重塑碎木 Re-creating Incense
品牌设计与包装设计

将木料研碾后加入配方重新调制，最终再次挤压成型。在对线香产品的工艺做了基础调研后，我们将 “重塑碎木”的文本再形而上地抽象了一层，即“重新建构”，这一包含建筑哲思的概念将被我们作为视觉语言进行下一步的探索。


石上纯也在《建筑的另一种尺度》中写道，“可以将那些建筑从未具有过的尺度，尽可能地纳入建筑中吗？也许可以通过扩大建筑概念的范畴，把更多尺度容纳进去，或者反过来，不改变建筑的概念，而是把各种事物尽可能缩小,然后尽量多地置入建筑。”


在品牌设计中，似乎一枚标志一直是作为独立的、不可打破的最小单元、最小尺度存在的。那么有可能标志被打破，有可能出现比标志更小的尺度吗？


在平面图像处理软件还没有进入人们视野的时候，以计算机符号的组合来表达图像的艺术形式出现了，即ASCII艺术。单个的计算机符号各有其意，但其作为小型元素参与更大图像单元的构成时，仿佛又被赋予了新的含义。现代人类最常接触的颜文字在某种意义上来说就是一种最小型的ASCII艺术。


在这次的项目中，我们决定采用最易识别的单字母ASCII构成来“重新建构”中文与英文字型，亦即，探索标志的最小尺度经典与MIX两条产品线分别以金、银色象征，侧边以彩色呼应了不同配方的性格。 在三分之一的棱柱体侧面，与标志一致，而延续采用了小“r”的单字母ASCII构成来“重新建构”不同配方的代表图形。

Re-creating Incense
Brand Identity & Packaging Design

Wood is ground into fine particles, blended with other ingredients according to a formula, and finally pressed back into shape. After conducting preliminary research into the production process of incense sticks, we took the idea of “Re-creating Incense” one step further into abstraction, arriving at the concept of “reconstruction.” Rooted in architectural philosophy, this concept became the starting point for our exploration of a visual language.


In Another Scale of Architecture, Junya Ishigami writes:


“Is it possible to incorporate scales that architecture has never possessed before into architecture itself? Perhaps we could expand the scope of what architecture encompasses, allowing it to embrace a greater variety of scales. Or, conversely, without changing the concept of architecture, we might shrink various things as much as possible and bring as many of them as we can into architecture.”


In brand identity design, a logo has seemingly always existed as an independent, indivisible unit — the smallest possible element, the smallest scale. But what if a logo could be broken apart? Could there be a scale even smaller than the logo itself?


Before digital image-editing software became widely available, an art form emerged that used combinations of computer characters to construct images: ASCII art. Each individual character carries its own meaning, yet when it becomes a small element within a larger composition, it seems to acquire an entirely new significance. Kaomoji (also known as text-based emoticons), among the most familiar forms of visual expression in contemporary digital communication, can in some sense be considered a miniature form of ASCII art.


For this project, we decided to use readily recognizable single-letter ASCII elements to “reconstruct” Chinese and English letterforms — in other words, to explore the smallest possible scale of a logo.


The Classic and MIX product lines are distinguished by gold and silver, respectively, while colors along the sides of the packaging reflect the individual character of each incense formula. On the side faces of the triangular prism packaging, we extended the same visual approach used in the logotype, reconstructing graphic motifs for different formulas from repeated ASCII lowercase “r” characters.



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C 重塑碎木 Re-creating Incense