Detachment and Unification: A Chinese Graphic Design History in Greater China Since 1979

Wong, Wendy Siuyi

doi:10.1162/07479360152681092

Cited by 12 publications

(8 citation statements)

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“…In Detachment and Unification: A Chinese Graphic Design History in Greater China Since 1979 (Wong, 2001), the author argued that it was after the end of Martial Law period that Taiwanese graphic design started has the autonomous to create, and the mature development can happen. In this article, the development of Taiwanese contemporary design is reviewed in three phases.…”

Section: Resultsmentioning

confidence: 99%

The journey from self-exploration to self-identity: The evolution of contemporary Taiwanese graphic design

Chen¹

2016

Proceedings of the 10th International Conference on Design History and Design Studies

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To understand contemporary Taiwanese history of graphic design, one may want to learn the development of Taiwan politics first. This article will demonstrate how Taiwanese graphic design is influenced by political trends. However, when politics intervenes in graphic design, the creating process would be restrained since designers will need more thoughts before applying texts and images. The evolution of Taiwanese graphic design is the best testimony of the argument, by crossing the post-colonial period, the crisis of national-and ethnics-identity in 1971, and the social conflict after the end of Martial Law in1987. Graphic design works with Taiwanese consciousness may have less commercial sense, but describe the subjectivity value of the society with more accuracy. The works contain the essential elements that make graphic design step from localization to internalization which are the main streams in the history of Taiwanese contemporary design.

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Section: Resultsmentioning

confidence: 99%

The journey from self-exploration to self-identity: The evolution of contemporary Taiwanese graphic design

Chen¹

2016

Proceedings of the 10th International Conference on Design History and Design Studies

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“…Due to a geographic reason and its population, Macau's design is usually included as a part of HK's design. (Sinha, 2008;Wang, 1989;Wong, 2001;Zhang & Parker, 2008). However, the development of design in China started to change after the establishment of the PRC (Justice, 2012; Sinha, 2008;Wang, 1989;Zhang & Parker, 2008).…”

Section: Design In Chinamentioning

confidence: 99%

“…Due to political reasons, China's socioeconomic milieu experienced dramatic fluctuations. Design, graphic design, and advertising, existed as political tools-making political propaganda products (Justice, 2012;Wang, 1989;Wong, 2001;Wong, 2005). Designers at that time were artist-workers or decorators.…”

Section: A Brief History Ofmentioning

confidence: 99%

“…Advertising and graphic design developed rapidly, particularly in the PRD area and Shanghai (Wang, 1989;Zhang & Parker, 2008). In the meantime, the concept of commercial design began being perceived by design educators and designers because of the influence of Europe's, Japan's, Taiwan's, and HK's designs (Justice, 2012;Wong, 2001;Wong, 2005;Zhang & Parker, 2008). Imitation was gradually being populated in not only advertising and graphic design but also product design (Wang, 1989).…”

Section: A Brief History Ofmentioning

confidence: 99%

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Suggestions for Introducing Creative Entrepreneurship Education into China’s Design Education

Yu¹

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In China, creative industries are evolving, but creative entrepreneurship education is undeveloped. In order to propose an approach for introducing creative entrepreneurship education into design education in China, this study utilized a mixed method to investigate designers' entrepreneurial aspirations, motivations, and intentions as well as the factors that drive designers to develop their entrepreneurial potential. It also provides suggestions for developing creative entrepreneurial programs for design graduates. Interview and survey data were collected from Chinese designers and analyzed through a descriptive and a statistical procedure. The analyses suggested that Chinese designers' entrepreneurial intentions (EIs) are positive but not strong enough to motivate them to start their business. The statistical analysis uncovered eight main motivational factors and clustered five types of creative designers. Three of the creative clusters would benefit from creative entrepreneurship education. Moreover, the analyses suggest creative entrepreneurial programs should be established by design schools at regular public universities.

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“…Chinese design scholar, Shou Zhi Wang, emphasizes there has been very little written about modern graphic design in mainland China, because design activity under the communist society before the start of the Open Door Policy in 1978 was mostly in the service of party propaganda (Wong, 2001). Commercial graphic design was seen as a symbol of "Western lifestyle" and said to be a "waste of national resources" because it encouraged the consumption of unnecessary products (Shou Zhi Wang, 1989).…”

Section: This Was Assisted By China's Rapid Economic Development and mentioning

confidence: 99%

A study of preference of form in logos between Generation X and the Cultural Revolution Generation in China's big cities

Che

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Detachment and Unification: A Chinese Graphic Design History in Greater China Since 1979

Cited by 12 publications

References 0 publications

The journey from self-exploration to self-identity: The evolution of contemporary Taiwanese graphic design

The journey from self-exploration to self-identity: The evolution of contemporary Taiwanese graphic design

Suggestions for Introducing Creative Entrepreneurship Education into China’s Design Education

A study of preference of form in logos between Generation X and the Cultural Revolution Generation in China's big cities

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