Chili crisp is like perfume, different on every person, on every dish, at every temperature. It’s transportive, capturing the full essence of each component ingredient, transformed by heat and combined in effect. Oil is a perfect carrier of complexity, and our tongues and mouths are capable of perceiving sensations and flavors beyond the reach of words.⁠

Jay Chao, the producer of Su Chili Crisp, has been working on additional flavors since 2019, when Yun Hai swapped notes over lunch in Taipei and passed along customer requests for a non-tingly version and something a bit spicier.⁠ The Mala flavor is the original Su Chili Crisp.Is the bestseller for the past three years in YunHai shop.

(PACKAGE REDESIGN) Lu Ihwa, Liu Yuxian (O.OO)
(CLIENT) YunHai雲海
(YEAR) 2022

Lu Ming-Te is a major pioneer of contemporary Taiwanese interdisciplinary art. This exhibition at Taipei Fine Arts Museum seeks to present Lu’s works in a different way from the past. First, it links the exhibition spaces together through the narrative-charged motif of “Great Migrations,” endowing this retrospective with the distinctive style of Lu Ming -Te and vividly expressing his different creative approaches with a migration through different environments.

Look back the “Great Migrations” at Taipei Fine Arts Museum in the first half of the year. Because the Museum proposed to hardbacked books, so the overall of monograph, Include editing process and production cost, both break the record of the Museum over the years. The entrance and exit of the exhibition used the giant egg as the metaphor for migration. We moved the concept of the Great Migration to the book cover, to fulfill those of who haven’t had the opportunity to visit the exhibition could also have the exhibit experience while they are reading the book.

Great Migrations: Lu Ming-Te, Published by Taipei Fine Art Museum
大遷徙:盧明德 2021, 臺北市立美術館 出版, Limited edition of 600

(EXHIBITION IDENTITY) Lu ihwa
(COVER DESIGN) Lu ihwa
(EDITORIAL DESIGN) Liu Yuxian
(PHOTOGRAPHY) Lu ihwa, Liu Yuxian
(CLIENT) Taipei Fine Art Museum 臺北市立美術館
(YEAR) 2021

Unconstrained Textiles: Stitching Methods, Crossing Idea for CHAT mill6

CHAT’s 2020 spring exhibition “Unconstrained Textiles: Stitching Methods, Crossing Ideas” brings together the textile works of 7 artists of different countries and cultures. However, due to complications from the COVID-19 pandemic, they have recently collected and put together information and photos on the exhibition together to create a designed documentation of the exhibition.

Patchwork is an artform which involves sewing together irregular pieces of new and used fabrics, and it can be infinitely expanded by adding another fabric piece, with each piece of the patchwork having its own character and history. Unconstrained Textiles: Stitching Methods, Crossing Ideas as a metaphorical patchwork is a thought experiment which ponders both art and textiles beyond the long-standing discussion formula, examining instead the artistic application of textiles.

(EXHIBITION VISUAL IDENTIY) Lu ihwa
(EDITORIAL DESIGN) Lu ihwa, Liu Yuxian
(YEAR) 2020
(CLIENT) CHAT 六廠(六廠紡織文化藝術館),Hong Kong

(PACKAGING DESIGN) Lu ihwa
(PHOTOGRAPHY) Lu ihwa, Liu Yuxian
(BOX SIZE) 234*377*108mm / 6 mangoes per box
(CLIENT) cutaway 卡個位, 伊嚐
(YEAR) 2021

為茶,千千萬萬遍|為你,帶來最好的 《光乘茶包禮盒》
吉祥草茶館,對許多朋友而言,像是家裡的客廳,吃飯時相見,午後相約喝茶。
吉祥草成為每天遛狗時的必要經過,有時還代收包裹、鑰匙,
茶香與維繫情感是此地的日常,一不小心菜做得有點好吃,
使我們有幸成為客廳一般的存在。希望天冷不想出門的日子裡,有吉祥草的茶香陪伴。

To many, BUDDHA TEA HOUSE is like the living room of a warm home,
where people gather together to eat a filling meal, and share a moment together for afternoon tea.

our tea house accompanies your day to day routine,
sometimes walking the dog with you, sometimes helping you pick up packages and keys.

The gentle fragrance of tea and emotional wellbeing are intertwined in our everyday,
a soft aroma in the air as you cook an especially delicious meal for your friends and family,
like the living room where happiness and warm feelings are felt and shared.

On these cold winter days, stay home and warm yourself up with the aroma of tea.

(ART DIRECTOR) Lu ihwa
(PACKAGING DESIGN) Lu ihwa, Liu Yuxian
(DESIGN ASSISTANT) Vivian Wang
(PHOTOGRAPHY) Lu ihwa, Liu Yuxian
(BOX SIZE) 80*85*50mm / 192*192*54mm (4 box)
(CLIENT) BUDDHA TEA HOUSE 吉祥草茶館
(YEAR) 2020

第55屆金鐘獎,以攤開的雙手呈現「55」樣貌對應今年「對手」主題,
隱喻媒體人在這一整年作為彼此的對手,相互競爭成長。
今年主辦單位提議,分別為電視金鐘、廣播金鐘兩場典禮,設計出兩款具連續性的主視覺,
此次主視覺以俐落、跳耀線條輔以鮮明的對比色,將「對手」間的較勁對決生動詮釋,
尤其以「手」、「刀光劍影」的意象增加畫面律動感,撞擊出精彩火花。

.統籌團隊 PROJECT PLANNING SPECIALIST: SET TV(三立電視台)
.平面視覺指導 ART DIRECTOR : SET TV(三立電視台), Lu ihwa, Liu Yuxian (O.OO)
.專案經理 PROJECT MANAGER :Desiree Niu
.標準字設計 GBA55 LOGO TYPE DESIGN:Wallace Chao
.設計執行 GRAPHIC DESIGN:Lu ihwa, Liu Yuxian (O.OO)
.印刷設計 PRINTED LITERATURE DESIGN : Lu ihwa, Liu Yuxian (O.OO)
.專刊設計 SPECIAL ISSUE DESIGN:Vivian Wang, Liu Yuxian (O.OO)
.主視覺動態設計 KEY VISUAL MOTION DESIGN : Lee Chuchieh
.印刷裝幀 PRINTING:古根漢印刷
.主辦單位 CLIENT:SET TV 三立電視台 , 文化部
.案件年份 YEAR:2020

2021 年1 月1 日,《PAR表演藝術》雜誌正式宣告改版。

我們將雜誌重新想像成一場紙上展演,重新拆解內容,透過五個章節的梳理——〈開演前〉暖身的輕資訊、〈上半場〉的重頭戲「封面故事」、及〈中場休息〉全為圖像單元、〈下半場〉則是精彩絕倫的人物訪談、以及〈Bravo 安可〉絕對不能錯過連載專欄及國際資訊,重新梳理出一個新的閱讀節奏,讓讀者能夠自由地悠游其中,建立出一個屬於自己閱讀雜誌的儀式。

我們也將雜誌原來的命名「Performing Arts Review」(縮寫為(PAR),正式改為「Performing Arts Redefined」,自詡雜誌透過「New Perspective, A Closer Look」全新視角、更靠近產業的方式,更貼近一本表演藝術雜誌的本質。

第一期封面設計,我們將信封設計成一份邀請函,新版的Par LOGO則是表演入場卷的隱喻,邀請觀眾一起看一場精彩的Par表演藝術。

(IDENTITY DESIGN) Lu ihwa, Liu Yuxian (O.OO)
(COVER DESIGN) Lu ihwa (O.OO)
(EDITORIAL DESIGN) Sample Animal (見本生物)
(PHOTOGRAPHY) Lu ihwa, Liu Yuxian (O.OO)
(CLIENT) 國家兩廳院 National Theater & Concert Hall
(YEAR) 2021

A Little Guide Book of Circus in Taiwan

「臺灣馬戲指南」既是「星合有限公司 & 合作社」的品牌書,
也是一本探尋「馬戲文化」的小小紀錄。

This guide book is not only an introduction to HSINGHO CO., LTD.,
but also a record of their exploration in circus culture.

對他們來說,馬戲不是一個定義可以解釋完成。
感受、理解、思考、沒有標準答案,是星合團隊越深入找尋答案,
越發覺就像世界上千百種藝術表演一樣(或是人生在世很多事情一樣),沒有標準答案就是答案。

They have strived to figure out an exact definition for circus, but only to find out that no answer is the best answer, just like thousands of art performances in the world. Only by feeling, understanding and thinking about circus can we truly get closer to the core value of it.

.

. 出版 PUBLISHER
 : 星合有限公司 HSINGHO Co.,LTD.
. 作者 AUTHOR
 : Wen Liu, Yu-Lun Chiang, Hsing-Ho Chen
. 企劃編輯 EDITOR
 : Wen Liu
. 文字撰稿 WRITER
 : Wen Liu, Yu-Lun Chiang, Hsing-Ho Chen, Ya-Chen Chen
. 翻譯 TRANSLATOR
 : Heng Chin
. 設計統籌 Book Design : Lu Ihwa, Liu yuxian, Eloise Vo (O.OO)
. 印刷裝幀 PRINTING & BINDING : O.OO, Tooget
. 案件年份 YEAR: 2020

ISBN 978-986-98898-0-3

This is a calendar that needs more patience to read,
this year we break the inertial way how people read the calendar.
Although it looks like a complicated graphic code,
but basically there’s nothing changed from the general calendar.
The only thing that I did is emphasizing ten digits of the numbers (date).

Through the color arrangement, ppl will see color numbers (ten digits) first,
and then they will see the grey numbers (single digits).
For example, the day “25”. Reading order will first find the colored “2″
and then the corresponding gray “5″ and they might find it less than a second.
I only changed a bit of the reading order and made the whole calendar into a simple logic game.

Since 2O14, the calendar was never just a paper for counting days for us.
It was “the only experimental field in a year” and this one can last until the end of the year.
We really feel very grateful for everyone who was willing to participate in these experiments for the past five years.
We have used this calendar as a metaphor to question about our every day,
and  We hope people also build there own perspective for every detail what they take it for granted.

.

(DESIGN & PRODUCTION) Ihwa Lu, Yuxian Liu (O.OO)
(FULL SIZE) H820*W300 mm
(PRINTING METHOD) 15 Colors risograph printing
2019 LIMITED EDITION OF 100, NOVEMBER 2019.
Purchase 2O2O Calendar

We play various roles in a virtual community network at the same time & place.
from the real to the virtual, from the performers to the audiences.
We receive feedback from users around the world and we update the post constantly one by one.
This program is series of posters & installation how people play many roles in the virtual community network simultaneously,
and change the behavior (direction) based on the feedback from users all over the world.

(ART DIRECTOR)
Ihwa Lu

(INSTALLATION ART)
. size 210*180*20cm
. projection
. loop video 15″

(POSTER SERIES)
. size H1380*W930 mm, 4 poster
. material digital print on paper
. JUNE 2019

Tokyo TDC Annual Awards 2020 ‘Excellent Work’

攜手世界 台灣耀飛
如箭頭般往右上前進的雙十符號,象徵台灣追求進步的腳步不曾停歇。
好,還要更好。

奪目的大地綠,展現台灣人的積極、活力;
搶眼的熱情紫,秀出台灣的友善、好客。
繽紛的輔色藍、靛、黃、橘,
如同這片孕育我們的土地,包容多元聲音,造就無限可能。
2019 Taiwan Forward
一起接軌世界 閃耀國際

.

. 企劃統籌 PROJECT PLANNING SPECIALIST
 : Sam Yang
. 視覺指導 ART DIRECTION
 : Ihwa Lu, YuXian Liu (O.OO)
. 設計執行 GRAPHIC DESIGN
 : Ihwa Lu, YuXian Liu, TingYu Yeh, ShihMin Yang
. 設計助理 DESIGN ASSISTANT
 : TingShian Tsao
. 印刷執行 PRINTING PRODUCTION
 : Greese, 33print
. 動畫團隊 ANIMATION PRODUCTION & DESIGN
 : 二棲設計 27 Design
. 案件年份 YEAR: 2019

24/7 A PROPOSITION Exhibition VI
for Taipei Fine Arts Museum

24/7空間計畫在尋找一種靠近日常生活的情境,提供觀眾練習成為使用空間的各種角色的機會;觀眾於此空間內從美術館的參觀者反轉成為美術館的行動/表演者,在這樣的情境之下,觀眾的身體行動及姿態將賦予這個空間意義。這是一個沒有入口及出口、開始或結束的開放性空間。在原本只有裸牆與線性的空間中,稍微抬升的榻榻米木作平臺、與牆面圖案相互延伸呼應的抱枕、提供光源的野口勇(Isamu Noguchi)紙燈,均在給予觀眾可自由行動的暗示。

相對於美術館的正式展間,此空間嘗試成為一個實驗性「場所」;正如野口勇認為自己的紙燈作品,
像是漫遊於藝術和設計之中,24/7空間計畫也是如此,
在美術館這個公共場域中,一個可供觀眾自由佔領的空間,它的存在意義將漫遊於何處?

Project 24/7 seeks to bring everyday life into the framework of the Museum.
The audience is invited to explore and make use of the space.
By their physical actions and postures the audience actively participates in giving meaning to the project.

In an open space without a clearly defined function,
platforms of varying sizes and heights provide a pedestal or a stage where the audience is able to act freely,
taking on the role of the artwork or performer.
The walls and cushions are covered with the pattern of various grids of tatami mats alluding to the planning and construction of spaces.
With a palette of colors appropriated directly from convenience stores around Taipei,
the wall paintings lead us out of the museum and into the urban landscape of our daily lives.

In contrast to the exhibition spaces in the museum which demand the audience to be attentive and focused,
24/7 is a casual space where visitors are encouraged to interact physically with the installation.
Illuminated by paper lanterns the space also provides an environment that encourages informal exchanges.
Just as Isamu Noguchi viewed his paper lanterns as “Restless wonders between the realm of art and design,
24/7 proposes a space between an art exhibition and everyday life.

. Exhibition Identity : O.OO
. Client: Taipei Fine Art Museum & MICHAEL LIN
. Year: 2019

 

It took 850 days, 74 tubes of soy ink, 15 colors, 660 masters, 690,000 sheets of paper, 3 fans,
2 riso printers, and 4 people to complete a book – a 360 page book that only talks about 1 thing.
The thing that is always the most fascinating is “Process”.
The processes and experiences that did not have the chance to appear in the pages
of this book can only be quantified, converted, and recorded into words.

is the result of 2 years of image separation studies and experiments,
and is the second book published by O.OO. Instead of using wordy descriptions,
we hope that readers can feel the wonders of Risograph printing through the details of the design in the book.
Whether you are a designer, an artist, or an illustrator,
anyone interested in color can use this book to enter the field with ease.

The methods discussed in this book are not the one and only, and are not absolute.
Everyone’s way of experimenting is different, and this book just offers our experience as a tool.
Without the participation of people, the technology is plain and void of charm.
Thus, the title NO MAGIC IN RISO.

透過850個日子、74罐大豆油墨、15個顏色、660個印刷版、69萬張紙、3支風扇、兩台印刷機、四個人去完成了一本書,
一本360頁都只講一件事的書。最迷人的永遠是「過程」,
那些沒有機會出現在這本書裡的過程,最後只能將它量化後,轉變成文字去紀錄著。

是經過兩年的影像分色研究、實驗的結果,也是O.OO時隔3年後出版的第二本書,
延續了的宗旨,比起冗長的文字敘述,我們更希望透過書中設計的細節,
讓讀者用直覺去感受Risograph印刷的巧妙之處,不管是設計師、藝術工作者、插畫家,
任何對色彩有興趣的人都能透過這本書以更輕鬆的狀態走進這個領域。

這本書裡提到的方法沒有絕對也不是唯一,只是實驗的方式不同,
它能提供給的只有經驗。在有人的參與之前,技術本身是沒有魅力的,
所以NO MAGIC IN RISO。

NO MAGIC IN RISO
(ISBN) 978-986-97588-0-2
(FULL SIZE) 180H*110W*27Tmm
(PRINTING METHOD) 15 colors risograph printing, foil stamping
360pages + 10 sheets of tritone color chart (attachements)

LIMITED EDITION OF 1000
MAY 2019

2O19 CALENDAR
MAKE RULES AND BREAK THEM ALL

’19 Calendar | MAKE THE RULES AND BREAK THEM ALL

For this years calendar we put the focus on type-based image creation. Sometimes the beauty lies in the most basic elements – in this case the numbers. We created a bunch of rules that we had to break so as to create room for experimentation. Each design reflects the current month and has it’s unique character depending on the used colours and shapes.

Starting off with creating a system that is based on the same grid and typeface for each month.  Different layers of elements are designed in such way they interact with each other.  Through experimentation we let the differences in colours, shapes,scaling and positioning decide on the overal visual appearance.

.

(ART DIRECTOR) Ihwa Lu, Pamina Reisinger (O.OO)

(GRAPHIC DESIGN) Ihwa Lu, Pamina Reisinger (O.OO)

(PRINT & PRODUCTION) O.OO Design & Risograph ROOM, TOOGET

(FULL SIZE) H526*W410 mm

(PRINTING METHOD) 13 Colors risograph printing, 1 Pantone color digital printing

2018 LIMITED EDITION OF 120, NOVEMBER 2018