XIN ZENGdesigner & illustrator
Xin Zeng is a mutimedia designer who works on 3d art, illustration and moving image. Through visual experimentations she wanna know whether the virtual, if not false, will become a more authentic existence than the REALITY.
︎Ins @xinzpics | @xin.old_days
︎zengxinlucky99@126.com
︎zengxinlucky99@126.com
Portfolio 2025.02-2026.02
前言
2025是充满挑战与变化的一年，相较于在美院时大家自由选择研究命题与实验风格，工作中的设计师作为商业逻辑中的「局部环节」，需要服从策划案的命题、转化目标以及信息主次层级。
我二五年所在的北京工作室“创意品项”，主要对接商业体的视觉服务和品牌设计，在此过程中给了我很大的机会去锻炼多元维度的职场能力：它不仅仅锻炼你视觉物料的「制作与落地」能力，还在于你作为个体 如何为团队提供「不止于此」的价值。
前工作室属于轻量化团队，所以领导会尽可能地挖掘每一个员工设计之外的工作价值。感谢老板对我的赏识，让我有机会在工作室参与各种不同的项目——品牌、动态、活动物料、年度服务……除此之外还给予我机会负责述标，项目汇报，提案制作等，让我的逻辑梳理能力和沟通表达能力有施展的地方，这帮助我确立了自己的定位目标：「视觉+（）复合型创作者」。
离职后，我进入一段调整过渡期：一方面参与比赛，着眼于自己感兴趣的数媒领域；另一方面迭代自己之前的创作，当然还有整理作品集——您目之所见。这段时间，AIGC、Vibecoding、Openclaw等概念层出不穷，图像生成技术的更新之快的确会让许多创作者焦虑失望，但无妨把它作为自己亦敌亦友的“同伴”，它将刺激你创造更具「差异性」的作品，个人特色的叙事和独到的生活角度在这个时代同样会变得更加可贵。共勉之！
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2025 has been a year full of challenges and transitions. We were free to choose our own research topics and experimental styles, whereas designers in the professional world function as part of a larger commercial system — expected to respond to briefs, conversion goals, and hierarchies of information.
In 2025, I worked at a Beijing-based studio called The Pin Project, where I mainly contributed to visual services and brand design projects for commercial clients. The experience gave me valuable opportunities to develop multidimensional professional skills. It was not only about improving my ability to execute and deliver visual materials, but also about understanding how, as an individual, I could provide value to a team beyond design itself.
As a lightweight studio, the team actively encouraged every member to contribute beyond their designated role as a designer. I’m grateful to my boss for recognizing and cultivating my potential, giving me the chance to participate in a wide range of projects — branding, motion graphics, campaign visuals, annual identity systems, and more. Beyond visual work, I was also entrusted with client presentations, pitch decks, and proposal development, which allowed me to strengthen my logical thinking and communication skills. These experiences gradually helped me define my own direction: becoming a 「visual + ( ) interdisciplinary creator.」
After leaving the studio, I entered a period of transition and self-adjustment. On one hand, I participated in competitions and focused more on digital media fields that genuinely interest me; on the other hand, I continued refining my previous works — including organizing the portfolio you are now viewing.
During this time, concepts such as AIGC, Vibecoding, and OpenClaw have emerged one after another. The rapid evolution of image-generation technologies understandably brings anxiety and uncertainty to many creators. Still, perhaps it is better to regard these tools as companions that are both rivals and collaborators. They push us to create works with stronger individuality and greater distinction. In an era like this, personal narrative, unique perspectives, and one’s sensitivity toward life may become more valuable than ever.
May we continue forward together.
