关于 on paper
＃on paper＃
左页右页，或正、背
left page, right page, verso or recto
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＃on paper_ 另存＃
帮助艺术家建立一个新的形象，“另存”正式的价值是“另存为”成为的那部分。虽是原料的无损拷贝，却建立与世界新的沟通的可能，更为兼容的格式。
＃on paper_另存＃以设计项目为主，此前的设计案例包括蒋志、彭薇、郝量、鞠婷、翟倞、高露迪等艺术家的画册，moonstop独立设计师品牌redesign，四方当代美术馆艺术品商店——“肆”和小小不言影视传媒的logo等。
# on paper_save as #
It assists the artist in building a new image: the value of "save as" is the entity that the "save as" growsinto. It is a truthful representation of the original material, yet it further nurtures possibilities of new communications, and formats that are more compatible.
With #on paper_save as#, I deal chiefly with design projects, and has previously worked with artists such as Jiang Zhi, Peng Wei, Hao Liang, Ju Ting, Zhai Liang, Gao Ludi and others, the independent designer brand redesign by moonstop, and logos of mini cine, among many other projects.
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书籍设计 Book Design
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《蒋志：我们注定一切》
由艺术家工作室出版
Jiang Zhi: One is All, All is One_Predestiny_All
Published by Jiang Zhi studio
2017
画册以蒋志于2016年的“3个个展”（注定 | 魔金石空间，一切 | 深圳OCAT，我们 | 台北TKG+）及展览中呈现的“作品”为线索，收录了艺术家以摄影、装置、影像和绘画为主的多种媒介创作。
The publication documents Jiang Zhi’s three exhibitions in 2016 - Predestiny at Magician Space, Beijing, All at OCAT Shenzhen, and One is All, All is One at TKG+, Taiwan - and provides a comprehensive survey of the artist’s photography, installations, videos and paintings.
封面封底:通过半透明纸张的折叠获得不同质感的黑块，在拥有复调色彩的同时巧妙地隐藏了三个展览名称，突出了艺术家的名字。中文名称设在内封面，在黑白色块之间若隐若现。在哲学上追求无分别的境界，在视觉上获得大乐队爵士乐的多重复调。
Cover/Back cover: black squares of different textures are created by folding layers of transparent papers. The cover design plays with emergence and disappearance of the title of the exhibition and the name of the artist, and brings about a visual economy of the Chinese and English texts. Philosophically, it aims for a state of indistinctness that is formally inspired by big band Jazz’s multiple-polyphony style.
字号:书名页与封面封底均使用同大小字号，这是制造无分别的意味，是艺术家作品精神的补充叙述。两张书名页通过中英文错位来获得不同语种的阅读重心。正文文字通过字号大中小建立一个字号序列，反而让人忘记字号，进入一个无差别世界，以此帮助传达艺术家的思维，技术上，由于开本较大，也便于读者容易读到上方文字，进而慢慢进入阅读，静下心来，通过设计使读者无形获得一次禅修体验。
Font size: same font size is used for the cover and the back cover of the book, for the reason of indistinctness, as it is manifested in the artist’s creations. The two pages lead readers to either Chinese or English language by placing different emphasis. By using different font sizes, the main body of the publication establishes a seriality that makes sizes irrelevant, effectively ushering the readers into a world of indifference, a world that the artist himself contemplates. Because of the rather large size of the publication, it is easier for the reader to read the texts above, slowly and gradually. In short, the design encourages the reader to meditate by reading.
纸张：全书使用表面光滑的纸张，作品部分过油的工艺，使得艺术家作品鲜亮、通透的感觉很好的呈现，其中一篇评论文章附加艺术家与撰稿人的通信，使用不同纸张和尺寸规格作为一个跳笔，一方面是内容上的规划，另一面也给全书带来一个灵动的刺激，一面是提醒强化整书气质，一面是拒绝。正如不要词语执着的棒喝。
Paper: the publication uses glossy papers, and oil is used for the reproductions of works. The works are therefore rendered bright, lively; for the correspondences between the artist and the contributor that is also included in the book, different paper and font are used. Not only is it made evident that it is a different kind of content, it also works as a sharp insertion of formal difference, at once strengthening and denying the style of the publication. Just as a Buddhist injunction of “stop”.
图片:鉴于作品图片均追求水平哲学，重心偏低，设计中均适当上调图片位置以在书本中获得一个适当的阅读的重心。由于本书有三个展览的作品，有一定时间跨度，作品规格比例众多，在字块设计上更多元，两纵三纵，纵与纵之错落均为便于衔接不同图片尺寸进行更多切分，利用文字灰块进行全书阅读的跳转。
Reproductions: since the visual focus in the reproductions of works is rather low, the photos are elevated to a certain extent, to readjust the focus of reading. Because the book reproduces works from three different exhibitions across the time span of a year and the works are of great formal diversity; the various layouts of the text aim at, therefore, reflecting this diversity.
视频作品部分:左右页分别为一与三的关系，三副画面是为模仿播放的状态，中间一副与左页一副相连或有跨页一厘米，是为模仿视频播放的跳帧，以此微颤和右页大致相同的画面组成的电影胶片感共同获得一个观众的临场视觉感受，调动观众想象力，进行阅读的深度。录像作品部分：采用胶片感之错落形式，或前后页同位置之虚像，几页共同做出一个模仿观影的感受。
Frames of video works are placed next to each other with an one centimetre gap, to simulate the motion and movement of the work, and that of frame skips. In this way, the reading experience comes infinitely close to the viewing experience of the works.
Stills from video works are also placed unevenly, or one in front of another, to simulate a video viewing experience in the space of several pages.
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《翟倞》
由空白空间出版
Zhai Liang
Published by WHITE SPACE BEIJING
2017
一张图，两本书。两张图，一本书。
One painting, two books. Two paintings, one book.
艺术家在正式进行布面之前，会有大量纸上的水彩或其他材质的手稿以及阅读笔记的准备。这可以看作是一张油画作品的史前史，也可以想象成一个花园里小径分岔之外的草地，那些没有成为路径的那一部分——作者向何处去，艺术家放弃掉的部分是什么？这一部分用不同纸张，略小开本放置在书本前端，这是一个预告片，相当于序，它是正式作品重要的成分，在设计上小书与大画册在封面上共同组合成一幅画，两者的反差共生关系恰恰是对艺术家工作方式最好的比喻。“纸上”与“布面”两本书的叠加，一改以往书籍方方正正的形象，书籍不再是单纯平面上的探索，它还可以在结构层次上有更多的可能性。字体思源宋体和Courier New的选择支持艺术家独特的书本气质。翟倞同名画册《翟倞Zhai Liang》（中英文双语），画册以《小径分岔的花园》和《夜航船》及读书笔记为线索，收录了翟倞在2011-2017年的绘画作品。
Before the artist starts painting on canvas, he would prepare himself with a large number of drawings and studies on paper in water colour. This could be read as a prehistory of an oil painting, or could be viewed as an often-neglected space in a garden, the space where there is no apparent path - in other words, where a writer decides the future of his work or where an artist decides what to omit on a canvas. Included in the publication are the studies in a different format; it serves as a prelude or a prologue, and also an integral part of the final painting. The cover of the smaller brochure and that of the main body of the publication together form a work with a small gap in-between, and this is an accurate metaphor for the artist’s practise. The combination of the “paper” and “canvas” works changes the format of the book, and brings another exciting structural dimension of depth. The Chinese and English fonts used also supports the unique aesthetics of the artist. Zhai Liang (Chinese and English): the monograph narrates the artist’s practise from the exhibition The Garden of Forking Paths, to The Night Ferry with additional notes made by the artist, and includes works from 2011 to 2017.
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《高露迪》
由空白空间出版
Gao Ludi
Published by WHITE SPACE BEIJING
2016
画册《高露迪》包括艺术家两个个展的作品，采用双封面连续翻转的翻阅方式实现。一为宝石蓝，一为太空银，封面书脊边缘均流露一个狭长地带的画幅可以一窥全貌风格。荧光系列包括艺术家2013-2015年期间作品，采用荧光油墨印刷，真实还原作者此间作品气质，彩色隐藏在一层光的后面。灰系列呈现艺术家2016年的作品，光隐藏在黑白灰的后面。书口喷一道艺术家常用的荧光桔红色，配合封面的太空银，翻阅的时候像是一道光，同时让两册书有一种跳转。
The monograph Gao Ludi includes works from two solo exhibitions of the artist, and the two exhibitions are presented in a double-cover, reversal fashion. The thematic colour of one is sapphire, the other is space silver. Through the binding a reader can get a good sense of the overall style of the book. The “fluorescent series” includes works from 2013 to 2015, and is reproduced in fluorescent printing ink, loyally representing the texture of the works - colours concealed by a layer of light. The “grey series” includes works from the year of 2016, marking a major shift in artistic direction - the light, in turn, is covered by black, white and grey colours. The band of the artist’s signature fluorescent orange most evident in design operates as a sharp beam of light as one flips through the pages.
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彭薇 :《遥远的信件》
由艺术家工作室出版
Peng Wei: Letters from a Distance
Published by Peng Wei studio
2016
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郝量《幽邃之地》
由观心亭出版，合作机构：蜂巢当代艺术中心
Hao Liang_Secluded and Infinite Places
Published by Vitamin Creative Space, cooperated with Hive Center for Cotemporary Art
2014
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鞠婷《应和》
由星空间出版
Ju Ting_Correspondances
Published by Star Gallery
2015
鞠婷的作品是通过丙烯一层一层地叠加，然后使用刀刻的方式形成一个狭长断层，让人再次看到她过程的一个回溯。封面设计使用纸张一层一层的裱糊来模仿她的创作方式，让人直观地感受她作品的力量。
Ju Ting’s work reveals its own process of accumulating acrylics by slicing deep and long through the layers. The cover design simulates her signature method by layering papers in a traditional fashion, representing directly the force present in her artistic practise.
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独立杂志《through》（2013年至今）
Independent magazine_Through (2013-present)
这是一个跨时间比较长的项目，杂志每一年出一期，前七期每期寻找八个人，记录他们正在做的事，到第八期再回过头去找他们，看看他们目前在做什么，是否还在坚持初衷，做了什么改变。而我们所做的事情，就是一个记录着。这是一本限期八期的杂志，关于“成长”。该杂志目前进行到第四期。
As a long-term publication project, it is published annually. For the first seven issues, through pays attention to and examine in total 56 individuals’ lives and works; and for the eighth issue, through revisits them and explores their present states and the changes that happen on the way. Through aspires to be a faithful observer. For the totality of eight issues, it pertains to the idea of growth. We are working on the fourth issue at the moment.
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标志设计 logo Design
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四方当代美术馆艺术品商店 _ “肆”
四方美术馆的建筑是由Steven Holl设计，是中国当代美术馆中唯一深处山林之中的一个美术馆，标志通过四个定位点不同速率的旋转，通过时间的感受，把自然环境带入到标志设计中。中文的“放肆”是一种行为和精神的完全自由，而标志图形是一种全面打开的一个开放图形，通过四个点来维持一个稳定性，扎根于一个稳固的四方几何图形之上但面貌是完全开放的。以及四个点所构成的一个空间就是一个“店”，同时又对应“四方当代美术馆”中的“四”。中国传统中，东南为起，西北为收。
东南：一个小时转一圈；西南：一天转一圈；
西北：一个月转一圈；东北：一年转一圈。
标志暗示了方位，时间和历史。
The Art Store of Si Fang Art Museum _ "Si"
Si Fang Art Museum was designed by architect Steven Holl, and it is to date the only museum in China that resides in the mountains. The logo traces the rotating movements of four points at different speeds, effectively brining the natural environment into the logo by conveying a sense of time. “放肆”in Chinese pertain to an absolute freedom in terms of both one’s behaviour and spirit - the logo is an open form which is anchored by the four points. In other words, the logo is at once firm, steady and very open. The space created by the four points is the “shop”, and also corresponds with the Chinese character of “四”in the museum’s name. Chinese knowledge: starting from the southeast, concluding at the northwest.
Southeast: rotation finishes in an hour;
Southwest: rotation finishes in a day;
Northwest: rotation finishes in a month;
Northeast: rotation finishes in a year.
The marks hint at positions, times and histories.
辅助图形：所有物品都可以用方，三角和圆的组合来表达，于是我们用这三个物品来代表世界的一切形式，这个连接看似抽象其实是具体的。
Additional visuals: all objects could be abstracted to combinations of rectangles, triangles and circles, so we represent all in the world by the three forms. The seemingly abstract connection is in fact specific.
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独立设计师品牌 _ “moonstop”
Independent Designer Fashion Label _ "moonstop"
moonstop是一个独立服装设计师品牌。
logo根据罗马字体字宽经典比例获取标志中的线段宽度，综合moonstop发音时辅音与摩擦音以及爆破音的音长来设计。
似乎是电报密码，口琴簧片，每个定位点形成平行之上的一道斜线，相当于每个字母不断升格的结果，这一线索也可以看作是月亮之注视和月亮上升的轨迹。
moonstop is an independent designer fashion label.
The logo design comes from the length of consonant, fricative and plosive of the word ‘moonstop’. The width is decided by classic alphabet font.
Resembling telegram code, or a harmonica’s reeds, each point becomes a line that sits in parallel to the next, one alphabet after another. This could also be taken as the gaze or the movement of the moon.
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＃on paper_ 未命名＃
一切争辩都是言词之辨。山水未被称为“山”或“水”之前，我们虽然不能说出，却能领略更多的一切。
# on paper_未命名 #将以展览，讲座和自出版等其它多元方式推动“艺术家书”这一重要艺术门类深入艺术家和艺术观众的生活经验中去。
# on paper_untitled #
All arguments are merely rhetorical. Before the invention of language, one could comprehend all but could express none.
# on paper_untitled # which is an endeavour to spread the important genre of artist's book into the experiences of artists and the audience, via exhibitions, lectures, independent publishers and other forms.
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on paper one
陈彧君、高露迪、简策 × 程昱峥、韩磊、贺勋、蒋志、雎安奇、鞠婷、林科 × tria、肖武聪、许炯、渣巴、翟倞、纸今
chen yujun, gao ludi, ce jian × cheng yuzheng, han lei, he xun, jiang zhi, ju anqi, ju ting, lin ke × tria, xiao wucong, xu jiong, zha ba, zhai liang, zhi jin
11.25 - 12.10, 1- 5pm @ zapbeijing
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on paper 2
6.30 - 8.5, 2018
策展人：纸今
空白空间：
陈哲、程昱峥、高磊、高露迪、韩磊、郝量、胡晓媛、蒋志、李青、李姝睿 × 李带菓 × 陈汤圆、刘文涛、刘辛夷、马树青、松本考之、彭薇、蒲英玮、石至莹、王青、塔可、谭天、王顷、徐渠、杨健、杨圆圆、渣巴、翟倞、章森、赵洋、郑毅、钟云舒
zapbeijing:
简策
on paper 2
6.30 - 8.5, 2018
Curator: Zhi Jin
WHITE SPACE BEIJING:
Chen Zhe, Cheng Yuzheng, Gao Lei, Gao Ludi, George Chang, Han Lei, Hao Liang, Hu Xiaoyuan, Jiang Zhi, Li Qing, Li Shurui×Li Daiguo×ChenTangyuan, Liu Wentao, Liu Xinyi, Ma Shuqing, Matsumoto Takayuki, Peng Wei, Pu Yingwei, Shi Zhiying×Wang Qing, Taca Sui, Tan Tian, Wang Qing, Xu Qu, Yang Jian, Yang Yuanyuan, Zha Ba, Zhai Liang, Zhao Yang, Zheng Yi, Tant Zhong
zapbeijing:
Ce Jian
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# on paper_lab #
一切可能性之探索
Exploring all possibilities.
敬请期待...
Coming soon...