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beautiful creations for theAs a designer, I would like to describeThe project Untitled includes four

heir aesthetic value will havemy work as a visual “song and rhythm”:components—printed books, posters,

l signifi- cance tomorrow.”expressive

and

imaginative,

usingwebsite, and animated images. Each

your hero and mine, Piettypography to appeal to the sensesmedium follows specific rules based and the intellect. My work is involved,on the design limitations of that media.

nd information:

subjective and personal in origin. It isAdditionally, how viewers see the words

ted learning Chinese Characters,spontaneous, even conversational, notchanges the way they understand the

ts thought I was talented, butintended to impress with its erudition orwork. As a designer, I want to create

hought I was different becausecleverness.

a variety of understandings by making

only memorize charactersBeing a graphic designer doesn’t limitstatic images, narrative images and

awing and I drew them

me to only two dimensions or solely printdigital images.

re.

work, my designs ranges from digitalDuring the process, I first started with a

ner, instead of saying somethingprints to hand drawings and from

small book (5’x7.375’). Instead of writing

or a fact, I really rely on thetraditional prints to motion graphics.stories, I created 18 abstract geometric

yes and brains to explore myThese nine pieces are made from veryimages and used them as the content

anwhile, the viewer’s opinionsdifferent mediums, while; all of themfor the book. For each image, I used

hts are an import- ant part ofshare the same purpose. Viewers mightfour words to describe how I was feeling

experiments and productions.notice that these nine pieces are anand what I saw in the image. When I

s of graduate study for meextended exploration from one of mycreated these images, I was thinking

e opportunity and chance toprevious work- the colorful form andabout words related to spaces, cities,

ments I have never done before,counter from one, which I showed inand moving. I used shapes, colors, and

a, materi- als, themes, and sothe first critique. Based on that piece, Itexture to create various environments

ared with my undergraduatehad more experience with color, shape,and atmospheres.

nk that my pieces will becomepattern, legibility and illegibility, themesI purposefully chose some words that

erimental and less

that I could continue to work upon inare not commonly used in life, and just

y beautiful. It does not matterthese nine pieces. Moreover, I tried

like the abstract images I created, it

ience believes that the workvarious methods to approach eachis hard to say what exactly it is. The

eeded or failed, is beautiful orpiece. For example, the larger centralambiguity between image and words

ful. I am learning the methodleft digital print displayed the way I havebrings more possibilities. Moreover, I

design my life, my environment,been working recently— bringing

lf as an artist.

pattern into type and accumulating

changed the words’ directions, so how viewers see the words changes the

II, and III (from left to right)numerous layers. The central lager rightway they understand them. The books

start of approaching Experimentaldigital print is the work that explores

are designed to be image-dominated,

pe-based forms and counterlegibility and illegibility visually.

but viewers might understand them in

the visual elements I exploredThe motion graphic one is tried to

a totally differently way if there were no

ree pieces. Rather than lettersexplore the relationship between shapewords around them. The image in

using in the language systemand space.

different contexts can have many

g and reading, I see type asAdditionally, I chose to display my workdifferent meanings.

ch have infinite possibilities. in the Salon- Style Display- each workThe poster was designed by following a

he process is much more

next to and atop one another so as tospecific folding method. When you fold

than the finalized piece. Forfit them all in. For me, these nice piecesit, it becomes a book. And when you

colored prints, I began withare like the “planets” in the “Solar System”open it, it becomes a poster. The images

d white versions because I, they can orbit the “Sun” directly oron the iMac screen and TV display were

at if it does not work in blackthey can orbit other planets that orbit itmade to add more user interaction.

e, it will not work in color. Idirectly. My final purpose is to find theThe purpose for this project is to design


PROCESS BOOK QIUWEN LI

2014 - 2015


02 08

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ARTIST STATEMENT

PROCESS BOOK

QIUWEN LI

2014 - 2015

CONTENTS

INFLUENCIAL ARTISTS & CULTURE WHAT IS, WHAT ISN’T, & SEWING TYPE

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BEYOND LIMITS

-EXPERIMENTAL TYPE

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UNTITLED

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RANDOMNESS

-SYSTEM

-CONCEPT

01

-FORM & COUNTERFORM


ARTIST STATEMENT

My work explores the relationships between legibility and illegibility: typographic shape as image. In my work, graphic elements (shapes, color, pattern, type) are constructed, deconstructed and then reconstructed in order to create a richer experience and extend their meaning. As a designer, I understand the need for legibility, but I am more concerned with communicating something more visceral, expressive, and imaginative. My design is strongly influenced by my international background. As a non-native English speaker, rather than just seeing letters as units of the language system, I see type as forms which have infinite possibilities. I am also very influenced by many designers and their work, such as the “found ‘typography’”of Paul Elliman, hand drawn geometric shapes from Saul Bass, the combination of lines and shapes from Kazunari Hattori, and the interactive media of Rafaël Rozendaal. I approach my work as a system designed to be used across various media. Each medium follows specific rules based on the design limitations of that media. These rules not only give me a


For me, the projects I make at MCAD are like planets, they all exist in the same space and interact with each other. During the rest of my time at MCAD I want to focus on finding the Sun; the large concept that connect and guides all of my projects.

2014 - 2015 QIUWEN LI PROCESS BOOK

Being a graphic designer doesn’t limit me to two dimensional
or print work. My designs range from digital prints to hand drawings, and from traditional prints to motion graphics. For example, What is, what isn’t is a colorful prints series of explore the relationship between type-based forms and counter forms. Untitled is an animation that explores the relationship between shape and space. As a designer, I strive to maintain a playful approach to unfamiliar software and techniques in order to find a visual expression. My current project Randomness uses a 3D printer and coding to produce an engaging experience for the viewer.

03

direction, but more importantly, they work around the constraints of a given medium, such as the screen size and format on a webpage.


INFLUENCIAL ARTISTS

SAUL BASS THE MAN WITH THE GOLDEN ARM 1955

PAUL ELLIMAN FOUND FOUNT 1989 – ONGOING


2014 - 2015 QIUWEN LI PROCESS BOOK KAZUNARI HATTORI UNTITLED UNKNOWN

05

RAFAテ記 ROZENDAAL JELLOTIME.COM 2008


NIESSEN & DE VRIES

JARED TARBELL QR INVADERS


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INFLUENCIAL CULTURE CHINESE CALLIGRAPHY POEM CHINESE GRAPHICS CHINESE PATTERN (1/2) CHINESE PATTERN (2/2)


2014 - 2015 QIUWEN LI PROCESS BOOK 09 BAMBOO BOOK CHINESE CHARACTER A BOOK FROM THE SKY BY ARTIST XU BING REMEMBERING(2009) BY ARTIST AI WEIWEI


WHAT IS, WHAT ISN’T & SEWING TYPE -FORM & COUNTERFORM

WHAT IS, WHAT ISN’T is just the start of approaching Experimental Type. In this project, I explored Type-based forms and counter forms. Rather than letters, which are used in the language system for writing and reading, I see type as forms which have infinite possibilities. For me, the process is much more important than the finalized piece. For the two colored prints, I began with black and white versions because I believe that if it does not work in black and white, it will not work in color. I randomly chose the word “TIME” in Helvetica, printed it in black and white and cut it into 16 identical squares. Then I moved them around, trying to find the “perfect” forms and counter forms. After that, I scanned them, doing experiments in different ways: decreasing the size, duplicating the information. Finally, I added color to each print in order to break the existing visual system, making it become more complex. SEWING TYPE was made with a very different process, but it has similarities with the colored work: breaking down a system and finding the way to recombine it. I randomly picked up one poem, and it does not matter if you can read Chinese or not because I want the work to speak visually. The piece is large because I want it to be substantial and taken seriously by the viewers. I spent a lot of time on it, which also adds value.

TYPE-BASED FORMS AND COUNTER FORMS ARE THE VISUAL ELEMENTS I EXPLORED IN THIS PROJECT. RATHER THAN LETTERS WHICH ARE USING IN THE LANGUAGE SYSTEM FOR WRITING AND READING, I SEE TYPE AS FORMS WHICH HAVE INFINITE POSSIBILITIES.


SKETCH OF WHAT IS, WHAT ISN’T

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SKETCH OF SEWING TYPE


PROCESS OF WHAT IS, WHAT ISN’T

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PROCESS OF SEWING TYPE


PROCESS OF WHAT IS, WHAT ISN’T

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WHAT IS, WHAT ISN’T (1/2) DIGITAL PRINT 2014


2014 - 2015 QIUWEN LI PROCESS BOOK 17 WHAT IS, WHAT ISN’T (2/2) DIGITAL PRINT 2014


1ST CRITIQUE AT WHITTIER GALLERY


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PROCESS BOOK

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WHAT IS, WHAT ISN’T (18’’X 24’’) DIGITAL PRINT 2014


SEWING TYPE PAPER 2014

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FICCIONES TYPOGRAFIKA 671-673 (24’’X 36’’)


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BEYOUND LIMITS

EXPERIMENTAL TYPE

PROCESS OF EXPERIENCING DIFFERENT LANGUAGES


PROCESS OF EXPERIENCING COLORS

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UNTITLED ANIMATION 2014

FRAMES FROM THE ANIMATION


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FRAMES FROM THE ANIMATION


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HANDDRAWN -- BY USING MARKERS

HANDDRAWN EXPERIMENTAL TYPE


2014 - 2015 QIUWEN LI PROCESS BOOK 31 HANDDRAWN -- BY USING COLORED PENCILS


HANDDRAWN -- BY USING MARKERS


2014 - 2015 QIUWEN LI PROCESS BOOK 33 HANDDRAWN -- BY USING MARKERS & COLORED PENCILS


TYPE EXPER

EXPERIMENTAL TYPE— MY BRAIN IS FULL OF TYPE, FULL OF COLOR. BUT SOMETIMES I AM SO CONFUSED ABOUT IT.


2014 - 2015 QIUWEN LI PROCESS BOOK READJUST & REREINVENT

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& IMAGE RIMENTAL TYPE


2014 - 2015 QIUWEN LI PROCESS BOOK 37 LEFT: OVERPRINT ON FOUND POSTERS ABOVE: GRADIENT VS LINES


2014 - 2015 QIUWEN LI PROCESS BOOK 39 LEFT: WOOD EXPERIMENT ABOVE: GRADIENT VS LINES


EXPERIMETYPE & PATTERN 33’’X46.8’’


2014 - 2015 QIUWEN LI PROCESS BOOK 41 I WANT TO MAKE IT EASIER FOR OTHERS TO READ 33’’X46.8’’


INSPIRED FROM DESIGNER KAZUNARI HATTORI

THERE IS SOMETHING BETWEEN LINES AND WORDS -- 01 33’’X46.8’’


2014 - 2015 QIUWEN LI PROCESS BOOK 43 THERE IS SOMETHING BETWEEN LINES AND WORDS -- 02 33’’X46.8’’


THERE IS SOMETHING BETWEEN LINES AND WORDS


THERE IS SOMETHING BETWEEN LINES AND WORDS -- 03 33’’X46.8’’


2014 - 2015 QIUWEN LI PROCESS BOOK 47 THERE IS SOMETHING BETWEEN LINES AND WORDS -- 04 33’’X46.8’’


2014 - 2015 QIUWEN LI PROCESS BOOK 49

DETAIL FROM THERE IS SOMETHING BETWEEN LINES AND WORDS -- 03


THERE IS SOMETHING BETWEEN LINES AND WORDS -- 05 & 06 33’’X46.8’’


2014 - 2015 QIUWEN LI PROCESS BOOK 51 THERE IS SOMETHING BETWEEN LINES AND WORDS -- 07 33’’X46.8’’


2014 - 2015 QIUWEN LI PROCESS BOOK 53

DETAIL FROM THERE IS SOMETHING BETWEEN LINES AND WORDS -- 07


THERE IS SOMETHING BETWEEN LINES AND WORDS -- 08 & 09 & 10 33’’X46.8’’


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THERE IS SOMETHING BETWEEN LINES AND WORDS -- 11 33’’X46.8’’


2014 - 2015 QIUWEN LI PROCESS BOOK 57 THERE IS SOMETHING BETWEEN LINES AND WORDS -- 12 33’’X46.8’’


THERE IS SOMETHING BETWEEN LINES AND WORDS -- 13 33’’X46.8’’


2014 - 2015 QIUWEN LI PROCESS BOOK 59 THERE IS SOMETHING BETWEEN LINES AND WORDS -- 14 33’’X46.8’’


During the process, I first started with a small book (5’x7.375’). Instead of writing stories, I created 18 abstract geometric images and used them as the content for the book. For each image, I used four words to describe how I was feeling and what I saw in the image. When I created these images, I was thinking about words related to spaces, cities, and moving. I used shapes, colors, and texture to create various environments and atmospheres. I purposefully chose some words that are not commonly used, and just like the abstract images I created, it is hard to say what exactly it is. The ambiguity between image and words brings more possibilities. Moreover, I changed the words’ directions, so how viewers see the words changes the way they understand them. The books are designed to be image-dominated, but viewers might understand them in a totally different way if there were no words around them. The image in different contexts can have many different meanings. The poster was designed by following a specific folding method. When you fold it, it becomes a book. And when you open it, it becomes a poster. The images on the iMac screen and TV display were made to add more user interaction.

I APPROACH MY WORK AS A SYSTEM DESIGNED TO BE USED ACROSS VARIOUS MEDIA. EACH MEDIUM FOLLOWS SPECIFIC RULES BASED ON THE DESIGN LIMITATIONS OF THAT MEDIA. THESE RULES NOT ONLY GIVE ME A DIRECTION, BUT MORE IMPORTANTLY, THEY WORK AROUND THE CONSTRAINTS OF A GIVEN MEDIUM.

2014 - 2015 QIUWEN LI

UNTITLED includes four components—printed books, a poster, a website, and animated images. Each medium follows specific rules based on the design limitations of that media. Additionally, how viewers see the words changes the way they understand the work. As a designer, I want to create a variety of meanings by making static images, narrative images and digital images.

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-SYSTEM

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UNTITLED


3RD CRITIQUE A WHITTIER GALL


AT LERY 63

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PROCESS OF UNTITLED -- TRIED DIFFERENT BOOK SIZES


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FOLDING METHO FOR THE POSTE


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OD ER QIUWEN LI

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PROCESS OF UNTITLED


PROCESS OF UNTITLED

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2014 - 2015

As a designer, I strive to maintain a playful approach to unfamiliar software and techniques in order to find a visual expression. The iPad next to the book is an animated video. I use code to produce an engaging experience for the viewer. Viewers can randomly pick up their own QR codes and scan them. The purpose of this project is letting the viewers pick up one random poem and create their own story. I am interested in the idea of randomness because life is full of random choice. If you happen to get up early, you will meet a different scene and you might have a different day.

QIUWEN LI

Actual experience heightens memory.The human brain loves nothing more than to play games and figure out puzzles. That’s a good thing, because it is the key to engagement. In this project, if viewers scan a QR code, they will have one random generated Haiku poem. A Haiku is one of the most important forms of traditional Japanese poetry. The book I created includes all the random poems, and the QR code next to the poem is specifically created for that poem. Among all QR codes, there are three types: the general black one; the colorful iconic one which looks like an image and still functions as a QR code; and the third one, which is the geometric one that looks like image and does not work as a QR code. Different types of QR codes represent the similar relationship between image and type.

PROCESS BOOK

-CONCEPT

75

RANDOMNESS

ACTUAL EXPERIENCE HEIGHTENS MEMORY.


77

RANDOMNESS OF EVERYDAY LIFE PROCESS BOOK

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RANDOMNESS DIGITAL PRINT(72’’X36’’) 2014


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SKETCH OF RANDOMNESS


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A

B

C

D

E

F

G

H

I

J

K

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RELATIONSHIP BETWEEN IMAGE AND TYPE


Q R

S T

U V

W X

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P QIUWEN LI

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M


A BOOK ABOUT RELATIONSHIP BETWEEN IMAGE AND TYPE


2014 - 2015 QIUWEN LI PROCESS BOOK 85 DETAIL OF A BOOK ABOUT RELATIONSHIP BETWEEN IMAGE AND TYPE


W DETAIL OF A GEOMETRIC QR CODE


THE GEOMETRIC QR CODE WHICH LOOKS LIKE AN IMAGE AND DOES NOT WORK AS A QR CODE.

2014 - 2015 QIUWEN LI PROCESS BOOK 87


GEOMETRIC QR CODE WHICH LOOKS LIKE IMAGES AND DOES NOT WORK AS A QR CODE.


2014 - 2015 QIUWEN LI PROCESS BOOK 89 CUSTOM QR CODES AT HTTP://WWW.QRPIXEL.COM


DETAIL OF A COLORFUL ICONIC QR CODE


2014 - 2015 QIUWEN LI PROCESS BOOK 91

THE COLORFUL ICONIC ONE WHICH LOOKS LIKE AN IMAGE AND STILL FUNCTIONS AS A QR CODE.


RANDOMNESS FONT WHICH IS USED IN THE BOOK


DETAIL OF RANDOMNESS FONT

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DETAIL OF THE BOOK


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EXPERIENCE W THE 3D PRINTER


WITH R 97

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DETAIL OF THE BOOK


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RANDOMNESS CONCEPT 2014

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