整理作品時發現自己最近做的平面作品居然是研一時的作業，但仔細算一算，離開平面設計的時間已經有六年了
在這中間，我莫名奇妙的進入工業設計的領域並持續走了下去，對於帶領我進入設計領域的平面設計，竟沒有太多的眷戀；或許可以說，它早已深深的融入我的基因裡
從念平面的時期，我就一直是在班上相當弱的一個，看著大家每次的素描都能夠被老師放在黑板前面表揚，我卻怎麼畫都像被掐爛的小籠包；每次設計字法我都練得痛苦萬分；每次包裝設計我都是趕到天亮卻發現自己的作品跟其他同學的作品相比有如小鐘變的魔術一般像搞笑來的，自己設計的月餅盒顏色配得像是乾掉的老橘皮；上廣告設計課的時候，看同學的稿子完成度都超高，印象很深刻的是阿司的印表機廣告稿專業到噴，我卻還在學怎麼用photoshop
或許，我從來就不認為自己是塊料
也或許，我從來就不認真，從來就不夠敏銳，從來就不夠積極
在進入工設的領域之後，有一陣子相當懷念從前的平面歲月，也經常找機會多接觸平面的書籍，才突然覺得懂得怎麼樣欣賞美感，欣賞技巧。從前只會覺得亂七八糟的構圖，都在眼前活絡了起來；這不是什麼任督二脈的打通，只是更願意用心去貼近設計，去調整與它的頻率。頻率是相當重要的學習過程，也是試探自己成長的必經之路，設計是相當主觀的東西，但我認同到的價值就是我能夠掌握的部份，這經由刺激-吸收-反芻-產出的消化過程，是設計最核心的意義，因為那代表一個多面向的融合再經由設計者所萃取出來的菁華，也是設計者對自己設計答辯的根本
每看到別人的作品會感動，就是一種empathic的過程，這是貼近對方溫度與吸吐的行為；這也說明為什麼有些設計師明明技巧與美感都具備高水準，但卻沒有辦法讓他人感動，問題就在於1. 作品缺乏溫度 2. 設計者與解讀者的距離過於遙遠。當然，通常作品是否能讓人"體驗"，又是一個取決於主觀價值的認同問題，這是另一個相當tricky的部份
我已經很久沒有做平面設計了，但還是會時常觀察別人在做些什麼東西，雖然因為所學不同而也會發生頻率脫離的問題，但是盡量維持開放的態度去尋找不同設計領域所帶來的感動，是我認為身為設計人的基本態度
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When organizing my works the other day, I found these two works which were done almost 2 years ago. To be more precise, I have left graphic design for 6 years.
During the 6 years, I had turned to industrial design for an inexplicable reason, and still been sticking to it thus far. Amazingly, as an usher leading me to design field, it has been deeply conflated into my gene.
I counted for a flabby one in the class when studying graphic design. I've never been able to put my artistic sketch in front of the blackboard as the outstanding works since my sketch looked so damn much like crushed dough; my packaging design works took me the whole night humiliated me with the color of dried-orange skin on the cover and looked teetotally amateur comparing to others' works; in the commercial advertisement design class, I was so impressed by my classmate Ken's printer work while I was still struggling to learn how to use photoshop properly.
Maybe I've never been the material to do this, I thought.
Or maybe, I've never been trying hard enough, never been active enough.
After studying industrial design, there'd been a while I missed graphic design so bad. During that period, I sticked my nose to graphic design related books, and just about then, I learned how to appreciate aesthetics as well as techniques. Those visual composition which once I thought as messy lines became so vivid and poping up in my eyes; this wasn't because I suddenly turned to be an art genius from a philistine, it's just a matter of being more willing to comprehent with design and to correspond the frequency in between. Frequency is a vital process to experience, it's also an essential lesson to pass through. Design is very subjective, the part I can relate is what I can concur; the digesting process from stimulation-absorption-rumination to production is the core value of design, that's the extracted essence of multidimensional blend, and the base of a designer's defense against critiques from others as well.
When we are overwhelmed by art works, that's the process of empathy, I also reckon that as a behavior to feel the temperature as well asbreath of the artists/designers; that explicates why some designers are with fabulous sense and skills but having difficulty to touch viewers. The problems can be seen as 1. their works are lack of temperature to touch others or 2. the distance between designer and interpreter is too far to reach. However, a work can be truly "experience" or not is another issue, that's a pretty tricky part to discuss in a way.
It's been a long time not doing any graphic design for me, but I still pay attention on others' works. Though the frequency derails due to divergent design backgrounds, but I try to be open-minded in the effort to look for insperation from other design fields; for me, that's the basic attitute as a designer.
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