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Time is not only the witness of brand accumulation, but also the vitality of design evolution. With an international perspective and world time as a unit, Hiiibrand Awards continues to think about the interaction and development of brands and creativity on a global scale, focusing on the evolution of brands in a global context, and exploring how design can transcend the present and lead the future. Pay attention to the far-reaching influence of the work in the time dimension, and emphasize the continuity of its future and the foresight of internationalization. The design team put forward a hypothesis: Is there any other way to express time? Through graphic design, the design team began to rethink the order of time and reorganize the connection between ideas. Using the concept of time slicing, try to architect a whole new possibility of cosmic space-time connection. When discussing the concept of globalization, most of them often use "world time" as the symbolic mark of different cities. Therefore, the design team of this Hiiibrand Awards extracted the data of the countries or regions where the participants are located as the basis of "world time". On this basis, it carried out a second deconstruction and extended new thinking on the direction of time, in order to echo the selection vision and future direction of the new Hiiibrand Awards.
Time is not only a witness to the accumulation of a brand but also the driving force behind the evolution of design. With an international perspective, using global time as a unit, the Hiiibrand Awards continually reflect on the interaction and development of brands and creativity on a global scale. The evaluation focuses on the evolution of brands within the global context, exploring how design can transcend the present and lead the future. It emphasizes the long-term impact of the works in the dimension of time, highlighting their future sustainability and international foresight.Thus, we proposed a hypothesis: Is there another way to express the progression of time? Through graphic design, we began to rethink the order of time and reestablish the connections between creative ideas. Using the concept of time slices, we explored new possibilities for linking space-time across the universe. When discussing globalization, we often use "world time" as a symbolic marker for different cities. For this year's Hiiibrand Awards, we extracted data from the countries or regions of past participants as the basis for "world time." Building upon this, we deconstructed and expanded on new perspectives regarding the flow of time, aligning with the vision and future direction of this year's Hiiibrand Awards.
As the core element of vision, time slices are deconstructed and reshape the path and become a dynamic order that can be extended and interacted. They extend from the inside to the outside of the picture, breaking the linear frame of time and triggering the viewer's infinite imagination of time and even space. Whether it is from the poster to the scene, from the ceiling to the floor, or from one country to another, and from the designer to the jury, from the work to the brand, creative ideas are designed to cross the boundaries of time and beyond. The imagination of time slice is not limited to the physical performance of DM flyers or series posters. They also wander between reality and virtual, extending from offline to online. They can be independent individuals or organic elements in visual collaboration. This idea seems to be through the reorganization of time and space, but in fact it is to convey and encourage each participant to break the boundaries, maintain imagination and continue to create. In the innovative practice of contemporary Chinese design, the concept of "space-time slice" is reconstructing the visual narrative system with oriental wisdom. This kind of creative technique of deconstruction and reorganization of time dimension is just like the modern interpretation of "taking images from view" in Zhouyi, which not only continues the spatial philosophy of "changing scenery by step", but also integrates the interactive characteristics of the digital age.
As the core element of the main visual, the deconstructed and reshaped time slices form a dynamic order that extends and interacts with the viewer. These slices move from within the frame to beyond it, breaking the linear constraints of time and sparking infinite imagination about both time and space. Whether from the poster to the event venue, from the ceiling to the floor, or from one country to another, from designers to judges, and from the artwork to the brand-the creative concepts aim to transcend the boundaries of time and space. Indeed, the imagination behind the time slices is not limited to the physical manifestation of DM flyers or a series of posters; they also traverse between reality and the virtual realm, extending from offline to online. These slices can stand alone as individual entities or become organic elements within a collaborative visual system. This approach, while seemingly focused on the reorganization of time and space, ultimately conveys and encourages each participant to break boundaries, maintain imagination, and continue creating.In contemporary Chinese design, the "temporal-spatial slices" concept uses Eastern wisdom to reshape visual narratives. It deconstructs and reorganizes time, reflecting the Zhouyi's "observe phenomena, conceptualize forms," and incorporates traditional Chinese garden spatial philosophy and digital age interactivity.
The design studio BY-ENJOY DESIGN has been exploring and practicing the cultural attributes and commercial values in the field of brand design for a long time. It mainly focuses on visual experience, content creativity, communication and reach, and use efficiency. In recent years, its works have been recognized by many major design awards at home and abroad, and have successfully landed many cross-field brand projects nationwide. His works have been exhibited or collected in Tokyo, New York, Xiao Meng, Shanghai, Hong Kong, Taipei and other places, and have been widely included and reported by mainstream design media publications and magazines at home and abroad.
