PAPERFLY ｜ Paper Puppets
01
P AP ER F LY ｜蝴蝶互動式教育紙偶 [ 產品設計 Product Design]
PAP E RF LY
蝴蝶互動式教育紙偶
產品設計 Product Design ｜ 2019-2020
台灣是個豐富的生物種類生態，我們也曾有著「蝴蝶王國」的美名，在這片土地上擁有的蝴蝶種 類多達 300 多種，台灣本身的特有種更是多達 50 多種，但隨著時代進步造成環境變遷及氣候更替， 導致蝴蝶數量大幅降低；為此，我們選擇台灣種類多元的蝴蝶做為主題並發展出「會動的紙模型」， 材質選用上以紙張為主材質，達到環保的概念，並且採取「自行組裝」的方式與蝴蝶「進行互動」， 希望在組裝的動態遊戲過程中，能讓使用者了解到台灣的蝴蝶生態、蝴蝶與台灣之關聯以及保育 蝴蝶的重要性。
在如此多種的蝴蝶中，我們選擇了七種具特色、代表性的蝴蝶發展出七款模型，蝴蝶種類為：「寬 尾鳳蝶、寬青帶鳳蝶、端紫斑蝶、蔚青紫小灰蝶、珠光鳳蝶、枯葉蝶、流星蛺蝶」；每一款模型 都訴說著自己的特色、故事及不同的蝴蝶知識，他們甚至與台灣文化有相當程度的關聯性，無論 是生活方式、食物習性、又或是居住生態皆包含在內，此模型訴說內容不只是表面上能看見的生 態呈現，我們更是將台灣文化融入模型中，使模型能更加有趣及具有教育意義。 “Paperfly” is to enhance the sense of environmental protection and ecological conservation among children through interacting with a package of creative DIY butterfly paper product. Through the DIY process and the mechanism of the kinetic butterfly model, the users could understand the ecology of butterflies in Taiwan, the relationship between them, and the idea of protecting butterflies.
Design：Cheng-Da Xiao, Yi-Jie Wang, Zhi-Lin Zeng, Ya-Lin Hung, Fang-Yu Syu
① PAPERFLY ｜ Paper Puppets
① PAPERFLY ｜ Paper Puppets
① PAPERFLY ｜ Paper Puppets
① PAPERFLY ｜ Paper Puppets
Ru'Re Oil Lab
02
洄油再皂所 [ 產品設計 Product Design]
洄油再皂所
R u 'R e Oi l L a b
產品設計 Product Design ｜ 2018-2019
近年來二次用油議題一直是台灣所關注的議題，這些油得來容易、價格低廉，卻沒有被正當的管 道所利用，所以在大眾的認知上依然認為二次用油是個無法再使用的物質，但只要稍作進一步暸 解關於二次用油的資訊時，能發現二次用油能夠分解出「皂類、甘油、生質柴油……等」成分， 這些有機物質其實是可以拿出來做有效的利用，為此 " 洄油再造所 " 也因應了翻轉大眾印象這個理 想而生。
二次用油經催化反應後能夠將其內分解成甘油以及生質柴油；生質柴油的部分能交給相關工業單 位做為燃料之使用。而甘油的部分就能經由造化反應後加工ㄨ為環境清潔產品，而 " 環境清潔皂 " 就是洄油再造所的第一版產品，也是我們這此所呈現的視覺成果。 In recent years, the issue of secondary oil use has been a topic of concern for Taiwan. These oils are easy to obtain and low in price, but they are not used by proper pipelines. Therefore, the public still believes that secondary oil is unusable Substances, but as long as you learn more about the secondary oil, you can find that the secondary oil can decompose "soap, glycerin, biodiesel, etc." components. These organic substances can actually be taken out to make Effective use, for this reason, the "Oil Recycling Institute" is also born in response to the ideal of overturning the public's impression.
Design：Cheng-Da Xiao, Yi-Jie Wang, Zhi-Lin Zeng, Ya-Lin Hung, Fang-Yu Syu
② Ru'Re Oil Lab
② Ru'Re Oil Lab
② Ru'Re Oil Lab
The Mascot of Chaoyang
03
2020 朝陽科技大學 吉祥物 [ 吉祥物設計 The Mascot Design]
2 0 2 0 朝 陽 科技大學吉祥物
T h e Mas co t o f Chao yang
吉祥物設計 The Mascot Design ｜ 2019-2020
關於朝陽科技大學 朝陽科技大學於民國 77 年成立籌備處，83 年開始招生。命名「朝陽」，象徵「朝向陽光，卓立昂 揚」，豎立「勤學、敦品、力行」為校訓，期許學生，積極進取、奮發有為。然而，「大學要培 養專業知識及技能很簡單，但要教出有禮貌，關心尊重他人，也尊重自己的學生，則需花更多心 思。」本校重視學生品德養成，同時打造一個友善又能精深專業的優質學園，讓朝陽人在這裡茁壯、 成長，成為備受業界、社會歡迎的專業人才。
吉祥物角色形象 | 黑翅鷲 「台灣最美猛禽」黑翅鳶，為二級保育類動物，有一雙如紅寶石般的眼睛、可愛的貓臉、灰背及 純白身軀。近年於台中霧峰復育成功的黑翅鳶，以田鼠為主食，可協助農民捕鼠，減少農藥使用， 是友善耕作的代表，認為這樣的特質呼應了朝陽科大長期重視大學社會責任實踐。
"Taiwan's most beautiful bird of prey", the black-winged kite, is a secondary conservation animal with ruby-like eyes, a cute cat face, a gray back and a pure white body. In recent years, the black-winged kite, which has been successfully reproduced in Wufeng, Taichung, feeds on voles. It can assist farmers in catching rats and reduce the use of pesticides. It is a representative of friendly farming. He believes that such characteristics echo the long-term emphasis on university social responsibility practice by Chaoyang University of Science and Technology.
Design：Cheng-Da Xiao
③ The Mascot of Chaoyang
③ The Mascot of Chaoyang
③ The Mascot of Chaoyang
③ The Mascot of Chaoyang
Visual Identity Design of LongQuan
04
龍泉陸戰新訓中心 視覺設計 [ 視覺識別設計 Visual Identity Design]
龍泉陸戰新訓中心 視覺設計
Visual Identity Design of LongQuan
視覺識別設計 Visual Identity Design ｜ 2020-2021
龍泉陸新訓中心是各路陸戰英雄的起點，驍勇善戰、絕對服從一直是海軍陸戰隊給大眾的印象， 海軍陸戰隊新訓的過程必須經過第一階段的試驗，刺槍、手投、射擊、體能以及最重要的用泳訓， 這些重要的訓練過程都給了我非常多的靈感，這不僅僅是我在指揮部作戰科的接案小整合，更融 入了我在龍泉生活的種種感受及印象。
龍泉是個莊嚴卻充滿活力的一個營級單位，於是我在極粗的黑體視覺上加入了流動的水作為英文 元素，讓整體隆重的場域不會過於呆板生硬，也保有了陸戰兩棲與其他軍種的差異性，在字體的 細節裡也加入了鋒利的彈道配合模糊效果，營造子彈飛快的意象；大眾對於軍人的色彩多以迷彩 印象居多，但事實並不全然是這樣，長官的階級、兵種的差異、軍備的區別以及多樣的營內場所 其實都很常選用搶眼、色彩斑斕的純色，我把這種色彩特性融入了設計視覺當中，顛覆大眾以往 對國軍的刻板意象，在整體感受上打破了固有 " 迷彩 ! 迷彩 ! 我要迷彩 !" 的設計思維呈現。 The Longquan Road New Training Center is the starting point for all land warfare heroes. Bravery and absolute obedience have always been the impression given to the public by the Marine Corps. The process of the Marine Corps new training must go through the first stage of experimentation. Throwing, shooting, physical fitness, and most importantly, swimming training. These important training processes have given me a lot of inspiration. This is not only my small integration in the combat department of the command headquarters, but also integrated into my work in Longquan. The feelings and impressions of life.
Design：Cheng-Da Xiao
④ Visual Identity Design of LongQuan
④ Visual Identity Design of LongQuan
④ Visual Identity Design of LongQuan
④ Visual Identity Design of LongQuan
④ Visual Identity Design of LongQuan
Brand Image Design of KA-KA Peanut
05
喀 喀花生品牌形象 [ 品牌形象設計 Brand Image Design]
喀 喀 花 生 品 牌 形象
B r a nd I m a ge D e s ign o f KA- KA P e anut
品牌形象設計 Brand Image Design ｜ 2020-2021
「喀喀花生」名字的來由是取自嚼花生的狀聲詞「ㄎㄜ ! ㄎㄜ !」，也示意著一顆顆的落花生盤據， 而「喀喀」也有著客人絡繹不絕等著張口品嚐的意象。
LOGO 元素的靈感是由「花生的輪廓」為出發點，轉化成的曲線型塊狀元素，建構圓潤無銳感的 畫面，如市場裡落花生散落在竹簍上亂中生序的景色。花生如嫩葉般不斷擴張，緊密交疊、穿插， 造型相似卻不一，如黃昏的公車，串聯著城市及鄉鎮、人情冷暖；花生本體的流線型，如葫蘆一 般凹凸有致；頂部的小突出，象徵了如 101 般的高聳頂峰，為傳統豆類市場打上了一計響亮的驚 嘆號。 The origin of the name "Ticket Peanuts" is derived from the adverbial word " ㄎㄜ ! ㄎㄜ !" for chewing peanuts, which also indicates that there are many peanuts, and "Ticket" also has an endless stream of customers. The image of tasting with mouth open.
The inspiration of the LOGO element is the starting point of "the outline of peanuts", which is transformed into a curved block element to construct a round and unsharp picture, such as the chaotic scenery of peanuts scattered on bamboo baskets in the market. Peanuts continue to expand like young leaves, closely overlapping and interspersed, similar in shape but different, like a bus at dusk, connecting cities and towns in series, warm and cold; the streamline of the peanut body, like a gourd, is concave and convex; the small protrusion on the top symbolizes A towering peak like 101 has given a loud exclamation mark to the traditional bean market. Design：Cheng-Da Xiao
⑤ KA-KA Peanut
⑤ KA-KA Peanut
⑤ KA-KA Peanut
⑤ KA-KA Peanut
Qiao Ho Zhen Logo Remodel
06
「巧合珍」標準字設計 [ 標準字設計 Standard Font Design]
「 巧 合 珍 」 標 準字設計
Qi a o Ho Zhe n L o go R e mo de l
標準字設計 Standard Font Design ｜ 2020-2021
巧合珍牛肉麵是創立於 1976 的桃園老字號品牌，以特殊的中藥味湯頭而聞名，片布桃園的各個角 落。
這次的標準字靈感來源是源自於巧合珍牛肉麵帶給人的味覺體驗，將濃厚且圓潤的湯底口感帶入 字體本身，削去楷體輪廓的尖角取而代之的是圓挺肥大的重筆觸感；利用筆畫的轉折頓點營造粗 麵條切面的視感，誇張的線條粗細變化讓畫面活潑熱鬧不顯無聊，標準色則是延續品牌以往的大 紅色作連結。此次製作的過程異常有趣，繪製全新的字體卻能感受著華人傳統美學在線條間不停 流竄，同時希望透過此視覺，讓大眾對這 45 年的老字號有全新的感受以及保有親切感。 「讓客人擁有最美味的享受，保有最新鮮的食材，獨一無二的美味。」 The inspiration for the standard characters this time comes from the taste experience brought by coincidence Zhen beef noodles, bringing the thick and round soup base into the font itself, cutting off the sharp corners of the italics outline and replacing it with round, plump, heavy strokes Sense; using the turning points of the strokes to create the visual sense of the thick noodles, the exaggerated line thickness changes make the picture lively and lively and not boring, and the standard color is the continuation of the brand's previous big red for the connection. The process of making this time is very interesting. Drawing brand new fonts can feel the traditional Chinese aesthetics constantly flowing between the lines. At the same time, I hope that through this vision, the public will have a new feeling and a sense of intimacy for these 45-year-old brands. Design：Cheng-Da Xiao
⑥ Qiao Ho Zhen Logo Remodel
⑥ Qiao Ho Zhen Logo Remodel
⑥ Qiao Ho Zhen Logo Remodel
Image Production
07
影像攝製作品集 [ 動態設計 Dynamic Design]
Pa p e rf l y ｜品牌形象宣傳片 動態設計 Dynamic Design ｜ 2019-2020
影片連結 這是一支為 PAPERFLY 所規劃的形象短片，因為要呼應這個品牌的互動性質，在拍攝手法上加入 了很多動態剪輯的手法，讓在提倡環保的種題當中不會過於呆板、無聊；在色調的使用上定調為 無彩色的灰白為主，讓產品的鮮豔色彩能夠完整地呈現在螢幕上，也能提升產品的整體質感不會 被干擾。
拍攝的內容除了要細膩的展現產品外觀還必須讓觀眾了解我們的產品是什麼、該如何使用，因此 在操作上我利用微距鏡捕捉紙蝴蝶的動態表現，並在腳本裡加入了操作的內容，讓觀眾能更明白 我們想要介紹什麼樣的內容，進而拉近與消費者的距離。 This is an image short film planned for PAPERFLY, because to echo the interactive nature of the brand, a lot of dynamic editing methods have been added to the shooting method, so that it will not be too dull and boring in the topic of advocating environmental protection; The use of the above is set to achromatic gray as the main color, so that the bright colors of the product can be fully presented on the screen, and the overall texture of the product can be improved without being disturbed.
The content of the shot must not only show the appearance of the product in detail, but also let the audience understand what our product is and how to use it. Therefore, in the operation, I use a macro lens to capture the dynamic performance of the paper butterfly and add the operation content to the script. , So that the audience can better understand what kind of content we want to introduce, and then close the distance with consumers. Design：Cheng-Da Xiao
⑦ Image production
⑦ Image production
Pa p e rf l y ｜國際版永續概念宣傳片 動態設計 Dynamic Design ｜ 2019-2020
影片連結
不同於品牌形象片以操作及質感為主，這次的的主題是以生態永續作為切入點進行剪輯，其中加 入了很多口說性內容增強紀錄片性質的語音導覽，讓觀眾快速的了解蝴蝶在台灣所面臨的處境， 和我們是希望用怎樣的方式去傳播這個議題讓大眾知道，並讓不同語言的族群也能對此有關注。 Different from the brand image film which focuses on operation and texture, the theme of this time is ecological sustainability as the entry point for editing, which adds a lot of oral content to enhance the audio guide of the documentary nature, so that the audience can quickly understand the butterfly The situation faced by Taiwan and the way we hope to spread this issue will be known to the public, and that ethnic groups of different languages can also pay attention to it.
Design：Cheng-Da Xiao
W IN G S . 動 態 MV 製作 動態設計 Dynamic Design ｜ 2018-2019
影片連結
這支影片的出發點很單純，想拍攝以流動的運動持鏡所製作而成的作品，主要呈現是以動態的影 像為重，運動剪輯需要大量分鏡不能浪費任何有限的時間，尤其是在太陽光有限的狀況下，時間 控管和演員體力才是這部影片是否能夠完成的關鍵，最終我們歷時八小時完成素材拍攝。
在剪輯的方面，動態較多的部分多以時間差呈現速度感，靜態則是以手持晃鏡和腳架拍攝為主 ; 拍 攝時間為早上 8 點到 10 點和下午的 2 點到 4 點，由於中午的光實在不太適合拍攝，就不將他列為 拍攝時間。 The starting point of this film is very simple. I want to shoot a work made with a flowing motion lens. The main presentation focuses on dynamic images. Motion editing requires a large number of splits and cannot waste any limited time, especially in sunlight. In limited circumstances, time control and the physical strength of the actors are the key to whether this film can be completed. In the end, it took us eight hours to complete the material shooting.
In terms of editing, the more dynamic parts mostly show a sense of speed with time difference, while the static is mainly shooting with a hand-held mirror and a tripod; the shooting time is from 8 am to 10 am and from 2 pm to 4 pm in the afternoon. The light at noon is really not suitable for shooting, so he is not listed as filming time. Design：Cheng-Da Xiao
⑦ Image production
⑦ Image production
丟 失 的 紅 鈴 L ost R edL in. 動態設計 Dynamic Design ｜ 2018-2019
影片連結
這是一隻寵物晶片的宣傳短片，寵物晶片不僅是寵物的身分證更是主人對寵物負責任的依據，目 前台灣對寵物認養及購買的前置教育其實並不成熟，影片只是基本的宣傳手法，教育才能達到更 完整的保障。
“如果每個人都能以自己小孩的方式看待寵物 是否能夠更能改變大眾對寵物的責任感呢 ? ”
影片拍攝手法以第一人稱、第二人稱穿插的手法來呈現，主角的部分是以 ”人 ”來處理 ”寵物”流浪 時的情緒，最後再藉由相關人員提問帶回它是寵物的真相。
This is a promotional video of a pet chip. The pet chip is not only the pet’s identity card, but also the basis for the owner to be responsible for the pet. At present, Taiwan’s pre-education on pet adoption and purchase is actually not mature. The video is just a basic publicity technique. , Education can achieve a more complete guarantee.
The filming technique is presented by interspersed first-person and second-person methods. The protagonist part uses the "people" to deal with the emotions of the "pet" when wandering, and finally asks relevant personnel to bring back the truth that it is a pet.
Design：Cheng-Da Xiao
DO!DO!_TOMSHOUT!
07
DO! DO! ｜ MV 平面動畫製作 [AE 動畫 After Effects Animation]
DO ! DO ! ￨ MV 平面動畫製作
DO!DO!_TOMSHOUT!
AE 動畫 After Effects Animation ｜ 2019-2020
影片連結
在這次的音樂 MV 選擇上我想以比較有律動、節拍感強烈的歌曲作為作品對象，最終的選定的是 Mark Ronson 與 Bruno Mars 合作的 Uptown Funk 作為曲目選擇，這是一首相當有節奏感的復古 舞曲，MV 內容搭配了很多動感的舞步以及流動的分鏡使整部影片都相當的勾人起舞，這也是這部 MV 吸引我的地方，作為選曲也有著很強烈的感染力優勢。
Funk 是一種 60 年代美國的音樂類型，音樂家將靈魂樂、靈魂爵士樂和節奏藍調融合成一種有節 奏的、適合跳舞的音樂新形式。「不再強調旋律與和聲，而強調電貝斯與鼓的強烈節奏律動」: 在 畫面的呈現上我採用復古的普普藝術結合迷幻的色調，營造舞曲玄幻、舞動的跳躍感，強烈且快 速的節奏頓點意味著需要大量的素材，以一個人為單位非常的累人但很有趣，準確的掌握每個節 奏加以利用，配合著適當的歌詞選材運鏡，絞盡腦汁、配上緩慢的進度換來的是滿滿的成就感， 也讓我在二個月間快速的自學精進了我的 After Effects 能力，非常值得。 In this music MV selection, I want to use more rhythmic and strong rhythmic songs as the subject of the work. The final selection is the Uptown Funk, a collaboration between Mark Ronson and Bruno Mars. This is a very rhythmic song. The retro dance music, the MV content with a lot of dynamic dance steps and the flowing sub-mirror make the whole film quite attractive. This is also what attracts me to this MV, and it also has a strong infectious advantage as a selection.
Design：Cheng-Da Xiao
⑦ DO!DO!_TOMSHOUT!
⑦ DO!DO!_TOMSHOUT!
⑦ DO!DO!_TOMSHOUT!