Tainan Air Base

Q：什麼是O.OO？彈性很大，沒有設限，實驗、好玩、跳躍又任性。

Imperfection booklets Imperfection Booklet is a self-printed book about Risograph. From the past two years, We’d seen many different situations in printing risograph and heard stories from customers printing with our studio that we think our printing studio as a stage for a Risograph play. And the book is to document all the process.

Currently working as a graphic designer • 5+ years of experience in graphic design • Willingness to discuss a recent or memorable design project where you had primary and solitary responsibility for coming up with ideas • Willingness to share a copy of your final design • Completion of a brief online survey regarding your professional training and experience • Participation in a 45-60 minute interview regarding your chosen project, ideation processes, and related emotional experiences.

“Then you create something that seems faithful to those ideas and concepts. That’s our approach to almost all our projects: we have our own style graphically, but we’re always collaborating with our clients, whether they’re artists or organizations, to express something. It’s not about placing our design template on something. It’s about creating a dialogue that results in something we wouldn’t be able to create on our own.”

Just as great art can make you see the world in a new way, great graphic design can make you see art or an artist in a whole different light.

Design, however, is like navigating a city in the daytime: you know where you are, and where you need to get to, but might still get lost along the way. 

If I wanted to use the color red on a specific product and the market said it wasn’t sellable, then I wasn’t allowed to go in that direction.

The point was that you just have to start.

It’s commercial, it’s fine art; it’s playful, it’s thoughtful; it’s gestural, and it’s refined.

I must identify the differences (for me)

In my “real life,” my artist persona comes first because I have absolute freedom to invest my emotions and personality into the work.

I’m an artist working as a graphic designer. There’s a blurry boundary separating these two disciplines, yet at the same time, they are elaborately intertwined.

I often really need to work myself up to think I’m worthy to make work, so finding people I can be vulnerable with has been really incredible.

“Through my work, I would really just like people to see me and the process of my formation as a human being,”

Defamiliarisation then, as Linus discovered, is the deeply unsettling moment of psychological disorientation experienced when something which has always appeared familiar suddenly becomes unfamiliar: the moment when something is comprehended in a new way, with amazement and astonishment, not because of any bizarre quality of the object itself but precisely because the item in question had previously been considered so ordinary and acceptable, and is now, upon re-examination, found to be truly extraordinary.

enrich and enhance human experience of life, or merely to make it more efficient.

Designers, as creators and shapers of our social reality, are deeply involved in the operations and processes of habitualisation in contemporary life.

should never be considered normal or acceptable: things which should be known not as normal but as wonderful, or terrible.

‘algebraic’

As more types of people described as “designers” arrive, however, skillsets can grow more distinct and distant from one another.

the forms that designers regularly use include: typefaces, motion graphics, music and sounds, games, signage and wayfinding systems, posters, magazines and periodicals, books, information graphics, interactive systems, identity systems, advertising, writing, software programs, and more.

Donʼt our deepest lived experiences change us? And isnʼt school one of them?

potential of the school’s position as a space outside the commercial aims that design typically must serve.

Graduate schools,” Blauvelt continues, “whether celebrated or scorned, were once seen as the source of ‘the problem’” of design’s reduction “to its commodity form — simply a choice of vehicles for delivering a message: ad, billboard, book, brochure, typeface, website, and so on. Implicit in this reductive understanding is the denial of graphic design as a social practice and with it the possibility of disciplinary autonomy.” Here a new question has emerged: not “can it be taught” but “to what end”?

Creativity, especially in the last century, has been characterized as something that breaks from the pack; how, then, can it be broken down, spread out, and passed on?

Though we agree in part with the popular insistence that writing cannot be taught,” it states, “we continue to look for the most promising talent in the country, in our conviction that writing cannot be taught but talent can be developed.

Once dedicated to mastering basic skills of the craft, the school has become, in design’s Program Era, tied instead to the production of a professional, the creation of a designer as a whole self, an individual with a self-actualized practice in which student work, not client work, often forms the basis for an introduction and ongoing access to the design sphere.