国际知名设计师高晗|中国

　　2023年是全球从疫情中逐渐恢复，各个行业开始重新复苏的一年。设计环境也跟着疫情发生了不少的变化。全球的优秀设计师，创意人，也都在此阶段步入了一个新的时期。相信远程工作所带来的挑战和机遇也给设计师们了不同的感受。

　　今天专访的这位知名设计师，创意指导，Workbyworks 工作室创始人高晗，有着国际化的创意背景，斩获了各种国际奖项。也在今年获得了，全球平面设计的最高知名度奖项，Tokyo Type Director Club 的 TDC 大奖。在他的商业性和艺术性的不同的设计作品中，总能给人带来独特的深刻印象。他的合作方客户遍布全球，今天我们一起来挖掘在他的设计背后的一些见解和想法。

　　2023 is the year when the world gradually recovers from the epidemic and various industries begin to recover. The design environment has also undergone many changes following the epidemic. Outstanding designers and creative people around the world have also entered a new period at this stage. I believe that the challenges and opportunities brought about by remote work have also given designers a different feeling.

　　The well-known designer, creative director, and founder of Workbyworks Studio Han Gao interviewed today has an international creative background and has won various international awards. Also this year, he won the TDC Award from the Tokyo Type Director Club, the most prestigious award in global graphic design. In his different commercial and artistic design works, he can always give people a unique and deep impression. His partners and clients are all over the world. Today we will dig out some insights and ideas behind his designs.

　　高晗是一位艺术指导/平面设计师，出生于1995年，毕业于耶鲁大学艺术学院，2018年创立Workbyworks 工作室。他的作品曾获得东京TDC大奖，DIELINE Award大奖， Pentawards 白金奖，纽约TDC奖，GDC中国平面设计奖，360平面设计奖等。他合作的客户包括，NIKE，Apple，Kappa，IBM，H&M，Guggenheim 美术馆，良品铺子等。

　　Han Gao is a creative director and graphic designer. Born in Beijing in 1995, He graduated from Yale University School of Art MFA program in 2022, and co-founded the Workbyworks Studio in 2018. His works have been awarded Tokyo Type Director Club TDC Prize, DIELINE Award, Pentawards Platinum Award, New York TDC, 360 Award etc. Clients, commissioners and collaborators have included Apple, Nike, IBM, Kappa, H&M, Guggenheim Museum, Xander Zhou.

　　问：

　　在你的观念中，Workbyworks 工作室和传统平面设计工作室的区别是什么?是什么原因让你选择创立这个工作室?

　　In your opinion, what is the difference between a Workbyworks studio and a traditional graphic design studio? What made you choose to start this studio?

　　答：

　　创立Workbyworks工作室其实也是作为一个创意设计师的必然结果，在不断的创意尝试里，发现真正可以发挥能量的项目是集合了不同领域的创意人一起共创的结果。全球也一直也在走这个趋势。这就不得不提Workbyworks工作室是一个什么样的工作室，我并不把它定义为平面设计工作室，虽然目前的主要作品都和视觉创意相关。举个例子，Workbyworks的另一位合伙人是一位编程师，我之所以选择和一位专业完全不同的创意人合作也是考虑到不同角度和专业背景可以给创意带来的无限可能。我一直以来也在尝试组建一个团队，集合完全不同的创意领域的人，现在和Workbyworks工作室合作的摄影师也在合作中打开了一个新的拍摄项目的可能性，更多的设计师也开始找他拍摄作品。这种在合作中互相赋能的过程，在我看来和平面设计的视觉创意一样吸引人。

　　The establishment of Workbyworks studio is actually the inevitable result of being a creative designer. In the continuous creative attempts, I found that the projects that can really exert enery are the result of co-creation by gathering creative people from different fields. The world has also been following this trend. I have to mention what kind of studio Workbyworks studio is. I don't define it as a graphic design studio, although the current main works are related to visual creativity. For example, another partner of Workbyworks is a programmer. The reason why I choose to cooperate with a creative person with a completely different major is because of the infinite possibilities that different perspectives and professional backgrounds can bring to creativity. I have been trying to form a team for a long time, bringing together people from completely different creative fields. Now the photographers who work with Workbyworks studio also open up the possibility of a new shooting project in cooperation, and more designers have also started. Get him to take pictures. This process of mutual empowerment in cooperation is as attractive as the visual creativity of graphic design in my opinion.

　　高晗作品赏析

　　问：

　　你合作的客户遍布全球，在合作的不同国家地区的客户中，是否能体会到不同的合作感受?

　　The customers you cooperate with are all over the world. Do you experience different cooperation feelings among the customers in different countries and regions you cooperate with?

　　答：

　　这个是一个非常有趣也是我非常想提到的一个话题。从中国的成长背景再到之后来到纽约，可以体会到很强的不同点。从文化经济两个角度，世界上不同地区的观众和市场其实对于平面设计的需求是差距很大的。在和国际上不同的客户的合作关系中，可以不断地挑战设计语言，丰富了设计的多样性。在中国看中国的设计环境，在美国看中国的设计风格，在中国看美国的设计风格，所有这些不同的角度，给创作带来了很大的原动力。在西方国家很多设计都是在交流讨论中完成的，和客户的交流和团队其他成员的合作。举个例子，2021年在和Apple公司的设计团队的共创中体会到了，一个团队凝聚力和合作性可以反复打磨设计的结果。这个过程收获的思考也是在之后的创作中得到很大启发。

　　This is a very interesting topic that I really want to mention. From the background of growing up in China to coming to New York later, you can experience a strong difference. From the perspective of culture and economy, audiences and markets in different regions of the world actually have very different demands for graphic design. In the cooperation with different international clients, we can constantly challenge the design language and enrich the diversity of design. Looking at the Chinese design environment in China, seeing the Chinese design style in the United States, and seeing the American design style in China, all these different angles have brought great motivation to the creation. In western countries, many designs are completed through communication and discussion, communication with customers and cooperation with other team members. For example, in the co-creation with Apple's design team in 2021, I realized that a team's cohesion and cooperation can repeatedly polish the design results. The thinking gained in this process is also greatly inspired in the subsequent creation.

　　高晗作品赏析

　　问:

　　可以谈谈你获得 2023年 Tokyo Type Director Club 的 TDC 奖的作品吗?

　　Can you tell us about your work that won the Tokyo Type Director Club's TDC Award in 2023?

　　答：

　　今年获得东京TDC奖是对我来讲比较大的一个认可，也非常荣幸今年可以拿到。获奖作品是一本书籍的设计，而设计方法更像是字体设计。我将一个设计师最常用的字体的26个字母和数字打乱，用他们本身的形态去互相表达演绎数字和字母，做成了一个字体。比如在这个字体里，大写的M其实是一个翻倒的大些E，数字7是一个倒过来的大写L。在做成字体后又回去不断尝试这个字体在大篇幅文字的可读性和节奏感，最终获得了一个可以作为正文和标题字的字体。全书都只使用了这一款字体进行编排，刻意地压制了在排版和装帧形式上的设计表达，让设计的程度不太过。每一个细节的设计都是进行了整体的考虑，纸张的厚度页数以及书籍尺寸与手掌大小的关系都会反过来决定整个书的字号，行间距的设计。可以说这本书是一个从最细微的细节到整体相互关联的一本书，这也比较完美地表达了我在做设计中关于视觉系统的思考。

　　Winning the Tokyo TDC Award this year is a relatively big recognition for me, and I am very honored to receive it this year. The winning entry is the design of a book, and the design method is more like typography. I scrambled 26 letters and numbers in a font most commonly used by designers, and used their own forms to express and deduce the numbers and letters to make a font. For example, in this font, the uppercase M is actually an inverted larger E, and the number 7 is an inverted uppercase L. After making the font, I went back and tried the readability and rhythm of this font in large text, and finally got a font that can be used as text and title words. The whole book only uses this font for layout, deliberately suppressing the design expression in the form of typesetting and binding, so that the degree of design is not too much. The design of every detail is considered as a whole. The thickness of the paper and the number of pages and the relationship between the size of the book and the size of the palm will in turn determine the design of the font size and line spacing of the entire book. It can be said that this book is a book that is interrelated from the smallest details to the whole, which also perfectly expresses my thinking about the visual system in design.

　　高晗作品赏析

　　问：

　　从疫情到现在整个世界发生了很大变化，在你的设计中是否因此有了不一样的想法?

　　The whole world has changed a lot from the epidemic to now, do you have different ideas in your design?

　　答：

　　有一点不得不提的，就是远程工作成为了常态。其实原本平面设计师这个领域没有建筑师那么要求需要本人在空间里感受，也是因为疫情让这种工作方式成为可能，也极大地赋能了设计过程。另外一点就是，团队中的不同领域的合作伙伴可以跨越地理限制远程实现合作。比如之前在给Nike做的一个项目中，团队成员有来自美国和欧洲的，不同的地域也会给设计过程带来不同的机遇和可能性。这是一个非常大的改变，如果可以发挥好，这个工作方式会改变整个创意行业的格局以及节奏。在我的设计中，跨时区，跨地理区的种种条件也给设计带来了不同的限制，也正是这些限制可以被更好的利用成为设计表达的可能性。对于设计成果的判断也更加多元话，价值也被拓宽了许多。

　　One thing I have to mention is that remote work has become the norm. In fact, the field of graphic designers is not as demanding as that of architects. It is also because the epidemic has made this kind of work possible and greatly empowered the design process. Another point is that partners in different fields in the team can collaborate remotely across geographical restrictions. For example, in a previous project for Nike, the team members are from the United States and Europe, and different regions will bring different opportunities and possibilities to the design process. This is a very big change. If it can be played well, this working method will change the pattern and rhythm of the entire creative industry. In my design, various conditions across time zones and geographical regions also bring different restrictions to the design, and it is precisely these restrictions that can be better utilized to become the possibility of design . The judgment of design results is also more diverse, and the value has also been broadened a lot.

　　高晗作品赏析

　　问：

　　作为国际化的专业设计工作室创始人，你对于现在的平面设计环境有什么想法?

　　As the founder of an international professional design studio, what are your thoughts on the current graphic design environment?

　　答：

　　在工作室的运行中，我会接到来自世界各地的简历和作品集，可以看到不同国家的年轻设计师的视觉尝试，体会到整个气候。其实设计环境这个词，还挺贴切的，就像真的处于一个物理环境中感受空气的湿度温度，空气的流向。在我看来，平面设计已经开始去中心化，互联网上创意的分享可以被全球设计师同步看到。中国的设计，可以影响到国外的设计师，国外的设计师也会反过来影响到中国的设计师，设计变得更加融合。这种融合在我看来不是一个坏事，恰恰因为大家看到的东西更加多元，才能激发出设计行业的视觉表达，概念表达的新形势。我一直觉得平面设计师已经不只在做平面视觉，而是在帮助各个领域做能量的整合转化。

　　During the operation of the studio, I will receive resumes and portfolios from all over the world. I can see the visual attempts of young designers from different countries and experience the whole climate. In fact, the word design environment is quite appropriate, just like being in a physical environment to feel the humidity, temperature and flow direction of the air. In my opinion, graphic design has begun to be decentralized, and the sharing of ideas on the Internet can be seen simultaneously by designers around the world. Chinese design can influence foreign designers, and foreign designers will in turn influence Chinese designers, making design more integrated. In my opinion, this integration is not a bad thing. It is precisely because people see more diverse things that can inspire a new situation of visual expression and conceptual expression in the design industry. I have always felt that graphic designers are not only doing graphic vision, but helping to integrate and transform enery in various fields.

　　高晗作品赏析

　　问：

　　作为国际上有一定知名度的设计师，从你的角度来说，你想通过作品表达什么吗?

　　As a designer with a certain reputation in the world, from your point of view, do you want to express something through your works?

　　答：

　　在我的角度里，设计表达，设计作品更像是一个触角，作为一个和外界的交流工具。比如你的作品一定有一些人喜欢一些人不喜欢，这种两面性似乎看似是一个普遍存在的现象。但是如果能够知道什么样的人喜欢，为什么喜欢，什么样的市场接受度高，为什么接受，作品造成了多大的经济体效能。这些在我看来都是一个反馈，这种反馈其实也说明了，设计师创作的过程不是一个单项过程，把时间线放长远，设计就是一个互动交流的过程。当然作为一个平面设计师，我肯定是有我的态度的，对于我来说，我想通过作品表达出，我对于系统感的认知。比如在品牌设计中，并不是判断单一画面是否优秀，而是判断整个视觉系统的价值。这种系统感的价值本身是无形的，而我希望用灵活运用这种系统感，给系统本身塑形，表达。这也是为什么很多我的设计作品都会比较不一样的原因。我更喜欢闭上眼，打开听觉和触觉去感受，传达。

　　From my point of view, design expression and design works are more like a tentacles, as a communication tool with the outside world. For example, some people like your work and some people don't like it. This kind of duality seems to be a common phenomenon. But if we can know what kind of people like it and why, what kind of market acceptance is high, why it is accepted, and how much economic efficiency the work has caused. In my opinion, these are all feedbacks. This kind of feedback actually shows that the creation process of designers is not a single process. Putting the timeline in the long run, design is a process of interactive communication. Of course, as a graphic designer, I must have my attitude. For me, I want to express my cognition of the sense of system through my works. For example, in brand design, it is not to judge whether a single screen is excellent, but to judge the value of the entire visual system. The value of this sense of system itself is intangible, and I hope to use this sense of system flexibly to shape and express the system itself. This is why many of my design works are quite different. I prefer to close my eyes and open my sense of hearing and touch to feel and convey.