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“百年国漫大展Y-COMIC-X?”是在深圳海上世界文化艺术中心举办，由设计互联主办的以中国本土漫画为主题的展览。我们负责展览周期中的视觉全案工作。
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漫画是具有较强叙述性的艺术载体，是用简单而夸张的手法来描绘生活或时事的图画。在漫画近百年的发展中，为了增强其叙事的便捷和生动性，或增添夸张、娱乐性和图像表现力，漫画的表达手法也在逐步进化。从早期18世纪连环画和讽刺漫画中普遍使用的对话框，到20世纪初伴随迪斯尼电影而生的漫画分镜框，40年代拟声词独立于对话框的运用和相匹配体现速度感的速度放射线，60年代少女漫画对于主人公美丽容颜和情爱心情的花哨渲染配景，漫画的语言在漫画的逐渐普及中，也在不断的迭代和升级。到了当代，本属于漫画这一亚文化所特有的图像语言，随着漫画文化的普及，已经成为了独立的图像符号，而被广泛的运用到各类视觉表达中。
我们将漫画中的表现性语言如分镜框、对话框、速度线、拟声词等抽离出来，用这些视觉语言的组合重新塑造画面，一方面填入展览中的IP形象，使多风格多角色的漫画能够在现场呈现出统一的视觉语言；一方面通过这些视觉语言之间的组合，建立没有漫画角色的剧情，与环境图形、印刷物料、衍生品结合相容。参观者在浏览展品的同时，感到自己与漫画场景的结合，使得观展体验更加生动。
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设计总监：张烁
设计师：傅诗欣、张来、王柳茵、杜敏良、陈雪聪（实习）、胡绮玲、王小阳、赵炯森、邹景裕
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展场设计：STUDIO 10
空间摄影：ACF、设计互联
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“百年国漫大展Y-COMIC-X?”是在深圳海上世界文化艺术中心举办，由设计互联主办的以中国本土漫画为主题的展览。我们负责展览周期中的视觉全案工作。
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漫画是具有较强叙述性的艺术载体，是用简单而夸张的手法来描绘生活或时事的图画。在漫画近百年的发展中，为了增强其叙事的便捷和生动性，或增添夸张、娱乐性和图像表现力，漫画的表达手法也在逐步进化。从早期18世纪连环画和讽刺漫画中普遍使用的对话框，到20世纪初伴随迪斯尼电影而生的漫画分镜框，40年代拟声词独立于对话框的运用和相匹配体现速度感的速度放射线，60年代少女漫画对于主人公美丽容颜和情爱心情的花哨渲染配景，漫画的语言在漫画的逐渐普及中，也在不断的迭代和升级。到了当代，本属于漫画这一亚文化所特有的图像语言，随着漫画文化的普及，已经成为了独立的图像符号，而被广泛的运用到各类视觉表达中。
我们将漫画中的表现性语言如分镜框、对话框、速度线、拟声词等抽离出来，用这些视觉语言的组合重新塑造画面，一方面填入展览中的IP形象，使多风格多角色的漫画能够在现场呈现出统一的视觉语言；一方面通过这些视觉语言之间的组合，建立没有漫画角色的剧情，与环境图形、印刷物料、衍生品结合相容。参观者在浏览展品的同时，感到自己与漫画场景的结合，使得观展体验更加生动。
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设计总监：张烁
设计师：傅诗欣、张来、王柳茵、杜敏良、陈雪聪（实习）、胡绮玲、王小阳、赵炯森、邹景裕
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展场设计：STUDIO 10
空间摄影：ACF、设计互联
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“Y-COMIC-X?” is an exhibition held at Shenzhen Sea World Culture and Arts Center and organized by Design Society with the theme of Chinese comics. We are responsible for all the visual design of the exhibition.
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Comics, art carriers with a strong narrative, are drawings that depict life or current affairs simple and exaggerated. In the development of comics in the past century, the expression of comics has gradually evolved to enhance its narrative convenience and vividness or to add exaggeration, entertainment, and graphic expression. From the dialog box commonly used in the early 18th-century comic strips and satirical cartoons, to the comic storyboard born with Disney movies in the early 20th century, to the use of onomatopoeia independent of the dialog box and the matching speed radiation reflecting the sense of speed in the 1940s, and to the fancy rendering scenery for the beautiful face and love mood of main characters in the 1960s girls’ cartoons, the language of comics has also been in continuous iteration and upgrade as the comics gain popularity. In contemporary times, graphical languages belong to comics, a subculture. With the popularity of comics, graphic languages have become an independent image symbol, widely used in various visual expressions.
We extract the expressive language in comics such as storyboard, dialog box, speed line, onomatopoeia, etc., and reshape the picture with the combination of visual languages. On the one hand, we fill in the IP images in the exhibition so that the comics with multiple styles and characters can be presented in a unified visual language on site. On the other hand, through the combination of these visual languages, the plots without comic characters are established, compatible with environmental graphics, printed materials, and derivatives. Visitors will feel the combination of themselves and the comic scenes while browsing the exhibits, making the exhibition experience more vivid.
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Design director: Zhang Shuo
Designers: Fu Shixin, Zhang Lai, Wang Liuyin, Du Minliang, Chen Xuecong (intern), Hu Qiling, Wang Xiaoyang, Zhao Jiongsen, Zou Jingyu
Designers: Fu Shixin, Zhang Lai, Wang Liuyin, Du Minliang, Chen Xuecong (intern), Hu Qiling, Wang Xiaoyang, Zhao Jiongsen, Zou Jingyu
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Exhibition design: STUDIO 10
Photography: ACF, Design Society
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