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平面及傳意設計 Graphic and Communication Design
自原始人於洞穴作畫，人類以繪畫來說故事、表達信息或美化物件已有悠久歷史。從畫在石頭、木、陶器、布料上，然後在紙上繪畫、創作版畫，或製成書本，以至印刷技術的不斷發展和電腦的發明，均使平面設計相關的印刷品被大量生產。隨著菲林（膠片）的發明便有電影的出現，其後的聲帶技術支援生產有聲電影。從電影展示人的表演、卡通、動畫；以至後來電視的出現，讓家家戶戶獲得全天候的影視娛樂。家用電腦的發明使電腦遊戲成為新世紀的休閒娛樂。互聯網的誕生使雙向和互動傳意數碼化，互聯網需要網頁設計，智能手機的流動應用程式亦需要界面設計，而兩者對網上遊戲設計均有需求。以上種種皆需要平面設計去提供文本式及非文本式的資訊，而平面設計的製作過程，也從以往的紙筆變成數碼筆和電腦顯示器，由此可見，此專業隨著時代演進而改變。二十世紀互聯網的誕生，令有關平面設計事業推展到新層次，由單向傳意變成雙向和互動的模式。加上轉移平面圖象去不同物料上的技術和機器發明的突破，促使平面設計覆蓋到各行各業。 Since cave painting was created by Archaic humans, human beings have had a long history of telling stories, delivering messages or simply decorating objects by drawing on a surface. From drawings on rocks, wood, pottery, fabric to drawings on paper, printing, or producing a book, the improvement of printing techniques and the invention of computers have enabled graphic-design- related printed matters to be mass-produced. The invention of film brought about moving pictures, later supported by soundtrack technology for the production of sound film. The moving images present the performance of human beings, and then cartoon making and animation. Later on, the birth of television has brought round-the-clock moving image entertainment to every household. The invention of personal computers has brought computer games to a new era of recreation. The birth of the Internet has built two-way digital interactive communication. Then the World Wide Web needs web design and smartphones need interface design for computer programmes (commonly known as “applications”) while there is a demand on Internet game design for both of these platforms. All of the above media need graphic design to provide textual or non-textual information. As technology develops through time, the media of graphic design production advanced from pen and paper to digital pen and monitor, thus leading to an evolution of the design profession. The invention of the Internet has made related graphic design business flourishes to a new level from working with one-way to two- way communication, as well as interactive communication in the 20th century. Also, with the breakthrough of techniques and machinery for transferring graphic images onto different materials, all of the above have made graphic design able to spread widely in all walks of life. |
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服裝 Wearing Apparel (p.34):
設計師 Designer: 羅曉騰 Ken LO | 品牌 Brand: Giordano
透過把數字「3」融合小豬的身體，把「三隻小豬」形象化，噢起認識「三隻小豬」故事的觀者的共鳴。
By merging the number “3” into the body of the little pig to visualise the “The Three Little Pigs”, in order to resonate with the viewer who knows the story. |
陶瓷及瓦器 Pottery, China and Earthenware (p.34):
以瓷碟為載體，設計師在碟上描繪動物的小故事。
Designer takes porcelain plate as a carrier to deliver the stories of the animals. |
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家具 Furniture (p.35):
Designer: Tapio ANTILLA | Brand: Interface - ON Sofa Bed
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紙及紙製品 Paper and Paper Products (p.35):
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印刷品 Printed Materials (p.36):
設計師 Designer: 劉小康 Freeman LAU | 知竹 Rethinking Bamboo
這是一本以竹為主題的畫冊，設計師以竹的材質去設計書衣，並取「知足」的諧音，以「知竹」作書名，貫徹主題。
The theme of this book is bamboo, designer uses bamboo to design the book cover and makes phonetic and semantic pun of bamboo in Chinese to name the book. |
品牌形象 Brand Image (p.36):
設計師 Designer: 劉小康 Freeman LAU | 品牌 Brand: 屈臣氏蒸餾水Watson's Water
設計師為品牌重新設計蒸餾水的水瓶，透過青綠色和粉藍色帶出朝氣活力，使品牌年輕化。
Designer redesigns the bottle of the distilled water, by using onion green and pastel blue for vitalise and energetic feeling, in order to rejuvenate the brand image. |
品牌形象 Brand Image (p.36):
設計師 Designer: 羅曉騰 Ken LO | 品牌 Brand: Lugard
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設計師以品牌理念的保護野生動物和品牌主題的南非獵豹，運用具有部落色彩的色調和設計野生動物的圖案，營造品牌形象。
The brand supports wildlife protection and cheetah is the mascot of the brand, designer uses tribal colour scheme and wildlife illustration to create the brand image.
The brand supports wildlife protection and cheetah is the mascot of the brand, designer uses tribal colour scheme and wildlife illustration to create the brand image.
商品展示設計 Visual Merchandising (p.37):
設計師 Designer: 羅曉騰 Ken LO | 品牌 Brand: Sogo
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設計師為企業於為期一年的慶祝活動進行創作，設計了一個百貨公司30周年誌慶的專屬徽標和30個吉祥物，並以這30個吉祥物為基礎，再發展出一系列周邊紀念品，包括雨衣、紀念章、帽子等，同時在地板、柱樑、電梯門面上的噴畫貼紙、店面玻璃貼紙、各種海報和立體的道具，跟櫥窗陳設的裝展一致的視覺營銷設計，營銷舖天蓋地的節慶氣氛。
Designer designs a logo for the 30th anniversary celebration and mascots for the enterprise to perform a year long celebration. Designer designs a series of souvenirs according to the creation of mascots including raincoat, pins, hat etc. Also applying the same design idea to decorate the floor, pillar, façade of the elevator, windows of department store, posters and props, showing the same visual merchandising design theme with the window display, in order to create a festive atmosphere.
Designer designs a logo for the 30th anniversary celebration and mascots for the enterprise to perform a year long celebration. Designer designs a series of souvenirs according to the creation of mascots including raincoat, pins, hat etc. Also applying the same design idea to decorate the floor, pillar, façade of the elevator, windows of department store, posters and props, showing the same visual merchandising design theme with the window display, in order to create a festive atmosphere.
內容 Content (p.40):
設計師 Designer: 盧永強 David LO | 活動 Event: 設計列陣 DesignXcel
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設計師利用英文字母「X」去表達學生跟企業界的跨界創作，而兩個聯在一起的英文字母「E」則表示雙方連成同一陣線，另以一對「引號」去象徵協作雙方擁抱創新設計意念。
Designer uses “X” to indicate the crossover project between the students and enterprises, the connected “E”s show both parties are connecting together, as well as the bracket 「」for embracing new design idea.
Designer uses “X” to indicate the crossover project between the students and enterprises, the connected “E”s show both parties are connecting together, as well as the bracket 「」for embracing new design idea.
構圖 Composition (p.42):
設計師 Designer: 劉華智 Mann LAO | 品牌 Brand: 第26屆澳門國際音樂節 26th Macao International Music Festival
設計師的靈感來自樂章中聲波的形態，並把各種聲波形態組合成不同圖案，放在不同的宣傳品上。
Taking the sound waves and notes in music pieces, designer creates patterns by combining different waves and notes for promotional items. |
設計師 Designer: 劉華智 Mann LAO | 品牌 Brand: 第27屆澳門國際音樂節 27th Macao International Music Festival
在樂團表演時，指揮家揮動指揮棒的律動形態成了設計師的創作靈感。
The waves of the baton in conducting performance become an inspiration of the design. |
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The contents on the webpage “EDB Book” and its sub-links are informational and educational purposes only and contain copyrighted material, the use of which has mostly been specifically granted consent from the designers or brands or companies or photographers or image owners or agents, and do not constitute legal or other advice. We believe this constitutes a “fair use” of any such copyrighted material. The Association for Creative Education is not liable for any damages arising in the use of or inability to use this site or any material contained in it, or from any action or decision taken as a result of using the site.
This site offers links to other sites thereby enabling site visitors to leave this site and go directly the linked site. The Association for Creative Education is not responsible for the content of any linked site or any link in a linked site and/or any transmission received from any linked site. The links are provided to assist visitors to the Association for Creative Education’s site and the inclusion of a link does not imply that the Association for Creative Education endorses or has approved the linked site.