Thanks for joining me!
Good company in a journey makes the way seem shorter. — Izaak Walton

Thanks for joining me!
Good company in a journey makes the way seem shorter. — Izaak Walton


一些來自臺灣的設計師們所主筆的各地遊記
Travel journals delivered by designers based in Taiwan
這樣一座溫柔接納的城市。
如果說你問我第一個愛上的歐洲城市是哪個,我會毫不猶豫的跟你說,就是安特衛普。
A city that embraces everything wholeheartedly.
If you ask me, “what’s the very first Europe City that you fell for,” I’ll answer without a second thought:
“Definitely Antwerp.”

隻身到了比利時,準備好好體驗當地生活,而這次聽了好友的建議,從布魯塞爾搭火車到離荷蘭比較近的北部城市安特衛普。一下安特衛普車站,龐大的車站建築有著歲月的痕跡,古老的磚牆建築上有著金色的字樣及裝飾。總是到這個時候才會後悔自己對建築的無知,但同時被這樣的文化洗滌著,讓全身的細胞慢慢沈浸在這樣的人文氣氛中。這個時候,第一次感受到被歐洲擁抱著,歡迎著我來到這充滿故事、活力與驚喜的城市。
Traveling alone to Belgium, I was just about to experience authentic life. Took one of my friends’ advice, I decided to catch a train from Brussels to Antwerp. The moment of getting off at the Antwerp main station was surely a cultural astonishment. The station architecture has the charm brought by a magician called time, with gold words and decoration inserted. It is always until the moment like this that I start to regret my limited knowledge regarding architecture history. I could only appreciate the chance to be bathed in such culture enrichment. This was the very first time I felt embraced and welcomed by Europe.
身為一個懶惰的設計師,除了查了幾個美術館及博物館之外,在路途上,我總是隨意的瀏覽街上景色,學習如何成為當地人,再用五官體驗這個城市。這是我很喜歡也常建議身邊朋友的旅行方式:把腳部分放慢,靜靜的品嚐的這座城市,也享受被城市吞噬的過程。
Being a lazy designer, I only managed to check out some art galleries and museums online beforehand. On my way to some places, I tried my very best to be part of the city, that is basically pretend to be a local resident and feel it in a total different sense. This is also what I always recommend to my friends as a way of traveling: Slow-paced strolling in the city, tasting the whole city, and enjoying being swollen by it as well.


我常常在旅行過程中搜尋著似曾相識的文化符碼,就像在安特衛普動物園舉辦的這個燈會,充滿著中華文化的象徵物:龍、建築以及紅燈籠。在我們看來的確有點過頭,畢竟安特衛普座落在歐洲,將充滿中華特徵的元素直接應用在這樣的城市裡,似乎有些牽強。又回想了一下,其實安特衛普的中國城及華人也是構築成它的一部分,或許這樣的燈節是一種接納與融合的表示?
I am constantly searching for similar cultural symbols during travel, for example, the encounter in Antwerp Zoo. It is full of Chinese symbols: the dragon, houses, and red lanterns. From our perspective, it surely is a little bit over the boundaries, which is because we can hardly connect this to Europe. The context itself is unreasonable. Giving it a second thought after, however, I am persuades by the idea that Chinese culture indeed is a part of Antwerp, which we can see clearly in the China Town at the city center. Perhaps the lantern decoration is a kind gesture of tolerance and integration?

在安特衛普的街道上閒晃,我會突然被一座藏在古老建築的現代歌劇院所驚艷,或是在一個通往狹長小徑的街口躊躇不前,鼓起勇氣往冒險的未知總是這樣的。對設計師來說,這就是這座城市最具魅力的地方,因為我們總因此五官敏銳,也一邊膽怯地去接受新事物。
Walking around the streets, I could easily be amazed by an opera house hidden in ancient architectures, or feel indecisive at the intersection towards a narrow alley. I would assume this happens when facing the unknown; then courage is always the answer to the doubt. For designers, this is the most charming part of this city, since we will then be challenged to become more sensitive and fear to try to embrace new experiences.

繞進通往MHKA的轉角,首先會被龐大的白色建築物上面往下看的假人嚇到,而不得不停留了幾分鐘,確認一下那是假人,然後再繼續往門口走去。原來那是呼應近期的James Lee Byars特展所做的宣傳。不用海報、不用傳單,而是用裝置先震懾住遊客,並讓這個印象一直停留在心裡。James Lee Byars的The Perfect Kiss展覽很令人驚艷,不只是展覽的內容豐富,以創作者的本位去策展更是讓觀者合理地吸收所有資訊。
Turning into the corner of MHKA, I was struck by the fake man standing at the edge of the enormous white building. I had to stumble for a few seconds, confirmed it was not a real human being, and then kept my path to the entrance. It turned out to be in correspondence with the temporary exhibition of James Lee Byars. Not a single poster or handout, MHKA successfully left impression on visitors. The exhibition, Perfect Kiss, is absolutely amazing, not just how fruitful the content is, but also the curators managed to curate with the perspective of James Lee Byars and have the information soaked by the audience just so naturally.

除了美術館,咖啡廳也是我必去的地點之一,在這樣的小咖啡廳裡,隨意點一杯咖啡,沈浸在充滿枕頭的座位上,慢慢整理這座城市所帶給我的所有事物。這座很做自己的城市,在新舊文化的交替中慢慢雕塑出自己的樣貌;開闊的城市地貌,不斷的驚喜與鼓起勇氣的過程,彷彿在短短的旅程中就可以看見自身與安特衛普的碰撞及火花。
Apart from art museums, cafe is also a category I couldn’t afford to miss. In a small coffee place like this, ordering a coffee casually with my body fully supported by piles of pillows, I got to categorize and feel the city once again. This city, which has its own irreplaceable personality, is gradually forming into something from the conflict and combination of both its old times and newcomers. Spacious public spaces and city landscape bring us continual surprises and the chance to plucking up courage. It seems like although my time here is short, I can easily see the sparkles between Antwerp and myself.

你有想過字體在空間中的運用嗎?
這篇來介紹設計師一定會超愛的一款App叫做Weird Type,此為美國藝術家Zach Lieberman協同夥伴Molmol Ku開發之應用程式;裡頭不但讓你自由選擇字體內容及互動方式,更讓你隨時隨地、隨心所欲地創造藝術。
在設計領域中,字體學佔了很大一部分;而短短的200年設計歷史以來,2D的程度上,字體的發展雖然堪稱蓬勃、成熟,然而,在3D空間中,設計師們多以2D形式應用在3D空間中,例如字體在餐廳中的指示及應用、或是機場的指標系統等等,這樣的限制一直沒有太大的突破。
Weird Type將字體從2D空間提升到3D及AR程度,讓受眾能更感受到畫面的張力及動能;加上操作簡易,有別於在博物館、美術館裡人與藝術品之間的關係,此類操作讓人們跟藝術的距離更為拉近了;作者Zach Lieberman也希望能透過這款應用程式,將看似難以觸碰的科技以AR形式接觸到一般大眾,也提醒創作者要時時跟環境對話、一同創作及設計。
到藝術家Zach Lieberman的instagram裏,我們可以看見許多充滿實驗性質、非常有趣的藝術創作,而這款App主要為Apple’s AR Kit跟Openframeworks所創造出之程式語言所構成,假如還沒有碰過程式語言的設計師們,不坊到這兩個程式裡看看,畢竟不論領域,程式語言即將成為個體基本能力之一;而Zach Lieberman藉由這個應用程式開了個頭,讓筆者對於陌生的程式語言有了興趣,並也相信它若應用在設計上,將會有不一樣的樣貌及設計方向。
With Wix Blog, you’re not only sharing your voice with the world, you can also grow an active online community. That’s why the Wix blog comes with a built-in members area – so that readers can easily sign easily up to become members of your blog.
What can members do?
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You can make any member of your blog a writer so they can write posts for your blog. Adding multiple writers is a great way to grow your content and keep it fresh and diversified.
Here’s how to do it:
When it comes to design, the Wix blog has everything you need to create beautiful posts that will grab your reader’s attention. Check out our essential design features.
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We’ve made it quick and convenient for you to manage your blog from anywhere. In this blog post we’ll share the ways you can post to your Wix Blog.
Blogging from Your Wix Blog Dashboard
On the dashboard, you have everything you need to manage your blog in one place. You can create new posts, set categories and more. To head to your Dashboard, open the Wix Editor and click on Blog > Posts.
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Did you know that you can blog right from your published website? After you publish your site, go to your website’s URL and login with your Wix account. There you can write and edit posts, manage comments, pin posts and more! Just click on the 3 dot icon ( ⠇) to see all the things you can do.
#bloggingtips #WixBlog

德國威斯巴登雙年展前天落幕,留下的除了還沒撤完的展覽外,還有當地居民以及全球各地討論的聲音。
The Wiesbaden Biennale just ended couple days ago, which left not only the exhibits that haven’t been removed but the voices from people around the world.
期望成為作者之間對話平台的雙年展,本來是從1992年開始的Neue Stücke aus Europa衍伸而來,當時的歐洲社會有一些動盪,而這個活動成為了以自由為前提的對話場域。新一代的年輕策展人Martin Hammer和Maria M. Ludewig將這樣的形式重新設計,以歐洲人的視角出發,而成為了這次所介紹的威斯巴登雙年展。
今年2018為第二屆的威斯巴登雙年展,第一次在2016年以THIS IS NOT EUROPE為主題,策劃了一連串的視覺及活動,今年則是BAD NEWS。在上個月的記者會上,如真實報紙般一捆一捆的丟在現場,人手一報,大家都在看著封面大大寫上BAD NEWS的報紙,裡頭以假新聞的形式介紹出這次展覽的所有活動,不論是活動視覺或是當場的整體效果皆非常有力。
In an eye to become a platform for discussions among authors, the biennale was actually from Neue Stücke aus Europa back in 1992, when Europe was going through a time of upheaval. Thus, the activity has became a dialogue on the premise of freedom speech. The new generation of curators, Martin Hammer and Maria M. Ludewig, redesigned the original form and started from the perspective of Europeans, which formed what we see today as the Wiesbaden Biennale.
Before this year’s biennale, the second year, in 2016, the title was designated THIS IS NOT EUROPE above a series of visuals and activities. BAD NEWS is the title of 2018. On the press conference last month, the program handouts were designed like real newspapers with piles and piles stacked together, randomly thrown onto the ground; people were reading the handout like newspapers entitled BAD NEWS. The newspaper was composed of programs covered up in the form of fake news. It goes without saying that both event visuals and overall live atmosphere were as striking as they could be.

兩屆的主題雖然不同,但都是由同樣的策展精神及視覺設計師所建構而出。Fons Hickmann是幕後的設計師,到他的instagram上,我們可以看見他在活動策劃早期對這個主題下的不同視覺定義,而建構出的不同主視覺。而背後都有不同的設計想法與脈絡。這些海報其實在他的圖片敘述裡,都叫做「sketch」草稿而已。從這些草圖裡的色彩計畫到最後的回歸黑與白的設計,我們看見的是風格更為反叛、直接的風格,這更貼切地呼應了威斯巴登雙年展的理念與宗旨。
Although the titles differ from each other, the spirit of curating and visual designer are the same. Fons Hickmann is the guy. If we browse through his instagram, we can see different key visuals derive from various definitions he came up with during the early phase of preparation, which have a variety of design thinkings and thread of thoughts. In fact, these posters are illustrated “sketch” in the text boxes on the platform. From the color scheme in these drafts to black-and-white final poster appearance, we see a more dissident and direct style transformation, which fits perfectly to the concept of Wiesbaden Biennale.


他們的網站也設計得非常的帥 Go check out their awesome website:http://www.wiesbaden-biennale.eu/en/

週六的台北下午,在細雨之間的空檔決定鑽進中山捷運站的某個巷口。
一踏進荒花,擺買整櫃整牆的各種zine與創作海報用極為清新的方式慢慢的浸透創作能量到我全身。而異星図鑑 A Field Guide to the Unknown的展覽就靜靜地在店面後的空間裡,像是另一個星球正運轉著,放射出不知名的化學物質,穿透每一個觀者的腦袋,好像我們也住在他的漫畫裡。
In the afternoon in Taipei City, between the pause of continual rains, I’ve decided to sneak into one of the alleys nearby Zhongshan Metro Stop.
As soon as I stepped into Wild Flower Bookstore, the abundance of zines and posters on walls and all kinds of platforms made me feel like bumped into a world of creation. And the exhibition A Field Guide to the Unknown laid quietly on the back of the store, which is like an another planet orbiting solely in this universe, emitting anonymous chemical substances, and penetrating the visions and brains of the visitors. It feels like we are living in his comics.

才離開學生生活不久,全天投入職場之後,常常覺得生活少了一些什麼東西,對一些東西又少了什麼東西;常常被生活吞噬、吐出來全身黏踢踢的、又被吞下去、又濕搭搭的趴在地上。
「這個好」、「這個不好,但也許沒那麼糟?」
「阿,隨便啦,反正就是這樣。」
「今天吃青菜了嗎?」
「奇怪,最近有什麼電影可以看?」
很久沒做夢了。
在日安焦慮的展覽裡頭展示了幾篇收錄於日安zine的作品,用最簡單的手稿紙,以釘子釘在木條上,一頁一頁的排列,慢慢形成一面牆的漫畫與感到焦慮的、淺意識般的故事內心。展出的手稿分別來自《恐竜図鑑》、《ROAD TO NOWHERE 世界邊緣之旅》以及《SOLUTION》這三件出版品,觀者可以在現場跟著每一個畫面的細節與手稿痕跡,感受著作者塗寫與擦拭之過程,不知不覺地進入主角內心,進入一個個像是夢的情境。
Not long after I left student life, I couldn’t help but feel like having been already losing something day by day; and the something is missing something as well. The anxious comes from also the feeling of being swollen by life, spitted out, swollen, and spitted out over and over again.
“This is good.,” “Not this one, but perhaps not too bad?”
“Whatev.”
“Have I eaten any veggie today?”
“What are the latest movies?”
I haven’t dreamed for a long, long time.
In the exhibition by cartoonist Morning Anxiety displays some of his works from zines. By using manuscripts fixed onto wood stripes, aligning pages by pages, the author created a wall full of comic stories and the inside of anxiety and subconscious self. The manuscripts come from his works in DINOSAUR FIELD GUIDE, ROAD TO NOWHERE, and SOLUTION. Visitors can easily dive into the cartoonist’s mind through every details and traces on each of the manuscript, and walk into dreams scenarios.




或許那些恐龍、沒有臉的生物、以及外型多層次的山嶺們,都是白天的無奈及過不去的難關,在我們心中種下一個奇幻的種子,一些變成食人花、一些成為了數不清眼睛的生物,在我們的腦袋裡開闢出另一個星球的樣子。
這次的展覽,似乎成為了一面鏡子,讓我們都對生活不再遲鈍,並看見自己腦袋裡的星球模樣。
Perhaps the dinosaurs, creatures with no face, and mountains with multiple layers are what we face in daytime, which together planted a magical seed in our hearts. Some might turn into Cannibal flower, some become monsters having billions of eyeballs. They form what we are like on planet we don’t even know of.
The exhibition is like a mirror that makes us stop being numb to our surroundings, and see the planet in our heads clearly.


耳機已經變成現代人不可或缺的配備,那耳機裡的音樂哪裡來的呢?如果你對這個logo有印象,那相信妳一定曾在這個應用程式裡播放過某個你喜愛的明星的單曲,或者是為了知道這首歌的製作故事而加入spotify家族,甚至因為它的視覺非常強烈大膽,而選擇了這個音樂平台。不論是哪種原因,相信Spotify的logo已深植在大家心中。
在Spotify現任CEO Daniel Ek當時要正式推出這個品牌時,設計師Christian Wilsson非常快速的設計出了一套識別系統,logo為主要的襯線字體並加上三條聲音符號在O上,並以三種色調作為變化,而成為了最初的視覺設定。
Earphones has become a necessity for citizens. Where does the music in your earphones come from? If you are familiar with the logo, then you must’ve played on some music produced from your favorite artist, for the behind lyrics, or even simply because of its bold identity and comp to join the Spotify family. No matter what reason you hold, Spotify is undoubtedly already an icon for the public.
Right about the time when the recent CEO Daniel Ek was about to lauch the product, Christian Wilsson, the designer of Spotify, had designed an identity system within a short period of time. The logo was made up of a main serif font and three wave symbols added on top of the O, with three color combinations being made to the primary visual preset.


往後,Christian Wilsson與公司內部重新審視了logo,並與紐約一家顧問公司合作,於2013年重新推出了目前我們所看到的標誌外觀:無襯線字體加上一個綠色圓形裡包覆著三條簡化過、並且加粗的音波造型。
2015年,圓圈的綠色做過些微調整(詳見新標誌之規範:https://developer.spotify.com/branding-guidelines/),從原本偏向青草之高亮度綠色變成明度較低的綠色(#1DB954 R30 G215 B96/C80 M0 Y80 K0)。這個轉變在當時造成了一些討論;雖然僅有少數人表達支持新顏色的誕生,但或許討論之激烈,也正代表了Spotify在大眾心中的地位:它不只是一個音樂交流品牌,更是有著一個自由、年輕與熱情的性格,在地鐵上、捷運、回家的路途上陪伴我們,讓我們擁有重新相信自我的價值的機會。又或許更是因為這樣的品牌價值,才造就了Spotify日益壯大的影響力。
Afterwards, Christian Wilsson revised the logo with a consultant company in New York, and announced the logo with what we ca see right now: Sans-serif font with a green circle surrounding three simplified and bolded wave symbols.
In 2015, the green was adjusted from a brighter green to a neo-like one. (#1DB954 R30 G215 B96/C80 M0 Y80 K0) The alteration caused several discussions on the Internet with only a few supporting voices online. The fierce debates happened at that time, however, that it means the importance of this brand for the users: it has surpassed mere brand but embedded a free, young, and enthusiastic symbol, which company us on subways, MRT, and the way back home; it enables us to believe in our own values via music. Or perhaps it is the bran value that makes Spotify who it is today.
See the identity system: https://developer.spotify.com/branding-guidelines/

更多與Spotify設計師訪談,請看這裡:
See more process details in the interview below:

::: 設計閱讀計畫 ::: Design Reads :::
Two-Dimensional Man: A Graphic Memoir
來自紐約的OOPS (Office of Paul Sahre) 平面設計工作室,其設計師 Paul Sahre 在去年出了這本回憶錄,內容闡述生長背景,到之後開始平面設計的心路歷程、及生活種種。而家庭在這本書裡佔了非常大一部分,或許這對應了在創作路上所經歷的種種,看似毫無關聯,卻也默默地影響著他的作品。
去年的冬天,UCONN的老師 Mark Zurolo 邀請了 Paul Sahre 來學校演講。那是我第一次知道這個人。班上好幾個美國同學睜大眼早早就佔了位子,買好書,準備在會後請設計師簽名。一問之下才發現是樂團 They Might Be Giants 的專案設計師;粉紅色的坦克車不只拓印在專輯封面,更出現在街頭:一個巨型的紙板坦克車。在演講中,他介紹了幾個自己做過的書封、專輯等等專案,除了作品非常精彩之外,他所強調的動手做更是體現在裡頭。他唸了一段這本書裡的序文,是關於他媽媽把自己青少年的惡魔畫作掛在家一進門之處,他們的心理疙瘩與家庭成員的情感。
作者除了是平面設計師,更是定義自己為作家。身為設計學習者,透過此書,在 Paul Sahre 的幽默中,我們可以透過此書重新獲得一些前進的力量。
The design studio based in NY, OOPS, aka Office of Paul Sahre, its designer Paul Sahre published this memoir last year, talking about his background in family, graphic design and life. Family becomes a great part in this book, which perhaps corresponds his way through graphic design, and seems unrelated but subconsciously affecting.
During the winter last year, my instructor at UCONN, Mark Zurolo, invited Paul Sahre to give a speech on campus. It was the first time I heard of him. Some of my classmates were already sitting on chairs with their eyes widely-open, holding this books in their arms, expecting the designer to show up. I soon knew that he was the project designer of the band They Might Be Giants: The pink tank not only appeared on their album cover, but also literally on street, with the size of a giant tank made of cardboards. In the speech, he introduced to us some of the book covers, albums, and works he made over the years. Apart from the great works, the spirit of craftsmanship also was emphasized during the process. He read part of the preface on the spot, of why his mom put a devil drawing of his of teenage onto the wall of front door, of their mindsets and affections connected to one another.
Paul Sahre not only is a graphic designer, but a writer by his definition. As a design learner, by walking through his words, sometimes humorous tone, we are able to gain strength to carry on and believe more in our choices.
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