62亞太平面設(shè)計(jì)傳統(tǒng)與未來 中英文雙語視覺傳達(dá)平面圖形設(shè)計(jì)專業(yè)畢業(yè)設(shè)計(jì)外文文獻(xiàn)翻譯成品

1、<p>　　本文是畢業(yè)設(shè)計(jì)外文文獻(xiàn)翻譯成品，包含原文和譯文，下載后直接可用，無需調(diào)整復(fù)雜的格式，歡迎下載，價(jià)格不貴！</p><p>　　英文2700字，13805英文字符，中文4468字。</p><p>　　外文標(biāo)題：Asia-Pacific Graphic Design Tradition and Future</p><p>　　出 處： 《

2、Asia-Pacific-Design》NO.8 </p><p>　　作 者： Ulhas Moses </p><p><b>　　原 文：</b></p><p>　　As

3、ia-Pacific Graphic Design Tradition and Future</p><p>　　As the practice of design in the 21st century enters into the realm of interaction and experience design, the rich visual tradition of Art and Design o

4、f Asia assumes a significant role for Asia-Pacific Graphic designers.</p><p>　　With the advent of globalization and new media, technology has now become easily</p><p>　　Accessible to the masses

5、and the playing field is leveled. Asian designers now have at their fingertips all the modern tools and facilities for creative expression. Considering the stunning level of design and craftsmanship that has been achieve

6、d in ancient times in Asia only with manual tools one can only imagine an entirely new dimension of human creativity opening up with the use of digital tools.</p><p>　　The fundamental grammar of graphic desi

7、gn are form and function, line and color. Semantics, iconography, metaphors, symbolism, geometric abstraction, algorithmic procedures, programmed variation, hierarchy of space and measure, grids, narrative and storytelli

8、ng. Contemporary Designers can draw upon these principles which have been used with great refinement and have been perfected over centuries in the Asian methods and philosophy of design.</p><p>　　The Asian i

9、mage making tradition is entirely concerned with absorbing, and communicating the essence of an idea and giving visible form to formless concepts and complex abstract ideas. These sophisticated image visualization and fo

10、rm generation procedures and techniques that have been developed, are a treasure trove for graphic designers today and can be utilized whenever concepts have to be given form.</p><p>　　One of the most valuab

11、le traditions that Asian graphic designers can draw upon is in the important but often over-looked area of typographic communication. The eclectic scripts and languages in Asia open up innumerable forms of experimentatio

12、n with type design to produce culturally richer and locally appropriate typographic based information design. </p><p>　　Graphic designers in the Asia-Pacific region are now more than ever faced with the chal

13、lenge to use design as a powerful tool for social change and transformation amongst the masses by developing unique design solutions to design problems that are specific to the Asian region and its people, design that is

14、 relevant in its cultural and social context and yet universally articulate.</p><p>　　With a strong footing in the knowledge base of Asian design traditions, contemporary designers in the Asia can look towar

15、ds the future confidently as leaders, pushing the boundaries of creativity and innovation.</p><p>　　Graphic Design in the Asia-Pacific region is fast developing as an individual movement and assume a new rol

16、e revitalizing modern design, giving it the much needed depth.</p><p>　　Bright Future of Asia-Pacific’s Design</p><p>　　Modern design originated from western European countries. When Asian count

17、ries are learning modern design and discussing about its history, they will always start with The Crystal Palace built for London World Expo in 1852.The history of modern design is a development history of design, with t

18、he mainstream of Europe and America design. With western civilization became prosperous, various style schools were influencing design industry all over the world.</p><p>　　It was proud of some Asian designe

19、r to advocate the works of western design styles. Japanese designers aroused the oriental designers’ attention to the relationship between their own cultures and modern design. For instance, with its modern but Japanese

20、design style, Tanaka Ikko found a method to integrate the traditional culture and modern design. This method became the example of Asian designers.</p><p>　　In 1980s,as China market was opened, different des

21、ign concepts came to China. Design is different from art, because design is more than an expression of people’s emotion, but it’s the solution to people’s problems. There are not only problems about economy, but also abo

22、ut culture, society, even politics. But in western countries, design is not as featuring as before with it’s the foundation characters, such as function oriented feature and solving problems; but it is towards to being

23、similar li</p><p>　　As Mainland China opened up, modern graphic design concepts were introduced by Hong Kong into Mainland. But it was a rough time for graphic design with the media’s indifferent attitude. W

24、hen the original posters were criticized for departing from real life, Chinese designers got interested in traditional posters. After all, it the demand of the whole society and the appreciation ability of the public, de

25、cide the designer’s career in the future. Designers would feel very down. But for China at pr</p><p>　　With the socialism politics background and mechanical production in Germany, design history after Bauhau

26、s, started highlighting mechanic feature of design. However, as time passed, new design concepts were changing and continuously expanded the meaning of design. In the process of cons and pros, design were being interacte

27、d and combined with art and science. Gradually, the difference between traditional design and art was defined in different ways. </p><p>　　Western civilization has hundreds of years’ history on the world m

28、ainstream platform. With the development of Asian-Pacific economy, the world is focusing on this emerging land, but with thousand of years’ history. With the communication with western counties become closer and closer,

29、how prosperous would be the design of Asia-pacific region? Please keep tune.</p><p>　　Beyond Design</p><p>　　The subject of “year” reminded me of “editorials on New Year’s Day” on the newspaper

30、of New Year’s Day when I was a child. It was always a conclusion of the fruitful year passed and a bright prospect for the following year.</p><p>　　In recent years, I rarely read newspaper, so I don’t know w

31、hether the editorials exist or not. Even though they do exist, they are not as impressive to me as before. It is because the daily routine of the so called “visual design” that I am now talking about this topic. The visu

32、al language is so powerful with its propagation effects to dominate the belief and belief and behavior of the people in the New Year before, which even would be lasting year after year. The posters matched with the edito

33、r</p><p>　　The people’s lifestyle is varying, so they can see and experience more fun from it. The uniform information generated by logic of reigning, is becoming extinct as people disregard it. It’s right t

34、o inspire people to think, or comprehend by analogy, to reason, even to ignore the rules, but wrong to be rigid and decadent, or to copy and paste others’ idea. The diversification of the ecology also refers to the mind

35、set as well as the animal species. Being consist of brilliant allusions, passionate </p><p>　　I have talked so much about doctrines, and I would like to talk about a tiny household affair. All of us probably

36、 have watched drama, today which is called performance. When I was a child, I like to sit as close to the platform to see clearly, so I always got to the theatre as early as possible, or asked someone to buy the ticket o

37、f front rows. But now I’ve changed, and I prefer to take the back seat. It’s not because of prebyopia. I think audience’s reactions motivated by the performance are al</p><p>　　The ending is usually written

38、grudgingly. Because this text might be printed in“Year Book of Asian Pacific Design”, I had written a beautiful one about design. But I have deleted it in my mind. For one thing is that I didn’t think my text is beautifu

39、l enough, the other thing is that what I am talking about is design.</p><p>　　The Second Largest GDP: What about Design?</p><p>　　At the beginning of last year, the GDP of 2010 published by Chin

40、a official announcement is 58768.6 billion, more than that of Japan, which is 5474.2 billion. At the beginning of this year, the GDP of 2011 announced by China is 7426.1 billion, more than that of Japan, which is 5974.3

41、billion; without doubt, China has become the second largest economic country, and Japan retired itself as the third 44 years later, since 1968. From last year to this year, these two pieces of biz news are the most e<

42、/p><p>　　What kind of relationship is between design and GDP of a country or region? It’s very clear that all of the designers could understand the boring biz data I mentioned above. Let’s see the newest rankin

43、g of GDP in 2011,and the top 7 are America, China, Japan, Germany, France, Great Britain, ltaly … in this case, I’m wondering and thinking whether the ranking of design is the same with that of GDP? Put shame aside, can

44、we ask whether China Design could be regarded as the second in the world?</p><p>　　This is a meaningless question, ridiculous without self-esteem. Is it ridiculous to doubt the world second place of GDP whic

45、h seems authentic? Or is it ridiculous to confuse the ranking of China Design? Generally, no one could clarify this problem.</p><p>　　Look back to the ranking of the countries expect China, it is generally c

46、onsistent in logic and correspondent between their GDP ranking and design ranking. Therefore, there is another“ridiculous idea”; how is the logic between the authentic“world top 2 GDP”and “the confused ranking of China D

47、esign”? Or perhaps,“Chinese logic” is the only solution to this?</p><p>　　Asia-Pacific Design published by Sandu can be a collection of elite works around Asia, Pacific countries and region. As a designer or

48、 design industry personnel, I get the honor to contribute my work to it, which can be a valuable horizon and opportunity. When I carefully reading the collection, thinking and asking honestly with self-deception, perhaps

49、, I could in some measure draw a conclusion to the questions and confusion above.</p><p>　　Should designer be an “artist or talent” of visual expression? Or“doctor or guide”to the value and solution of commu

50、nication? Or “servant or slaver ”to the “Gods”, such as market economy, clients and consumers, power and money? The answer would be always different due to different mindset.</p><p>　　However, as I have make

51、 a living with design for years, I think that designer should be like a hunting dog with uncontrollable intuition, or a thinker and questioner with perfectionism, searching for the seeds, roots and the nature of growth a

52、nd logic under the earth and water.</p><p>　　Setting a Course</p><p>　　The past year has been one of upheaval for the world, but exceptionally so for Asia. We have seen the growth of China’s eco

53、nomy, surpassing Japan’s to become the second largest in the world. Japan weathered a devastating tsunami, nuclear devastation in the Fukushima area, the resultant economic downturn and the resulting mass exodus of Japan

54、-based foreign creative workers. This was countered with Hong Kong, Singapore, Shanghai and other Asian capitals experiencing an exponential immigration of d</p><p>　　2011 and the first half of 2012 were tim

55、es of tumult and immense change for Asia…yet, you wouldn’t really notice it if you looked at the bulk of graphic design that has come forth from Asia [and the world] over the past year. Globally, Graphic Design feels as

56、if it has hit a visual stump. Truly original graphic design work is rare-nearly everything feels like an update of the work of herb Lubalin and his associates, spins on the blocky display type of NonFormat and copious ap

57、ing of Archis layout</p><p>　　Europe is in love with the stripped-down, sparse aesthetics of Karel Martens and his Werplaats Typographie and the low-fidelity look of the British small press mini-explosion of

58、 the 1960s and 1970s [with small deviations into Desktop Publishing aesthetic territory]. Both are still infatuated with three-dimensional diorama work and modular playful typography, and will continue to do so for a few

59、 more years, at least.</p><p>　　Unsurprisingly, Western Europe and American graphic design institutions and tastemakers continue to ignore work from abroad, The recent U.S-curated retrospective of the past d

60、ecade of activity within Graphic Design as a sphere of cultural activity. Graphic Design: Now In Production, offers almost no work from Asia [and none whatsoever from Africa]. Japanese design units such as W+K Tokyo Lab

61、[formally rich, detail- oriented motion graphic], Dainippon Type Organization [operating at the intersect</p><p>　　The sum of this is proof that a Western Europe/America-centric worldview is still the norm o

62、utside of Asia, and the only way to expand understanding of Asian graphic design is to innovate, not merely work within predetermined formal styles and to pursue client work alone. Now is the time of change—a time for As

63、ian graphic designers to document and promote Asia as a vital geographic and cultural area of production. It might make the design press abroad stand up and take notice, but more important</p><p><b>　　

64、譯 文：</b></p><p>　　亞太平面設(shè)計(jì)：傳統(tǒng)與未來</p><p>　　當(dāng)21世紀(jì)設(shè)計(jì)進(jìn)入交互和體驗(yàn)設(shè)計(jì)的時(shí)代，亞洲傳統(tǒng)藝術(shù)和設(shè)計(jì)視覺元素十分豐富，到亞太平面設(shè)計(jì)師發(fā)揮著十分關(guān)鍵作業(yè)。</p><p>　　隨著全球化進(jìn)程和新媒體的誕生。如今科技變得容易被大眾獲取，其平臺也趨于普及化?，F(xiàn)在，亞洲設(shè)計(jì)師能夠利于用工具所創(chuàng)作出的亞洲古老而出神入

65、化的設(shè)計(jì)和工藝，也許只能聯(lián)想到通過數(shù)字化工具創(chuàng)造一個(gè)全新的人類創(chuàng)意世界。</p><p>　　平面設(shè)計(jì)的基本語法包括形勢與功能、線條與色彩、語義、圖像、比喻、象征、幾何抽象、算法分析、程序化變體、空間和尺寸虛擬，網(wǎng)格和敘述。當(dāng)代設(shè)計(jì)師們能夠?qū)⑦@些原則運(yùn)用地爐火純青，并且在幾百年間亞洲的設(shè)計(jì)手法和理念以讓其變得十分完美。</p><p>　　亞洲傳統(tǒng)的圖像繪制手法是完全基于吸收和傳播某種思想

66、的精髓，并就予無形的的概念和復(fù)雜的抽象的觀點(diǎn)以可見的具體形式。其實(shí)，對于現(xiàn)在的設(shè)計(jì)師說，這種復(fù)雜的圖像視覺化和具體形式化過程和技法，是非常珍貴的寶藏，可以在任何時(shí)候?qū)⒏拍钷D(zhuǎn)化為具體形式。</p><p>　　亞洲平面設(shè)計(jì)師可以運(yùn)用的傳統(tǒng)部分之一是字體設(shè)計(jì)，卻常被忽視，亞洲折中化的文字符號和語言，通過字體設(shè)計(jì)，為實(shí)驗(yàn)研究開拓了無數(shù)種形式，從而創(chuàng)造出帶著豐富文化和當(dāng)?shù)貎?nèi)涵而又適用于咨詢設(shè)計(jì)的板式。</p>

67、<p>　　現(xiàn)在，亞太地區(qū)的平面設(shè)計(jì)師面臨著前所未有的挑戰(zhàn)，他們開發(fā)獨(dú)特的設(shè)計(jì)方案來解決亞洲地區(qū)和人民特有的設(shè)計(jì)問題，并使他們的設(shè)計(jì)要點(diǎn)其也許并未普遍被世界接受的文化和社會背景相關(guān)聯(lián)，從而以設(shè)計(jì)為有力工具來應(yīng)對混亂中的社會變化和轉(zhuǎn)化。</p><p>　　當(dāng)代亞洲設(shè)計(jì)師有著深厚的亞洲傳統(tǒng)設(shè)計(jì)文化底蘊(yùn)，他們必定能夠以主人翁的自信開創(chuàng)自己的未來，并且推動創(chuàng)意和創(chuàng)新的發(fā)展。</p><

68、p>　　亞太地區(qū)的平面設(shè)計(jì)的快速發(fā)展，勢必會為現(xiàn)代設(shè)計(jì)注入新的活力，開拓必要的深度。</p><p>　　未來的設(shè)計(jì)舞臺在亞太</p><p>　　現(xiàn)代設(shè)計(jì)是由西歐國家開始。在亞洲國家學(xué)習(xí)現(xiàn)代設(shè)計(jì)，在討論設(shè)計(jì)史觀時(shí)，都會從1852年倫敦舉辦世界博覽會的水晶宮開始談?wù)撈?，整個(gè)現(xiàn)代設(shè)計(jì)史基本上是以歐美國家設(shè)計(jì)為主題的設(shè)計(jì)發(fā)展史，各種風(fēng)格流派隨著西方文明的強(qiáng)盛而影響全世界的設(shè)計(jì)。</

69、p><p>　　崇尚西方設(shè)計(jì)風(fēng)格和貌似西方設(shè)計(jì)師的作品，曾經(jīng)是某些亞洲設(shè)計(jì)師引以為傲的事情，而東方設(shè)計(jì)時(shí)開始覺醒自己文化與現(xiàn)代設(shè)計(jì)間的聯(lián)系應(yīng)該是從日本設(shè)計(jì)師開始，田中一光充滿日本文化色彩的現(xiàn)代設(shè)計(jì)開始在傳統(tǒng)文化與現(xiàn)代設(shè)計(jì)中找到融合的方法，這樣的方法曾經(jīng)給了其他亞洲國家設(shè)計(jì)師一個(gè)借鑒。</p><p>　　八零年代中國市場開放，各種不同的設(shè)計(jì)思維也跟著進(jìn)入中國。設(shè)計(jì)之不同于藝術(shù)在于設(shè)計(jì)并非只是在

70、個(gè)人情感的表達(dá)，更多的是面對人群，面對群眾所必須解決的問題，這些問題并非只是經(jīng)濟(jì)層面的問題，包含文化，社會，甚至是政治問題等，西方國家對設(shè)計(jì)的看法隨著功能性主導(dǎo)，解決問題等設(shè)計(jì)的基本認(rèn)知，慢慢轉(zhuǎn)向與藝術(shù)間的融合，尤其是設(shè)計(jì)發(fā)達(dá)的西歐國家，如荷蘭的設(shè)計(jì)即是。在設(shè)計(jì)與藝術(shù)間是難以區(qū)分的。</p><p>　　中國大陸改革開放，現(xiàn)代平面設(shè)計(jì)觀念也被經(jīng)由香港引進(jìn)到大陸，而這卻是平面設(shè)計(jì)在面對新媒體備受冷落的階段，隨著創(chuàng)作

71、海報(bào)收到脫離現(xiàn)實(shí)生活的職責(zé)，而卻也是中國設(shè)計(jì)師對傳統(tǒng)海報(bào)媒介投以熱誠的眼光的階段，畢竟整個(gè)社會需求與大眾的審美的眼光必須到某一程度后設(shè)計(jì)師才會有更大的發(fā)展機(jī)會，否則面對審美不足的大眾與業(yè)主設(shè)計(jì)師往往會受到極大的挫折，但對于現(xiàn)階段中國而言，涉及面對的仍是必須是解決大眾的問題，通過解決問題的觀念讓一般大眾理解設(shè)計(jì)是什么？</p><p>　　如同整個(gè)設(shè)計(jì)史在包豪斯以后，因?yàn)榈聡纳鐣髁x政治背景，機(jī)器量產(chǎn)等，在強(qiáng)調(diào)機(jī)

72、能性的設(shè)計(jì)為主，然而時(shí)間不斷的推移中，新的設(shè)計(jì)想法觀念隨著時(shí)間改變的不斷的去擴(kuò)充設(shè)計(jì)的意義，設(shè)計(jì)已經(jīng)在反正合的過程中與藝術(shù)、科學(xué)等新的媒體在媒合、相加。傳統(tǒng)認(rèn)知的設(shè)計(jì)與藝術(shù)間的差異也隨著時(shí)間推移著不同的解釋。西方文明在世界主流舞臺上已經(jīng)有數(shù)百年的歷史，隨著亞太地區(qū)的經(jīng)濟(jì)發(fā)展，全世界將矚目的焦點(diǎn)放在這個(gè)新興但卻有數(shù)千年歷史文化的地區(qū)，隨著東西交流的密切，亞太地區(qū)的設(shè)計(jì)在未來會綻放什么樣的光輝，值得期待。</p><p&

73、gt;<b>　　我說的就是設(shè)計(jì)</b></p><p>　　對一個(gè)與“年”相關(guān)的事情寫東西，促使我想起了小時(shí)在新年第一天的報(bào)紙上看到的“元旦社論”，大致內(nèi)容皆是往年成果很豐碩，來年意氣更風(fēng)發(fā)云云……</p><p>　　近年報(bào)紙讀少，亦不知“元旦社論”是否仍在。即就是在，也起碼沒有那是給我的矚目印象。這個(gè)話題能被我拿出，是脫不開我日常所擾的所謂“視覺設(shè)計(jì)”的。著我個(gè)

74、人認(rèn)為，過于簡單、客觀的描述不適合與亞洲的豐富性和多樣性。未來亞洲決不能遵照70年代的基調(diào)，現(xiàn)在是時(shí)候重新書寫并設(shè)定一個(gè)更直觀的詮釋。亞洲設(shè)計(jì)師不能忽視這一點(diǎn)。我們需要開始建立資料庫研究亞洲設(shè)計(jì)發(fā)展歷程，并設(shè)法找出歷史的豐富性。只有這樣，我們才能改變未來。與此同時(shí)，《亞太設(shè)計(jì)》一書是我們作為一個(gè)設(shè)計(jì)群體以貢獻(xiàn)力量的及時(shí)提醒。當(dāng)受到去年的《亞太設(shè)計(jì)5》時(shí)，我很是感動，如此之多的創(chuàng)意作品和有才華的設(shè)計(jì)師，而他們同屬于亞太地區(qū)。透過這其中的許

75、多作品也不難發(fā)現(xiàn)設(shè)計(jì)師們正在追求靈感的根源。</p><p>　　大家的姿態(tài)豐富了，自然視野和體會到的趣味也就豐富了。以往運(yùn)用統(tǒng)治邏輯就的單一生態(tài)傳播品種，目前以趨為被人旁眼的瀕危品種。思想可以啟迪，可以觸類旁通，可以推理演繹，可以肆無忌憚，就是不可以僵化、腐朽、拷貝、粘貼。生態(tài)的多樣性不只是花鳥魚蟲，還有思維。若在讀社論，惟秒的引喻、激昂的排比、齊整的對偶，組合了一篇天朝文字的技術(shù)貼，主義、思想、理論、講話……

76、似乎句句都可振興中華。然而，大家的主意就是希望每天能好一點(diǎn)，信息能真切一點(diǎn)，反映能及時(shí)一點(diǎn)。制造信息，傳遞信息，就是要大家樂于消費(fèi)信息。有營養(yǎng)的信息不只是如眼藥水般潤眼，更要能滋心順氣長肌肉。所以，好的信息不是手頭活，而是心力活。有要翻閱這本大部頭，就要調(diào)動好你的吸收、消化系統(tǒng)，排泄系統(tǒng)。當(dāng)然你也可以挑食、拒食。</p><p>　　說了很多有關(guān)主義的話，我再說一件家長里短的小事。我們可能都現(xiàn)場看過戲，現(xiàn)在叫演出

77、。小時(shí)喜歡早早去，或拖人買近舞臺前的前排票，目的就是可以近距離地看的真切些?，F(xiàn)在我變了，變的喜歡退后些看。這不是老花眼的原因，而是覺得身處現(xiàn)場，演出所能調(diào)動的一切反應(yīng)都應(yīng)該是這場演出的一部分。注意觀察你身邊已鼾動的大叔，跌跑的小童，還有緊張的警察大哥，身處旁系的咿咿情侶。他們都是這場演出的精神末梢，所有反應(yīng)都是正常值，而且都有你的營養(yǎng)。門票的價(jià)格不含這些，而你卻不能看一場沒有這些的演出。這些絮叨話，不知關(guān)于你看演出，還關(guān)于到生活中你每天

78、的演出。</p><p>　　GDP世界第二；Design第幾？</p><p>　　去歲至今年里，令中國媒體和中國人最為“雞血”的兩則財(cái)經(jīng)新聞：其一，年初時(shí)，中國官方公布的2010GDP為58786億美元，超過了日本公布GDP的54742億美元；其二，至今年年初，中國官方公布的2011GDP為74261億美元，遠(yuǎn)超日本的59743億美元，穩(wěn)坐世界“第二經(jīng)濟(jì)大國”之位；而日本自1968以來

79、，44年后，首次退居第三。</p><p>　　設(shè)計(jì)與一個(gè)國家、地區(qū)的經(jīng)濟(jì)的微妙關(guān)系如何？不必贅述。所以諸位設(shè)計(jì)圈人士想必應(yīng)能理解我在這里所羅列的這些干巴巴的財(cái)經(jīng)資料。那么好事兒，在羅列下2011年最新的世界GDP的國家排名，其中前7位依次是：美國、中國、日本、德國、法國、英國、意大利……那么，我的困惑或思考便是：與“美國設(shè)計(jì)、日本設(shè)計(jì)、德國設(shè)計(jì)、法國設(shè)計(jì)、英國設(shè)計(jì)、意大利設(shè)計(jì)……”等等相比，腆著臉自問一句，“中

80、國設(shè)計(jì)”也可以渾水摸魚搭順風(fēng)車，世界第二了么？</p><p>　　這個(gè)問題，很有些無理頭，而且頗有些沒臉沒皮的荒謬。至于荒謬在仿佛貨真價(jià)實(shí)的“世界第二GDP”?還是荒謬在似乎說不清道不明的“世界第幾Design”上？這個(gè)難題，私忖，大概還沒有人有本事可以理的清。</p><p>　　再回過來，前面所列德美日法英意幾個(gè)國家，其設(shè)計(jì)總體行業(yè)及水準(zhǔn)在國際設(shè)計(jì)圈的地位，明顯可以看出，于其國家GD

81、P的世界經(jīng)濟(jì)排名，還是大體有著明顯的邏輯性和對應(yīng)性。所以，這里面大概還潛藏著一個(gè)“荒謬”：貨真價(jià)實(shí)的“世界第二GDP”與說不清道不明的“世界第幾Design”之間的邏輯在哪里？又或許，唯有以“中國邏輯”這貼萬用靈藥，一解了之？</p><p>　　三度這冊“APD亞太設(shè)計(jì)年鑒”，且算亞洲、太平洋國家地區(qū)的精英設(shè)計(jì)作品匯集。身為設(shè)計(jì)師或圈中人，有機(jī)會會萃于此，綜而覽之，大概也算是難得的眼界和機(jī)會。前面自己一再追問的

82、困惑疑問種種，或許，在細(xì)展細(xì)閱之間，再加上些誠實(shí)而不自欺地思考、追問中，或許，能有幾分答案。</p><p>　　設(shè)計(jì)師，該是視覺表現(xiàn)的“藝術(shù)家、天才”？還是溝通價(jià)值與解決的“醫(yī)生、向?qū)А保坑忠只蚴鞘袌鼋?jīng)濟(jì)、客戶與顧客、權(quán)利與金錢等等“上帝”腳下的“仆人、努力”？如此之種種，恐怕永遠(yuǎn)只能是見仁見智，莫衷一是。</p><p>　　然而，以靠設(shè)計(jì)謀飯經(jīng)年的個(gè)人私見加淺見：設(shè)計(jì)師，更應(yīng)該是一位

83、如獵犬一般無法自控的直覺、完美主義潔癖的“思索者”與“追問者”；如在萬物的繁花枝葉、浮萍漣漪等表相之上，探求土壤之中、水面之下的種子、根基、生長及邏輯等等本質(zhì)，誠實(shí)且誠懇的“思索者”與“追問者”。</p><p><b>　　樹立新理念</b></p><p>　　過去的一年對于全世界來說是激蕩之年，以亞洲尤勝。憑借經(jīng)濟(jì)的高速發(fā)展，中國已超越日本，成為世界第二大經(jīng)濟(jì)。

84、然而，日本卻經(jīng)歷了罕見的海嘯襲擊，并遭遇了福島核電站核泄漏。這直接導(dǎo)致了日本經(jīng)濟(jì)的衰退，同時(shí)也致使大量駐扎在日本的外籍創(chuàng)意人才外流，而香港、新加坡、上海等其他亞洲經(jīng)濟(jì)中心卻迎來了設(shè)計(jì)師和創(chuàng)意人才的大量入駐。</p><p>　　從2011年到2012年的上半年，亞洲迎來了巨變。但是如果你僅僅從過去一年亞洲出品的大量平面設(shè)計(jì)看，你應(yīng)該不會注意到這一點(diǎn)。綜合全球，平面設(shè)計(jì)令人感覺似乎是遭遇到了一次視覺衰退。純正的原創(chuàng)

85、平面設(shè)計(jì)作品十分罕見，幾乎所有的設(shè)計(jì)都像是赫布·魯巴林作品的升級，或者徘徊在塊狀的非格式主義的表現(xiàn)形式，抑或?qū)τ贏RCHIS板式的大量模仿。視覺概念和形式的原創(chuàng)性幾乎已經(jīng)停滯不前——這是因?yàn)?，我們的工業(yè)設(shè)計(jì)輸出在被預(yù)定好的標(biāo)準(zhǔn)和審美標(biāo)準(zhǔn)方面，沉迷于類似于過度時(shí)代所進(jìn)行的立體字體和設(shè)計(jì)，以及類似于中世紀(jì)設(shè)計(jì)作品。</p><p>　　歐洲人熱衷于卡爾·馬騰爾及其阿納姆字體版面研究所的簡潔與稀疏美

86、學(xué)，以及英國小報(bào)社在20世紀(jì)60年代和70年代所引發(fā)的極簡風(fēng)格的微型爆發(fā)。（通過將略微的變形融入桌面出版的美學(xué)領(lǐng)域）兩者都任然讓人迷惑，尤其是他的三維立體模型圓以及饒有趣味的模塊印刷，這些至少還要持續(xù)上一段日子。</p><p>　　不出所料，西歐與美國的平面設(shè)計(jì)機(jī)構(gòu)和時(shí)尚倡導(dǎo)者繼續(xù)忽視來自其它國家的作品。近期美國所倡導(dǎo)的對于過去10年平面設(shè)計(jì)作品的懷舊情緒成為了文化領(lǐng)域的主要?dú)夥?。以“平面設(shè)計(jì)”：現(xiàn)在產(chǎn)業(yè)化的過

87、程中“為主體的展覽中幾乎沒有亞洲作品”（當(dāng)然也沒有非洲作品）。日本設(shè)計(jì)機(jī)構(gòu)層出不窮，比如W+K東京工作室（曾以豐富的細(xì)節(jié)導(dǎo)向?yàn)橹饕繕?biāo)的平面設(shè)計(jì)）、大日本字體組合（綜合了模塊印刷與刻字技術(shù)的操作方式）、中村勇吾的THA(開拓性的以網(wǎng)站為基礎(chǔ)的美學(xué)實(shí)踐)。韓國設(shè)計(jì)師安尚秀及其研發(fā)的視覺語言形式的修正主義方法，被毫無理由的忽視掉。臺灣活躍的設(shè)計(jì)界先驅(qū)包益民，一位致力于極富活力的公司形象設(shè)計(jì)創(chuàng)作的領(lǐng)導(dǎo)者，同時(shí)他還獨(dú)立出版關(guān)于版式設(shè)計(jì)問題的著作