ī ī ū ǐ
These are some quick sketches to explore the flexibility of the dynamic composition with a mass of information.
这些快速草稿探讨了丰量信息在动态构成中的 可塑性。
会场选题
策划
¥ ¡ ¦¡ §£¨
typographic surge
¡ ¢¡ £ ¡¤¤¡ ¤ £¢
¡ ¨ ¤ ¥
78  � � �  �  � € ‚ ƒ € ‚ „ € … ˆ ‰ Š ‹ � € Š Š  € Š Ž Ž  �
 ƒ ‡ ‡ ‘� � �  �   † ‡ Š � ‡  € … •  ‘ „ ‘
Ž  ƒ ‹ ‹ Ž “
� €
Â
 Â?    Â?      †‡ †    ‡  Œ †  † ÂÂ
    ‘   † ‘ € Â’Â Â Â? ‚  “ „ ‚”  ‘ ‡
‡ � ‘ – Š
  ‚   „ ˆ
† ˆ �  †
  †  „
Untitled
 � � �
Â? Â? Â Â
 Â
ˆ ‰ Š ƒ �
Â? Â? Â
Â…
 � � “
„ ƒ
� „
Â? Â? Â?
Â?
� Š ƒƒ ƒ ƒ
Â
  Š ’
 Š Š Œ ƒƒ
… ƒ
†
‡
 Â
‹ ‡
‹  €
Â
€ Â
‡ Š
†
‡ Â
• Â
‘ ˆ
ƒ �
‘ ƒ „�
‡ ‘ ‚
‚  ‡
‚  �  ƒ �  ƒ
 ƒ „” ‘
‚  ‘ƒ
 ƒ
ˆ�
‘ – Š
‡ ‚  „
 ‡
‹ Ž “
Ž Ž ƒ
Â? ÂŽ
Â… ‘ Â
1
 � �
2
1
Based on the confidence in the previous poster, the same name set was directly cited in this scheme, and the items corresponding to each name were also added. The title means surge, and it is an impression of the severe social chaos in early 2020.
ĺ&#x;şäşŽĺŻšä¸Šä¸€äť˝ćľˇćŠĽçš„č‡ŞäżĄďźŒĺœ¨čż™ä¸Şć–šćĄˆä¸ç›´ćŽĽ 埕用了相ĺ?Œçš„ĺ??ĺ—é›†ďźŒĺ?Œć—śäš&#x;ćˇťĺŠ äş†ćŻ?个ĺ??ĺ—寚 ĺş”çš„éĄšç›Žă€‚ć ‡é˘˜ć„?ä¸şćż€ĺ˘žďźŒć˜ŻĺŻš 2020 ĺš´ĺˆ?的剧 çƒˆç¤žäźšćˇˇäšąĺ šĺ‡şçš„ć„&#x;ćƒłă€‚
2
This iteration rearranged the layout of names and projects. Along the range of the background image, the dynamic range of values is preset for each name according to the trajectory and the index of gray, and the entire picture area is filled with the same distance. The background hints at the development trend of surge.
这个čżäťŁé‡?ć–°ć•´ç?†äş†ĺ??ĺ—ä¸ŽéĄšç›Žçš„ćŽ’ĺ¸ƒć–šĺź?。 沿ç?€čƒŒć™Żĺ›žçš„čŒƒĺ›´ďźŒćŒ‰č˝¨čżšĺ’Œç °ĺşŚćˇąćľ…ďźŒä¸şćŻ?个 ĺ??ĺ—é˘„čŽžäş†č‰˛ĺ€źçš„ĺŠ¨ć€ čŒƒĺ›´ďźŒĺšśç”¨ç›¸ĺ?Œçš„čˇ?猝 排来整个甝é?˘ĺŒşĺ&#x;&#x;ă€‚čƒŒć™Żćš—ç¤şäş†ćż€ĺ˘žčż™ä¸€ćŚ‚ĺżľ çš„ĺ?‘幕蜋势。
Curation
exhibit theme
79
未标题
3
4
3
This iteration only contains adjustments to overall legibility and grayscale.
这个迭代仅包含对整体可读性和灰度的调整。
4
This iteration only contains adjustments to overall legibility and grayscale, too.
这个迭代仍包含对整体可读性和灰度的调整。
会场选题
策划
image based surge
82
Untitled
LINDSAY S HA RPE A MA NDA S IA BR ANDON LIN
RYA N STE WA RT
LE A RN AB OUT THE
TAY LOR MA RTINE Z
STE V E N STE WA RT
AL L I E MCGUFFIN
DA NIE LLE STORVOLD
S O CIA L IS S UES THAT
OL I VE MIE R HOLL A ND C L AI RE MURPHY
S HA PE OUR SOCIET Y
HAOYI S UN SYE D DE E NA H DA I TA NG LISA TR A HIN A RE IA WORDE N
BIA NCA OLIVAS T YLE R OWE NS QINGYA NG MI RILE Y PA DUA MEGA N RE NIE WICKI
K A R A VA N ZILE VA LE RIE V ILL A LOB OS A LE X V INCIGUE RR A S HICHAO YA NG
C L AUD I A FORERO AUBREE GARRET T JES SI CA GAR Z A CART ER GI LTON Y UNA GONG
CAS S I DY A LB R I G HT M IR A N DA A LFA R O M AR I S O L A N D R A D E - M U Ñ OZ N ERE I DA ÁV I L A JAC KS O N B R OW N
OP EN TO P U B LI C L AUREN GONZ AL ES
MAY 7 – 1 0, 2020
W ESL EY GRI F F I T H
10 AM – 4 PM
SAR AH H ERMOSI L LO AL L I SON K ANDAS C OURT NEY K ANE
U S BA N K TOW ER
Y VO N N E B U E N O A N A M I K A D EO K AR
1 01 N 1 ST AVE
N A D I N E E LBAYA R
P H OEN I X , A Z 85 01 2
A LE X A N D R A ESTREL L A J I XUA N FA N
2020 VIS UAL COMMUNICATION DESIGN GR ADUATION EXHIBITION
AS U VC DSEN I ORSH OW.C OM
Nominated Theme Poster Design by Amanda Sia-AS
Curation
exhibit theme
未标题 by Amanda Sia V 3.000 amandasia.co alphabet
83
adapt
ABCDEF GhIJKLMN OPQRST UVWXYZ
number + punctuation
(01234).,:! "56789"?'会场选题
策划
84
Curation
Untitled
exhibit theme
未标题
85
2020/4/19 2:31 PM
SY What’s the general concept of your typeface adapt? If you have detailed tech on the glyphs production maybe specific on it.
会场选题
请问关于你设计的字体 adapt，它的总体理念 是什么？如果你有具体的字体产出流程可以请 你展开说说吗？
策划
86
Untitled
AS The overall grid for my typeface is pretty simple, as you can see all the characters have very similar widths and heights. I tried to build a consistent “break” in the letters but it ended up looking so awkward so I realized it needs to feel like a system and not always follow a strict system. So by looking at other modular typefaces and playing around with different options, I was able to make a somewhat cohesive typeface.
Curation
整体来说我字体的网格非常简单，因此你可以 发现所有字符都拥有相近的宽度和高度。我试 图在字母中建立一个一致的“切断”，但实际效 果看起来很奇怪，因此我意识到它需要在系统 上作出变通，而不是始终遵循刻板的规则。在研 究其他模块化字体并尝试不同的方式后，我得 到了一款具有凝聚力的字体。
exhibit theme
未标题
87
SY What inspired you designed the poster? Does the manual you show me in JFK be the power helping you bridge your font to the overall concept of the layout?
你的海报设计的灵感来源是什么？你在纽约向 我展示的手册是否对将字体与布局的整体概念 联系起来有益？
AS I have always been incredibly interested in typography and knew I wanted it to be at the forefront of my design. I have actually been inspired by Josef Albers’ stencil lettering system and how he could build an entire system only by slightly manipulating a simple shape with each character.
我一直对字体排印非常感兴趣，并且我希望它 能成为设计的最前沿。 实际上，我受到了约瑟 夫·亚伯斯（Josef Albers）的模版刻字系统的 启发，他仅通过对每个字符基本形状的略微操 纵就可以构建整个系统。
我希望开发模块化类型的系统，因为我认为它 在品牌推广方面被证明是成功的，因为它可以 灵活地在任何媒介上使用。因此，与我的所有项 目一样，我绘制了一个思维导图，以帮助我分解 我想对这个海报放置的感觉和信息。这也是我 决定使用适应（adapt）这个词的地方，即不断 变化以适应新情况的概念。
I also knew I wanted to develop a modular type system because I think it is proven successful in branding since it is flexible to go on any medium. So as with all of my projects, I drew a mind map that helped me breakdown the feeling and message I wanted to give with this poster. That’s where I decided to go with the word adapt, the concept of continuously changing to adjust to new circumstances.
会场选题
策划
88
Untitled
SY Are there some designed placement relationship behind the poster on the element took from your font? Like how these elements been arranged on the canvas in technical way?
在你的海报设计背后是否有特定的对于来源于 你的字体的元素的位置关系？比如说这些元素 技术上怎样被排列？
AS I don’t think there was a very technical way that I arranged everything either than being on a grid and aligning with one another. With the fundamental shapes and colors of this poster, I wanted to show the fundamentals of design are at the basis of what we do, yet seeing how they build on each other and how they interact makes us the designers we are today, it even reflects our four year journey.
我认为，除了在网格上制作并相互对齐之外，没 有一种绝对的技术上的方法可以安排所有内容。 借助这张海报的基本形状和颜色，我想展示设 计的基础是我们的作品的基础，和它们如何相 互构建、如何相互作用并将我们塑造成今天的 设计师，它甚至代表了我们的四年。
我还希望形状的混搭能描绘出浏览不同展品以 及学习每个社会问题的体验。每个形状都与页 面上的至少一个其他元素对齐，这继续暗示我 们所有问题均以某种或其他方式相联系。
I also wanted the mix of shapes to even portray the experience of walking through different exhibits and learning about each social issue. Each shape is aligned to at least one other element on the page which continues the narrative that all of our issues are connected in one way or another.
Curation
exhibit theme
未标题
89
SY Some other things you wanna say on your future design style?
你可以对你未来的设计风格做些评论吗？
AS I think I have always struggled on figuring out what my personal “style” was. I went through moments of intense imposters syndrome and I almost had to lose myself to figure out my style. This poster makes me remember my love for typography and how it is something I want to continue to venture into in the future. I want to remember design is suppose to make you feel something. You can have reasoning for every design choice you make but if it isn’t connecting with you audience, then what’s the point?
我想我一直在努力弄清自己的个人“风格”是什 么。我经历了激烈的冒名顶替综合症的时刻，我 几乎不得不迷失自我来弄清自己的风格。这张 海报唤起了我对字体的热爱，这是我希望在未 来继续挖掘的东西。我想记住设计是为了让你 体会到某种东西。你可以对自己做出的每个设 计选择都有保持自己的见解，但是如果它不能 让你的观众感同身受，那么意义何在？
会场选题
策划
92
Untitled
Introduce Mo Yawen 来认识一下莫亚雯
Curation
campaign
未标题
93
Mo Yawen is a designer living in Shanghai. Like many wage slaves in this city, she works from 9 am to 9 pm six days a week and is still squeezed by her boss after work. The concrete forest, the flow of people. She had ever thought about escaping from the breathless air, whose ambitions have never been magnificent?
莫亚雯是一位在上海生活的设计师。和这座城 市中的许多社畜一样，她过着朝九晚九且下班 了还被上司压榨的生活。高耸的水泥森林，来往 的人潮如织，她也想过要逃离这让人窒息的空 气，谁的理想不曾恢弘远大？
This project about the overtime culture of china aims to show the real-life experience under the 996 work system to the target audience from different cultural backgrounds, through a realistic depiction of the lives of fictional characters.
这个关于社会问题的项目通过对虚构人物生活 的写实刻画，以期将在 996 中生活的真实感受 展现给来自不同文化背景的目标受众。
Although the form of the illustration makes everything seem flat, the blurred face represents a similar encounter for all people living in this metropolis.
尽管插画的形式让一切都显得很扁平，但被虚 化的面部代表了生活在这座城市里芸芸众生的 相似遭遇。
This character system is based on Pablo Stanley’s humaaans library. This system enjoys a good reputation in the UI/UX community, and its modular concept facilitates the rapid production of consistent character scenes.
这套人物系统基于 Pablo Stanley 的 humaaans 资 产库。这套系统在 UI/UX 社区中拥有良好的声誉， 其模块化的理念为快速制作自洽的人物场景提供了可 能性。
企划
策划
7号线
南翔
Nanxiang
上大路
Shangda Road
延安西路
桃浦新村
场中路
Taopu Xincun
Changzhong Road
大场镇
武威路
Dachang Town
Wuwei Road
West Yan'an Road
10.8 kilometers 行知路
祁连山路
Xingzhi Road
Qilianshan Road
大华三路
Dahuasan Road
李子园 Liziyuan
新村路
Xincun Road
上海西站
West Shanghai Railway Station
岚皋路
Zhenru
Jinyun Road
金沙江西路
West Jinshajiang Road
Zhongtan Road
Zhenping Road
13号线 金运路
中潭路
镇坪路
枫桥路
Fengqiao Road
曹杨路
Caoyang Road
丰庄
Fengzhuang
祁连山南路
South Qilianshan Road
武宁路
长寿路
Wuning Road
大渡河路
真北路
金沙江路
Daduhe Road
Zhenbei Road
江湾城-虹桥火车站)
Jinshajiang Road
Ji
Changshou Road
隆德路
昌平路
Longde Road
Changping Road
虹桥2号航站楼
Hongqiao Airport Terminal 2
Mo Yawen’s Apartment is on Yan’an West 淞虹路 北新泾 威宁路 Road, and her company is on Century Avenue. It is only 11 kilometers from Yan’an 虹桥1号航站楼 West Road to Century Avenue. But during the 上海动物园 morning and evening peaks, it seems that there are tens of thousands of light-years between 11 kilometers. Songhong Road
Beixinjing
中山公园
娄山关路
g Road
中春路
chun Road
gxin Road
江苏路
Zhongshan Park
Loushanguan Road
Weining Road
Hongqiao Airport Terminal 1
藤路
虹莘路
Langao Road
真如
Jin
Jiangsu Road
延安西路
West Yan'an Road
Shanghai Zoo
龙柏新村
Longbai Xincun
龙溪路
Longxi Road
伊犁路
水城路
宋园路
Yili Road
Shuicheng Road
常熟路
Changshu
虹桥路
Songyuan Road
Hongqiao Road
交通大学
上海图书馆
Jiaotong University
Shanghai Library
衡
Heng
莫亚雯的家在延安西路， 她的公司在世纪大道。 从延安西路到世纪大道只有 11 公里，可在早晚 高峰，11 公里之间仿佛隔了数万光年。 七宝 Qibao
星中路
Xingzhong Road
合川路
漕河泾开发区
Hechuan Road
Caohejing Hi-Tech Park
桂林路
Guilin Road
宜山路
上海体育馆
顾戴路
东兰路
Donglan Road
虹梅路
Hongmei Road
虹漕路
Hongcao Road
桂林公园 Guilin Park
漕宝路
Caobao Road
Zhaojia
Xujiahui
Shanghai Indoor Stadium
Gudai Road
肇嘉
徐家汇
Yishan Road
上海游泳馆
Shanghai Swimming Cente
漕溪路
Caoxi Road
上海体育场
Shanghai Stadium
龙漕路
Longcao Road
龙华
Longhua
D
Guoquan Road
Gongkang Road
江浦路
Jiangpu Road
江湾镇
Jiangwan Town
同济大学
Tongji University
彭浦新村
鞍山新村
世纪大道
Anshan Xincun
Pengpu Xincun
大柏树
Dabaishu
四平路
Siping Road
汶水路
Wenshui Road
赤峰路
Century Avenue
Chifeng Road
6.7 miles
曲阳路
上海马戏城
Quyang Road
Shanghai Circus World
A
西藏北路
虹口足球场
North Xizang Road Hongkou Football Stadium
延长路
邮电新村
Yanchang Road
Youdian Xincun
中兴路
Zhongxing Road
隆昌
Longcha
中山北路
North Zhongshan Road
东宝兴路
Dongbaoxing Road
宁国路
Ningguo Road
宝山路
上海火车站
d
Baoshan Road
Shanghai Railway Station
海伦路
Hailun Road
临平路
江浦公园
Linping Road
Jiangpu Park
四川北路
North Sichuan Road
大连路
Dalian Road
汉中路
Hanzhong Road
江宁路
iangning Road
曲阜路
Qufu Road
Yangshupu Road
Tilanqiao
International Cruise Terminal
Tiantong Road
杨树浦路
提篮桥
国际客运中心
天潼路
新闸路
Xinzha Road
自然博物馆
浦东大道
Shanghai Natural History Museum
Pudong Avenue
民生
Minsheng
静安寺
南京西路
ng'an Temple
人民广场
West Nanjing Road
People's Square
南京东路
陆家嘴
East Nanjing Road
Lujiazui
源深体育中心
Yuanshen Stadium
豫园
淮海中路
Yuyuan Garden
Middle Huaihai Road
东昌路
大世界
Dongchang Road
Dashijie
黄陂南路
South Huangpi Road
路
世纪大道
u Road
Century Avenue
商城路
陕西南路
衡山路
Shangcheng Road
South Shaanxi Road
杨高中路
Middle Yanggao Roa
老西门
新天地
gshan Road
Laoximen
Xintiandi
浦电路
浦电路
Pudian Road
嘉浜路
abang Road
嘉善路
打浦桥
Jiashan Road
Dapuqiao
马当路
Madang Road
陆家浜路
Pudian Road
上海科技
Shanghai Science and Te
小南门
Lujiabang Road
Xiaonanmen
世纪公园
Century Park
er
西藏南路
蓝村路
South Xizang Road
东安路
Dong'an Road
大木桥路
Damuqiao Road
鲁班路
Luban Road
南浦大桥
Nanpu Bridge
Lancun Road
塘桥
Tangqiao
上海儿童医学中心
Shanghai Children's Medical Center
世博会博物馆
World Expo Museum
临沂新村 Linyi Xincun
96
Untitled
Still awake? Send your wirframes to Tim immediately OK
Let’s go back to the first version.
Curation
7
campaign
��
未标题
97
Waking up from the nightmare reprimanded by her boss, it was already 8 am, too late to have breakfast, and had to rush down the escalator before the subway station became overcrowded. Her new day began as it.
从被上司训的噩梦中醒来，已经是早上八点，来 不及吃个早饭，也不得不赶在地铁站人满为患 前跑下扶梯，她的新的一天就这样开始了。
She is accustomed to it. The work on the table will never be finished, and even having a bite of takeaway during lunch break has become a wild wish. Clients are usually unintelligible, and your ideas cannot always catch up with him. When it’s time to go off work, if the boss doesn’t leave, no one dares to leave. Even if you escaped the company by chance, the boss’s push was still in line. Her availability of 24 hours a day is a model for the industry.
她已经习以为常了。手上的工作永远处理不完， 甚至在午休时间吃上一口外卖也成了奢望。客 户常常摇摆不定，你的想法总是无法和他同步。 到了下班时间，老板不走大家都不敢下班。即 使侥幸逃出了公司，老板的钉钉推送还是阴魂 不散。她一天24 小时的availability 堪称行业 楷模。
Living a repressive life between two points every day, sacrificing the personal time for the company without reservation, yet can only get an unfair salary, no one would be glad to live such a life.
每天过着两点一线的压抑生活，把自己的私人 时间毫无保留地为公司牺牲，却只能拿到不对 等的薪资，没有人会甘愿于过这样的生活。
However, she is just one victim from the group portrait of many ordinary people who drive the entire city like her.
然而，她只是许多像她一样驱动整座城市运转 的普通人的群像写照。
企划
策划
98
Untitled
5' 8' 2' 6"
3' 11 1/2"
5 3/4"
8'
6' 6" 8 1/2"
Curation
campaign
未标题
99
The offline exhibition in the original plan reserved two panels for each student. In order to tell the story well, I made the designer’s life into a closed-loop, establishing an atmosphere of tension between two panels in different sizes.
原计划中的线下展览给每个学生预留了两块展 板。为了讲好这个故事，我把这位设计师的生活 打造成一个闭环，在两块面积不一的展板间建 立对立的气氛。
It contains 6 circles and 1 rounded rectangle. This shape initially simulated the subway route map, making the story more realistic. The display panels are divided into 2 pieces. I set the left one to West Yan’an Road Station (home) and the right one to Century Avenue Station (company). They are all real stations of Shanghai Metro Line 4. Due to the different sizes of the panels, I allocated 2 circles on the left (home), and the remaining 4 were allocated on the right (company), to imply that the protagonist was forced to sacrifice her own time and put her most of energy into work.
它包含 6 个圆和 1 个圆角矩形。这个形状最初模拟 了地铁的路线图，使故事更富有真实感。展板被分 为 2 部分，我将左侧设置为延安西路站（家），右侧 设置为世纪大道站（公司），它们都是上海地铁 4 号 线的真实站点。由于展板大小的不同，我将 2 个圆 分配在左侧（家），剩下 4 个被分配在右侧（公司）， 以暗示主人公被迫牺牲私人时间而把更多的精力投 注到工作中。
At the same time, the timing of the illustrations in the six circles is arranged in a clockwise direction and allows the audience to enter the loop from any point of view.
同时，6 个圆中插画的时间按照顺时针方向排列，并 允许观众从任意的视点进入循环。
延安西路 West Yan’an Road
企划
private time in tiny apartment
12 hours + in work space
策划
世纪大道 Century Avenue
100
Curation
Untitled
campaign
未标题
企划
101
策划
102
Curation
Untitled
digitalization
未标题
103
As of April 18, 2020, the diagnosis rate of COVID-19 in Arizona has reached 9.2%. The severe situation of the epidemic has forced most universities around the world to shift their education infrastructure from offline to online. Therefore, the graduation exhibition of the Department of Visual Communication Design in 2020 is different from any previous one, ever.
截至二〇二〇年四月十八日，亚利桑那州的新 冠肺炎确诊率已达 9.2%。疫情的严峻态势使全 球的大多数院校不得不将教育基础设施从线下 转移至线上。因此，二〇二〇年的平面设计系毕 业展与以往任何一届都不同。
The platform for the graduation exhibition has been completely transferred to the website, so it must be recognized that the way the works are organized has a huge impact on the effectiveness of information transmission. The exhibits include the social problems of the students, the design of the exhibition board and the accompanying manuals, posters, or videos and other forms. We have also embraced augmented reality to help achieve a more immersive user experience of the exhibition.
毕业展的平台被完全转移到了线上，因此必须 认识到作品的组织方式对信息传递有效性产生 的巨大影响。被展品有各位学生的社会问题， 展板的设计和随附手册，海报，或视频等其他形 式。我们也开发了增强现实技术以帮助实现对 展览的更身临其境的用户体验。
数位化
策划
104
Untitled
asudesignshow.com by web committee
Curation
digitalization
未标题
About
Exhibitions
数位化
105
Students
策划
106
Untitled About
Exhibitions
Students
Welcome to Adapt Adapt is an exhibition curated by Arizona State University’s Visual Communication Design Class of 2020.
Every year, our program’s seniors plan and execute an exhibition comprised of exhibits focusing on various social issues. Each student spends their entire academic year researching, learning, and finding ways to visually execute their social issues. Due to COVID-19, this year’s exhibition is completely digital. We have all worked hard to design and execute our exhibits to replicate the feeling and experience of what the interaction if the show would be.
Throughout this semester, we have all learned what it means to Adapt. We have collectively worked hard to find ways to still bring this show to life and educate others through visual communication. We hope you enjoy our exhibition and hopefully learn a thing or two about who we are and what we are passionate about. We know that this is only the beginning of how we will impact the world through design.
Get Connected
Curation
︎ ︎
digitalization
107
未标题 About
Exhibitions
Students
Overtime Culture in China Shichao Yang pygmalion.xyz Overtime has long been prevalent in China, often viewed as a hallmark of dedication and long-term success. Aside from any health harm, companies that mandate 996 culture without proper compensation are violating China’s labor law, which generally caps the workweek at an average of 44 hours. As a comparison, the typical 996 work system raises the average weekly work time to 72 hours. Unfortunately, employees under the 996 working system rarely receive corresponding overtime compensation. My campaign focused on the daily routine of a typical Shanghai designer to convey the real experience of the 996 working system. All descriptions are based on real experience and facts. Introducing the designer, Mo Yawen. Waking up from the nightmare reprimanded by her boss, it was already 8 am, too late to have breakfast, and had to rush down the escalator before the subway station became overcrowded. Her new day began as it. The work on the table will never be finished, and even having a bite of takeaway during lunch break has become a wild wish. Even if you escaped the company by chance, the boss’s push was still in line. She is accustomed to it. However, she is just one victim from the group portrait of many ordinary people who drive the entire city like her.
The offline exhibition reserved two panels for each student. I put the designer’s life into a loop, to establishing a tension between 2 panels in different sizes.
数位化
The shape simulated the subway map, making the story more realistic. I set the left panel to West Yan’an Rd (home) and the right one to Century Ave (company). They are all real stations of Shanghai Metro Line 4. I allocated 2 circles on the left, and the rest 4 on the right, to imply that the protagonist was forced to sacrifice her own time for work. 策划 At the same time, the timing of the illustrations in the six circles is arranged in a clockwise direction and
108
Curation
Untitled
digitalization
未标题
109
In layman’s terms, augmented reality can place an original-sized display panel in your living room, but it can be only viewed through the phone screen.
通俗地说，增强现实能够在你的客厅里放置一 个原始大小的展板，只不过需要透过手机屏幕 来查看。
The augmented reality technology used in this online exhibition comes from ARKit developed by Apple, so only iOS devices can get a complete experience. Through Google’s model-viewer container, we also provide other users with the ability to view the exhibition interactively on the web page.
本次线上展使用的增强现实技术来源于苹果 公司开发的 ARKit，因此只有 iOS 设备能够得 到完整的体验。我们透过 Google 的 modelviewer 容器也为其他用户提供了在网页上以 立体方式查看展览的功能。
数位化
策划
备忘
Memorandum
112
Untitled
I spend the most time on the prologue, because I was hesitant in defining my concept. I have a tendency to pursue normal for a long time, but I cannot honestly repeat the ideas in my mind. This book still has a title, and there are also subtitles. Filling the title as Untitled is also kitsch, because I have no courage to leave it completely blank. But can you focus on the content itself by refuse to compose the title? People will still look for the "title" in their minds, they are accustomed to this, and they have to carry out the practice of trying to classify everything. As long as people find something they agree with, they will continue to ingest what they want, and eventually, let themself become rigid. The medium can only exist in ways that do not interrupt, or that design should not only have gimmicks. But I found that this is not absolute. Once no opinion to be expressed or no issue to be solved, creating demand becomes the sole purpose.
Memorandum
postscript
未标题
113
这本书耗时最长的部分是它的序，因为我在定义我的概 念时犹豫不决。我长久以来有一种追求寻常的倾向，但 无法把内心的想法诚实地复述出来。
实际上这本书还是有标题的，并且还有小标题。把标题 写作《未标题》本就是一种刻奇的行为，因为我没有勇气 把它完全留白。把标题去掉就能够专注于内容本身了吗？ 人们仍会去寻找他们想要的“标题”，人们习惯于此，也 不得不将试图分类一切的做法贯彻到底。只要找到自己 认同的东西，就不停的摄入自己想要的东西，最终让自己 变的固化。
媒介只能够作为不容易被注意到的方式存在，或者说， 设计不应当只有噱头。但我发现这也是相对而言的。当没 有意见需要被表达或者没有问题需要被解决时，创造需 求就变成了唯一目的。
跋
备忘
114
Untitled
The next question is, in extreme cases, will the design still maintain its original purpose? A few days ago, I watched a live broadcast shared by a Guangzhou designer. Hong Kong as the most important city in the Pearl River Delta, makes the surrounding design trends converge. I asked him to talk about his viewpoint on the local design development in Guangzhou. His attitude is pessimistic. When the environment is satisfied with the stagnation of closure, and designers no longer communicate with the world, then the discussion of development is out of nothing. I still believe that the irreplaceable power brought by the ordinary is the last rationality for maintaining the functioning of civilization.
April 25th, 2020
Memorandum
postscript
未标题
115
下一个问题是，在极端的情况下，设计能否仍然保持它的 原本目的？几天前，我参加了一场由一个广州设计师作的 直播分享。香港作为珠三角最重要的城市，使得周边的设 计趋势都与之趋同。我请他谈谈如何看待广州的本地设 计发展， 他的立场是悲观的。 当大环境满足于停滞的封闭， 设计师也不再与世界交流，那么对发展的讨论就是无稽 之谈。
我仍然相信平凡的事物带来的不可替代的力量，是维持 文明运转的最后理性。
二〇二〇庚子年四月初三
跋
备忘
116
Untitled
Whom makes it possible:
Cassidy Albright
Aubree Garrett
Taylor Martinez
Steven Stewart
Miranda Alfaro
Jessica Garza
Allie McGuffin
Danielle Storvold
Marisol Andrade-MuĂąoz
Carter Gilton
Olive Mier Holland
Haoyi Sun
Nerida Ă vila
Amanda Sia
Claire Murphy
Deenah Syed
Jackson Brown
Yuna Gong
Bianca Olivas
Dai Tang
Yvonne Bueno
Lauren Gonzalez
Tyler Owens
Lisa Trahin
Anamika Deokar
Wesley Griffith
Riley Padua
Areia Worden
Nadine Elbayar
Sarah Hermosillo
Mi Qingyang
Kara Van Zile
Alexandra Estrella
Allison Kandas
Megan Reniewicki
Valerie Villalobos
Jixuan Fan
Courtney Kane
Lindsay Sharpe
Alex Vinciguerra
Claudia Forero
Brandon Lin
Ryan Stewart
Shichao Yang
Alfred C. Sanft
Eric Montgomery
Professor:
Memorandum
acknowledgment
未标题
117
All content © 2016–2020 pygmalion unless noted.
p vii
arjowiggins Curious Collection Translucents Clear 112g
p 9
LIAO Xirui（廖熹瑞）
p 11
top
小小帅. http://bbs.zol.com.cn/dcbbs/d232_242787.html
bottom
JIN YUNGUO/AGENCE FRANCE-PRESSE — GETTY IMAGES
p 18
© 2020 The Felix Gonzalez-Torres Foundation, Courtesy Andrea Rosen
Gallery, New York p 36–38, 40
Provided by Tyler Owens
p 41
Karel Martens, Re-Printed Matter
p 44–47 asupostershow.com p 48
Event design committee: Nerida Ávila, Yvonne Bueno, Jixuan Fan, Aubree Garrett,
Yuna Gong, Olive Mier Holland, Bianca Olivas, Kara Van Zile, Valerie Villalobos
p 51
left-top
Yuta Takahashi
right-top
Luyan An（安露艳）
left-bottom
Zetong Liu（刘泽通）
right-bottom
LIAO Xurui（廖熹瑞）
p 56–57
Amanda Sia
p 67
Coal Miki
p 82–85
Amanda Sia
p 86–87
Josef Albers
p 90–91
Kirill Sharkovski
p 101
Eutah Mizushima
鸣谢
备忘
118
Untitled
软件
Software Adobe Creative Cloud 2020 | Sketch 64 | Cinema 4D R21.207 SketchUp Pro V19.3.252 | Glyphs 2.6.5 Reality Converter 1.0 | Reality Composer 1.4
硬件
Hardware MacBookPro13,3 CPU Intel i7-6920HQ Space Grey RAM 16 GB PC3-17000 (2133 MHz) British Keyboard LPDDR3 on-board memory ROM 1 TB SSD GPU Intel HD Graphics 530 + AMD Radeon Pro 460 iPhone12,3 A2160 Midnight Green
CPU RAM ROM
Apple A13 Bionic 4 GB LPDDR4X 256 GB
Nikon D810 Lens AF-S NIKKOR 24-70mm f/2.8G ED
Memorandum
specification
119
未标题
尺寸
Size 7.825” × 11”
字体
Typeface Alibaba Sans size leading tracking Regular h1 24pt 22pt 0em h2 17pt 22pt 0em h3 14pt 21pt 0em paragraph 10.5pt 15pt 0em top & bottom 12pt auto 0em index title 21pt 24pt 0em Italic p94–95 22pt auto 0em Medium p94–95 24pt 35pt 0em Medium Italic page number 12pt auto 0em 阿里巴巴普惠体 常规体 h1 h2 (K: 95%) h3 (K: 95%) paragraph top & bottom vertical index title
技术规格
24pt 17pt 14pt 11pt 12pt 18pt
22pt 22pt 21pt 15pt auto auto
0.05em 0.05em 0.05em 0.025em 0.05em 0.075em
备忘
♥