The Phoenix  Poster

Te-Sian Shih

Interview about The Phoenix Poster, winner of the A' Graphics, Illustration and Visual Communication Design Award 2022

About the Project

The poster's center image combines music waves and a violin shape image, and it looks like a phoenix spreading its wings. The orange-colored waves in the center of the poster represent a flying phoenix. The phoenix represents hard work and the enthusiasm of musicians and all the staff. The overlap between a violin shape image and orange-colored waves looks like a flame, representing the enthusiasm of the musicians and all the staff. The shape in the background represents the feeling of flying in music and waves of music.

Design Details
  • Designer:
    Te-Sian Shih
  • Design Name:
    The Phoenix Poster
  • Designed For:
    Te-Sian Shih
  • Award Category:
    A' Graphics, Illustration and Visual Communication Design Award
  • Award Year:
    2022
  • Last Updated:
    November 19, 2025
Learn More About This Design

View detailed images, specifications, and award details on A' Design Award & Competition website.

View Design Details
Your innovative fusion of music waves and violin imagery in The Phoenix Poster creates a powerful visual metaphor. How did you develop this unique approach to representing both musical performance and symbolic transformation?

Because the client wanted me to convey the passion of the concert and a sense of comfort for the audience, without making the theme too explicit, I came up with this design featuring flowing lines that outline a flaming phoenix — symbolizing both passion and the calm, soothing quality of music, like drifting in the ocean. The client really liked the flame-like lines, and the following year they wanted to continue using this phoenix motif as the main visual.Of course, I made a different but same style key visual design in the following year.When I designed it, I intended it to represent the image of a phoenix reborn from the ashes because it was ongoing pandemic at the time and to indicate the musicians’ passion, but also the idea of a dove of peace. By changing the flame-like lines to white and change the shape, the abstract form could also be seen as a dove. I find it fascinating how a single set of abstract lines can convey so many meanings through different colors, shape, and perspectives, allowing the audience to interpret it freely — creating a subtle and engaging interaction.

The Phoenix Poster demonstrates remarkable technical precision, particularly in the line thickness requirements for printing. Could you elaborate on how these technical constraints influenced your creative decisions in developing the wave-like patterns?

Yes, because the printed version needed to make the lines visible to the audience without making them too thick and losing their elegance, I calculated the overall size of the poster and compared different proportions to find a balance — making sure the main visual lines stood out at first glance but still looked refined. I think this requires both a sense of mathematics and aesthetic sensitivity to get it just right. I also discussed this part with the client and asked for their feedback before making the final decision.

The transition from using realistic violin imagery in your 2020 poster to the abstract representation in The Phoenix Poster marks a significant artistic evolution. What inspired this shift in your visual approach, and how did it challenge your creative process?

On one hand, the client requested an abstract main visual that year, and on the other hand, I personally enjoy challenging myself with different design styles. Design, to me, is about solving problems, so I believe that as a designer, I need to have the ability to adapt to and fulfill each client’s desired style. Of course, I also have a personality that enjoys exploring different styles — sometimes, by experimenting more, you discover new and creative ways to approach design.

The orange-colored waves in The Phoenix Poster beautifully capture both flame and flight. How did you achieve this dual symbolism while maintaining the poster's musical identity?

I was inspired by musical notes and sound waves. When I was a child I have learned piano and musical notation, I’ve always felt that music has a unique charm that makes people feel as if they’re immersed in an ocean of sound. That’s why I decided to use lines to represent both the main visual of music and the idea of sound waves.Since sound waves naturally bring to mind flowing lines, I used abstract lines to depict the fiery phoenix. I made sure the lines weren’t too rigid — they needed to have a sense of smooth movement to express the fluidity of music. This design conveys the musicians’ artistic passion and ideals — passionate yet gentle, like waves of sound. When the audience sees the main visual, I don’t want them to perceive it as just a literal image of a phoenix, but rather to feel the passion and harmony of music infused with the musicians’ spirit and message of peace.

The Phoenix Poster's background features intricate blue lines suggesting both sea and sonic waves. Could you share your thought process behind this multilayered visual metaphor and its connection to eastern music traditions?

At that time, I thought that since the main visual was a striking, fiery phoenix, the background should be something gentler — an ocean of sound waves that represents the soothing quality of music. Even in the following year when the main visual's line shape was changed to a softer white dove to symbolize the dove of peace, pairing it with the vast, calming “musical sea” still felt very fitting.I believe that Eastern art and culture often carry a sense of Zen — a quiet strength. The calm blue ocean evokes relaxation, yet it also holds an endless, flowing energy within it. This resonates with the essence of Zen. I hoped that the audience could feel that same tranquil power of music through the design.

The Phoenix Poster won an Iron A' Design Award for its innovative visual communication. How did you balance the technical demands of poster design with the emotional resonance you wanted to achieve?

I’ve always been a graphic and brand designer who integrates both Eastern and Western influences. While studying for my master’s degree in Packaging and Branding Design at Pratt Institute in New York, I began combining Western design layouts and thinking methods with Eastern Zen philosophy. I genuinely enjoy exploring different cultures and building friendships around the world, then weaving those experiences into my life and creative work. By drawing from the unique characteristics of each culture and design style, I’ve developed my own distinctive aesthetic.This particular poster was later reinterpreted with the imagery and shape of a dove of peace and submitted to the A Design Awards the following year, where it received a Bronze Award. It was my first time creating a design that used the same shape from a completely different conceptual angle — blending Zen philosophy with abstraction — as a new and experimental design style.

The development of The Phoenix Poster coincided with significant global challenges during 2020-2021. How did this context influence your design decisions and the poster's ultimate message of resilience?

I discussed the theme with the client, and I suggested that it should convey encouragement and bring a sense of calm to people’s anxiety. The client wanted to express that their passion for music remained strong even during the pandemic and that they hoped to inspire others through it.Based on that idea, I designed a main visual featuring a phoenix reborn from flames — symbolizing renewal and resilience even after hardship. The inspiration came from the phoenix scene in the opening ceremony of the 2012 London Olympics, which represented rebirth through fire. The blue background, paired with smooth flowing lines, represents the movement of sound waves.The following year, the client wanted to continue using the same main visual. I suggested presenting it in a different form and shape, since when I first designed the phoenix, I had already envisioned that I could change its shape and color. It could be transformed into a dove of peace — symbolizing tranquility and comfort for people.This way, the phoenix main visual from the previous year and the dove of peace main visual from the following year appear as part of a continuous series, yet each has its own distinct form and character.

The Phoenix Poster seamlessly integrates multiple visual elements - the violin, phoenix, flame, and waves. Could you walk us through your process of achieving this harmonious composition?

I believe that a good composition requires an understanding of balance and organization. The colors should feel harmonious, without creating a sense of discord. Each element needs to be placed in the right position, and similar elements should be grouped together — identical ones should be neatly aligned. Ultimately, it all comes down to experience, intuition, and logic — much like the thought process of organizing items in an orderly way.

Your experience with high-end branding seems to inform The Phoenix Poster's sophisticated visual language. How did your background in luxury design influence this cultural project?

I believe that “less is more” is a very important concept. Choosing the right typeface is also crucial — it needs to match or be created to reflect the brand’s personality, along with the color palette. The main visual should also align with the brand’s character. In high-end branding, you rarely see very bold, wild typefaces or extremely bright, flashy designs. Even when I’m not working on high-end branding projects, I avoid overcrowding the layout, because it can confuse people about where to focus. It’s important to make the design visually attracting while clearly communicating the key information.

The Phoenix Poster represents a convergence of eastern and western musical traditions. How did you approach this cultural fusion in your visual design elements?

As I mentioned earlier, I am a brand designer from Taiwan who transitioned to studying a master’s in Packaging Design at Pratt Institute in New York, blending Eastern and Western cultural sensibilities in my work. I enjoy exploring the unique cultural characteristics of different countries and regions and integrating them into my personal design style. Sometimes, life experiences themselves shape my design approach. As my experiences evolve, I gain new philosophical insights, which I combine with Western layout and design concepts to create fresh and innovative design styles.

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