GRAPHICS & IDENTITY

Graphic crafts, and more specifically the art of calligraphy, are intrinsic to Chinese-speaking communities, which perhaps accounts for the strength of the entrants into the packaging and visual communication design groups. "I have to say, generally speaking, the graphic design was on another level than the products in my eyes," notes Claesson. "I think it’s because it has such a long tradition in China. Product design is something much newer and perhaps a little bit less mature. There also seems to be a cultural self confidence in the graphic design, a pride in the heritage."

Nanjing-based studio Hanqingtang Design’s project About Trees – which presents a unique typeface inspired by a collection of poems about trees and is derived from classical Chinese seal script and the shapes of the trees themselves – impresses for its contemporary conferral of traditional elements. Another piece that caught the eye is a series of tea carrying cases produced for Tse-Xin Organic Agriculture Foundation in Taiwan by Kaohsiung-based 3ya Design Associates. Illustrated with hand-painted designs depicting endangered animals indigenous to the island nation, when placed together the images create a complete map of Taiwan. "The jury members were fascinated with this design, which does not just play to the eccentric," said Sato in a statement, adding that the considered nature of the product, from its texture to its illustration marked it as "attractive" and "brilliant".

平面手藝(特別指為書法美學)植根華語社區，也許是滲入包裝與視傳設計界的動力。「我必須說──普遍而言──平面設計在我眼中比產品更要處於另一層次。」Claesson指：「我想，大概因為如此藝術是中國的歷史傳統吧。產品設計相對而言較為嶄新，發展也不及成熟。平面設計中也似乎蘊含著一種文化自信，引傳統為傲。」

南京工作室瀚清堂設計有限公司的作品詠樹，啟發自一系列關於樹木的詩篇，引伸至經典中國篆書以及樹木本身的形狀，揉合當代與傳統的元素。另一焦點作品則為台灣高雄參冶創意有限公司為慈心有機農業發展基金會設計的慈心淨源茶攜帶盒。手繪設計描繪出地方的瀕臨絕種動物，湊在一起時即成完整的台灣地圖。「評審無不對設計大感驚嘆。」佐藤大在聲明中表示，並補充這件產品的性質，以至質感和刻劃圖案也是如此「吸引」和「出色」。