WOBBLED GENERATION

1

A B C D E

A 陳 靜/Ching [email protected]

B 郭懿節/Yi-Chieh [email protected]

C 王宣方/Hsuan-Fang [email protected]

D 林郁翔/Yuh-Siang [email protected]

E 江振嘉/Chen-Chia [email protected]

類別-平面類

吞世代Tweens Generation

青少年的生活、思想與環境的變遷，都是

快速用力的吞下每個訊息，「吞」這字眼

不好也不壞，最適合呈現我們的型態，而

設計這一系列關於生活上的轉折，是想與

世界溝通，摸索探究我們的生活，而這些

在大家眼裡，無法理解的事情，其實都是

我們經驗累積的過程。

設計RGB三個層次，由表層的人轉化為符

號，再回歸至生物，是想轉換大家對我們

的疑慮，其實每件事情都是有意義的，企

圖讓大眾換個角度，詮釋吞世代的優勢與

潛藏在內心裡的創新。

The changes of the youth’s lives, thoughts and environment are quickly swallowed for every message they receive. The word “swallow” contains neither a positive nor negative meaning, which best suits our style. The design, featuring the changes in lives, is intended to communicate with the world and explore our lives. These things, however incomprehensible in people’s eyes, are actually the process of experience accumulation.

The design of three levels, R,G and B, begins with the surface of man, which is converted to a symbol and is in turn transformed back into a living creature with an aim to resolve peoples’ doubt on us and convince people that everything has a meaning.We attempt to give the viewers a different perspective by interpreting the advantages and innovative ideas hidden deeply in the hearts of the so-called “Tweens Generation”.

3層圖像代表 (由外而內)

人---最表層的溝通，經過包裝後我們才在

能潛藏在社會中。

符號。ICON---視覺化的代表，簡單又有溝

通能力與效果。

昆蟲。動物---原始的自我 。

Representations of the 3-level graphics (from outside to inside)

Human—the most superficial communication which can only be concealed after somesort of “packing”. Symbol or icon—the representation of visualization, simple with communicative power and effects. Animal—the primitive self.

1

A B C D E

A 陳 靜/Ching [email protected]

B 郭懿節/Yi-Chieh [email protected]

C 王宣方/Hsuan-Fang [email protected]

D 林郁翔/Yuh-Siang [email protected]

E 江振嘉/Chen-Chia [email protected]

類別-平面類

吞世代Tweens Generation

青少年的生活、思想與環境的變遷，都是

快速用力的吞下每個訊息，「吞」這字眼

不好也不壞，最適合呈現我們的型態，而

設計這一系列關於生活上的轉折，是想與

世界溝通，摸索探究我們的生活，而這些

在大家眼裡，無法理解的事情，其實都是

我們經驗累積的過程。

設計RGB三個層次，由表層的人轉化為符

號，再回歸至生物，是想轉換大家對我們

的疑慮，其實每件事情都是有意義的，企

圖讓大眾換個角度，詮釋吞世代的優勢與

潛藏在內心裡的創新。

The changes of the youth’s lives, thoughts and environment are quickly swallowed for every message they receive. The word “swallow” contains neither a positive nor negative meaning, which best suits our style. The design, featuring the changes in lives, is intended to communicate with the world and explore our lives. These things, however incomprehensible in people’s eyes, are actually the process of experience accumulation.

The design of three levels, R,G and B, begins with the surface of man, which is converted to a symbol and is in turn transformed back into a living creature with an aim to resolve peoples’ doubt on us and convince people that everything has a meaning.We attempt to give the viewers a different perspective by interpreting the advantages and innovative ideas hidden deeply in the hearts of the so-called “Tweens Generation”.

3層圖像代表 (由外而內)

人---最表層的溝通，經過包裝後我們才在

能潛藏在社會中。

符號。ICON---視覺化的代表，簡單又有溝

通能力與效果。

昆蟲。動物---原始的自我 。

Representations of the 3-level graphics (from outside to inside)

Human—the most superficial communication which can only be concealed after somesort of “packing”. Symbol or icon—the representation of visualization, simple with communicative power and effects. Animal—the primitive self.

3

A B C D E F G

A 蔡莉翎/Li -Ling Tsai [email protected]

B 黃可安/Ko-An [email protected]

C 王 珝/Yu [email protected]

D 鍾曉婷/Shiau-Ting [email protected]

E 洪詩婷/Shih-Ting [email protected]

F 唐郁翔/Yu-Xiang [email protected]

G 林家慧/Jia-Hui [email protected]

類別-平面類

共生體Symbiont

共生一詞在英文或是希臘文，字面意義就

是「共同」和「生活」，是兩生物體之間

生活在一起的交互作用，而「宿主」通常

被用來指共生關係中較大的成員，較小者

稱為「共生體」。

物質在消失後亦回歸於自然，形成一種良

善的循環，我們以美學、思想用創意去建

構一個新的文明，是歡愉、無匱乏、便利

的，我們享受著科技進步帶來的好處，初

期為追求生活更便捷快速，造創出許多人

類奇蹟，但這些發明的蓬勃發展致使環境

無法負荷的階段。

城市中，舉目所見都是鋼筋、玻璃、水泥

建築填滿都市的天際線。

文明科技讓人產生可以闢比自然的錯覺，

以為人可以主宰一切；野心頓時成為一頭

巨獸，如灰色地帶，壓迫著大地無法呼吸

，使全球氣溫候、土地、糧食引發危機，

同時逐漸遺忘過去與環境生意盎然、共存

共榮，與自然萬物共生共存的那份信念。

這些不間斷、人類所帶來的環境衝擊，大

地不再悶不吭聲，直接的反應到人們本身

，使地球與我們開始一場拔河的拉鋸戰，

人與自然是敵是友？ 如何回歸到原點？

我們以不同角度切入，從人與自然的相互

關係作為開端，行為間接影響環境，以此

為思考、創作的主軸，尋找和平共處、永

續的下一步。

In English and Greek, “Symbiosis” means “with” and “living.” It is the interaction of two organisms. The “host” is usually referred to the bigger member in the symbiosis relationship while the smaller member is called “symbiont.”

Materials return to the nature after they vanish and thus form a friendly cycle. We established a new, joyful, sufficient and convenient civilization with an aesthetic and thoughtful creativity. At first, in pursuit of a more convenient and rapid lifestyle, we created many miracles and enjoyed the benefits the advancement of technology bring to us. However, the vigorous development moves into a phase that our environment cannot take anymore.

In the city, the skyline is filled with steel, glass and buildings made of cement.

The advancement of technology makes us believe humans can dominate everything like the Mother Nature. Human’s ambition becomes a beast, like grayish smog, oppressing and suffocating the earth. It also intrigues crises in global climate, soil and food provision. At the same time, we gradually forget the traditional belief of “live and let live,” the conviction of surviving with all creatures and the nature. These relentless impacts humans bring to the nature directly reflect back to humans. The nature no longer bears them quietly. There is a seesaw battle starting between us and the earth. Are humans and the nature friends? Or enemies? How can we go back to the origin?

We cut-in with different angle. From the mutual relationship of man and nature as a starting point to the acts that has affected the environment indirectly. Use it as our thoughts and creation spindle to find a way to get along peacefully and sustainably next step.

3

A B C D E F G

A 蔡莉翎/Li -Ling Tsai [email protected]

B 黃可安/Ko-An [email protected]

C 王 珝/Yu [email protected]

D 鍾曉婷/Shiau-Ting [email protected]

E 洪詩婷/Shih-Ting [email protected]

F 唐郁翔/Yu-Xiang [email protected]

G 林家慧/Jia-Hui [email protected]

類別-平面類

共生體Symbiont

共生一詞在英文或是希臘文，字面意義就

是「共同」和「生活」，是兩生物體之間

生活在一起的交互作用，而「宿主」通常

被用來指共生關係中較大的成員，較小者

稱為「共生體」。

物質在消失後亦回歸於自然，形成一種良

善的循環，我們以美學、思想用創意去建

構一個新的文明，是歡愉、無匱乏、便利

的，我們享受著科技進步帶來的好處，初

期為追求生活更便捷快速，造創出許多人

類奇蹟，但這些發明的蓬勃發展致使環境

無法負荷的階段。

城市中，舉目所見都是鋼筋、玻璃、水泥

建築填滿都市的天際線。

文明科技讓人產生可以闢比自然的錯覺，

以為人可以主宰一切；野心頓時成為一頭

巨獸，如灰色地帶，壓迫著大地無法呼吸

，使全球氣溫候、土地、糧食引發危機，

同時逐漸遺忘過去與環境生意盎然、共存

共榮，與自然萬物共生共存的那份信念。

這些不間斷、人類所帶來的環境衝擊，大

地不再悶不吭聲，直接的反應到人們本身

，使地球與我們開始一場拔河的拉鋸戰，

人與自然是敵是友？ 如何回歸到原點？

我們以不同角度切入，從人與自然的相互

關係作為開端，行為間接影響環境，以此

為思考、創作的主軸，尋找和平共處、永

續的下一步。

In English and Greek, “Symbiosis” means “with” and “living.” It is the interaction of two organisms. The “host” is usually referred to the bigger member in the symbiosis relationship while the smaller member is called “symbiont.”

Materials return to the nature after they vanish and thus form a friendly cycle. We established a new, joyful, sufficient and convenient civilization with an aesthetic and thoughtful creativity. At first, in pursuit of a more convenient and rapid lifestyle, we created many miracles and enjoyed the benefits the advancement of technology bring to us. However, the vigorous development moves into a phase that our environment cannot take anymore.

In the city, the skyline is filled with steel, glass and buildings made of cement.

The advancement of technology makes us believe humans can dominate everything like the Mother Nature. Human’s ambition becomes a beast, like grayish smog, oppressing and suffocating the earth. It also intrigues crises in global climate, soil and food provision. At the same time, we gradually forget the traditional belief of “live and let live,” the conviction of surviving with all creatures and the nature. These relentless impacts humans bring to the nature directly reflect back to humans. The nature no longer bears them quietly. There is a seesaw battle starting between us and the earth. Are humans and the nature friends? Or enemies? How can we go back to the origin?

We cut-in with different angle. From the mutual relationship of man and nature as a starting point to the acts that has affected the environment indirectly. Use it as our thoughts and creation spindle to find a way to get along peacefully and sustainably next step.

6

A B C D

A 張寶心/Bau Shin [email protected]

B 陳品含/Pin Han [email protected]

C 陳怡均/Yi Jiun [email protected]

D 齊 旎/Ni [email protected]

類別-平面類

我在這裡，很好How's going?

曾經的執著

陌生的故事

親密的絮著不計較

思線無謂的拂過

不曾認識過的

你好嗎

兩歲時，我單親，在還沒有記憶的時

候，父親就離開我身旁，隨著時間的

消逝，看著媽媽付出的一切，開始想

要討回自己認為應該擁有的，甚至是

媽媽該有的補償，自以為這樣的我，

很勇敢，卻是不成熟。

現在，問自己，為什麼渴望那遙遠的

一份愧疚，而不保存咫尺的感動？

透過照片與文字，將故事的情緒和對

家的那份依戀，抽象的感受表達出來

真誠的記錄那份屬於家才會有的無私

關懷及感動。

運用光影虛實之間的交錯，轉換為故

事畫面，設計排版成書，醞釀整本書

呼吸的律動，讓觀者的思緒隨著光影

所製造出的氣氛起伏，進入故事...

我在這裡，很好。

The attachment I once hadThe unfamiliar storyI used to be persistent about an unfamiliar story.Now I finally overlooked it. How are you stranger?No care for any bit of intimacyAll the thoughts fly by pointlesslyHow are you? The one I have never met.

I was single-parented when I was two. Father was gone before I could have my memory. As I looked at all the sacrifices mother has made with the lapse of time, I wanted to reclaim what I thought I deserved or seek the compensation that mother deserved. I was brave, but not mature. Now I’m asking myself why I would rather indulge myself in the sorrow that seemed so distant than preserve the touching moment that is so close?Through the photos and texts, the abstract feelings of the story emotions and the affection for home are expressed. The selflessness, care and touched feeling only belonging to the family are honestly recorded.

The crisscrossing of lights and shadows is turned into the story images and edited into a book and forms the rhythm of the work, allowing the readers to enter the story with their thoughts fluctuating with the atmosphere created by these lights and shadows…

I’m very fine here.

6

A B C D

A 張寶心/Bau Shin [email protected]

B 陳品含/Pin Han [email protected]

C 陳怡均/Yi Jiun [email protected]

D 齊 旎/Ni [email protected]

類別-平面類

我在這裡，很好How's going?

曾經的執著

陌生的故事

親密的絮著不計較

思線無謂的拂過

不曾認識過的

你好嗎

兩歲時，我單親，在還沒有記憶的時

候，父親就離開我身旁，隨著時間的

消逝，看著媽媽付出的一切，開始想

要討回自己認為應該擁有的，甚至是

媽媽該有的補償，自以為這樣的我，

很勇敢，卻是不成熟。

現在，問自己，為什麼渴望那遙遠的

一份愧疚，而不保存咫尺的感動？

透過照片與文字，將故事的情緒和對

家的那份依戀，抽象的感受表達出來

真誠的記錄那份屬於家才會有的無私

關懷及感動。

運用光影虛實之間的交錯，轉換為故

事畫面，設計排版成書，醞釀整本書

呼吸的律動，讓觀者的思緒隨著光影

所製造出的氣氛起伏，進入故事...

我在這裡，很好。

The attachment I once hadThe unfamiliar storyI used to be persistent about an unfamiliar story.Now I finally overlooked it. How are you stranger?No care for any bit of intimacyAll the thoughts fly by pointlesslyHow are you? The one I have never met.

I was single-parented when I was two. Father was gone before I could have my memory. As I looked at all the sacrifices mother has made with the lapse of time, I wanted to reclaim what I thought I deserved or seek the compensation that mother deserved. I was brave, but not mature. Now I’m asking myself why I would rather indulge myself in the sorrow that seemed so distant than preserve the touching moment that is so close?Through the photos and texts, the abstract feelings of the story emotions and the affection for home are expressed. The selflessness, care and touched feeling only belonging to the family are honestly recorded.

The crisscrossing of lights and shadows is turned into the story images and edited into a book and forms the rhythm of the work, allowing the readers to enter the story with their thoughts fluctuating with the atmosphere created by these lights and shadows…

I’m very fine here.

12

A B C D

A 何 薇/Wei [email protected]

B 孫劭芃/Shao-Peng [email protected]

C 王思驊/Si-Hua Wang [email protected]

B 盧怡勳/Yi-Xun [email protected]

類別-平面類

吉時以稻Mr. Rice

喜米包裝設計

市面上的結婚喜餅大多都以中西兩種

為主，而近年來西式婚禮大盛使得西

式喜餅越來越受歡迎，獨具創意及巧

思的包裝也越來越多，對年輕一輩的

族群別具吸引力。

所以我們希望將中國傳統的文化藝術

呈現在我們的包裝上，例如剪紙，雕

花，以及燈籠的典雅感，將這些傳統

元素融入現代的包裝，吸引年輕族群

的注意。

Wedding rice package design The styles of commercial wedding cakes (or cookies) are mainly Chinese and Western. In recent years, with western-style weddings in vogue, western-style wedding cakes have become increasingly popular. More and more creative packages are coming out to attract the younger generations. We want to present the traditional Chinese cultural arts such as paper cutting, carved patterns and lanterns on the packages whereby the infusion of the traditional elements will draw the attention of the young people.

12

A B C D

A 何 薇/Wei [email protected]

B 孫劭芃/Shao-Peng [email protected]

C 王思驊/Si-Hua Wang [email protected]

B 盧怡勳/Yi-Xun [email protected]

類別-平面類

吉時以稻Mr. Rice

喜米包裝設計

市面上的結婚喜餅大多都以中西兩種

為主，而近年來西式婚禮大盛使得西

式喜餅越來越受歡迎，獨具創意及巧

思的包裝也越來越多，對年輕一輩的

族群別具吸引力。

所以我們希望將中國傳統的文化藝術

呈現在我們的包裝上，例如剪紙，雕

花，以及燈籠的典雅感，將這些傳統

元素融入現代的包裝，吸引年輕族群

的注意。

Wedding rice package design The styles of commercial wedding cakes (or cookies) are mainly Chinese and Western. In recent years, with western-style weddings in vogue, western-style wedding cakes have become increasingly popular. More and more creative packages are coming out to attract the younger generations. We want to present the traditional Chinese cultural arts such as paper cutting, carved patterns and lanterns on the packages whereby the infusion of the traditional elements will draw the attention of the young people.

16

A B C D

A 陳芝妤/Zhi-Yu [email protected]

B 李佳容/Jia-Rung [email protected]

C 林靖凡/Jing-Fan [email protected]

D 羅鈺樺/Yu-Hua [email protected]

類別-動畫類

影片長度-6:30

The Giel With Antlers 鹿角女孩

故事大綱

Have you ever seems your parent disburse for granted?When we faced our parent we usually become muted. We couldn’t tell them how much we care about them and break the wall between us to give them a hug. We are getting used to it. Therefore when our emotion has amplified we will hurt them indirectly.We always feel regret about what we have done even though we know our action is inappropriate. We want to say sorry yet we don’t know how to take the first step. The reason of producing this animation related with family is because we think that family is the most heartwarming thing in the world. On the other hand, we will like to speak to ourselves though this animation and find the answer of how to get along with our families.

Sypnosis

Didu’s character is introverted; she also has a pair of antlers. She lives with her father in a tall and long house. There is a forest inside of the house and it belongs to Didu. It is her world and her father couldn’t come closer to it. Those antlers will reflect the girl’s feeling and there has always been a gap or distance between the father and the girl. The relationship between the father and the daughter is like pooling in a shaking boat. They both don’t want the same thing. Therefore the boat is spinning around the circle. How does the father have to do to fill up the gap between them? What does the girl want?

是否你也曾將親人的付出視為理所當然？

我們在面對最親近的父母時，往往講不出

那些想訴諸父母的關心話語，無法突破那

道無形的牆去擁抱他們。我們都太習慣他

們對我們的付出了，總是不自覺地將情緒

放大，在無形中傷害了他們。我們明知道

自己的行為是不好的，總是在事後才後悔

想要道歉，卻又不知道該怎麼去踏出第一

步。製作這部關於親情的動畫，一方面是

因為我們認為親情是最能夠觸動人心的。

另一方面，也希望藉此與自己對話，找出

解答，慢慢地能夠學會如何和家人相處之

道。

Didu是一位性格內向，並且長著一對鹿角

的女孩。她與父親住在一棟又高又長的房

子裡，房子內有座長滿細長樹木的樹林，

那片樹林是屬於她自己的世界，父親始終

無法接近。而那對反應著女孩情緒的鹿角

一直以來讓父親和女孩有著一段距離。她

與父親的關係像是共乘在一艘搖晃的小船

上，兩人心之所向不同，使得船不停在原

地打轉。過度保護女孩的父親該怎麼做才

能打破這層隔閡？而女孩究竟渴望的又是

什麼呢…？

16

A B C D

A 陳芝妤/Zhi-Yu [email protected]

B 李佳容/Jia-Rung [email protected]

C 林靖凡/Jing-Fan [email protected]

D 羅鈺樺/Yu-Hua [email protected]

類別-動畫類

影片長度-6:30

The Giel With Antlers 鹿角女孩

故事大綱

Have you ever seems your parent disburse for granted?When we faced our parent we usually become muted. We couldn’t tell them how much we care about them and break the wall between us to give them a hug. We are getting used to it. Therefore when our emotion has amplified we will hurt them indirectly.We always feel regret about what we have done even though we know our action is inappropriate. We want to say sorry yet we don’t know how to take the first step. The reason of producing this animation related with family is because we think that family is the most heartwarming thing in the world. On the other hand, we will like to speak to ourselves though this animation and find the answer of how to get along with our families.

Sypnosis

Didu’s character is introverted; she also has a pair of antlers. She lives with her father in a tall and long house. There is a forest inside of the house and it belongs to Didu. It is her world and her father couldn’t come closer to it. Those antlers will reflect the girl’s feeling and there has always been a gap or distance between the father and the girl. The relationship between the father and the daughter is like pooling in a shaking boat. They both don’t want the same thing. Therefore the boat is spinning around the circle. How does the father have to do to fill up the gap between them? What does the girl want?

是否你也曾將親人的付出視為理所當然？

我們在面對最親近的父母時，往往講不出

那些想訴諸父母的關心話語，無法突破那

道無形的牆去擁抱他們。我們都太習慣他

們對我們的付出了，總是不自覺地將情緒

放大，在無形中傷害了他們。我們明知道

自己的行為是不好的，總是在事後才後悔

想要道歉，卻又不知道該怎麼去踏出第一

步。製作這部關於親情的動畫，一方面是

因為我們認為親情是最能夠觸動人心的。

另一方面，也希望藉此與自己對話，找出

解答，慢慢地能夠學會如何和家人相處之

道。

Didu是一位性格內向，並且長著一對鹿角

的女孩。她與父親住在一棟又高又長的房

子裡，房子內有座長滿細長樹木的樹林，

那片樹林是屬於她自己的世界，父親始終

無法接近。而那對反應著女孩情緒的鹿角

一直以來讓父親和女孩有著一段距離。她

與父親的關係像是共乘在一艘搖晃的小船

上，兩人心之所向不同，使得船不停在原

地打轉。過度保護女孩的父親該怎麼做才

能打破這層隔閡？而女孩究竟渴望的又是

什麼呢…？