• 2012-03-30

    Berlin / March, 2012 / One by one-重回手不釋卷的時代

    新書上市

    “One by one-重回手不釋卷的時代”
    “47個國家,477位設計師,3477件作品,1個今日平面設計世界”



    每次參觀了圖書博覽會,都會有兩三個月沒精打採,博覽會上被展出的書,只是本年度世界出版書籍中的一個小部分,但是超大的博覽會現場中,前面,後面,左面,右面,上面,下面全部充斥了圖書,我站在其中,面對那麼浩瀚無際,無窮無盡的書,清晰感受個人的渺小,我筋疲力盡,感覺不想再讀書,不想再設計或者編輯任何書了。

    One by One,蒙世界各地的平面設計師支持,得到那麼多設計師的資料集結出版,雖然心中愉悅,但又不免憂鬱頓生。讀者看到那麼多的設計師,是否也會像我看到那些書一樣,筋疲力盡無精打采呢?會不再想看到平面設計嗎?

    這個世界上有多少個平面設計師?五百萬?一千萬?一億?看著每年大學為社會“製造”的成批成堆的設計師,驚訝於平面設計師的增長速度。越來越多的平面設計師,面對的是越來越短的設計時間,短得幾乎失去思考時間,而越來越被科技控制的設計工具,又令平面設計面貌大同小異。平面設計的民族特徵,國界特徵,因為資訊的發達,和設計工具的單一化而被打破,不再具備傳統中的“瑞士風格”,“日本風格”等團體特徵。

    平面設計在社會中需求的擴大化和快速性、科技的普及化和信息的平民化,也令平面設計貌似沒有技術含量,簡單簡陋而失去尊重。又因為印刷工藝的技術含量單一和機器大生產的重復性超大量化,平面設計受到科技和藝術的雙重歧視。平面設計越來越有危機感。一般設計師自己,也因為忽視理論、歷史、旁類知識體系的架構等,對設計的學術補充沒有興趣。平面設計被庸俗化,被片面理解為商業利潤的追求,而正在失去其在學術和藝術上的地位。

    但是另一面,平面設計的今天,不是因為設計師數量的增加,而改變設計的品質,事實上,我們每天還是在期盼真正優秀的平面設計出現,優秀的平面設計不是太多,總是太少。

    平面設計如何能回歸到學術,如何能重建專業尊嚴,雖然需要社會普及的審美提升。但凡學術形成,最重要的還是思想體系的形成。輕視平面設計價值的人,是忽視思想和創意價值的人。對專業發展內部建設而言,也許可以有幾個嘗試點:更緊密與造型藝術的結合;更緊密與科技的結合;更緊密與理論研究和歷史的結合;個性化思想表達和個性化審美的表達。

    我們在城市街道中,因為鮮少看到優秀的海報張貼;在新型動態媒體又方興未艾時,而呼吁“海報已死”!在汗牛充棟的出版物前;在電子書,E雜誌層出不窮間,又驚呼“紙張媒體的死亡”!重要的只是,沒有思想的設計師,和沒有創意的設計一樣,都將被淘汰。科技的進步和媒體的改變,是設計師不能阻礙的,更不能逆水行舟的對抗,在傳統媒體被新興媒體挑戰時,我總想到傻二的故事。

    中國作家馮驥才,曾在一個小說中,塑造了一個傻二的形象。講述清末天津衛的武林後進傻二憑獨門絕技辮子功夫,技壓群雄,博得“神鞭”美譽。進入民國(repaublic China),辮子時代過去了,失去辮子後的傻二,憑藉專注,卻儼然另練成神槍絕技。面對昔日仇家驚詫盯著他光禿腦袋的目光,傻二曾有名言道:“辮剪了,神還留著!”

    人的創意總是無窮的,對創意和創新的追求,應當是平面設計延續生命力,和發展進步的動力。設計師立於不敗之地,只能是清醒的思想,和卓然不同的創意。科技、形式、表現手段、媒體、受眾心理等都會變化,我想對設計師而言,重要的是設計的思想不滅。這就是設計的神,得一直留著。

    One by One那麼多優秀的設計師的存在,哪怕面臨社會媒體,科技的變革,這個那個的困難,還是在顯示這個行業的魅力,這些設計師無疑在為自己喜愛的專業,自己追求的事業,在書寫歷史,在建設自尊。

    這本書也獻給每個默默無聞的平面設計師。


    何見平2011年


    ----------------------------------------------------------------------------------------------------------------------------------------------------

    "One by one - Back to the days of book lovers"
    "47 Countries, 477 Designers, 3477 Pieces of Work, 1 Contemporary world of Graphic Design."



    Every time I visit a book fair, I feel restless for the next two to three months. The books being published this year is only a small part compare to the tons of books being exhibited. Indeed standing in the book fair being surrounded by the sea of endless books, I clearly felt the insignificance of an individual. I was exhausted and no longer wanted to design or to edit any more books.

    Worldwide designers who helped gather all the information supported One by One and got it published. I’m pleased but couldn’t help being a bit nervous. Will my readers be just like me no longer wanting to look at graphic design when they see so much information about designers? Just like me feeling exhausted from the book fair. There are millions of designers in the world. Look at all the Universities “producing” piles of designers each year. I was shocked by the rate of growth in numbers. With more and more graphic designers, facing an increasingly shorter time to design, we almost lost our time to think. Indeed having technological tools helps control the designs but graphic designer still face similar design issues. Graphic designs with national identity and border features are both being demolished by the advanced information technologies, there’re no longer traditional “Swiss style” or group features like “Japanese style”.

    Graphic design is now simple and lost its technical respect when under the rapid expansion of demand and popularization of information and technology. Indeed because of the unitary craftsmanship in printing and the repetitiveness in mass production, graphic design is discriminated by both technology and art. The sense of crisis in graphic design is getting stronger. For general designers themselves, being ignorant in theories, history and other knowledge system, etc. They’re not interested in supplementary academic knowledge. Graphic design became vulgar, unilaterally being seen as a pursuit of commercial profit, losing its status in academics and arts.

    On the other side, for graphic design today, the quality of design is not changed by the increasing quantity of designers. In fact, we are still seeking for the appearance of outstanding graphic designers, great graphic designs are always too less.

    Apart from the need of aesthetic improvements of general society, the formation of an ideology system is important for bringing graphic design back to the academics and to regain it’s dignity. Those who underestimate the value of graphic design are those who neglect thinking and creative values. For internal professional developments there’re few attempts we can try: closer integration with fine arts, closer integration to theory studies and history, personal expression of ideas and aesthetics.

    As we rarely see good posters on the city streets we exclaimed, “Poster is dead!” While the new dynamic medias are flourishing we exclaimed, “Paper media is dead!” When e-books and e-magazines are coming out one after the other. What’s important is, designers without thinking is the same with designs without creativity, shall all be eliminated. Designers can’t prevent the change in media and the advancement of technology, nor to be confronted against it. I always think of the story of Sha Er while the new media is challenging the traditional media.

    Chinese writer Feng Jicai created a character called Sha Er in one of his fictions. It’s about a young martial artist Sha Er from Tianjin city using his excellent skills in Queue Kung Fu conquering the martial scene in the Qing Dynasty, there he won the reputation of “Divinity Whip”. After entering the era of the Republic of China, people no longer wore queues, Sha Er lost his queue but still he was determined and focused on practicing his skills in spears, while facing his past enemies staring at his bold head he made the famous saying, “The queue is gone, spirit still here!”

    Creativity is unlimited; the pursuit of creativity and innovation should be the motivation to extend the vitality and development of graphic design. Designers are invincible only when they have clear thinking and distinctive creativity. Technology, form, means of expression, media and audience psychology are factors that will change, but to designers, I think the most significant factor which has to remain unchanged is design ideology. That’s the spirit of design, which has to be persisted.

    With so many excellent designer in One by One, regardless how social media and technology changes, or what other difficulties they’re facing, are all chances to show the charisma of this industry, these designers are writing history, establishing self-esteem for the profession and career they love.

    This book is also dedicated to every unknown graphic designer.

    Jianping He



    One by One Imprint
    Copyright © 2011 hesign Germany
    Published in 2011 by:
    hesign (Publishing & Design)
    Germany
    Hektorstr. 3
    D-10711 Berlin, Germany
    Phone: +49 30 4508 6364
    Fax: +49 30 4508 6575
    China
    hesign International (Hangzhou)
    No.1 Chuangyi Rd. Zhuantang Town
    West Lake District,
    310024 Hangzhou, PR. China
    Phone: +86 571 8709 8605
    info@hesign.com
    www.hesign.com
    www.hesignchina.com

    Editor Jianping He
    Design & Layout Jianping He
    Staff John Dai, Nora Gailer, Diana Lischer, Helen Mailloux,
    Allan McEvoy, Dominique Schmitz, Dorota Stachowicz,
    Agnieszka Wrzosek, Becky Wong

    Text Jianping He P.15-16, Ruben Fontana P.17-20, David Lancashire
    P.25-26, Walter Bohatsch & Reinhard Gassner P.33-34, Paul Bodens
    P.43, Rico Lins P.51-52, Bojidar Ikonomov P.61, Robert Appleton P.65-66,
    Wang Xu P.79-80, Boris Ljubicic P.123-124, Pavel Fric P.131-132, Peter
    Gyllan P.137-139, Mikey Dempsey P.149-150, Marko Kekishev P.173-174,
    Loiri Pekka P.179-180, Veronique Vienne P. 191-193, Gunter Rambow
    P.225, Dimitris Arvanitis P.279-280, Istva´n Orosz P.285-286, Kirti Trivedi
    P.295-296, LeBoYe P.301-302, Saed Meshki P.305-306, David Smith P.315-316,
    Yarom Vardimon P.321-322, Armando Milani P.331-332, Shin Matsunaga
    P.339-340, Edgars Zvirgzdins P.377-378, Xavier Bermu´dez Banuelos
    P.389-390, Ben Bos P.395-396, Martin Biehl P.423-424, Lech Majewski
    P.431-432, Joao Machado P.453-454, Vladimir Chaika P.459-460, Kelley
    Cheng P.467-470, Pavlina Marhacova P.477-478, Radovan Jenko P.487,
    Daniel Ting Chong P.493-494, Isidro Ferrer P.499-500, Dan Jonsson
    P.509, Stephan Bundi P.515-516, Akarit Leeyavanich P.543-544, Nja
    Mahdaoui P.549, Armine Lamine P.550, Dilek Bektas P.553-554, Oleg
    Veklenko P.559-562, Jan Wilker P.569-571, Isabel Garnica P.617-620
    Translation & Proofreading Michael Funk

    ISBN 978-3-9814557-0-0

    All rights reserved. No part of this book may be used or reproduced
    in any manner whatsoever without written permission except in the
    case of brief quotations embodied in critical articles and reviews. For
    information, address hesign International GmbH (Berlin), Hektorstr. 3,
    D-10711 Berlin, Germany.
     

     

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    copyright hesign

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    评论

  • 何老师好,书哪里可以买的到,期盼wk19@qq.com
    回复KING000说:
    你好,请联系《One by one》图书代理商
    电话: +86 20 89095206转 8015
    QQ:568103516
    2012-05-11 13:25:32
  • one by one
    step by step
  • 收到书了,很厚重
    书中砸虚线的部分是为了撕掉外圈,以便于快速翻到某个国家吧,好聪明的设计!
    何老师的书总能给人惊喜
  • 何老师 邮件发了。谢谢
  • 何老师好,das Buch kann man in Deutschland kaufen?
    回复WXR说:
    ja, send email an: viva@hesign.com
    2012-03-31 13:44:47