Cang Jie created the most original Chinese characters through observing the astronomical phenomena above as well as the trace of birds, animals, insects and fish below. The originality, for the purpose of respecting Chinese culture and the sage who created characters, uses the current writing to present the implication and form of coinage and to express the respect to the ancient coinage as well as the consideration on the future development of characters.
We have many traditional festivals in China, these are all valuable intangible cultural heritage.Now days,traditional festivals are gradually forgotten by many people ，this situation brought some challenges of inherit the Chinese traditional culture.Festival derivatives can reduce the forgotten of traditional festivals by people giving it to each other or using it .it is the materialized form of emotion.It is also the original intention of the work to make a holiday derivative products reflect the the traditional festival culture in a better way.
Superimpose the newspaper layout and the real characters’ face, include the main title, subtitle, speak from the perspective of Chinese newsstands’ owners, reflect their social position, while rebuilding people’s recognition on the newsstand and cultural identity of the print media, to regain the traditional reading habits that about to demise in the upcoming wave of information, wake up Chinese respect for the traditional newspaper, reconstruction public’s collective cognitive for newsstands.
We often speak without rationality and act violently when we are angry. We would like to design a product that can help us release stress and anger from these seemingly improper deeds. Our design not only vents your pressure but also records each time when you get angry. After liberating yourself, our product eventually will be an artwork.
The calendars in Chinese regional, a kind of paper-books, still represented the time goes by; therefore, the users using paper-books can feel the moment passing of time by tearing a piece of calendar and also recognizing a special tool every day. We sincerely interviewed every professional’s tools with beauty and spirituality, the beauty of tools design that the users can appreciate professionals’ art works infuse into our masterpiece-A Tool a Day.
Have you been noticed the street lights nearby? All of them are different.Standing in silence, they lighten our way every day; however, most of us doesn’t stay for a while and pay attention to them.To record those particular lights, we visited sixty villages and towns in Taiwan, and draw them with local attractions. We hope to remind people to look up and admire those beautiful lights with us.
This subject uses the natural disasters such as typhoon and earthquake which are common in Taiwan as the main content, and is the interactive design of the knowledge of the disaster prevention. The disaster prevention is made into posters and emergency response guidebooks and it is showed by the images collocating with pre historic animals. It is also tied in the application of augmented reality as the shows of the interactive animation, expressing the severity of disaster and learning the knowledge of disaster prevention.
Inspiring from the concept of “18 levels of hell”, we redrew 18 common bad online behaviors, using and combining the modern elements and the daily scenes of Taiwanese. Fire is adopted because it conveys Taiwanese traditional beliefs. They believe that people only die once, and those who committed bad behaviors would be burned in fire to get to the heaven or hell. We use “Augmented Reality” to show the animations on mobile phone, we match each animation according to corresponding data and proportion in each level, to show how serious that bad online behavior is.
Taiwanese songs was rather tragic once under pressure during the period of Chinese Nationalist Government’s rule under martial law. This is why thisdesign team has taken the angle of musical cultural heritage in selection of songs as subjects of design. Applying simulation gramophone record binding, assembly, and packaging approach as well as nostalgic print style.
The interactivity reflects how people try to make sense of the unfamiliar dimension, which may not be the reality. Each set of Chinese and English title before the main chapters, and all Chinese chapter numbers are sheared in a way to suggest a separate dimension within the book, mirroring the concept of revelation. Unlike a typical contemporary casket, the packaging is unpolished to suggest the rawness of death, and is reminiscent of intimate times when the family prepares the deceased for burial.