国际水墨设计.1

李中扬，首都师范大学，教授，首都师范大学设计系教授，研究生导师，视觉设计与教育研究所所长，ICOGRADA国际平面设计联合会会员，AIGA美国平面设计协会会员，中国高等教育学会设计教育专业委员会常务副秘书长，教育部人文社科项目评审委员，教育部第三轮设计学科评估专家，《包装与设计》特约编委 全国中文核心期刊《包装工程》编委，“光华龙腾奖”—— 中国设计贡献奖银质奖章。
教学团队特聘教授，发表学术论文120多篇并收载国际三大检索《EI》《ISTP》，先后参与国家“八六三计划”子课题和全国“十一五”国 家课题等项目，国内外设计获奖140余项，作品曾在美国、法国、德国、秘鲁、日本、韩国等地展出，第十一届全国大学生设计大师奖评委，全国包装艺术大赛评委，2013北京国际设计周设计大奖评委，全国15所高等院校客座、兼职教授。

墨分五色，浓、淡、干、湿、焦。五色具，谓之得意。意在笔先，意在现实的情境中，意，也在水墨氤氲的形式里。在文化多元的今天，水墨演绎的设计，应该呈现怎样的美？

Ink is divided into five colors, thick, light, dry, wet and burnt. We say that ink has its meaning. That is to create a kind of meaning before the creation. The meaning is in the real situation and also in the form of ink. What kind of beauty should the Chinese ink design present in today’s multicultural world?

或许，这是一个没有确切答案的问题。水与墨、墨与纸，云蒸霞蔚，永远都在未知的变数之中。你落笔，期待一个视觉奇迹；我着墨，幻想一个视觉奇观。胸有成竹，是在废纸三千之后。所以，变，或者不变，取决于现实条件，也取决于你我曾经的辛勤付出。水墨演绎的设计，意义也就在变与不变之中。我们的设计观念，源自社会、文化、产业与市场的需求。需求变，我们的观念也会变；观念变，我们的视觉设计语言也会随之更新。更新的不是形式，是运用形式的人。所谓天大，地大，人亦大，人居一焉；人从地、天、道、自然中学习。而自然之象，或在混沌之中，或在虚实之间。水墨，可以是宣纸上的江南；水墨，也可以是数字化的像素。新时代的水墨演绎，既在现实之中，可触；也在虚拟空间，可感。当这样的触感成为人的需求之后，设计，也因此彰显出新时代的鲜活气息。

Perhaps, this is a question without a definite answer. Water and ink, ink and paper are always in the unknown variables. You write and expect a visual miracle; I write and imagine a visual wonder. The ability to predict the answer comes after much training. So, change or unchanged, which depends on the actual conditions, but also depends on you and I have worked hard. The meaning of ink design is in the changing and unchanging. Our design concept comes from the needs of society, culture, industry and market. As the demand changes, so will our concept; as the concept changes, so will our visual design language. What is renewed is not the form, but the people who use it. The sky is big, the earth is big, and the people are big, people live in one of them; people learn from the earth, the heaven, the Dao and the nature. And the image of nature is either in chaos or between the virtual and the real. Ink can be the River south scenery on rice paper; ink can also be a digital pixel. In the new era, ink interpretation is not only in reality, but also in virtual space. Design also shows the enormous vitality of the new era when that feeling becomes a human need.

那么，我们又该如何演绎水墨之新？新时代设计师的灵感激荡与交流，或许是一个可供演绎的平台。借北京国际设计周的东风，“2016当代国际水墨设计展”由此起航。我们的宗旨，是立足于新水墨蕴含的人文精神，来展望设计可能的未来。在以“水墨”为名的设计展中，设计师，无论中、外，都可以从水与墨的交融中发现崭新的自我；也可以从欣赏者的视角，审视他人的可能与不可能，新观念，新方法，新形式。探索从此开始。

So, how do we interpret the novelty of ink? The inspiration of designers is surging and communicating in the new era, which may be a platform for interpretation. 2016 Contemporary International Ink design Exhibition starts from Beijing with the holding of the international design week. Our aim is to look forward to the possible future of design based on the humanistic spirit of new ink. In the design exhibition in the name of ink, Chinese and foreign designers can find a new self from the integration of ink. They can also examine the possibility and impossibility of others, new ideas, new methods and new forms from the perspective of the audience. Exploration begins.

北京国际设计周作为亚洲规模最大、最具影响力的创意设计展示、推介、交流及交易平台，结合首都师范大学美术学院的学术资源，尽可能地聚集来自全球优秀的创意设计作品，尽可能地提升活动品质，目的就在于将原创性的作品反馈给我们的社会。

Beijing International Design Week is the largest and most influential platform for exhibition, promotion, exchange and transaction of creative design in Asia and combined with the academic resources of the Academy of fine arts of Capital Normal University which gathers excellent design works from around the world and improves the quality of activity products as much as possible. The purpose of the exhibition is to feed back the original works to our society.

为此，在展览策划的总框架中，我们对水墨及其可能的设计式样进行了多维度、体系化的架构，将水墨设计的观念还有观众的审美接受、信息传播、批评与再设计等问题进行了充分地研讨，由此确定了最后的展览方案。

Therefore, we have carried out a multi-dimensional and preliminary systematic framework of possible design styles to ink in the overall framework of exhibition planning, and finally determined the exhibition plan after made a full study of the concept, criticism and redesign of ink design.

策展之初，我们关注于水墨设计的创意与设计维度、方法、形态，尤其是“新水墨”概念指导下相关观念、方法的得与失，还有数字媒体时代的新动力、新主张、新形态、新功能、新应用。因此希望参展设计师能够从自身的创作经验出发，发掘、归纳水墨设计的规律和情感表达方式，同时更期望设计师用水墨表达尽可能多的人文情怀，尽可能多地归纳水墨可能存在的设计形式、构成规律以及表达层次、语言特征，以此传递设计的本质和美学主张。

At the beginning of the exhibition, we focused on the creativity, dimensions, methods and forms of ink design, especially the gains and losses of relevant methods under the guidance of the concept of new ink, as well as the new power, new ideas, new forms, new functions and new applications in the era of digital media. Therefore, it is hoped that the participating designers can start from their own experience, explore, summarize and innovate the rules and emotional expressions of ink design, and also hope that the designers can use ink to express human feelings, explore the design forms, composition rules and language features of ink, so as to transmit the essence and aesthetic ideas of design.

作为首次以“新水墨”命名的设计展览，至关重要的是受众是否接受并欣赏。毕竟，传统水墨的形式早已深入人心，从设计角度出发的水墨表现，在多大程度上能符合不同层次观众的接受心理，我们的内心其实很忐忑。但，既然走出了这一步，我们就认真调整自己的心态，用一颗勇敢的心，来面对并接受批评。

As the first design exhibition named after new ink, what we care about most is whether the audience can accept it. After all, the form of traditional ink has been deeply rooted in the people’s hearts. We are really worried about the extent to which the performance of ink design can meet the aesthetic taste of the audience. However, since we have taken this step, we will seriously adjust our mentality and face and accept criticism with a brave heart.

万事俱备，只待开展。以首都师范大学视觉设计与教育研究所师生为主体的布展团队，工作在一线。与其说是布展，其实更是共同创作一幅行走的、立体的、充满感情的设计作品。我们的团队，正与作品进行无声的对话。

Everything is ready to go. The exhibition team that are working on the front line are teachers and students from Research Studio of Art Design, The Capital Normal University. It’s better to create together with a walking, three-dimensional and emotional work than to arrange Exhibition. Our team is having a silent dialogue with the works on display.

与展览同时，作品集也在规划之中。通过现场展览，我们发现在美学形态之外，“新水墨”设计作品还存在自身的叙事能力，它们的表达所制造出来的效果，本身就是故事化的行为方式。所以，作品集将承担完整的叙事职责，将“2016当代国际水墨设计展”进一步扩容，最终成为一本有温度的纸质读物。当然，我们的尝试是否能够成为视觉传达设计领域的一股清流，是否能丰富东方文化的表达方式，还有待时间的检验。

The planning of the collection of works carried out at the same time as the exhibition. We can find that the narrative ability of ink design works and the effect of aesthetic form expression make the exhibition story at the exhibition site. Therefore, the collection of works will assume the narrative function, further expand the content of 2016 contemporary international ink design exhibition, and finally become a paper reading with temperature. Of course, whether our attempt can become a clear stream in the field of visual communication design, and whether it can enrich the expression of Oriental design culture remains to be tested in time.

新水墨、新未来。以北京国际设计周“2016当代国际水墨设计展”为展现载体的水墨设计，即将走出国门巡展，向世界展示当代“新水墨”设计的新主张。未来可期，擅于发现美的你与我，拭目以待。

New ink, new future. Based on the platform of Beijing International Design Week, the 2016 contemporary international ink design exhibition will go abroad to exhibition and show the new ideas of Chinese ink design to the world. In the future, you and me, are about to discover beauty.

首都师范大学视觉设计与教育研究所

Research Studio of Art Design, The Capital Normal University

李中扬 教授

Prof. Li Zhongyang

展览宗旨 Exhibition Purposes 2
组织机构 Organization 4

征集类别 Collecting Categories 6
征集对象 Partner Wanted 7

《2016当代国际水墨设计展》终评/ 评委 The Final Judges of 2016 International Exhibition of Modern Design on Ink Painting 8

奖项设置 Award Setting 18
金奖 Gold Award 22
银奖 Silver Award 30
铜奖 Bronze Award 44
优秀奖 Excellence Award 66

入选作品 Finalists 108
A - 视觉设计 Visual Design 110
B - 空间设计 Space Design 180
C - 文创设计 Cultural Creative Design 184
D - 媒体设计 Media Design 194
E - 实验创作 The Experimental Creation 198
F - 水墨艺术 Ink Art 208

策展团队 The Curators 222
展览团队 The Exhibition Team 223
展览时间/ 地点 Exhibition Time / Site 224
展览声明 Exhibition Statement 225
展览现场 The Exhibition 226

后记 Epilogue 228