A common denominator is Wang’s love of function and form. Its mission, so to speak, is to search for possibilities in Chinese characters and multilingual environments that are “logical and largely integrated with business cases”, he notes. This includes publications, which he will use to speak to consumers and educate them about the potential of typography. “When I entered the design industry in the late 90s, my initial goal was to provide the market with more quality products that would make typography valuable to consumers,” he continues. “Years later, even though the design environment in Taiwan has changed and the emphasis on typography is increasing every year, the idea still drives me forward.”
Clever, minimalist, and often shrouded in detailed considerations — the kind that go wrong on first sighting — Wang’s new wallet is more complex than ever. Only this time, culture, history and context play a much bigger role. In praise of shadows, for example, the third book he designed for Junichiro Tanizaki. A “masterpiece” for understanding Japanese aesthetics, Wang wanted to bridge the gap between reader and content – “old and new readers, East and West”, he shares. he. “Mood is especially important at this time when you have to keep a safe distance from traditional impressions and not be completely influenced by the temporal context.” In this regard, Wang uses a structural mix of lines and characters as a nod to Japanese “spatial outlines”, designed in a monotonous palette of grays and blacks and underlined with dark paper. This allows the reader to “enter the dark space immediately”, to “feel the texture”, and to make new discoveries through the subtle markings and hints of shadow and light.
Typographic form may not be the first thing you notice in Wang’s work, or maybe it is; in any case, he plays an essential role in all his projects, whatever the brief or the result. “I want the viewer to feel that, even though the text is not central to the image, it is still recognized as an essential and important part.”