未来提案｜厦门大学创意与创新学院2026毕业设计作品⑤

快时代下广式早茶的慢生活创新视觉设计

No Outside Food/Drink

视觉传达设计

Visual Communication Design

许欣然 XU Xinran

指导老师 | 张文化 ZHANG Wenhua, Ana Menezes

快时代里，早茶还慢得下来吗？

本设计以快时代下广式早茶社交的弱化为切入点，通过视觉传达手段转译其“慢生活”特质。以物件叙事、碎片重组、公共介入为策略，提取茶具、蒸笼、塑料凳等日常元素，完成报纸书、系列海报及警示语介入装置。旨在让年轻群体以轻量化方式重新感知早茶的社交节奏与文化温度。慢生活，不一定安静。也可以是人声鼎沸里，你愿意多坐一会儿。

In this fast-paced era, can dim sum still be slow?

This project responds to the fading social ritual of Cantonese morning tea by translating its “slow living” spirit into visual design. Using object-based storytelling, fragmented structures, and public intervention, it transforms everyday items—teaware, steamer baskets, and plastic stools—into a newspaper-style book, a series of posters, and cautionary signs on stools and bags. The goal is to help younger generations reconnect with the social rhythm and warmth of dim sum in a light, accessible way. A slow life need not be quiet. Sometimes it's the willingness to linger a little longer amid the bustling hubbub.

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导师评语 Mentor’s Review

作品《快时代下广式早茶社交的慢生活创新视觉设计》，作者聚焦数字洪流与都市快节奏语境下，传统广式早茶这一承载着岭南地域记忆与日常仪式的社交场景日渐式微的社会现象，从视觉设计的角度进行省思创作。作品从整体视觉风格、日常物再编码、信息碎片化编排、图形叙事、多元载体应用等方面进行设计阐述，借助海报、报纸书、动态影像、公共空间介入装置等媒介，多视角完成“慢生活”的语义转译，以此希望在“在地生活方式”与“现代生活”的张力间，构建关于时间感知与社会联结的反思性表达。

The project “No Outside Food/Drink” examines the gradual decline of traditional Cantonese morning tea—a social setting steeped in regional memory and everyday rituals of Lingnan—amid the digital deluge and the fast-paced urban context. Through its overall visual style, the re-coding of everyday objects, fragmented information layouts, graphic storytelling, and applications across multiple media, the project interprets the concept of “slow living” using posters, a newspaper-style book, motion graphics, and public-space interventions. From these varied perspectives, it aims to construct a reflective expression of time perception and social connection that bridges the tension between local ways of life and modern living.

张文化 ZHANG Wenhua

中国古典诗歌汉英编排与多感官视觉设计

Chinese-English Layout of Classical Chinese Poetry and Multi-sensory Visual Design

视觉传达设计

Visual Communication Design

尹梓钰YIN Ziyu

指导老师 | 张文化 ZHANG Wenhua, Ana Menezes

中国古典诗歌英译常伴随意象与意境的“诗意折损”。本设计以“多感官编排”为策略，改良传统龙鳞装结构，构建“文字—图文—材质”三段式递进阅读逻辑。通过散点布局、触感纸张与水墨拼贴，将“山、月、云”等不可译的诗意转化为可感知的视觉与触觉体验，探索视觉设计作为跨文化感知补偿媒介的可能性。

English translations of classical Chinese poetry often suffer from a “loss of poetic essence” in imagery and mood. Employing “multisensory layout” as a core strategy, this project reimagines the traditional dragon-scale binding structure to create a three-tiered reading progression: from pure text, to text-and-image, to materiality. Through scattered typography, tactile papers, and ink-wash collages, seemingly untranslatable poetic motifs, such as mountains, the moon, and clouds, are transformed into perceptible visual and tactile experiences. Ultimately, this work explores the potential of visual design to bridge gaps in cross-cultural perception.

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导师评语 Mentor’s Review

中国古典诗歌作为中华传统文化的重要组成部分，承载着高度凝练的语言形式、独特的审美意象与深层的哲学思考。毕业设计作品《中国古典诗歌汉英编排与多感官视觉设计》以此为设计对象，在跨文化传播与书籍物质性回归的背景下，针对古典诗歌英译过程中普遍存在的"诗意折损"这一核心问题，探索汉字与英文在传统诗歌意象美学上的阅读语境与空间设计，作品在视觉语义结构、阅读路径、字形、行距与留白、材质、书籍形态等方面构建节奏与意境，揭示两种文字语言间的对比与融合，寻求跨文化的意蕴共鸣与传播连接。

Classical Chinese poetry is a vital part of China’s traditional culture, embodies highly condensed language, unique aesthetic imagery, and profound philosophical reflection. Taking classical Chinese poetry as its subject, the graduation project “Chinese-English Layout of Chinese Classical Poetry and Multi-sensory Visual Design” responds to the dual context of cross-cultural communication and a renewed emphasis on the materiality of books. Addressing the widespread “loss of poetic essence” in English translations of classical poetry, it explores the reading contexts and spatial design of Chinese characters and English within the aesthetic imagery of traditional poetry. The work constructs rhythm and mood through its visual-semantic structure, reading paths, letterforms, line spacing and white space, materials, and book form. By revealing the contrasts and convergences between the two written languages, it seeks cross-cultural resonance of meaning and communicative connections.

张文化 ZHANG Wenhua

园志：中国古典园林图像的创新设计探索

Garden Trace

视觉传达设计

Visual Communication Design

郑昊鑫 ZHENG Haoxin

指导老师 | 张文化 ZHANG Wenhua, Ana Menezes

本设计以“失去与获得”为命题，将中国古典园林中的建筑、山石等元素提炼为线条与图形的视觉语言。通过简化、抽象与材质转化，在舍弃细节的同时生成新的视觉节奏与感知维度。在熟悉的园林题材中，寻找当代视觉表达的新可能。

This project takes “loss and gain” as its theme, distilling architecture, rocks, and other elements of classical Chinese gardens into a visual language of lines and shapes. Through simplification, abstraction, and material transformation, it sacrifices details while generating new visual rhythms and perceptual dimensions. Working with the familiar subject of the Chinese garden, it searches for new possibilities in contemporary visual expression.

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导师评语 Mentor’s Review

设计作品《中国古典园林图像的创新设计探索》,围绕中国古典园林中的建筑、山石、花窗等典型元素进行创新设计探讨。作者深入剖析园林构件背后的造型逻辑进行提炼、简化与抽象转化，将传统视觉图形重构为现代视觉图像，结合东方美学特征的文字设计及“移步换景”的视觉空间，产出系列海报、平面延展及实体3D模型等设计应用，强化主视觉塑造，将园林自身的空间语法转译为可视、可读、可感、可触的视觉化表达，为传统文化的创新设计提供了一条从形到意、从图到场的实践思路。

The design project “Garden Trace” explores innovative interpretations of representative elements within classical Chinese gardens, including architecture, rock formations, and lattice windows. The designer analyzes the formal logic underlying these garden components, distilling, simplifying, and abstracting them to reconstruct traditional visual motifs as contemporary imagery. Combined with typography informed by Eastern aesthetics and a visual space inspired by the garden principle of “a changing view with every step,” the project extends into a series of posters, graphic applications, and physical 3D models, reinforcing the central visual identity. It translates the garden’s spatial grammar into an expression that can be seen, read, sensed, and touched, offering a practical path for reimagining traditional culture—from form to meaning, and from image to space.

张文化 ZHANG Wenhua

开·关：基于差异化的二元逻辑视觉设计探索

ON OFF An Exploration of Visual Design Based on Differential Binary Logic

视觉传达设计

Visual Communication Design

林睿萱 Lin Ruixuan

指导老师 | 杨双飞· Yang Shuangfei, Ruehl Muller

我们习惯用“开”与“关（ON/OFF）”去理解世界，它代表选择、判断，也构成了最基础的二元认知逻辑。然而现实中的许多事物并不存在绝对清晰的界限，而是处于不断变化与转换之中。本项目以“开/关”关系为切入点，以德里达的“延异（Différance）”理论为基础，探讨二元判断对认知方式的影响。通过海报、动态影像、互动装置及多感官手工书等媒介，利用观看条件的变化与感官体验的差异，打破“开”与“关”的固定对立关系，呈现意义生成与转换的过程。项目希望将观众从被动的信息接收者转变为主动的意义建构者，引导其重新审视既定认知，并在“开”与“关”之间发现更多元的理解方式与思考可能。

We are accustomed to understanding the world through the concepts of ON and OFF. They represent choice and judgement, forming one of the most fundamental binary structures of human cognition. Yet in reality, many things do not exist within clear-cut boundaries; instead, they remain in constant states of transition, ambiguity, and transformation.

This project takes the ON/OFF relationship as its point of departure and draws upon Jacques Derrida’s concept of *Différance* to explore how binary thinking shapes our perception of the world. Through a series of posters, moving images, interactive installations, and a multisensory artist’s book, the project employs shifts in viewing conditions and sensory experiences to challenge the fixed opposition between ON and OFF, revealing meaning as something continuously produced and transformed. By turning viewers from passive receivers of information into active participants in meaning-making, the project invites reflection on established modes of cognition and encourages more diverse ways of understanding the world between the states of ON and OFF.

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导师评语 Mentor’s Review

“二元”从来都不是静默不变的物理，亦不是对立悖离的两面：从天地玄黄到阴阳相生，再到辩证统一，“二元”是万物理法初始，是生活美学本源，可大可小、可静可动。该作品以小见大、推物及理，打破“理”的刻板印象，通过简洁明确、诙谐幽默、色彩明朗的视觉图形将“理”解构为身边的日常，使其无处不在。同时，也深刻的剖析和验证了“二元”逻辑的多元性和流动性，从思辨的角度引导观者重新感知、理解和判断身边的日常。

“The binary” has never been a silent and unchanging physical reality, nor is it simply composed of two opposing and divergent sides. From the dark heavens and yellow earth of ancient cosmology, to the mutual generation of yin and yang, and further to dialectical unity, “the binary” is the origin of the principles and laws underlying all things, as well as the source of the aesthetics of everyday life. It can be large or small, still or moving. By revealing the greater through the small and moving from objects towards principles, this work breaks away from stereotypical impressions of “principle.” Through visual graphics that are concise and clear, witty and humorous, and bright in colour, it deconstructs “principle” into the everyday world around us, making it present everywhere. At the same time, the work offers an in-depth analysis and validation of the plurality and fluidity of binary logic. Through philosophical reflection, it guides viewers to perceive, understand, and judge the everyday around them anew.