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

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

ONE DAY PASS LIMITED EDITION Ticket / Bookmark
for NOT JUST LIBRARY

對多數人來說,網路的發展和閱讀的習慣已經成為反比,
所以帶領讀者以更輕鬆的狀態進入閱讀的領域,便是圖書館無形的責任,
因此 不只是圖書館 Not Just Library 2019的年度票卷,
我們便以「創造書中新的風景」為出發點,讓讀者可以透過書籤不同的視角,
在書中發覺新的趣味。一本小說、漫畫、攝影集,都能成為創作的材料。

一張平凡的票卷,提供一個非尋常的閱讀路徑,
讓「讀者」有意無意的轉變成「創作者」的角色。

不懂小說、不懂攝影、不懂排版、不懂設計,在拿到這張書籤後,
都是不存在的藉口,藉由「用書籤來創造新屬於自己的新風景」的這個過程中,
讀者的來回嘗試,都是和那本書的作者、設計師的一種全新的合作模式。

.

不只是圖書館 NOT JUST LIBRARY
2O19ONE DAY PASS LIMITED EDITION

.

(TICKET DESIGN) O.OO
(CLIENT)不只是圖書館 NOT JUST LIBRARY
(PRINT)印簿玩 Tooget
(PHOTOGRAPHY) O.OO
(YEAR) 2O19

 

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

KITOKITO TOYAMA Exhibition Visual

越中富山 工藝分贈

工藝品牌「越中富山 工藝分贈」由富山縣綜合設計中心所主導,將富山縣自古相互分送福氣、幸福的風俗習慣“おすそわけ(osusowake)”實體化並製成代表富山的工藝禮品。關注當地深厚的「工藝技術」,以小巧的日道具形式呈現,轉換了沉甸甸的工藝印象,以輕巧的姿態大步走入現代人的日常!

展覽時間. 2019.02.23 – 03.24
展覽地點. 不只是圖書館Not Just Library

. Exhibition Identity : O.OO
. Client: Taipei Design Center & Not Just Library
. Year: 2019

Orderme.again Dessert Giftbox

. Packaging & Graphic Design : O.OO
. Client: Orderme.again
. Year: 2019

NIKE LI NA REFRESH: SH ON AIR
HUNG ART DESIGN A

NIKE SHANGHAI LI NA REFRESH
A PRIMARY GOAL OF THE LI NA REFRESH IS TO CONNECT TO THE ENERGY
OF THE BRAND AND INJECT INSPIRATION INTO THE WORKPLACE.
THIS UNIQUE SPACE, FIRST UTILIZED AT NIKE WORLD HEADQUARTERS,
IS DESIGNED AS AN ALTERNATIVE WORK ENVIRONMENT.
IT IS AVAILABLE TO ALL NIKE EMPLOYEES. YOU CAN WAIT THERE, WORK THERE, MEET THERE, COLLABORATE THERE,
OR JUST ESCAPE FROM YOUR DESK THERE.

6F – AIR LOUNGE: SH on AIR
上海NIKE總部6F / 空間平面視覺設計
Shanghai, Nike key global city, a city that never rests,
propelled by a passion to create, and Nike Air,
an innovation that continually evolves to meet the needs of athletes,
while becoming a powerful vehicle of individual expression.
One feeds the other. Inspires and challenges.

. Graphic Design: O.OO
. Client: NIKE
. Printing Method: UV printing
. Size: 5500*1750 mm
. Year: 2018

NIKE LI NA REFRESH: SH ON AIR
HUNG ART DESIGN B

NIKE SHANGHAI LI NA REFRESH
A PRIMARY GOAL OF THE LI NA REFRESH IS TO CONNECT TO THE ENERGY
OF THE BRAND AND INJECT INSPIRATION INTO THE WORKPLACE.
THIS UNIQUE SPACE, FIRST UTILIZED AT NIKE WORLD HEADQUARTERS,
IS DESIGNED AS AN ALTERNATIVE WORK ENVIRONMENT.
IT IS AVAILABLE TO ALL NIKE EMPLOYEES. YOU CAN WAIT THERE, WORK THERE, MEET THERE, COLLABORATE THERE,
OR JUST ESCAPE FROM YOUR DESK THERE.

6F – AIR LOUNGE: SH on AIR
上海NIKE總部6F / 空間平面視覺設計
Shanghai, Nike key global city, a city that never rests,
propelled by a passion to create, and Nike Air,
an innovation that continually evolves to meet the needs of athletes,
while becoming a powerful vehicle of individual expression.
One feeds the other. Inspires and challenges.

. Graphic Design: O.OO
. Client: NIKE
. Printing Method: UV printing
. Size: 2200*2100 mm /each
. Year: 2018

O:o INSTALLATION ART

每一份印刷品除了做為知識傳播的媒介外,也都是由千百個細節構成的,
而這些美麗的細節在大眾的日常中僅是觸手可及的距離。

這次以使用過的浪板做為色彩研究的載體,經過1:1翻拍,
用6種特殊的印刷色重組浪板的色彩和使用痕跡,
最後透過倍率裝置,將浪板的兩種樣貌濃縮在觀展範圍內。

. Installation Art Design: O.OO
. Client: INCEPTION(啟藝文創)
. Photography: O.OO
. Year: 2018

JR Naked Reality Show
for JR-EAST & Japan foundation
LOVELY SUNDAY 2018 CONCERT POSTER

. Poster Design: O.OO
. Client: The Chairs Music
. Photography: O.OO
. Printing Method: Offset Printing by 33Print
. Year: 2018

LOVELY SUNDAY by The Chairs

LOVELY SUNDAY 樂芙莉聖代
這張專輯是the Chairs經過長時間沈澱、蛻變後的代表作。

這次曲風揉和復古元素,加上大膽多變的編曲,看似是不同的風格,卻又指向同一個主題。
專輯名稱意指「聖代般的星期天」,所以如何在有限的框架內,
讓尚未聽過歌曲的消費者從外觀感受到
充滿孩子氣微甜的感覺,便是這次專輯設計的主要課題。
所以我們決定保留了清涼的基本元素「塑膠殼」,並將整張專輯主要視覺放在光碟本身,
隨著專輯晃動的彩色碎屑作為點綴。
最後的完整視覺,可以解讀為「俯視的聖代撒上糖霜」又或是「棒棒糖」。

快樂的情緒是無形的,但透過視覺的想像、與實體專輯的互動後,
這份經驗便會有形無意的深植消費者心中,留下耐人尋味的回憶。

*每一張專輯內的圓點都會隨著擺放不同而滾動,實屬正常。

is a sweetly crafted album by The Chairs after a long period of reflection and transformation. The title has the double meaning of the date “Sunday” and the dessert “Sundae”, so when designing the album, we asked ourselves, how can we use the limited framework of the CD to visually communicate the childlike sweetness of their music to consumers who have yet heard the album? The main objective of this project was to present the feeling of childlike innocence and sweetness in the album design.

We decided to keep the cool basic element of the “plastic case”, and place the focus of the whole album design on the CD disk itself, highlighting it with colorful confetti that moved as the album was shook. The final vision can be interpreted as “a birds eye view of an ice cream sundae with icing”, or “a lollipop”.

The feeling of happiness is not tangible, but through visual imagination and interaction with the physical album, the experience of happiness and wonder will be deeply embedded in the hearts of the consumers and create sweet memories.

 . Album Design: O.OO
. Client: The Chairs Music
. Photography: O.OO
. Printing Method: Risograph Printing by O.OO / Offset Printing by 33Print
. Year: 2018

IRMA BOOM BOOK Exhibition Visual

Irma Boom 伊瑪布 書展

熟悉Irma作品的人會發現,她的設計從來不是張牙舞爪的,
甚至可以說當它們和眾多書籍擺在一起時,大多看起來是沒有個性的。

這些書,必須透過人因的互動,透過我們的除了視覺上的感官去記憶它們,所以深刻。
Irma不再重新詮釋、轉化作者的作品,而是將他們的作品有邏輯的編排,交織出一段段故事。
她的設計之所以細膩,也是因為他在設計的過程中總是把自己放在策展人的角色,
善用同理心將這些作品恰如其分的和紙本結合。
雖然沒有機會觸碰到藝術品的實體,
但身為讀者可以透過翻閱、互動的過程,間接認識作品、作者。

要怎麼樣用一個視覺(一張DM),將自己設計的角色放在次要,
直接讓觀眾、讀者以最淺白的方式傳達IrmaBoom的個性?
所以這次的設計沒有過多的贅述、裝飾,必須邀請大家透過和宣傳品的互動,去認識她。

Those familiar with Irma’s works will notice, her designs are never flashy or gaudy in appearance; in fact, when put on display amongst other books, the untrained eye may even say that her books lack personality. In reality, her books rely not on visual cues, but the interaction between the reader and the book object to create a deeply intimate and memorable experience. Irma no longer dabbles in reinterpretation or transformation of the author’s work, and instead focuses on arranging individual threads to create an clear, interwoven story.

Herein lies the sophistication and exquisite beauty of Irma’s designs, as she takes on the role of curator in the process of design, using empathy to marry work and paper medium. Although there is little chance for the reader to physically touch the actual works of art featured in her books, the reader is able to achieve an understanding of the essence of the author and their works through the process of reading, interacting, and experiencing the book object.
 
How does one design a single visual (a printed flyer) to communicate, in the most simple way, the essence of Irma Boom’s personality? Hence, the design is muted in its use of empty decoration and overbearing visual narration to communicate with the audience. Instead, it invites the reader to play with the paper material, and, through this tactile interaction, arrive at an understanding of Irma Boom.

. Exhibition Poster & DM : O.OO
. Client: Not Just Library
. Year: 2018