2016-2018
Visual archive by Suzy Chan
In my daily practice, I made a lot of elements about the typography. I usd hand-painting, collage, scanning, and then convert them into a digital graphic elements. Some of them were posters for my existing project.
I was fascinated by the large-size color prints, so I brought them together and re-made them as "posters." In essence, these posters do not have any information to convey, I just use them as my personal material archive. They can be seen as evidence for my exploration of the format of graphic design language.
Visual archive by Suzy Chan
In my daily practice, I made a lot of elements about the typography. I usd hand-painting, collage, scanning, and then convert them into a digital graphic elements. Some of them were posters for my existing project.
I was fascinated by the large-size color prints, so I brought them together and re-made them as "posters." In essence, these posters do not have any information to convey, I just use them as my personal material archive. They can be seen as evidence for my exploration of the format of graphic design language.
2016-2018
視覺素材 by Suzy Chan
在我的日常練習中，我製作了很多關於字體的元素。 我用手繪畫，拼貼，掃描，然後將它們轉換為數字圖形。他們中有一些是我現有項目的海報。
我對大尺寸的彩色印刷品非常著迷，所以我將它們組合在一起並重新製作。他們是“海報”。 從本質上講，這些海報沒有任何信息要傳達，我只是將他們作為我的個人視覺資料庫。 我可以看作是我探索設計語言的證據。
視覺素材 by Suzy Chan
在我的日常練習中，我製作了很多關於字體的元素。 我用手繪畫，拼貼，掃描，然後將它們轉換為數字圖形。他們中有一些是我現有項目的海報。
我對大尺寸的彩色印刷品非常著迷，所以我將它們組合在一起並重新製作。他們是“海報”。 從本質上講，這些海報沒有任何信息要傳達，我只是將他們作為我的個人視覺資料庫。 我可以看作是我探索設計語言的證據。
