Shigeno Araki是即將歡度百週年慶的長崎堂蜂蜜蛋糕(Castella Nagasakido)之第四代， 她出生於大阪、周防町(Suomachi)，有一妹妹，20歲之前都居住於大阪，畢業於大阪藝術大學、主修設計。
透過個展與發表她自己的作品，從小即獲獎無數，受到媒體的廣泛關注且被視為藝術天才。 雖然曾考慮追求藝術，但是為了避免來自雙親的衝突與擔憂、也希望透過她的產品設計能力幫助自家公司，她決定進入大阪藝術大學就讀，邁向成為設計師之路。

她在大學期間即成婚，畢業後立即加入長崎堂(Nagasakido)公司，向擔任公司董事長與副董事長的雙親學習，在公司變更所有權的當下，她發表了公司標誌—「黑船(Quolofune)」，不久之後，發表「然花抄院(Zenkashoin)」促成更多元型式的表達與發展，這在過去是未曾出現過的。她負責品牌創建的各方面，從產品開發到概念、設計與空間設計。她目前擔任然花抄院公司董事長、長崎堂公司董事長、SUGATA藝廊藝術總監。她的作品陸續獲得許多榮耀，包括 2001年日本包裝設計獎大獎賽、兩度榮獲特別獎與一次銀牌獎。除了國內獎項，她也獲得許多國際獎項如：Pentawards 2010 金牌獎、紅點設計獎2010金獎(Best of the Best)、紐約ADC以及倫敦國際獎。 除了獲獎無數，她也曾多次舉辦相當成功的個展。

Shigeno Araki is the fourth generation of Castella Nagasakido which is approaching its 100th year anniversary. She was born the eldest of two sisters in the city of Suomachi, Osaka and spent the first 20 years of her life in Osaka and then graduated from the Osaka University of Arts having majored in Design.
Receiving many awards from a very young age through personal exhibitions and her own production work, she received much media attention and was a labelled an arts genius. Although having thought about pursuing Arts, as a means of avoiding conflict and worry from her parents and to help develop the company through her ability in production design, she decided to pursue the path of becoming a Designer and enrolled into the Osaka University of Arts.

She got married during her time at University and upon graduating immediately joined Nagasakido as an employee. Having learnt from her parents who were in the position of company president and vice president, immediately upon the company change of ownership she released the company labels ‘Quolofune’ and soon after ‘Zenkashoin’ which enabled an even greater form of expression and development, which had not been present in the past. She oversees all aspects of brand creation, from product development to concept, design and spatial design. She is currently the president of Zenkashoin Corporation, the president of Nagasakido Corporation and the art director of Gallery SUGATA. She has further received many honours for her work including the 2001 Japan Package Design Award Grand Prix, twice the Special Award and once the Silver Award. As well as national she has also received many international awards including the Pentawards 2010 Gold Award, the Red Dot Design Award Best of the Best 2010, the New York ADC and the London International Award. Not only awards but she has also held many of her own exhibitions to great success.

包裝設計：十禪系列 10zen_sweetsbox

個人創作對社會設計的觀點
我盡力為各種作品創造出最高等級的質地、筆觸、和感受，而並非只看單一類型。我相信在尋找新的靈感和構想時，考慮到所有面向是非常重要的。以此為基礎的設計必能刺激人體的所有感官。

身為女性設計師的看法
對於許多女性，一個產品能她們感到「美麗」而且「美味」是導致她們快樂的主要因素，進而造就購買的慾望。我想透過這種設計抓住女性的心。

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THOUGHS ON view and your works in social design
I strive to bring out the highest quality of texture, touch and feeling for each material and rather than just look at one genre, I believe it is of significant value to take into consideration all directions for when searching for new inspiration and ideas. Through this I believe the design will be able to stimulate all five senses within a person.

THOUGHS ON female designer, how does it influence your design
For many females being able to feel a product as ‘beautiful’ and ‘delicious’ are key aspects to their happiness which then lead to the action of purchase. I would like to be able to reach out to the female senses through such design.

Yeşim Demir Pröhl(1968年生 /伊斯坦堡)，1992年畢業於伊斯坦堡Mimar Sinan 美術大學平面設計系。
1992-2003年間，她擔任 Young and Rubicam/Reklamevi、Repro and RPM Radar/CDP Europe的藝術總監。1993-2013年間，她在土耳其平面設計協會(The Turkish Society of Graphic Designers (GMK))全國設計競賽的多個類別獲得許多獎項，包括：1995年 Eczacıbaşı 基金會年輕平面設計師獎、2012年Emin Barın Logotype獎、2015年 Tüyap 封面獎。她在1998年贏得Yunus Nadi海報獎，她的海報曾在杜伊斯堡、紐約和台灣展出。她在2003年創立她自己的平面設計工作室—「Demir Tasarım」。Demir曾於2005-2012年擔任GMK理事會主席，她在2011年被選為 國際設計委員會(ico-d -former ICOGRADA)副理事長、2013年再度當選。她也擔任Mimar Sinan美術大學平面設計系講師，她在土耳其與國外的研討會中發表演講；受邀擔任國內與國際競賽之評審，例如： AWDA、 Emzin -Ljubljiana、Yahşibey Workhops、Grafist 14、台灣國際設計競賽。她在2014年擔任第二屆伊斯坦堡國際設計雙年展諮詢委員會委員。她目前在她自己位於伊斯坦堡的工作室經營設計工作。

Yeşim Demir Pröhl, (1968 / İstanbul). Graduated from Graphic Design Department of Mimar Sinan Fine Arts University Istanbul in 1992.
Between 1992-2003 she served as art director at Young and Rubicam /Reklamevi , Repro and RPM Radar/CDP Europe. She has won many awards in different categories in national design competitions of The Turkish Society of Graphic Designers (GMK) between 1993-2013, including Eczacıbaşı Foundation Young Graphic Designer of the Year 1995, Emin Barın Logotype award 2012, Tüyap Book Cover award 2015. She won Yunus Nadi poster award in 1998. Her posters were exhibited in Duisburg, New York and Taiwan. She founded her graphic design studio ‘’Demir Tasarım’’ in 2003. Demir was the Chairman of the board of GMK between 2005-2012. She was elected as the Vice President of International Council of Design (ico-d -former ICOGRADA) in 2011 and reelected in 2013. She is a lecturer at the Mimar Sinan Fine Arts University Graphic Design Department. She has given lectures in semninars in Turkey and abroad; and invited as a jury member in national and international contests such as AWDA, Emzin -Ljubljiana, Yahşibey Workhops, Grafist 14, Taiwan International Design Competition. She served as a member of the advisory board of 2nd Istanbul International Design Biennial in 2014. She’s currently running design practice in her studio in Istanbul.

書籍設計：75週年年鑑-STFA -75th year book-Essential matters moving images form china

個人創作對社會設計的觀點
針對一本書或是一場展覽可以有很多種設計的方法。我認為首要任務就是把焦點集中在設計的內容，我相信其他設計師也認同。展覽或書籍設計是一種工具，含有一系列社會評論性或是視覺性的重要功能。這種設計必須表達整合過的資訊。對我來說，無論是哪種類別的平面設計，我們想傳達的資訊結構來自於設計師本身對主題的了解是否透徹。平面設計師需要聆聽議題內容，深入了解，再將整理過的資訊做有效的傳達，讓讀者及大眾以符合趨勢的方式接收到正確的資訊。設計的主題內容本身就是社會議題，因此，設計就是一種社會作為。將理念、匯集、研究、理論、和事實用設計呈現在大家的眼前，就是社會價值。

身為女性設計師的看法
其實我不太會想到關於女性設計師這個議題。相信自己的直覺，將事物做連結，多層次的思考模式，一心多用，當一個好的聆聽者，這些特性和能力專屬女性嗎？我想答案是否定的。對我來說身為女性並不影響我們的設計。身為設計師，我們注重設計的內容以及背後的涵義。我們提出問題，找出答案，追求卓越，展現出最棒的自己，並且有效地規劃艱難的任務，從錯誤中學習。我想這是一個無性別思維的設計師在專業上具備的。

設計師應同時具備歸納法及演繹法的思維，有足夠的耐心，從各種角度深入了解事物的意境。造就設計師的不是性別，而是他﹝她﹞的生長及周遭環境。我們的人品身分被我們的行為所定義，包含我們選擇做的事，和選擇不做的事。

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THOUGHS ON view and your works in social design
A book or an exhibition can be designed in many different ways. According to me -which I believe also by all the designers- the primary issue is focusing on the content. Exhibition, book or identity design is a tool, enholding a series of editorial or visual necessities in which information needs to be organised as a holistic result. For me in forms out. Which ever category of graphic design we are practicing on, I believe the information that is held in the body we are structuring is actually the real designer. We as graphic designers need to be good listeners of the content first. Then pass the organised information to the observer or reader to percept the content in a definite and absolute way through timeless or trendy styles. Content itself is a social act. Therefore design is a social act too and making an idea, a collection, a research, a fact or a theory visible through design has a social value.

THOUGHS ON female designer, how does it influence your design
Being a woman designer is actually not a topic I think of very often. Trusting our insticts, being able to link everything to each other, thinking in multiple layers, ability of multi tasking, being a good listener... Are these only feminine assets? I guess not. For me being a woman is not effecting the way we design. We as designers, all of us listen to the content or the reasons behind a graphic design question, ask questions, run after perfectionism, try to be our best version, avoid problems, solve and organize complicated tasks and learn from our mistakes. I guess this is how a gender free mind in design practice works.

However a mind set that works both in deductive and inductive method, patience, looking ahead of a context in many further steps can be a natural part of our programming. What forms a designer is not the gender but the habitat she or she lives in. What forms us is not only the things we do, but also the ones we don’t choose to do.

一位馬來西亞廣告圈著名的女性執行創意總監，從小熱愛藝術，立志成為一個藝術家，她逐步前往邁進、成就了當今業界的地位。她的執業體驗品牌包括：Tiger Beer, Guinness, P&G, Toyota, Colgate, Campbells, telcos, Danone等等。

在她的職業生涯中，Gigi立足於國內的一些頂尖機構，同時也在D&AD、Cannes Lions、Clio、Spikes Asia、AdStars、AdFest、One Show、Australian Awards、 LIA、 New York Fest、ANDY、Kancil Awards等獲得諸多獎項。

她獲得的榮譽不僅如此，Gigi也被Campaign Brief Asia 雜誌評為亞洲第三大藝術總監，在2013年，獲指定擔任當地Kancil獎的評審團團長、更獲Campaign Brief Asia評選入圍東南亞年度創意獎。2015年，她在Big Won報告中獲得第12名執行創意總監，在2016年，她的 MNS海報系列—「毁一棵树 毁一生命(Cut a Tree Kill a Life)」於Big Won報告中名列世界前五大設計系列。

Adobo雜誌將Gigi評為亞洲前十大創意人士之一，如果廣告方面的獎項還不足以彰顯，她為高露潔(Colgate)設計的廣告系列—「包裝融入教育(Turning Packaging into Education)」成為德國MK&G博物館的永久收藏之一 。雖然她看似行程滿檔，但她仍然是一位超級媽媽， 除了繁鎖事務她還啟發她的女兒設計和藝術， 她也參與環境保護等社會工作，用她的專業品牌知識打造社會企業， 參與講習班，論壇指導學生，浪漫的寒假更是她每年固定的行程。

Gigi Lee, a renowned female creative in Malaysia’s advertising scene, began her love affair with art from a very young age. Instinctively, she always knew that she wanted to be an artist. And from such beginnings, she propelled herself to her current position in the industry. Along the way she cut her teeth on such brands like Tiger Beer, Guinness, P&G, Toyota, Colgate, Campbells, telcos, Danone, and others.

Throughout her career, Gigi’s found herself in some of the top agencies in the country. While at the same time notching up wins at D&AD, Cannes, Clio, Spikes, AdStars, AdFest, One Show, Australian Awards, LIA, New York Fest, ANDY, Kancil Awards and more. The accolades didn’t stop there; Gigi was named Asia’s third most awarded art director by Campaign Magazine. In 2013, she was appointed Jury President for the local Kancil Awards and shortlisted for South East Asian Creative of the Year by Campaign Brief. More recently, she placed 12th on the Big Won report for ECDs in 2015 and in 2016 her MNS campaign, ‘Cut a Tree, Kill a Life’ was listed as one of the Top 5 Design Campaigns by Big Won report as well.

Adobo Magazine recognised Gigi as one of the top 10 Creatives in Asia. If the advertising accolades weren’t enough, her Colgate campaign – ‘Turning Packaging into Education’ is part of a permanent collection in the MK&G Museum, Germany. With her seemingly full plate, she still manages to mentor her daughter in art, design and of course, many other ways a supermom would. Not to mention she’s actively participating in social causes like environmental conservation, sharing her expertise to brand build social enterprises, mentoring students at workshops, forums, and having that odd escape on a romantic winter holiday.

沒有樹木的殘酷童話世界 Unfortunate Tales of a Treeless World-Tinocchio

個人創作對社會設計的觀點
設計不僅僅是一個品牌標誌設計或圖形，或者是令設計看來更美觀，在幫助個人，社區和社會原因方面，它可發揮更正面的效應。優秀的設計處處可見，在各類媒體比比皆是。我非常幸運能夠與那些愛好設計的人士合作。從非政府組織到業績優良的客戶，所創作的作品包括：亞洲虎標啤酒的'Drink responsibly'， Campbell's Soup的'Cans of Positivity' ，Amnesty Malaysia的'Write for Freedom', Organ Donation的'8 lives'，馬來西亞自然協會的'Cut a tree, Kill a life' 和 'No tree, No animal' 等等。我也曾經參與社會企業活動，幫助推廣原住民所製造的產品，其中包括Muser Coffee, Silent Teddies 以及Yogyarkata Kotagede Silversmith。

身為女性設計師的看法
無論你是誰，來自哪裡，年齡有多大，又或者是男性或女性，這一切都不會對你的設計有所影響。最重要的是你必須熱衷於設計，擁有正確的態度和進取精神。優良的設計來自於對業務問題的深度理解，並了解消費者的想法和行為。市場調查應屬強制性，它可幫助我們探索不同的風格和技能。我們必須在創作領域上不斷作出新的嘗試，備耐心和毅力，創造出令人驚嘆的構思與作品。獨標一幟的設計深具影響力 – 它是原汁原味、側重視覺衝擊與引人注目，且必須是洞悉人心的。

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THOUGHS ON view and your works in social design
Design is not just about logos, graphics or making things look pretty. Design can help create positive change – in individuals, communities, and social causes. Great design is everywhere, and exists in all kinds of media. I have been fortunate enough to work with people who love design, from NGOs to clients handling blue chip brands: 'Drink responsibly' for Tiger Beer Asia, 'Cans of Positivity' for Campbell's Soup, 'Write for Freedom' for Amnesty Malaysia, '8 lives' for Organ Donation, 'Cut a tree, Kill a life' and 'No tree, No animal' for Malaysian Nature Society, and so on. I've also been involved in social enterprises where we help brand and market products made by indigenous peoples: Muser Coffee, Silent Teddies and Yogyarkata Kotagede Silversmith.

THOUGHS ON female designer, how does it influence your design
Design doesn't care who you are, where you're from, how old you are, or whether you're male or female. All it cares about are passion, attitude, and a constant desire to improve. Great design comes from a deep understanding of the business problem, and knowing how your audience thinks and behaves. Research is mandatory. As is exploring different styles and techniques. We need to try different things and have the patience and stamina to keep pushing for better ideas. Great design is powerful – it's original, visually impactful and makes the right connection with the right people.

侯曉蓓設計有限公司負責人、亞洲大學專任助理教授。
曾任，台灣名茶形象包裝設計大賽評審、優良文山包種茶包裝設計比賽評審、教育部青年發展署志願服務獎勵徽章設計評審、中華民國對外貿易發展協會講師、台灣菸酒股份有限公司包裝設計研習班講師、動腦講座行銷策略研討班講師、農會轉型創新計劃領袖營講師、以及曾在台中科技大學、輔仁大學、文化大學……等大學授課。

感謝上帝，賦予身為女性的侯曉蓓，更具關懷自然、土地、文化、藝術的敏銳社會設計思維，而榮幸能成為「台灣環保包裝設計師先驅」，因而屢次榮獲世界國際設計獎項的肯定 : 英國國際倫敦獎包裝設計獎第一名、美國莫比爾設計傑出創意獎、德國紅點設計獎、澳門設計雙年獎、中國成功設計大獎年度成功設計獎……等國際獎項，並受邀參加捷克布魯諾國際平面設計雙年展。

主要作品，榮獲國內設計獎項 : 台灣視覺設計獎包裝設計金獎、外貿協會優良設計作品 GD MARK創作金獎、金點設計獎、台灣設計獎鉑金獎禮盒設計類第一名…等國內獎項，並受邀參加台灣百大設計師聯展。

研究論文發表 : 日本商品文化對台灣包裝設計影響之研究、台灣首位包裝設計師作品榮登日本idea雜誌 蕭松根。

Hsiao Pei (Fiona) is the owner of Hou Brand & Packaging Design Company and currently is an Assistant Professor of Visual Communication Design Department in Asia University.
She was a lecturer at Taiwan External Trade Development Council, Taiwan Tobacco & Liquor Corporation Packaging Design Class, Brain Magazine Lectures of Marketing Strategy Class, and Agriculture Association Reforming & Creative Design Leadership Class. She was also a juror for Youth Development Administration of Ministry of Education Volunteer Service Badge Design Contest, The imagine of Taiwan Tea Packaging Design Contest, and The Fine Wen Mountain Pouchong Tea Packaging Design Contest. She has been also teaching and making speeches at National Taichung University of Science and Technology, Fu Jen University, Chinese Culture University...etc.

She is devoted to brand and packaging design since 25 years, and started engaging herself in teaching from 2000. There were many students have won the domestic and international design awards under her guidance over years, such as German Red Dot Design Award.

Fiona's creations possesse not only the feminine refinement, but she is also considerate of Nature, Land, Culture, and has an acute perception on Art Design. She was homered to be a 「Pioneer of Taiwan Recycling Packaging Design」, and she was also the first Taiwanese packaging designer to win the Champion of London International Awards in 1993 and 1994. She was moreover invited to attend International Biennial of Graphic Design in Brno in 2008 and Taipei World Design Expo in 2011.

Fiona's major creations had been awarded many prizes domestically and internationally. Domestic prizes such as : Gold award of Taiwan Visual Packaging Design), Gold award of Taiwan External Trade Development Council, The Champion of Golden Pin Design Award.....etc. She was also invited to attend Taiwan 100 Designers Exhibition.

International prizes such as: London International Packaging Design Awards, the outstanding Creative Design Award of US "The Mobius" , German Red Dot Award, Award of Macau Design Biennial, Winner of Successful Design Award in Mainland China...etc.

Fiona's creations and articles were carried by medias in both Taiwan and China. Her latest research thesis : The influence of Japanese product's culture on the packaging design in Taiwan.

天仁茗茶 喫茶賞禮盒 Ten Ren Cha for Tea Gift Box

個人創作對社會設計的觀點
社會設計 (Social Design)一辭，涵蓋範圍很廣，是以人為本的設計，透過設計，改善基本生活上食衣住行的一切問題，進而提升人們的生活品質，讓社會能夠更順暢地運轉及成長。在我從事的設計工作中，商品包裝設計是絕大部分，我認為這是改變與提升消費者對於美感認知的最直接的方式，透過這些商品每天充斥在我們的日常生活中，利用概念的轉化，將在地文化、傳統工藝、…..等以商品包裝作為載体，經由設計表現傳達給消費大眾視覺、觸覺等五感之感受，進而永續保存我們特有的文化背景與資產，找出消費者的需求與問題，不斷改進，才能提升普羅大眾的生活品質與美感。

身為女性設計師的看法
社會設計 (Social Design)一辭，涵蓋範圍很廣，是以人為本的設計，透過設計，改善基本生活上食衣住行的一切問題，進而提升人們的生活品質，讓社會能夠更順暢地運轉及成長。在我從事的設計工作中，商品包裝設計是絕大部分，我認為這是改變與提升消費者對於美感認知的最直接的方式，透過這些商品每天充斥在我們的日常生活中，利用概念的轉化，將在地文化、傳統工藝、…..等以商品包裝作為載体，經由設計表現傳達給消費大眾視覺、觸覺等五感之感受，進而永續保存我們特有的文化背景與資產，找出消費者的需求與問題，不斷改進，才能提升普羅大眾的生活品質與美感。

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THOUGHS ON view and your works in social design
From my point of view, Social Design is more likely the human being oriented design, base on this notion of design which may improve people's wellbeing, facilitate people's life quality, furthermore to make our living environment and society more friendly.

The majority of my design work is the Packaging Design, which I consider this is the best and direct way to boost the Aesthetic perception of consumers, because those commodities all surround our daily life. Apply to this concept therefore I use the local culture and traditional crafts as the foundations of my Packaging Design, and through this design to convey the different vision and tactile sense for consumers. I wish to perpetual keeping our special culture background and resources in my design and continuous develop the needs of consumers, hence to further our living quality and the esthetic sensibility.

THOUGHS ON female designer, how does it influence your design
I personally think the influences of design work are more related to personal characteristics and the growing background than gender. Nevertheless as an oriental female designer, in my design, I also try to express female's unique delicacy and particular culture background in details. This is also the reason why many of the clients will anticipate a female designer when they have some specific female products. Where as the female designer is maybe easier to have the empathy with female consumers and also really touch their feelings.

Gitte Kath (1948生)、1972年畢業於Kolding設計學院。自1974年起，她在丹麥的Haderslev、 Moellen 劇院的成人與孩童戲碼中，活躍於擔任導演、編劇、舞台設計、服裝、平面設計，而自1978年起，她也於Kolding設計學院任教。
作為一名海報設計師/藝術家，Gitte Kath一直不受限於傳統的海報教條—易於理解且清晰的單向溝通，避免了傳統的自信的、直接的海報美學。她不是宣告對抗，而是堅持於她自己的平台上– 最初並未受到大眾注意–從第一天起，她挑戰了現代、當代海報的更可預測的期望。反之，沒有醒目的簡潔成語、嚴格的簡約主義、大量的鮮豔色彩、 強有力的表達能量、以容易解碼的訊息緊急轉換或傳統的含義定義。

不屬於任何國家的「海報學校」，Gitte Kath 被定位於海報藝術家，其實務立場反對清楚的、非比喻的型式。她的海報堅持引用傳統靜物繪畫，以它們的象徵性提示、魔幻的矇騙眼睛的畫法、超現實的主題詩句和現代主義之集合。來自Robert Rauschenberg與Joseph Beuys的激勵，在她的海報質感中是明顯的，「結合」特色為各種繪畫技術、拼貼與「3D」元素，就如它們的靈感存在海報的隱秘與不可定義之質量中。從根本上而言，Gitte Kath的海報藝術與非正式藝術有一定的親密關係，它探索各媒材與「破舊」東西的不穩定之表達潛力。儘管如此，這些靈感、參考和其表達的豐富多樣性， Gitte Kath的海報顯然有自己的獨特架構與特性、吸引力與「深刻的」面貌。

Gitte Kath (1948) graduated from Kolding School of Design in1972. Since 1974 she has been extremely productive as a director, dramaturg, stage, costume and graphic designer at Theatre Moellen, Haderslev, Denmark, in plays for children and adults audience. From 1978 she also worked as teacher at Kolding School of Design.
As a poster designer/artist, Gitte Kath has always operated outside conventional poster dogmas of easily decoded and clear-cut one-way communication, avoiding the traditional confident, straightforward poster aesthetic. Not in a proclamatory confrontation but firmly grounded on her own platform – and, initially, relatively unnoticed by the wider public – she has challenged the more predictable expectations of modern, contemporary posters from day one. No eye-catching purity of idiom, stringent minimalism, large swaths of vibrant color, forceful expressive energy, urgent shifts or conventional definitions of meaning with easily decoded messages. On the contrary.

Without belonging to any national “poster school”, Gitte Kath can be placed into the category of poster artists whose practice stands in opposition to clear, nonfigurative form. Her posters hold references to traditional still life paintings, with their emblematic hints, to illusionist trompe l’oeil paintings and to surreal object poems and modernist assemblages. Incentives from Robert Rauschenberg and Joseph Beuys are evident in the textural quality of her posters, “combines” featuring a variety of painting techniques, collages and “three-dimensional” elements, just as their inspiration is felt in the posters’ cryptic and undefinable quality. On a fundamental level, Gitte Kath’s poster art has a certain kinship with informal art and its exploration of the unsettled expressive potential of materials and “shabby” things. These inspirations, references and parallels notwithstanding, across their expressive diversity, Gitte Kath’s posters clearly have their own unique anatomy and distinctive, attractive and “profound” faces.

2014兒童戲劇節海報 Children’s Theater Festival 2014

個人創作對社會設計的觀點
Moellen劇院原本是一間兒童及青少年劇院。我在這間劇院工作的40年間，它已發展為一間老少咸宜的劇院。儘管如此，我的基本技術是發源於兒童劇院。在這裡，必須精簡再精簡，直到剩下的只有劇情的核心。在不影響劇情的情況下，你能夠多精簡？兒童劇院教導我們對於弱小者要有同理心，並且透過演出，表達生活中的衝突及脆弱，和其他人與人之間的故事。

身為女性設計師的看法
曾經有人說過我的海報屬於「雌性設計」，我心想，有可能分的出設計作品是雄性還是雌性嗎？這種說法是否在貶低我的海報？我寧可把它當作一種優勢。

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THOUGHS ON view and your works in social design
Theatre Moellen was originally a children- and youth theatre. Over the 40 years I have worked at Moellen, it has developed into becoming a theatre for all ages. Even so, my basic skills still originates in children’s theater. Here, it is a matter of stripping down and cutting away, until you are left with only the core of the story. How much can you do without and still tell it all? Children’s theatre teaches us to empathize with the weak, and by showing the conflict and vulnerability of life, telling true stories about being human.

THOUGHS ON female designer, how does it influence your design
Sometimes people say that my posters are“female design”…. I ask myself: Is it possible to differentiate between female or male? Is it to devalue calling my posters “female”? I prefer to call it an advantage.

玻利維亞平面設計師，擔任視覺傳播和文化經理之資歷達25年以上。
她帶領多元團隊組成自己的工作室，並參與多項專案溝通、平面與展覽設計、視覺傳播與藝術。她在玻利維亞身兼Bolivia Poster Biennial，BICeBé的協調者、Tipos Latinos Latin American Biennial of Typography的協調者，Diseñadores Gráficos Bolivia (玻利維亞平面設計師)連續平台的創辦人暨總監，旨在為交流和學習創造空間，以利於專業且不斷提高設計、視覺傳達與攝影之標準，整合玻利維亞與拉丁美洲和全世界的同行；Women Designers | Mujeres Diseñadoras專案、LATAM_D總監、拉丁美洲設計專案，以第一人稱發言且高度反映拉丁美洲在平面設計和視覺傳播、工業設計或產品、多媒體設計和時尚設計等方面的生產力。 巴勒摩大學(University of Palermo)拉丁設計委員會、拉丁設計大使。最近，在阿根廷、布宜諾斯艾利斯、巴勒摩大學、第七屆拉丁美洲教育設計研討會中，榮獲設計學院論壇第十次全體會議頒授「終身設計成就認可」。作品曾發表於拉丁美洲平面設計(Latin American Graphic Design)、Logo Design 2及的TASCHEN Stationary Now!；BOOK INDEX的基本標誌；ROCKPORT PUBLISHERS、HOW Publishers與其他諸多作品。海報與作品曾在四十五個國家展出，並為國際海報雙年展(International Biennial of Poster)的常客；如墨西哥的國際海報雙年展與伊朗的伊斯蘭世界雙年展(Biennial of the Islamic World)。也曾擔任評審團、講師與工作坊教授。

Bolivian graphic designer, visual communicator and cultural manager with more than 25 years in trayectory.
She works in his own studio with a multidisciplinary team, and has participated in several projects communication and graphic and exhibition design, visual communication and art. Coordinator of Bolivia Poster Biennial, BICeBé, Coordinator of Tipos Latinos Latin American Biennial of Typography in Bolivia. Founder and Director of Diseñadores Gráficos Bolivia (Bolivian Graphic Designers) continuous platform that seeks to create spaces for exchange and learning for the benefit of the profession and growing standards of design, visual communication, photography and illustration of Bolivia integrating with their counterparts in Latin America and the world; Women Designers | Mujeres Diseñadoras project. Director of LATAM_D, Latin American Design Project, first-person voice and highly reflective of Latin America production in graphic design and visual communication, industrial design or product, multimedia design and fashion design.

Ambassador of Latino Design in the Design Council Latino University of Palermo. Recently she received the "Recognition for Lifetime Achievement in Design" by the X Plenary of the Forum of Schools of Design during the VII Latin American Congress on Education Design of the same University in Buenos Aires, Argentina. Her work has been published in Latin American Graphic Design, Logo Design 2 and Stationary Now! of TASCHEN; Basic Logo of BOOK INDEX; Design Elements: Color Fundamentals of ROCKPORT PUBLISHERS; Damn Good in Hexanine / HOW Publishers and others. Her posters and work has been exhibited in International Biennial of Poster of Mexico, the Biennial of the Islamic World in Iran, International Saloon of Art SIART, Gallery of the BUAP in México City with a solo exhibition, as well as in France, Spain, Portugal, Italy, USA, India Iran, South Korea, Venezuela Brasil, Colombia, Perú, Argentina, among others. Invited designer at the Colorado International Invitational Poster Exhibition 2011 and 2013, and the International Invitational Poster Festival in Turkey 2013.

She has been jury, lecturer and workshop professor.

吉賽爾 GISELLE

個人創作對社會設計的觀點
設計師在人與人之間的溝通扮演著重要的角色，對人的行為有強大的正面影響力。創作的環境造就設計師的本質，作品的影響力也表露無遺。我認為所有答案和結果都與起源息息相關。作品可以闡述新事物，將其改編、概念化，但始終與環境本質相對應。

如果我們能融會貫通，就會發現我們擁有強大的工具及莫大的責任，在社會上扮演改造者的角色。開發中國家，像是玻利維亞，應當搭起企業與社會計畫間的橋樑，拉近與群眾和消費者的距離，改善生活品質，帶給人們更多的空間及機會，進而喚起共同意識，為身分做定位。我們必須定義及接受這些設計品，視如己出。

我們每天的任務就是提高這些設計者的技能，讓他們對未來在設計上有所貢獻。我們所創造的空間定義了專業的樣貌，與特定的方式系統和研究在設計上相呼應，並著重各方觀點和主流內容欲表達的主題，產生有效的結果以及明確的數據。

身為女性設計師的看法
「當你教育一名男性，你教育的就是一名男性。當你教育一名女性，你教育的是一整個世代」- Brigham Young

身為一名女性設計師，得背負艱鉅的責任，必需能激勵周遭的人。我們的工作內容獨特，伴隨著的是重大深遠的意義，設計師必須膽大心細。我們做的每件事，設計的每件作品，皆有多種不同解讀，都是正面且有影響力的。

在某些工作內容或工作岡位上，女性必須把機會拱手讓給男性，尋找其他方式展現自己。我認為設計產業並無此現象。我們有許多人在求學時奮鬥，替自己在社會上爭取一席之地，進入設計產業，以比其他產業更需要的熱情來造就人與人之間的互動。

我的作品總是負載著滿腔熱血，尤其是社會海報。同樣的熱血，我在年輕學子身上看的見，但他們卻迷失在把專業應用在現實社會中的這條路上，也影響到他們在人生路上的抉擇。該是時候替自己定位，並意識到年輕設計師該有同等的機會透過訓練場合及國際設計盛事成為未來設計大師。

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THOUGHS ON view and your works in social design
A designer, itself, has an important role in human communication and is a very strong tool that can change behavior favorably. The essence of each designer is in the environment of their work, where the influence is shown in their work. I think the answer or result never departs from its origin. This may reinterpret, rearrange and conceptualizing new things but always responding to the essence of their environment.

If we understand this well, we probably could understand that we have a highly powerful tool and a great responsibility as transformers of our society. Design in developing countries like Bolivia should build bridges between enterprises and social projects to make them close to the people or the consumer. Improve the quality of life, bring spaces to whom never had a chance and in that way create awareness and define an identity. The path to define and accept any design product as ours and not looking outside, but quite the opposite.

Every day we learn the task of improving the skills of those who will be responsible for design the future. We create spaces where such reflection define professional profiles that not only respond to a methodology and research when designing, but are aware of the topics addressed from all perspectives and mainstream content that will generate effective results and unambiguous readings.

THOUGHS ON female designer, how does it influence your design
Being a women designer is a major responsibility and a truly inspiration. Our work is bold, unique and always comes loaded with a huge significance. Everything we do and design has more than one interpretation. All positive and greatly transformative.

There are some work spaces where women have had to give away involuntarily to men, and in that dynamic try to look for ways to stand out. I think the design is not one of those professions. We are many in schools struggle for a place in our society and in a profession that generate communication with greater passion than perhaps any other profession.

My work will always come loaded with blood, especially social posters. That same blood I see in the young people who are studying and somehow lost on the way to the exercise of their profession in life in result of their life decisions. It is time to get to identify each one of us and recognize future masters and young designers in a 50/50 within the training places and international design events.

國立台灣師範大學設計系專任教授，中華民國美術設計協會理事長。
曾任， Ico-D（Icograda）世界設計社團協會前副主席，台灣藝術大學傑出校友，中國 時報設計專欄作家，美國Krames Communications公司設計師，美國舊金山藝術大學 電腦教育中心諮詢顧問。

對海報設計、視覺符號學與城市文化有特殊的研究與探討，作品中簡潔有力具國際性，又流露出女性特有的細膩表現與思考性，活躍於國內外展覽及設計活動，並擔任多項重要競賽（例如：墨西哥國際海報雙年展、中國國際海報雙年展、中國白金創意設計獎、韓國亞洲國際視覺設計三年展、澳門國際設計雙年展、澳門視覺藝術年展、上海亞洲平面設計雙年展、台北設計獎、台灣金典獎、金印獎、金穗獎、金蝶獎、金鼎獎、唐獎、台灣國際平面設計展等）。也多方參與公私部門專案評審、策展人（例如：Graphic Message for Ecology國際海報設計邀請展、墨西哥台灣五人展、台灣X墨西哥設計展、世界設計之都Women’s Eyes國際女設計師聯展..等）及計畫主持人（例如：WDC世界設計之都專案研究、台北設計能量、教育部海外精英計劃視覺設計組等）。 作品獲獎主要包括國內：中華民國國家設計獎、優良平面設計獎、台灣國際平面設計獎、教育部文藝創作獎、全國美展金龍獎、中華民國國際視覺設計展創作金獎、國際視覺書籍及海報設計金獎、台灣國際平面設計獎、韓國亞洲平面設計三年展…等。國際：波蘭華沙、墨西哥、芬蘭拉赫蒂、德黑蘭、日本富山縣現代博物館國際海報展（銅獎）、澳門國際設計雙年展（銅獎）、斯洛伐克國際海報展(特別榮譽獎)、韓國亞洲平面設計三年展（優異獎）、香港設計師協會與國際海報三年展、法國國際海報沙龍、玻利維亞國際海報雙年展⋯等等重要國際海報展。韓國插畫（銅獎）及 If Communication等獎項。

參展無數，作品並獲國際知名藝廊（例如：日本大阪DDD國際設計藝廊）及博物館典藏，其中包括台灣、日本、法國、丹麥、香港、中國、韓國、德國、澳門、捷克 …等。 作品及報導刊載在台灣、中國、香港、日本、澳門、韓國、德國、芬蘭、墨西哥、法國、美國等媒體。

Sophia is currently a professor of the Department of Design and the Graduate School of Department of Design at National Taiwan Normal University. She is also the President of the Graphic Design Association of the Republic of China and member of the executive council the Taiwan Poster Design Association.
She was awarded the Distinguished Alumni Award by National Taiwan University of Arts, and served at the Graduate School of Design Management at Ming Chuan University and at National Taiwan University of Arts as an adjunction professor. She was also the secretary general of the Taiwan Poster Design Association, a columnist of the China Daily News, a designer at Krames Communications Company in San Francisco, US, and a supervisor at the Computer Education Center at the Academy of Art University.

Sophia delves in the study of visual semiotics and urban design. Her works express her vision of simplicity and universal design with a feminine touch. Actively involved in both national and international exhibitions and events, she is frequently invited as the program manager or as the judge for design contest and projects.

She has received national awards in Taiwan such as the National Design Award, the Art Creativity Award, the Golden Dragon Award and also international awards including the Gold Medal of the International Visual Design Creativity Awards, the ECRM Award of the IDN International Computer Graphic Design, the Gold Medal of the International Visual Book and Poster Design, the Bronze Award of the 8th International Poster Triennial in Toyama, the Honorable Mention by Salon International De L’affiche in France, the Honorable Mention by Trnava Poster Triennial in Slovakia, the Honorable Mention by Warsaw International Poster Exhibition in Poland, the Honorable Mention by Korea International Poster Biennale, the Honorable Mention by Mexico International Poster Exhibition and the Honorable Mention by Hong Kong International Poster Exhibition.

Many of her works has been covered by the media of Taiwan, China, Hong Kong, Japan, Macao, Korea, Germany, Finland, Mexico and France. And among the numerous award-winning posters, some are collected by Museums in Japan, Germany, China, Denmark, France, Hong Kong, Finland and Czech.

Her publications include: Poster Arts, Duality & Simplicity in the Theory and Research of Poster Design and City Cite-A Semiotic Study of Triadic Relationship in Visual Communication.

原住民之美－邵族 ABORIGINES

個人創作對社會設計的觀點
身為設計師，你不可能與社會脫節，因為社會就是我們的讀者所組成的。因此，設計師隨時注意社會所有議題是必然的，例如社會公正，不平等，窮困族群，人權，環保等議題。用設計來闡述這些議題並不容易，達到的效果也不一定會跟我們的努力成正比。但我相信社會設計是幫助喚起大眾意識的強大工具。在過去幾十年，社會設計在我的工作中一直是很重要的一部分。我專注在人權、環保、和文化議題。這些議題存在我們生活周遭，時間一久，大家開始習以為常，甚至不在乎。我想用簡潔有力的設計喚醒大家的意識。越多人了解社會的問題所在，就越有希望將其改善。

身為女性設計師的看法
社會持續演變，女性在社會上的角色也在轉變。過去幾十年來，女性設計師的數量持續增加，這令人鼓舞，但社會對她們的標準也同時提高。現今社會認為女性設計師應該具備全方位且多元化的技能，才能跟上這個多面向，持續性的整體設計趨勢。身處這個世代的女性設計師是幸福的，我有更多的機會和空間將不同技能和理念融入在我的設計中。

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THOUGHS ON view and your works in social design
As a designer, it is impossible to escape from the society, because the audience of our works IS the society itself. Therefore, it is just nature for a designer to pay special attention to all the issues in our society, such as injustice, inequity, poverty, human right, environment, etc. Those are all very difficult, and sometimes we feel our efforts may be inconsequential. But, I believe Social Design can be a very power tool to help raise the awareness of those issues. In the past decades, Social Design has always been an important area of my works. I focused on the topics of human right, environmental protection and culture. Sometimes, people get used to and become insensitive to those issues after living with them for years. It is my attempt to use concise graphic image to bring awakening impact to people’s heart. With more people aware of the issues, hopefully, it will bring changes to our society.

THOUGHS ON female designer, how does it influence your design
The society has evolved, and so is women’s roll in the society. It is very encouraging that, over the past decades, the number of female designers continued to increase. However, in the meantime, the expectation from female designers is also raised. Nowadays, female designers are expected to be more well-rounded and possess diversified talents, in order to be prepared for the multifaceted, sustainable and total design of the modern trend. I am happy to be a female designer today that I have the opportunity and freedom to integrate different talents and philosophy into my works.

出生於伊朗、德黑蘭，德黑蘭阿扎德大學(Azad University)平面設計學士、碩士，並獲得文化暨伊斯蘭教令部(Ministry of Culture and Islamic Guidance)頒授榮譽博士學位。
她曾擔任多家國際廣告公司和文化機構的設計師和藝術總監。現在，她在她自己的工作室擔任藝術總監，主要注重於社會和文化交流。Tashakori是伊朗平面設計師協會(Iranian Graphic Designers Society (IGDS))董事會成員，於2012- 2015年負責協會的展覽會務。Parisa的作品已參與70多個國內和國際性展覽會展出，並獲得多個國際獎項；如烏克蘭的COW! Festival、斯洛伐克的Ekoplagat、德黑蘭海報雙年展、烏克蘭Ecoposter三年展4thBlock等。 Tashakori曾個別或與她的朋友組織與進行許多文化專案與工作坊，其中最重要的包括：於台灣舉辦的伊朗/德黑蘭-台北雙城波蘭平面設計週(Poland Graphic Design Week)集體海報展；於德黑蘭舉辦的Vitrine：伊朗書籍封面設計歷史展覽；第二屆IGDS博物館展覽(古老伊朗劇院海報特選展) ；於伊朗五個城市舉辦的Divarkoob：集體海報展等等…。因此，她是首位持續活躍於國際上的伊朗女性平面設計師。曾參展於國際平面設計與海報節暨展覽，如：墨西哥、烏克蘭、法國、土耳其的國際海報雙年展、德黑蘭Silver Cypress、以及年度影像(Image of the Year)等，表現都相當出色且令人鼓舞，為其他女性設計師樹立典範。對於設計社會與環境海報有很大的興趣，儘管現今伊朗對於社會與環境議題的專注較低且有一些展出上的問題，但仍不減她設計相關議題海報的興趣。

Parisa Tashakori, Iranian graphic designer, art director and curator, was born in Tehran, Iran, where she was graduated in Graphic Design (BA, MA) from Azad University of Tehran and was granted an honorary doctorate from the Ministry of Culture and Islamic Guidance.
She has collaborated as designer and art director for several international advertising agencies and cultural institutions. Now, she works as art director in her own studio, focusing primarily on social and cultural communication. Tashakori was a member of the board of the Iranian Graphic Designers Society (IGDS) and was in charge of the society exhibition section from 2012 to 2015.

Parisa’s works has been exhibited over than 70 national and international exhibitions in various countries and has received some international awards including, COW! Festival In Ukraine, Ekoplagat in Slovakia, Tehran poster biennial, Ukraine Ecoposter triennial 4thBlock, among others.

Tashakori has organized and carried out various cultural projects and workshops as well, individually or jointly with her friends, the most important of which include: Poland Graphic Design Week in two cities of Iran / Tehran-Taipei collective poster exhibition in Taiwan / Vitrine: A historical exhibition of Iranian book cover designs in Tehran / 2nd IGDS museum exhibition (selection of old Iranian theatre posters) / Divarkoob: collective poster exhibition in 5 cities of Iran and …

Consequently, she is the first female Iranian graphic designer who is consistently active on an international scale. Her presence in international graphic design and poster festivals and exhibitions, such as the international poster biennials in Mexico, Ukraine, France, Turkey, Tehran Silver Cypress, and Image of the Year, has been remarkable and encouraging and has set a model for other female designers.

Designing social and environmental posters is of a great interest to her despite the lower demand and several installation issues it has in Iran. She sets “idea” as top priority in all her works; leading the audience to develop higher expectations and crave for more extraordinary works in the future. The impression of a female designer is also strongly evident in most of her works. Poster design, book cover or logotype; subject or client make no difference, she strives to evaluate her skills and knowledge throughout every project. But what links her works together is a call for peace and friendship alongside paying attention to humanity with a tender demeanor; and that indeed is exactly what the world today needs.

一百首詩100 Poem

個人創作對社會設計的觀點
我生長在一個社會、經濟、和政治問題不斷的國家。我的童年回憶，不論快樂還是悲傷，都離不開革命、戰爭、選舉，以及戰爭過後的情景。

所以，社會、市民、和人本相關問題一直是我在工作上關注的議題。儘管全球的生態及社會問題持續增加，提倡社會議題的客戶卻不好找，他們通常也沒有足夠的資金來付設計師費用。因此，為了落實我的理念，我直接設計出成品，再尋找適合的客戶。今天，人本問題比以往更需要被關注，而人類的熱情也像某些動植物一樣，瀕臨絕跡。

身為平面設計師，我們所創造的作品或許無法讓世界變得更美好，更安全；不過，如果能激發某些人的想法，或是讓某些人做出正確的人生抉擇，那麼我們貢獻社會的任務就達成了。

身為女性設計師的看法
所有設計師在職業生涯中都會受環境和文化所影響。這種影響可能是直接，間接，或潛意識的。波斯藝術起源於伊朗的文化和歷史。傳統手工藝，例如針線和地毯編織，與伊朗女性的命運交織在一起。在過去，女性身懷這些手工藝技能是一種優勢。我仍記得小時候與母親參加只有女性的親戚聚會，她們總是一邊編織家人的衣物和圍巾，織上繡花，一邊聊天。這些回憶無形中影響我的設計風格，反映在我的作品上。所以，我開始縫紉，編織，裁剪我的構思。我開始以我過去曾經認為過氣或老套的技巧設計海報和書籍封面。或許這就是讓我與眾不同的轉折點，也讓大家更注意到我的作品。

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THOUGHS ON view and your works in social design
I was born and grown up in a country that has always been confronted with social, economic, and political problems. My childhood was filled with happy and sad memories of the Revolution, War, the aftermath of the War, and the elections!

Thus, social, urban, and human issues have been –and still are– my main concern throughout my career. Despite the world’s growing ecological and social problems, unfortunately, clients for social issues are hard to find all over the world and they often have no money to pay the designer. Thus, in order to be able to implement the ideas I have in mind, I usually create the work and then look for its client. Today, human issues are more than ever in need of attention and human emotions seem to be endangered, just like some animal or plant species!

What we as graphic designers create might not make the world a better or more comfortable place for living; nevertheless, if it makes even a few people think for a few seconds or if it leads them to choose the correct path in life, then we have definitely performed a part of our professional mission.

THOUGHS ON female designer, how does it influence your design
All designers are influenced by their country’s atmosphere and culture throughout their career. This impact can either be direct or indirect and unintentional.

Persian art has its roots in Iran’s culture and history. Traditional handicrafts such as needlework, carpet weaving, etc. are intertwined with Iranian women’s fate, such that in the past mastering each of these arts was considered an advantage for women and girls.

I clearly remember my childhood when I went to the get-togethers of female relatives with my mother. There were always women knitting clothes, scarfs, and other things for their family or embroidering them while chatting or hanging out. These recollections unconsciously influenced my work style and found their way into some of my designs.

Therefore, I started stitching, knitting, cutting, and sewing my ideas. I began designing my posters and book covers with the techniques that perhaps I used to consider cliché or banal. This was probably the turning point that distinguished me from my peers and attracted attention towards my work.

1972年出生於墨西哥，大都會自治大學(Metropolitan Autonomous University (UAM-X))平面溝通設計藝術學士、聖卡洛斯學院(San Carlos Academy (UNAM))視覺藝術碩士。她於1997年開始執業，與國家美術委員會(National Council of Fine Arts (CONACULTA))合作於戲劇、舞蹈、音樂等作品。她的個人作品主題包括：暴力、飢餓、自然和兒童權利。
她曾獲得的獎項有：波蘭-Rzeszów舉辦之V Computer藝術雙年展第三名(2002)、中國-Ningbo之Philippe Apeloig獎(2001)、墨西哥市Quorum獎(2001)、義大利-Aosta舉辦之義大利第十一屆 Valle de Aosta國際電影節“Stambecco d’Oro”第三名，獲獎主題為：「動物與其環境－展望未來、照顧自然。」(1999)、第四屆國際海報競賽「女孩和男孩的權利(The girls and boys rights)」第一名，獲獎主題為：「兒童權利十年(10 years of children rights)」(1999)與其他諸多獎項。她的某些作品也獲選於斯洛伐克、美國、保加利亞、南韓、捷克共和國、中國、波蘭、義大利、俄羅斯、日本、土耳其和墨西哥等其他各國展出。 她曾擔任社會海報競賽評審，也曾參與許多研討會發表演講與進行工作坊。她的作品曾在墨西哥、斯洛伐克、保加利亞、法國、南韓、捷克共和國、波蘭、中國、義大利、美國、俄羅斯、日本、丹麥等世界各地的多個海報展展出，特別一提的是，在2012年、斯洛伐克的Trnava海報三年展中，她是受邀貴賓。 她曾在墨西哥市擔任幾家廣告公司的藝術總監，目前擔任藝術總監、自由設計師和插畫家，為客戶提供多元的視覺概念專案，她的客戶如：國家美術研究院的國家舞團、VITARS文化發展、UNESCO的國際戲劇學院、"Papalote" 兒童博物館、實驗劇團"CIRCUS RAUS”與其夥伴"Moon Spirits" (邁阿密)與其他。

Born in Mexico in 1972. Studied Bachelor of Arts in Graphic Communication Design in the Metropolitan Autonomous University (UAM-X) and the Master at the Visual Art in the San Carlos Academy (UNAM). She started professionally in 1997, in which she collaborated with the National Council of Fine Arts (CONACULTA) with works for theater, dance, music. Her personal works include topics like: the violence, the hunger, the nature and the children’s rights.
She won prices like: The third award in the V Computer Art Biennale in Rzeszów-Poland (2002), the Philippe Apeloig prize in Ningbo-China (2001), The Quorum award in Mexico City (2001), the third place in the XI Valle de Aosta Cinema International festival in Italy, “Stambecco d’Oro” whit the subject: “Animals and their environment. Look of the future, look after nature” in Aosta-Italy (1999), and the First place in the fourth National Poster Contest “The girls and boys rights”, with the subject of 10 years of children rights (1999), among others. Part of her works have been selected in different exhibitions around in places like: Slovakia, USA, Bulgaria, Korea, Czech Republic, China, Poland, Italy, Russia, Japan, Turkey, and Mexico.

She has been part of the jury in Contests of Social Poster wherein the Good50X70 (Italy) competition and contest social cartel “Segunda LLamada” (Mexico), among others. Also she has participated in several conferences giving lectures and workshops, his work has been exhibited nationally and internationally in various exhibitions poster in places like, Mexico Slovakia, Bulgaria, France, Korea, Czech Republic, Poland, China, Italy, USA, Russia, Japan, Denmark, highlighting the Trnava poster Triennial - Slovakia in 2012 where he was guest of honor.

Since 2001 has shown his work nationally and internationally in various publications such as the book "From Creativity to Innovation: 200 Mexican Designers" (Mexico, 2012), the book "One by One" (Germany-China, 2012), "Graphic Design in Mexico - 100 years," (Mexico, 2012), the magazine "KNOC" (Nagoya-Japan, 2008), the book "Master Pieces" (Slovenia, 2009), the book "Brands & Trademarks of Mexico" (Barcelona, 2009) the book "Light Plakaten" for the anniversary of the Museum Poster (Arthus-Denmark , 2004), the magazine "Designer" (Moscow-Russia, 2003), the Graphic Designers Society Newspaper "JAHAT-E-ETELAE" (Iran - 2003), among others.

She has worked as Art Director for some advertising agencies in Mexico City and currently works as an art director and freelance designer and illustrator where she developed visual concepts for multi-disciplinary projects for clients like: The National Coordination of Dance of the National Institute of Fine Arts, VITARS Cultural Development, the International Theatre Institute of UNESCO, "Papalote" Children's Museum, the Experimental Theatre Group "CIRCUS RAUS" and Company "Moon Spirits" (Miami), among others.

石油海 Oil sea

個人創作對社會設計的觀點
擔任社會設計工作者是一個重大的責任，尤其是在一個有許多重要議題的社會。身為設計師，必須為社會盡一份力，設法改善我們的環境。我本身接觸過的主題包括對於女性的暴力，孩童飢餓，孩童的人權，以及孩童愛滋病。

在接觸這些主題時，我見識到從未想像過的景象，看著這些當事人，再回頭看這些議題，最終，你的成就感來自於你知道你對這些主題做出了一些貢獻，也間接幫助了許多人。十多年前，我在一間孩童愛滋病照護所當義工，我開始紀錄愛滋病對這些孩子造成的影響。我透過心理醫師和社工，對這個主題有更深入的了解，讓我能夠協助孩子們康復。我製作過的主題有適當的醫療照護以及了解孩童的情緒。

身為女性設計師的看法
身為女性，社會對妳會有一些既定的印象。這對我的設計專業有何影響？簡單的說，就是我的經歷和感受，那是我的作品所表達的情緒來源。這些議題不在遙遠的國度，這些議題發展的速度如同我設計的作品，兩者息息相關，因為我所處的社會每天都有不同的事正在發生。我用我的作品反映出各種議題。我的看法可能也是許多其他女性的看法。

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THOUGHS ON view and your works in social design
Its a responsibility to work in programs of social design, mostly in a society that needs to work on so many topics. Its so very important to aways give something to help improve our community as a designer. Personally, I’ve worked with violence against women, hunger in children, children rights and children with HIV.

This topics have taken me to places and moments I could have never imagined because it[s actually looking at them, and looking at this subjects and, in the end, you live with more tan you leave with they feeling of having been able to give something more to this topics, ti give them a proper look. Over ten years ago, as a volunteer in a home for children with HIV, I started to work topics that appear due the necessity these children have because of their illness, I’ve worked alongside psychologists and social workers so I can to get closer to this topic and being able to help the children in rehab. Some topics I‘ve worked on with children an HIV are the acceptance to medical treatment and acknowledging their emotions.

THOUGHS ON female designer, how does it influence your design
Being a woman places you in a particular spot in society, how has this affected my work as a designer? Simply my experiences and feelings, there’s where the emotions expressed in my pictures lie. These are not foreign topics, these are topics that move at the same speed as my work as a designer., they could never be separated because I live in a society where many things are happening. That’s go from reflecting on a lot of topics up until the declaration of the same. My view could also be the view of many other women.