The cover interprets “Mr. Frost is here” as a quiet trace left by winter’s arrival. I imagined frost not as decoration, but as an act of transformation — how it changes the surface of things, leaving subtle marks and textures. The overlapping serif and sans-serif letters represent contrast and coexistence: warmth and cold, movement and stillness. Together, they form a fragile landscape of typography that feels both emotional and restrained.
Cover Design
This project designed the visual identity for Guangzhou Image Triennial 2025, turning “perceptual ecology” into an operational structure. Mobile 3D scanning captured printed information with surrounding space, light, and environmental elements, blurring boundaries to produce images between two- and three-dimensional states. It subverts human-centered perception, letting viewers experience the co-constitution of technology, material, and environment. The visual system relies on a consistent generative structure, not fixed images, operating across print, spatial, and digital media.
Identity / Videos & Motion Graphics / Signage Design
This project transforms simple materials—paper fragments and staples—into a dynamic visual system representing the relational nature of knowledge. Each fragment carries a word or letter; when combined, they form mutable structures across posters, wristbands, tote bags, and the exhibition’s title wall. The design embodies how ideas and disciplines connect to form evolving intellectual networks, materializing abstract research processes into coherent, structured visual language.
Identity / Signage Design
The Second Trans-Southeast Asia Triennial, Tropical Eye, explores contemporary art, society, and technology. Using black-and-white, algorithmically generated text and information elements, the design visualizes “gaze gravity”: human attention attracts information, which flows to disrupt order and perception. This dynamic highlights how data and networks, drawn by attention, invisibly shape and even hijack cultural and economic structures across Southeast Asian countries, forming a concept-driven visual language for the three-year exhibition.
Identity / Videos & Motion Graphics / Signage Design
The “General Education” project centers on type design, using structural reorganization to reflect the position of the humanities in contemporary context. A composite type system was developed, with a sans-serif outline and a serif internal structure, redesigned in proportion and detail to create coordination and tension. The system can be used as a composite or split into three independent fonts. Its structure metaphorically embodies the temporal perspective of general education: oriented toward both the classics and the future, yet grounded in the present, balancing reason and sensibility, objectivity and subjectivity. In application, serif, composite, and sans-serif types alternate line by line, producing a reading rhythm of continuity and disruption that evokes multiple perspectives and instability in knowledge structures. The project extends to publication design: booklets of varying sizes were created, with paper choices enhancing tactile and visual qualities, all unified in a single folder to form an open, reconfigurable container for reading and exploration.
Identity / Book Design
In the He Art Museum, designed by Tadao Ando, the exhibition presented unstable belief structures: statues from East and West tilted, inverted, or showed only their backs, losing authority. My design displaced the existing order, duplicating texts in silver to create tilt and imbalance. In the catalogue, Chinese and English texts were inverted in reading order, aligned to a grid, with Chinese in black and English in silver, generating layered visual and reading shifts. In the space, visual intervention was minimal, limited to displaced excerpts on walls, producing subtle spatial shifts. The exhibition sparked discussion not only about the works, but also about Fan Bo himself. As both an academy dean and an artist, his dual role became a point of projection and critique, ultimately positioning him as part of the exhibition itself.
Poster Design / Catalogue Design / Exhibition Design
Le Clézio is a gallery in Paris, France. This design uses the simplest form to create the shadow of a square canvas. The shadow is a real, interdependent relationship, reflecting the trust and collaboration between the gallery and the artists. Every element—typography, grid, and materials—develops from this shadow, forming a cohesive visual system.
Identity / Signage Design
The China University Industrial Design Competition (CUIDC) is one of the most influential national platforms for industrial design education in China. It brings together students from leading universities to engage in critical exploration of design’s role in contemporary society, technology, and innovation. For the 2024 edition, we were responsible for the development of the competition’s visual identity system. The design aims to convey the academic rigor, forward-thinking spirit, and cultural significance of the event through a coherent and adaptable visual language.
Identity
The International Conference on Innovation Design and Intelligent Engineering (IDIE 2024) is a leading academic forum focused on advancing interdisciplinary research and innovation at the intersection of design and intelligent engineering. Scheduled for December 13–15, 2024, and hosted by Guangzhou Academy of Fine Arts, the conference brings together top experts, scholars, and practitioners from around the world. It provides an open platform for exchanging ideas on technological innovation, product design, user experience, intelligent systems, and their applications across various industries. By fostering deep collaboration across disciplines, the event supports the development of cutting-edge solutions to address contemporary challenges and shape the future of design and engineering.
Identity
Guangzhou Design Triennale 2024, China's first, focuses on "temperature." Touch-sensitive temperature connects people and objects. Visual identity design uses finger and screen operations, showcasing hand touch traces in exhibition materials. This feature is maintained consistently from posters to spatial graphics.
Identity / Digital Design
We have designed a typeface in which each letter is composed of both uppercase and lowercase forms. Regardless of whether uppercase or lowercase is used, each letter simultaneously exists in both cases. Education is a holistic process, and its true purpose is to nurture independent and complete individuals. Early childhood education has an impact on adults, and the state of adults reflects the education they received as children. From small to big, from big to small. Based on this typeface, we have designed a complete visual identity system for the kindergarten, employing the simplest layout to make the typeface dance on the logo, lively and dynamic.
Identity / Videos & Motion Graphics / Signage Design
Interim Review Exhibition of Graduate Students presents a modular typeface system in which each character is carried by a single sticky note. The system operates through a dual structure: mechanically printed characters on one side and handwritten text on the other, with ink seeping through so both coexist across the front and back of each note. Arranged across the wall and gently moved by the wind, the system forms a continuous visual condition that reflects a broader state in contemporary education, where the humanistic and the technological operate within the same system and continuously reshape each other—not as opposites, but as interdependent dimensions.
Identity / Digital Design
The Guangzhou Triennial is China’s leading art exhibition held every three years. The theme “Symphony of All the Changes” highlights art's response to socio-cultural shifts during the pandemic.
Identity / Digital Design
Forum hosts key art schools from major bay areas worldwide to discuss tech and art education. Design features dynamic Chinese and English fonts, resembling a sparkling sea scene.
Identity / Videos & Motion Graphics
Southeast Asia, home to many overseas Chinese, introduced durian to China. Durian, sounding like “nostalgia” in Chinese, symbolizes overseas Chinese’s longing for home. The exhibition centers around durian, showcasing artworks reflecting the emotions of overseas Chinese towards China.
Book Design
Every year, Guangzhou Academy of Fine Arts delivers a special designing offer of admission for new students, which on the one hand promotes Guangzhou Academy of Fine Arts to the public and on the other hand sends blessings and expectations to new students. In Chinese, “new students” and “new life” are same. This year's design is a birthday cake, also is an offer of admission to commemorate a new beginning in the life of College -- a new birthday in life. The cake is actually a scented candle. New students can light it, make a wish, blow it out. Happy new birthday!
Invitation Design
The Art Field Nanhai (Guangdong) Festival takes place in the rural areas of Nansha in Guangdong, China. Due to its reliance on the intricate water systems of the downstream Pearl River, this region has been the cradle of economic and cultural development for the people of Guangdong. However, with industrial shifts and the development of central cities, these rural areas have gradually declined. The festival aims to redirect people's attention to this area. The concept of visual image design is to convey the history of rural development relying on water sources through the spacing of words, depicting the process from unity to dispersion and then reintegration.
Identity
The book in simplified Chinese showcases CHIE MORIMOTO’s works and autobiography. The pictures and the text extend inward and outward, with typography projected on book's body for multi-angle design.
Book Design
Graduate 360° is an annual graduation design award. The award is sorted into 5 categories: Foundation research, Commercial Practice, social Concern, Technology Application, and Experiment&Concept. Design education is the relationship between input and output, and the output results will show new changes according to the future environment. This poster design using the simplest variable text（from TextEdit software）is the concept. It wants to respond to the current education environment to its professional nature. In China, the phone input method of the characters is “Pinyin”, which is the pronunciation of Chinese characters spelling expressions. “Pinyin” is expressed using 26 English letters as phonetic alphabets, which makes it very harmonious when Chinese and English are mixed, just like the same language. To distinguish between Chinese Pinyin and English, Chinese pinyin uses a black background. I incorporated this concept into the design.
Identity / Book Design
Started experimental graduation project at GAFA in 2022, focusing on integrated design. 11 students involved in exploring humanistic issues in tech era through integrated design concepts within a year.
Teaching / Exhibition Design
The competition requires participants to use recycled materials of coke bottles to design, highlights the extraordinariness of recycled materials. The poster relies on a horizontal grid to fold, making it three-dimensional.
Identity / Poster Design
Inspired by Chinese Livestream trend during the pandemic, the design concept emphasizes rapid information dissemination. Identity design showcases dynamic user messages, exploring timeliness of information.
Identity / Videos & Motion Graphics
Three-dimensional fonts are designed with Möbius loop inspiration, and the fonts are made of transparent material. GAFA letters are paired and layered, creating an illusion of interference and merging.
Identity / Videos & Motion Graphics
With the theme of "Post-Information Era", this Chinese character designing event includes a forum and an exhibition. Not only do Chinese characters represent the traditions but they also bear the future of the Chinese culture. With the advent of the post-information era, Chinese characters are facing a new innovation of visual expression. The identity design of this activity echoes such attempt. It highlights the role of Chinese characters in a multilingual environment. On the other hand, it emphasizes the characteristics of information superposition and programming in the post-information era. This programmatic visual language can be adapted to different applications. This design, serves as an programing, goes deep into the gene of the system, without excessive decorations and symbolic figure, only to show the conflict and fusion between Chinese characters and the post-information era.
Identity
Tian Bo’s PhD research exhibition, about the Ulm School of Design (Hochschule für Gestaltung Ulm), the draft of the thesis, the manuscript of the thesis, and is recorded in the form of folders.
Exhibition Design / Book Design
Paper scraps disrupt poster, highlighting conflict between pixel and printed fonts. Represents contemporary tech and design integration, the forum's theme.
Poster Design
The documenta exhibition establishes a dialogue between Chinese and international contexts. My design uses bilingual mixed typography, where aligned texts create irregular spacing and subtle shifts. These are not errors, but expressions of friction between linguistic systems. The project is developed in a text editor, treating input and output as mechanical operations, with typography following the logic of the screen rather than traditional composition, shifting reading into a continuous, top-down flow and forming an unstable multilingual order. Rather than correcting these deviations, I work with them: differences between languages, the limits of digital input, and the mechanics of screen-based writing become generative forces. This approach departs from traditional typographic logic centered on control and balance, moving instead toward inconsistency and system-driven structure—from static composition to dynamic flow, from visual order to operational logic, and from authored control to a system shaped by language, technology, and perception.
Identity / Book Design