DESIGN
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2026极客公园IF创新大会活动视觉设计项目
IF: GeekPark Innovation Festival is GeekPark’s long-running annual technology and innovation conference, and has grown into an important gathering for the tech community to reflect on emerging trends, exchange perspectives and discuss what comes next. Previous editions were defined by a highly energetic spirit — bold, passionate and action-driven — using an intense stage presence to capture the entrepreneurial momentum and optimism surrounding each new wave of technological change.
This year, however, IF underwent a significant shift in positioning. Moving beyond a single-stage format centred around founders presenting projects and personal stories, the festival evolved into a collection of smaller, more focused and in-depth content sessions. Its emphasis shifted from an event-led experience, driven by atmosphere and emotional momentum, towards a more content-led platform built around depth, insight and meaningful exchange. The aim was to create a space where ideas could be explored more carefully, discussed more openly and absorbed over time.
This strategic shift also called for an evolution of the festival’s visual identity — from an emotion-driven expression towards one shaped more by thought, judgement and cognition. At the same time, the long-standing Super Me figure needed to remain at the centre of the brand. More than a recurring graphic character, Super Me represents IF’s idea of the “super individual” in the technology era: people who remain curious, take initiative and continuously push innovation forward.
The challenge, therefore, was not to invent a new brand symbol, but to consider how Super Me could grow up with the festival itself. In previous years, the character embodied an outward form of energy — running, jumping and breaking forward with confidence and momentum. As IF shifted towards greater depth and substance, Super Me also needed to evolve from the power of action towards the power of cognition: the ability to observe, evaluate, communicate and make choices within an increasingly complex world. The key question became how to retain the recognisable identity of Super Me while giving the familiar figure a more mature and thoughtful expression.
Conceptually, I imagined this year’s Super Me as a grown-up version of the character. No longer defined only by running, jumping and constant forward motion, the figure begins to sit down, entering a quieter and more considered state of reflection and exchange. Referencing the iconic posture of The Thinker, I transformed the character’s previously outward and highly dynamic body language into a series of seated gestures — resting the chin on a hand, reading, listening or leaning back. Growing up does not mean losing energy; rather, that energy shifts from visible motion towards observation, judgement and choice.
From this idea of “sitting down”, the chair became a central element within the wider visual system. A chair is naturally associated with reflection, conversation and dialogue, while also echoing IF’s transition from a single-stage event towards smaller spaces for deeper exchange. Chairs from different periods, functions and design traditions each carry their own distinct character, much like every Super Me brings a different set of experiences, perspectives and ways of thinking. By pairing different chairs with different seated poses, “taking a seat” becomes more than a static action — it becomes a symbol of entering deeper content, exchanging perspectives and forming judgement. This developed into the visual theme “Take a Seat for the Future”, turning the act of sitting down into an invitation to participate in conversations about what comes next.
The visual language draws from the way algorithmic vision reads and interprets the world. Bounding boxes, coordinate points, numerical markers, tracking paths and interface data were reworked into graphic elements around the figures, chairs and surrounding space, creating the sense that the scene is being continuously identified, mapped and connected by an intelligent system. White dotted tracking lines move through the composition, linking otherwise separate elements into a broader network and making relationships between people, objects and ideas visible. Rather than positioning the algorithmic viewpoint as a replacement for human perception, I treated it as an additional layer of observation — a tool that can reveal patterns and connections, while human experience, judgement and emotion continue to give those connections meaning.
Alongside this, I introduced the visual language of X-ray and scanning imagery through translucent colour fields, structural linework and sectional treatments. Figures and chairs appear partially exposed, as though their outer silhouettes are being scanned to reveal the structures beneath. While the algorithmic layer focuses on recognition, connection and relationships, the X-ray language introduces another dimension: seeing beyond the surface. It suggests a shift from appearance to structure, and from simply receiving information to understanding what lies underneath. This directly reflects IF’s move away from pure atmosphere and excitement towards depth, reflection and more considered judgement. Together, these two visual approaches give the identity a distinctly technological character while connecting it closely to the idea of deeper thinking.
To balance this technological language, I used minimal line illustration, generous negative space, fine typography and an International Style-influenced typographic system to preserve a clear sense of humanism. Rather than repeating the visually intense and high-energy expression of previous editions, this identity creates a quieter, more restrained and breathable space. In the key visual, Super Me sits in a chair surrounded by different seating forms, while tracking graphics, interface markers and translucent scanned layers gradually reshape the space around them. Technology introduces new ways of seeing and connecting, while the posture, individuality and relationships of the figures keep the visual language grounded in human thought. The result is a more deliberate balance between technological intelligence and human sensibility.
Building on the key visual, I developed the relationship between the Super Me figures and chairs into a flexible visual system that could extend across the wider festival identity. The system was applied to ID badges, poster series, printed materials, stickers, cards, tote bags, phone stands and other event merchandise and tech-related accessories. Variations in chair design, posture and colour maintain a coherent visual identity while giving each Super Me its own individuality, allowing the idea of the “super individual” to evolve from a single festival symbol into a broader brand language across physical spaces, communications and audience touchpoints.
而在本届大会中，IF 大会的整体定位发生了重要转变——从以创始人讲项目、讲故事为主的单一舞台活动，升级为一个由多个「深度、聚焦」内容单元构成的内容产品合集。大会从以往更强调氛围与情绪的「活动」导向，逐渐转向以深度内容、认知价值与思想交流为核心的「内容」导向，试图构建一个更适合深入讨论与持续吸收的交流场域。
这一策略变化，也意味着大会的品牌视觉需要随之完成一次从 「情绪驱动」到「认知驱动」的升级。但与此同时，长期作为 IF 大会核心品牌资产的 “小人（Super Me）” 仍需要被保留，并继续作为视觉中的核心角色。“小人” 所代表的并不是一个简单的人物形象，而是 IF 对科技时代中 “超级个体” 的具象表达——那些保持好奇、敢于行动，并不断推动创新发生的人。
因此，本次设计的重点并非重新创造一个品牌符号，而是思考 「Super Me」在新的大会定位下应该如何 “长大”。过去的 “小人”代表一种外放的 “行动力量”，以奔跑、跳跃与突破的姿态传递勇敢、活力与向前的能量；而当大会开始转向深度与内容，“小人” 的成长从行动进一步走向认知——学会在复杂的信息中思考、判断、交流与选择。如何在保留「Super Me」品牌识别的同时，让熟悉的 “小人” 拥有更成熟、更有深度的表达成为了本次视觉升级的核心命题。
在概念上，我将本届「Super Me」想象为一个 “长大后的小人”：它不再只是奔跑、跳跃、不断向前的探索者，而是开始学会坐下，以更加沉稳的姿态进入思考与交流。参考经典 “思想者” 的姿态，我将小人过去外放、充满动作张力的身体语言转变为坐姿，通过托腮、阅读、倾听、后仰等不同状态，塑造一个更具思考感的超级个体。小人的成长并不意味着失去行动力，而是从单纯向前的 “行动力量”，进一步转向能够观察、判断与选择的 “认知力量”。
围绕 “坐下” 这一动作，我进一步将椅子发展为整套视觉系统的重要元素。椅子既是思考、对谈与交流发生的载体，也天然对应大会从单一舞台转向深度内容与小型交流场域的变化。不同年代、功能与设计语言的椅子拥有各自鲜明的形态与性格，如同每一个「Super Me」都拥有不同的经验、观点与思考方式。因此，我以不同椅子与不同坐姿的小人建立组合，让 “坐下” 不再只是一个静态动作，而成为个体进入深度内容、交换观点与形成判断的象征，并以 “先入座，未来仍在加载” 作为视觉主题，将 “入座” 转化为进入未来讨论的一次邀请。
在视觉语言上，我结合了「算法凝视风」与「扫描成像」的视觉元素。「算法凝视风」来源于机器视觉与智能识别系统对自然世界的观察，我提取了其中的矩形识别框、坐标节点、数值标记、追踪线与界面信息,将 “小人”、椅子与空间重新置于一种被识别、分析和连接的科技视角之中。画面中的白色追踪线进一步连接不同的人物、椅子与信息节点，使原本独立的元素形成更完整的关系网络，也对应大会中观点彼此碰撞、思考持续延伸的状态。在这里，算法视角并不是对人的替代，而更像是一种辅助观察和建立连接的工具，与人的判断和思考共同构成对世界的理解。
同时，我加入了扫描成像的视觉语言，通过半透明色块、局部结构线与类似扫描切面的处理，使 “小人” 与椅子呈现出一种从外部形态逐渐进入内部结构的观看方式。相比「算法凝视」所强调的识别、连接与关系，「扫描成像」更强调 “看得更深” ——不只停留在表面的视觉信息，而是试图穿透表象、理解结构，以此回应本届大会从情绪氛围转向深度内容、认知判断的变化。两种科技语言共同作用，让画面既具有明确的科技属性，也与 “深度思考” 这一核心概念产生直接联系。
在科技感之外，我通过极简线描插画、大面积留白、细线字体与偏国际主义的文字编排，保留整体的人文气质。不同于以往大会更强调高能量与视觉冲击的表达，本次设计希望创造一个更加安静、克制且具有呼吸感的视觉空间。主视觉中，「Super Me」坐在自己的椅子上，周围散落着不同形态的座椅，在「算法凝视」与「扫描成像」的共同介入下，整个空间仿佛随着思考的发生被重新识别、连接与看见。科技提供观察世界的新方式，而人物的姿态、个体差异与交流关系，则让这种技术语言始终回到人的思考本身，在两者之间形成更准确的「人文感」与「科技感」平衡。
在主视觉的基础上，我进一步将小人与椅子的组合发展为一套可持续延展的视觉系统，并应用于ID证件、系列海报、印刷品、贴纸、卡片、托特包及手机支架等大会物料与科技周边之中。不同的椅子、坐姿与色彩既保持统一的品牌识别，也赋予每一个「Super Me」不同的个体性，让「超级个体」从单一的大会符号进一步成为能够贯穿现场空间与传播触点的品牌语言。