WANG YIZHEN

A DESIGNER BASED IN SHANGHAI





PROJECTS: ALL, BEAST, UCCA, MFA, YUZM, CLIENT WORK
Dragon Forever
龙年系列

2024
Packaging“The Year of the Dragon series” is co-branded by BEAST and Suzhou Museum. The patterns are extracted from the cultural relics in the Suzhou Museum and then recreated. The product is available in two versions: red and off-white. The red version celebrates the Lunar New Year, and the off-white version could be sold all year round.

「龙年系列」 由野兽派和苏州博物馆联名。图案从苏州博物馆馆藏文物中提取，然后进行再创作。产品有红色米白色两个版本，红色以庆祝龙年新年，米白色则可以全年售卖。
Flora Collection
花神系列

2023–2024
PackagingVintage and elegance are the main styles of the “Flora Collection.” Gold and vintage decorations are used extensively, and a new visual guideline is also established.

复古、雅致是 「花神系列」 的主要风格，金色和复古装饰被大量使用，同时一组新的视觉规范也随之建立。
Winter Wonderland
雪国历险记

2023
Type, Packaging, PosterA font designed for the Christmas collection, used in advertising and products.

为圣诞系列设计的主题字体，应用于广告和系列产品。
Seasonal Items
季节限定

2023
PackagingSeasonal limited products match each theme (romantic, classical, Spring, etc.) with relevant patterns, crafts, or categories.

季节和节日限定产品会以特别的图案、工艺、或品类，配合每一次不同的主题（浪漫、古典、春天，等等）。
The Stutter of History
历史的结舌

2022
Exhibition, Poster, BrochureDuring the exhibition period, promotion and design will be conducted around paper models and photographs of Thomas Demand’s works. The guidebook uses the form of a newspaper to reflect the theme of the exhibition, allowing the audience to feel like they are in history. The entire picture of Hanami was hidden in the tabloid as an Easter egg.

在展期内围绕 Thomas Demand 作品中的纸模和照片，进行宣传和设计。导览册 「历史小报」 用报纸的形式，体现展览主题，让观众有身处历史之中的感受。整幅 《Hanami》 作品图片作为彩蛋，隐藏在小报里面。
Becoming Andy Warhol
成为安迪 · 沃霍尔
2021
Exhibition, Poster, Brochure To harmoniously and appropriately display the exhibition style of “Being Andy Warhol”, this imperfect and hand-made font was used in advertisements and activities related to the atmosphere during the exhibition period. At the same time, elements from Warhol’s classic works were abstracted to make brochures as exhibition gifts.

为了和谐、贴切地展现 「成为安迪 · 沃霍尔」 的展览风格，这种不完美、有手工感的标题美术字被应用于展期内与展览相关的广告和活动。同时从沃霍尔的经典作品中提取元素做成胸针，作为展览赠礼。
City on the Edge
激浪之城

2021
Exhibition, Poster, Brochure “City on the Edge: Art and Shanghai at the Turn of the Millennium” is the opening exhibition of UCCA Edge. Almost all the artists included in the exhibition appeared in the seminal first Shanghai Biennale and contributed to the subsequent development of Chinese contemporary art. The exhibition "City on the Edge“ also echoes that biennale and the 2007 UCCA opening exhibition in Beijing, “’85 New Wave: The Birth of Chinese Contemporary Art.”

From this, the concept of “blueprint” was determined to be used as the main visual of the exhibition, flattening the UCCA Edge venue building and becoming an element of the drawing. This blueprint is not only a response to the history of Chinese contemporary art, but also UCCA’s plan and outlook for the future.

「激浪之城：世纪之交的艺术与上海」 是 UCCA Edge 的开馆展，展览包含的艺术家几乎都在影响深远的首届上海双年展上出现过，并促成了之后中国当代艺术的发展。展览 「激浪之城」 也呼应了那届双年展以及 2007 年 UCCA 在北京的开馆展 「85新潮：中国第一次当代艺术运动」。

由此 「蓝图」 的概念被确定用于展览主视觉，将 UCCA Edge 场馆建筑平面化，成为图纸上的元素。这个蓝图不仅是对过去那段关于中国当代艺术历史的回应，也是 UCCA 对未来的计划和展望。

Others
其他

2021–2022
Exhibition, Wayfinding, Poster, Brochure, Booklet –

Random Typeface
随机字体

2020
Type “Randomness occupies the space between control-poetic, serendipitous, respected, and undiscovered. Random Typeface explores how degrees of randomness act on systematic typeface design. I employed three experimental techniques—nature, implements, and hands-to generate three corresponding typefaces. The resulting visual language and documentation reveal the connection and relationship between humans and media. Moreover, the process outweighs the product, as each typeface reveals stories unique to its evolution and demonstrates varying degrees of control. The randomness found in these techniques and the type design reflects the poetry describing the design in ourselves.”

「随机性存在于那些诗意、偶然、被重视或未发现之间。 随机字体探讨了随机的程度如何影响系统化的字体设计。 我采用三种实验技术⸺自然、器具和手工来生成三种相应的字体。 由此产生的视觉语言和过程记录揭示了人与媒介之间的联系和关系。 这个过程比结果更重要，因为每种字体都展示了其演变的独特故事，和不同程度的控制。 这些技术和字体设计中的随机性也反映了我们自己描述设计时的诗意。」

50 Iterations
50个变体

2019
Bookmark, Packaging “The original piece is a cover for Z ponad (a collection of poems by Julian Przybos), designed by Wtadystaw Strzeminski. I rebuilt the elements and made variations, trying to respond to my point of view. I picked this famous work from Meggs’ History of Graphic Design at the beginning, and the output came back here at the end.”

「我从 《Meggs’ History of Graphic Design》 里找到一个由 Wtadystaw Strzemihski 设计的诗集封面。我把其中的元素提取并重组，衍生出 50 组相关而不同的图形，然后做成书签，重新放回在书里这件作品的位置。」

© 2024 Wang YizhenUpdated October 2024