Hong Kong Exhibition Commemorating the 70th Anniversary of the Victory of the Anti-Japanese War opens.
August 2 1 The "Japanese Surrender-A Large Exhibition to Commemorate the 70th Anniversary of Hong Kong's Victory in the Anti-Japanese War" jointly sponsored by Hong Kong Ta Kung Pao, Hong Kong Political Consultative Conference and new territories association of societies opened today at the Hong Kong Convention and Exhibition Center. It is reported that this exhibition cooperated with the Eight Anti-Japanese War Memorial Halls in China, and many collections were exhibited in Hong Kong for the first time; The content also involves the anti-Japanese deeds of the Hong Kong and Kowloon Independent Brigade of Dongjiang Column in Hong Kong. Ta Kung Pao's report on encouraging unity in the war of resistance showed the face of Hong Kong during the war of resistance from many angles.
Emperor Wen of Sui, Deputy Director of the Liaison Office of the Central People's Government in the Hong Kong Special Administrative Region, Song Ruan, Deputy Commissioner of the Office of the Commissioner of the Ministry of Foreign Affairs in Hong Kong, Wu Kejian, Director of the Education Bureau of the Hong Kong Special Administrative Region, and Liang Aishi, Deputy Director of the Hong Kong Basic Law Committee, attended the ceremony as officiating guests. In addition, many guerrilla veterans of the Dongjiang Column Hong Kong and Kowloon Independent Brigade received flowers from young people in Hong Kong. Chao Xiangling, the oldest veteran, is 94 years old. He once participated in the 1942 Hong Kong "secret rescue", collecting intelligence, rescuing and escorting celebrities to leave Hong Kong.
On behalf of the organizers, Chinese People's Political Consultative Conference, Chairman of Ta Kung Pao and Chairman of the Society Changjiang delivered a speech at the opening ceremony. He mentioned that Ta Kung Pao played an important role in public opinion during the Anti-Japanese War. Among them, when Japan announced its unconditional surrender in 1945, Ta Kung Pao produced a large font "Japan surrendered!" The title page has been listed as a national first-class cultural relic. This exhibition once again takes this as the topic, hoping to remember history, cherish the memory of martyrs and warn the future.
Wu Kejian, director of the Education Bureau of the Hong Kong Special Administrative Region, said in his speech that unity between the upper and lower levels is the key to China's victory against Japan, the precious spirit of the Chinese nation and the key to the steady progress of society. Today's Hong Kong can become an international metropolis, but also depends on the unity and cooperation of all sectors of society to overcome the difficulties together. He hoped that the exhibition commemorating the 70th anniversary of the Anti-Japanese War would enable Hong Kong students and all walks of life to have a deeper and more comprehensive understanding of the country's anti-Japanese war history.
The exhibition will also display the winning works of "Commemorating the 70th Anniversary of the Victory of the Anti-Japanese War-All-Hong Kong Middle School Students' Essay and Poster Design Competition", and share the feelings and thoughts of Hong Kong middle school students who went to Shenzhen, Beijing, Harbin and Hong Kong to return to the road of the Anti-Japanese War. The activities held in the same period also included the "Hong Kong Forum to Commemorate the 70th Anniversary of the Victory of the Anti-Japanese War" to discuss the Asia-Pacific conflict during World War II and contemporary international politics.
Poster designer of Beijing Film Festival: "I didn't expect to be scolded like this" \FilmFestival/
What does the designer behind this poster that caused an uproar think of all this?
Poster of the 10th Beijing International Film Festival
In recent days, a poster of Beijing Film Festival has caused an unprecedented heated discussion. Compared with the one-sided criticism of the poster of the last Beijing Film Festival, the public opinion on this poster is extremely polarized this time.
Like Moses' Bonus Sea, the crowd is divided into two distinct factions: one group thinks that the design language of this poster is very contemporary and even represents the future of graphic design; Another school thinks this poster is uncut, just like the work of amateur students.
Voicer interviewed the team of designers behind the pilot poster of Beijing Film Festival immediately after the incident. What's it like to be unexpectedly popular?
Liu and the mysterious box
Liu
/Famous graphic designer, no entry &; Brush a hillside, co-founder In 2003, he graduated from the Graphic Design Department of the School of Design, Central Academy of Fine Arts. 20 10 till now, lecturer of Central Academy of Fine Arts. In 2003, MEWE Design Alliance was established with Guangyu and He Jun, and in 2007, Hairball Studio was reorganized with Guangyu, and 20 15 reorganization was banned. His design works won the Nomination Award of Tokyo Font Direction Club (2004-2009) and the Excellence Award of new york International Art Direction Club (2005-2006). 20 10, he became a member of AGI (international Federation of graphic designers).
Mysterious box
/He used to be a senior designer and editor of New Horizon, creative director of the Chinese version of The New York Times, and artistic director of China District, The New York Times. 20 1 1, set up the cover of an independent magazine. On 20 13, the graphic design of spinning ball was added, and on 20 15, Liu was reorganized to set up a forbidden studio. Editorialdesign enthusiasts try their best to convey more information with design.
padlock
/2065 438+05 Reorganized, the members are composed of creative people with completely different design orientations. They are engaged in graphic design, illustration, interactive interface, publishing and exhibition planning, covering almost all aspects of graphic design, such as art, fashion, products, architecture, media, internet, music, literature and education. , with strong cross-domain.
No entry into official website:
Ask and answer. A
VOICERx entry ban
Voice-over: When you received the Beijing Film Festival project, what were the official requirements?
No entry:
First of all, let's be clear. Now this poster is the pilot poster, not the main poster.
Although we did it according to the main poster at that time, the film festival may still hope to have a more officially recognized main poster visually. Therefore, in Weibo, the comments on our pilot poster were particularly enthusiastic. Actually, it's a bit difficult. I hope you can wait until the main poster comes out.
In fact, the organizers of the Beijing Film Festival respect us very much and have not changed much in the design process. Before making the design, they put forward that there must be windmills, because their main goal is windmills; I hope there is a temple of heaven, because windmills and the temple of heaven mean good weather; In addition, I hope that the light sense and color can have the feeling of a movie.
So basically they didn't make much changes, especially on the dynamic posters, and they didn't give any specific opinions. A designer friend on the Internet helped us to speak: "Oh, it must have been bullied by Party A!" , but no. Party A has requirements. As mature designers, we certainly can't ignore their requirements. Therefore, this poster is the result of "coercion" by Party A of the film festival, which is totally untrue.
Outdoor renderings of posters of Beijing Film Festival prohibited from design.
Voice-over: Do you expect this poster to trigger a big discussion?
No entry:
No one expected a hot search at the pilot poster meeting, and we didn't expect to be scolded like this, "The adventure in the field of public affairs is so dangerous." We are just wondering, why is everyone's reaction so polarized?
Friends in the design circle say it's very refreshing. Today, there are designers who say that we design across the ages. This poster will become the design standard of a new era, but it doesn't.
It doesn't matter whether you scold or not. What you do is to enter the public domain. Isn't it normal to be scolded It's boring without causing controversy. But we will think about the reasons for these disputes.
Many people don't realize that movie posters actually have a specific paradigm.
The fonts of many movie posters are made into calligraphy or metallic effects.
Take the part where others attack this poster the most. Many people say that this word is not designed, so it is strange to use bold and typesetting. Why do you say this is because most of the movie posters they see are calligraphy; Otherwise, it is the three-dimensional font that is common in ancient costume posters, and the text is designed with a metallic texture. They will think that this is design. If only bold characters are used, there is no design.
Another point is that everyone thinks that this poster has no high-tech show feeling, and there are not many images such as star heads and stills that will appear in the movie poster. So they will think: Why is this poster different from the film festival poster I expected? People will have rejection, fear, disgust and anxiety because of this difference, that is to say, this is not a problem of beauty. Although movie poster design is a branch of graphic design, they are indeed two languages. It is the mismatch between graphic design language and movie poster design language that caused this debate. If it is not in the counterpoint relationship, it cannot constitute a discussion.
Overlapping details of letters and the top of the Temple of Heaven
Many people said, "This poster is like a student's homework, and it can't be typeset. The ball on the top of the Temple of Heaven and the words of the film are all stacked together and improperly handled. Obsessive-compulsive disorder makes us very uncomfortable. " Uncomfortable That's right. Our graphic design is to make obsessive-compulsive disorder look particularly uncomfortable and explore the possibility of vision. This is our design language. You will find that there is no overlap in other places, which is actually a small idea we made when designing, but under the dislocation of these two languages, this small idea will be invalid.
When designers see this overlap, they will think that it must be intentional, but people who have not been trained in design will feel uncomfortable, and this overlap will become the attack point. Netizens said that we are unprofessional and will not be empty? We will. We are all born word designers. We designed so many headline fonts more than ten years ago.
However, there is a big gap between this trend and the field of movie posters. In the field of movie poster design, if you don't make metal figures or special effects, others will think you are a liar. We can't explain it, and we can't go to Weibo to explain it to netizens one by one.
For example, the fashion industry has worn old shoes for five or six years, but you go to a place where people are still wearing small white shoes. If we design old shoes in this place, they will definitely say, how did you design a pair of shoes that were popular in the1980s?
Although we have always wanted to discuss with you at the mass level, the current situation in China is that every group of people are excluded by a paradigm that they can understand. Crowds should not be self-enclosed. We did a test, can we apply the latest language of graphic design to other industries? As a result, we found that there were no problems in contemporary art, music, media and fashion, but we encountered problems in the film industry.
Posters of Beijing Film Festival Series
Voice-over: There has always been a huge difference between the aesthetic standards of the design industry and the average aesthetics of the general public. This discussion in the public domain may magnify this difference infinitely. Do you think this disconnect is a changeable state? Or are you going to change this disconnect?
No entry:
There must be a disconnect, otherwise how to change it? If we make something that people like now, it will be impossible, and we will all be submerged.
And what is "popular"? It's hard to say. This quality is different from that one. Russell said, "the diversity of knowledge is the source of happiness", and the diversity of knowledge is the proper form of everything. Therefore, this disconnect raises a question.
Everyone is willing to at least discuss and think about a poster, which is a good thing and better than discussing some inexplicable gossip. For example, let me explain now that Baoding's ball is pressed by words, which is actually a concept. After this explanation, it is a very good thing if one or two people suddenly realize it.
No entry has designed many derivative directions for the poster.
Voice-over: When the Temple of Heaven was designed, why should it be designed in such a layered form?
No entry:
This year marks the tenth anniversary of Beijing Film Festival. Our concept is to focus on the Chinese character "ten". If the windmill rotates faster, it will become a circle, and then we will take ten round "lenses" to form the Temple of Heaven. Ten lenses are stacked together, which is actually the structure in the lens. For example, Leica once produced a very famous lens Summicron35mmF2, which is called "Eight Jade" in Japan. So the Temple of Heaven we designed is composed of a bunch of lenses. Looking out from the Temple of Heaven is equivalent to making a movie, that's what it means.
It is forbidden to turn the Chinese character "ten" into a windmill.
When we did it, we did not only dynamic, but also three-dimensional static. The poster released now only captures a dynamic poster, not our final static poster. Motiongraphic, dynamic poster, international trend.
Schreiber: How did the organizers of the Beijing Film Festival find the ban?
No entry:
Many years ago, the Beijing Film Festival held a poster collection activity. Before the solicitation began, Liu was invited to give a lecture on poster design, from which I got to know the organizers of the Beijing Film Festival. They always wanted us to make posters for them, and the person in charge invited us sincerely for many years, and we kept shirking it until last year, which was a bit embarrassing.
Last year's poster was scolded like this, so we were prepared. No matter what kind of poster you make this year, it will attract comments.
People don't think in order if they want to participate in discussions or vent their emotions. It's better than last year's poster. It's too easy. If someone praises our poster for being better than last year's, it sounds like swearing.
Beijing film festival poster derivative renderings
Schreiber: How do you evaluate your poster design?
No entry:
Percentage system? That's hard, 93.5. I think this poster can score more than 80 points in all our works. Because its limitations are actually there, it needs windmills and the Temple of Heaven. We can't express it with a picture, we can only do it dynamically. There are actually many ideas behind it. This poster may not be the best of our previous works, but it meets the requirements.
Voice-over: Some people say that the poster you made this time is particularly Asian (cultural). what do you think?
No entry:
This is really not Asian. We did a good job. Besides, is Asia not good? Beijing Film Festival is supposed to be above us, so we want to win it.
Derivative renderings of Beijing Film Festival series posters
Voice-over: among so many comments, what do you think is the most ridiculous one?
No entry:
"Is this made by PPT?"
What everyone cares about is the duration and cost of the so-called "technology". If a poster looks simple, they feel nothing good and don't work hard. In fact, customers also have this problem. The earliest dynamic poster we made was very simple, with no colorful colors, but very simple solid colors. We also showed them the main vision of the 70th anniversary of this year's Berlin Film Festival, but they still felt that there was no technical content, so we slowly introduced these color changes.
We also saw a funny comment that the most important thing for posters is to leave blank, and the surrounding text should be mainly graphics, especially the text in the upper right corner, which is taboo! Does this also make graphic design feng shui?
Voicer: After this incident, Voicer's designers have a feeling that if the public can't understand the designs made by designers, they often don't know what the meaning of their works is, and she will feel a little confused.
No entry:
Actually, the real public has nothing to do with you. Think about it. You only do one design to serve two kinds of people, one is real, your party a; One is virtual, which is the possible audience. There will be no third person.
As Guangyu said: "High quality is a scarce product, and low quality is the norm. Provocation is almost unacceptable and will be understood as lower than quality. "
For example, this poster partially solves several problems. Windmill? I see. Ten years? I see. Temple of Heaven? I see. Camera tip. Camera? I see. In the dynamic poster, the windmill is white and the background color is colorful. The converted Temple of Heaven is colored, and the background color is black and white, which symbolizes the technical transformation of the film from black and white to color. We have solved all these problems with a clear conscience.
Yang diploma professional honor (domestic) 20 15/ works won the Shanxi Cultural Poster (Class A) Professional Group Award in Shanxi Graphic Design Exhibition.
20 15/ Poster Works Won the Creative Poster Competition/Special Edition on the Theme of "Love Peace-Remember History" to Commemorate the 70th Anniversary of China People's War of Resistance against Japanese Aggression and Anti-Fascism Victory.
Group/masterpiece award
20 15/ The work won the excellent prize of the professional group in the 3rd China West Star Design Grand Prix.
20 13/4 won the Excellence Award in China Star Creative Design Competition (sponsored by the Design Committee of China Packaging Federation).
20 13/ design in action, poster design competition on the theme of "Chinese dream"
20 13/ The work won the second prize of the 7th Creative China Design Award.
20 13/ The work won the second prize of 20 13 China Packaging Creative Design Competition (sponsored by China Packaging Federation).
20 12/ 12 won the brand silver award of Shandong Design Qilu Star Design Art Grand Prix; At the same time, he was elected as a member of the editorial board of Thirty Years of Shandong Design Qilu Star (undertaken by Shandong Packaging Design Association).
20 12/ 12 works were selected for China Packaging Design Exhibition (exhibited in Shenzhen Convention and Exhibition Center). Shenzhen Council for the Promotion of International Trade, Shenzhen Cultural and Sports Tourism Bureau, Shenzhen "Design Capital" Promotion Office, Shenzhen Newspaper Group.
20 12/ 1 1 works were shortlisted for the 2nd China International Innovative Design Competition (sponsored by the Design Committee of Shaanxi Packaging Technology Committee).
20 12/ 10 23 poster works were selected for the 20 12 China Humanities "China Spirit" Public Welfare Poster Competition (sponsored by the Design Committee of China Packaging Federation).
From April 38 to February/August, 2065, her work won the third prize of the 6th National Design Art Competition of Creative China (sponsored by China Design Association and Chengdu Rongcheng Art Museum).
In February/August, 2065438, two works won the Excellence Award in Guangdong Xingyin Art Design Competition (professional group).
In February/July, 2065438, he won the second prize of China Packaging Creative Design Grand Prix in February, 2065438. The title of the work is "Green, Future". Organizer: China Packaging Federation. The exhibition and award ceremony will be held on July 3-6, 2002. Venue: China International Exhibition Center (new building).
20111won the 14th Central South Star Excellence Award and was selected as the prize.