2019-BryanSung-Portfolio

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BRYAN SUNG

GRAPHIC DESIGN AD DESIGN TYPOGRAPHY

INTERNATIONALWORKSHOP COMMUNICATIONDESIGN

INDUSTRIAL DESIGN BUGATTI DRONE SQUIDER

A BETTER LIFE ACWP MUFFIN-MAKER

PERSONAL PROJECT

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SELF-INTRODUCTION TYPOGRAPHY AD-DESIGN INTERNATIONAL-WORKSHOP COMMUNICATION-DESIGN BUGATTI-DRONE SQUIDER A -BETTER-LIFE MUFFIN-MAKER ACWP ACTIVITY-POSTER-DESIGN EXHIBITION-POSTER&CARD-DESIGN CHRISTMAS-CARD-DESIGN

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HELLO

! My name is Bryan Sung. I am currently studying in National Kaohsiung Normal University (NKNU) of Department of Industry Design. My personality is outgoing and fond of trying every possibility. I believe that learning different kinds of knowledge can improve my skills.

During sophomore in my university, I took some classes about typography and advertisement design. That was the time that I realized that I love graphic design more that industry design.

I then take an effort on it by reading books and studying from classes. Although I love graphic design more than industry design, I still think that knowing both skills is better than abandoning one of them. My plan after university is go study master’s degree abroad, so I think having an internship during my this year’s summer vacation is a great start.

Experience

Rhino

Solidworks

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Keyshot

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2018 工業設計系視覺傳達設計課程之高等教育深 耕計畫(PBL)-曾榮梅教授之助教

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2018 工業設計系第十屆系展公關組組長 Public Relations Department Leader in 10th Annual Exhibition of Department of Industry Design

Skills

2018 工業設計系系學會活動組組長 Event Planning Department Leader in Student Association of Department of Industry Design

2017 暑期兩個月陶板屋服務生

2019 工業設計系第六屆期末總展視覺設計負責人 Visual Design Leader of 6th Final Presentation of Department of Industry Design

Working Experience

2019 工業設計系畢業製作視覺組組員 Visual Design Group Member in Graduation Project of Department of Industry Design

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Louis Vuitton spring 2019

Louis Vuitton spring 2019

Louis Vuitton spring 2019

ready-to-wear

ready-to-wear

Nicolas Ghesquière renewed his Louis Vuitton contract this Spring.

Nicolas Ghesquière renewed his Louis Vuitton contract this Spring.

ready-to-wear Nicolas Ghesquière renewed his Louis Vuitton contract this Spring.

Newly committed to the LVMH mother ship, he sent out a collection that was uniquely personal—a transporting, confident return to the futuristic forms of his early work. “I felt the need to dig into my obsessions,” he said during a preview at LV headquarters on the Rue du Pont-Neuf.

In a season of solutions dressing, in whic de signers have been emphasizing the real-wor ld applications of their clothes, Ghesquière w as in a world of his own tonight—starting with his set a space-age anachronism set down in the courtyard of the centuries-old Louvre. He said he was interested in the edge between the virtual realit y we experience through our social media streams an d real life. That played out via 1980s callbacks (the de cade’s exaggerated silhouettes are recurrent motifs in hi s work), high-tech fabrications like molded rubber, space suit sleeves, Memphis Group prints, and the Parisian savoi r faire of sculptural dresses in sequin-embroidered mesh. It wasn’t a single-message collection, but rather an eclectic seri es of propositions: a wardrobe for the first wave of SpaceX flye rs printed with images of (I’m riffinnhere) terraforming colonies on gggdistat planets and toxic lakes onthe planet w’ll have to leave behind. As always, there was sharp, compelling tailoring. How are u

In a season of solutions dressing, in whic desig ners have been emphasizing the real-world app lications of their clothes, Ghesquière was in a world of his own tonight—starting with his set , a space-age anachronism set down in the cou rtyard of the centuries-old Louvre. He said he was interested in the edge between the virtual reality we experience through our social media streams and real life. That played out via 1980s callbacks (the decade’s exag gerated silhouettes are recurrent mo tifs in his work), high-tech fabrications like molded rubber, space suit sleeve s, Memphis Group prints, and the Pa risian savoir faire of sculptural dress es in sequin-embroidered mesh. It was n’t a single-message collection, but rather an eclectic series of proposit ions: a wardrobe for the first wave of S paceX flyers printed with images of (I’m riffinnhere) terraforming colonies on dista nt planets and toxic lakes onthe planet we ’ll have to leave behind. As always, there was sharp, compelling tailoring. How are u

In a season of solutions dressing, in which designers have been emphasizing the real-world applications of their clothes, Ghesquière was in a world of his own tonight—starting with his set, a space-age anachronism set down in the courtyard of the centuries-old Louvre. He said he was interested in the edge between the virtual reality we experience through our social media streams and real life. That played out via 1980s callbacks (the decade’s exaggerated silhouettes are recurrent motifs in his work), high-tech fabrications like molded rubber, space suit sleeves, Memphis Group prints, and the Parisian savoir faire of sculptural dresses in sequin-embroidered mesh.

It wasn’t a single-message collection, but rather an eclectic series of propositions: a wardrobe for the first wave of SpaceX flyers printed with images of (I’m riffing here) terraforming colonies on distant planets and toxic lakes on the planet we’ll have to leave behind. As always, there was sharp, compelling tailoring. His new jacket zipped up the middle with wide peaked lapels, and his pants, which were worn by a trio of androgynous models some mistook for men, were straightlegged and hip-slung; these were the grounded foundation around which his sci-fi experiments rotated.

To finish, Ghesquière showed a trio of “space suits” in metallic floral jacquards, like virtual gardens, lush and hopeful. Nature triumphant? Ghesquière is agnostic on the subject, but this was not dystopic cyberpunk. There was a clever, thematic offering on the accessories front, including a space-capsule evening bag and an egg-shaped style that instantly conjured Aliens. Best in show was a top-handle trunk puzzled together from several of LV’s popular Petites Malles. of the centuries-old Louvre. He said he was interested in the edge between the virtual reality we experience through our social media streams and real life. That played out via 1980s callbacks (the decade’s exaggerated silhouettes are recurrent motifs in his work), high-tech fabrications like molded rubber, space suit sleeves, Memphis Group prints, and the Parisian savoir faire of sculptural dresses in sequin-embroidered mesh.

Nicolas Ghesquière renewed his Louis Vuitton contract this Spring.

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Louis Vuitton

L Vu ou itt is on

It wasn’t a single-message collection, but rather an eclectic series of propositions: a wardrobe for the first wave of SpaceX flyers printed with images of (I’m riffing here) terraforming colonies on distant planets and toxic lakes on the planet we’ll have to leave behind. As always, there was sharp, compelling tailoring. His new jacket zipped up the middle with wide peaked lapels, and his pants, which westant planets and toxic lakes on the planet we’ll have to leave behind. As always, there was sharp, compelling tailoring. His new jacket zipped up the middle with wide peaked lapels, and his pants, which were worn by a trio of androgynous models some mistook for men, were straight-legged and hip-slung; these were the grounded foundation around which his sc

Newly committed to the LVMH mother ship, he sent out a collection that was uniquely personal—a transporting, confident return to the futuristic forms of his early work. “I felt the need to dig into my obsessions,” he said during a preview at LV headquarters on the Rue du Pont-Neuf.

In a season of solutions dressing, in which designers have been emphasizing the real-world applications of their clothes, Ghesquière was in a world of his own tonight—starting with his set, a space-age anachronism set down in the courtyard of the centuries-old Louvre. He said he was interested in the edge between the virtual reality we experience through our social media streams and real life. That played out via 1980s callbacks (the decade’s exaggerated silhouettes are recurrent motifs in his work), high-tech fabrications like molded rubber, space suit sleeves, Memphis Group prints, and the Parisian savoir faire of sculptural dresses in sequin-embroidered mesh.

It wasn’t a single-message collection, but rather an eclectic series of propositions: a wardrobe for the first wave of SpaceX flyers printed with images of (I’m riffing here) terraforming colonies on distant planets and toxic lakes on the planet we’ll have to leave behind. As always, there was sharp, compelling tailoring. His new jacket zipped up the middle with wide peaked lapels, and his pants, which were worn by a trio of androgynous models some mistook for men, were straight-legged and hip-slung;

Ne tra wly my nspo com ofs obs rting mitte clo olut essio , con d to set thes ions ns,” fide the vir dow , Gh dres he s nt re LVM cal tual nin esqu sing, aid d turn H m lik lbac reali the c ière in w urin to th othe dre e mo ks (t ty w ourt was hich g a p e fu r shi of sses lded he de e exp yard in a w des revi turist p, he p r ter op in s rub cad erie of th orl igne ew a ic fo sen alw rafor ositi equin ber, s e’s e nce t e ce d of rs ha t LV rms t out lap ays min ons: -em pace xagg hrou nturi his o ve b hea of h a co els , th g c a w bro su era gh es- wn een dqu is e lle c a o t , a ere olo ar id it s ed our ld ton em arte rly tio e nd d n his was ies o robe red m leeve silho soci Lou ight—phas rs on wor n tha pa harp n d for esh s, M uet al m vre. sta izing the k. “I t wa nts t i , w , com stant the fi .It w emp es ar edia He s rting the Rue felt s un th iq hic pe pl rst asn his e re str aid r d h w llin ane wa ’t a Gr cu eam he with eal-w u Po e ne uely wa his or nt ed pe ere g ta ts a ve s si ou rre wo ilor nd t of S ngle p pri nt m and r s int set, ld ap -Neu to d rson rn ing oxi pac -me nts otif eal ere a s pli f.In ig i al— n by . H c l eX ss , a s i s p c n n life ted ac ati a s to a a a t is ake rio ne s o flye ge co d the his . Th in t e-ag ons o easo of w j n t rs p lle Pa wor at p he e e an f th n an ack he rin cti ris k), lay dg ac eir dro et pl ted on ian h h e e be ron ig d , gy zip ane no pe t w with but r savo h-te out v twe ism ch usm d u e’ ia en im ath ir od p th ll ha age er a faire fabr 198 the els e ve s o n e of ica 0s m f som id to (I’ clec scu tion l d e l m t e m le av ic pt s ist with e be riffin seri ural oo e k f wid hind g he s or e p . A re) eak s ed

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Louis Vuitton spring 2019

ready-to-wear Nicolas Ghesquière renewed his Louis Vuitton contract this Spring.

Newly committed to the LVMH mother dsd ship, he sent out a collection that was unique ly personal—a transporting, confident return to the futuristic forms of his early work.

“I felt the need to dig into my obsesions,” he said during a preview at LV headquarters on the Rue du Pont-Neuf. In a season of solutions dressing, in which designers have been emphasizing the real-world applications of their clothes, Ghesquière was in a world of his own tonight—starting with hisset, a space-age anachronism set down in the courtyard of the centuries-old Louvre. He said he was interested in the edge between the virtual reality we experience through our social media streams and real life. That played out via 1980s callbacks (the decade’sexaggerated silhouettes are recurrent motifs in his work), high-tech fabrications like molded rubber, space suit sleeves, Memphis Group prints, and the Parisian savoir faire of sculptural dresses in sequin-embroidered mesh.

It wasn’t a single-message collection, but rather an eclectic series of propositions: a wardrobe for the first wave of SpaceX flyeprinted with images of (I’m riffing here) terraforming colonies on distant planets and toxic lakes on the planet we’ll have to leave behind.

As always, there was sharp, compelling tailoring. His new jacket zipped up the middle with wide peaked lapels, and his pants, whic h were worn by a trio of androgynous models some mistook for men, were straight-legged and hip-slung; these were the grounfoundation around which his sci-fi experiments rotated.

To finish, Ghesquière showed a trio of “space suits” in metallic floral jacquards, like virtual gardens, lush and hopeful. Naturetriumphant? Ghesquière is agnostic on

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typography

This part of typography exercise is to learn how to put words and one photo into a restricted rectangle. Words include a title, a subtitle and a paragraph. During the exercise, I learned that there are different kinds of ways to layout. Arranging the best layout between those words and pictures is the purpose of this exercise.

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Louis Vuitton

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Nicolas Ghesquière renewed his Louis Vuitton contract this Spring.

Newly committed to the LVMH mother ship, he sent out a collection that was uniquely personal—a transporting, confident return to the futuristic forms of his early work. “I felt the need to dig into my obsessions,” he said during a preview at LV headquarters on the Rue du Pont-Neuf.

Newly committed to the LVMH mother ship, he sent out a collection that was uniquely personal—a transporting, confident return to the futuristic forms of his early work. “I felt the need to dig into my obsessions,” he said during a preview at LV headquarters on the Rue du Pont-Neuf.

In a season of solutions dressing, in which designers have beenem phasizing the real-world applications of their clothes, Ghesquière was in a world of his own tonight—starting with his set, spaceage anachronism set down in the courtyard of the cenries-old Louvre. He said he was interested in the edge between the virtual reality we experience through our socialme dia streams and real life. That played out via1980s callbacks (the decade’s exaggerated silhouetteare recurrent motifs in his work), high-tech fabrica tions like molded rubber, space suit sleeves, Memphis Group prints, and the Parisian savoir faire of sculptural dresses in sequin-embrdered

In a season of solutions dressing, in which designers have been emphasizing the real-world applications of their clothes, Ghesquière was in a world of his own tonight—starting with his set, a space-age anachronism set down in the courtyard of the centuries-old Louvre. He said he was interested in the edge between the virtual reality we experience through our social media streams and real life. That played out via 1980s callbacks (the decade’s exaggerated silhouettes are recurrent motifs in his work), high-tech fabrications like molded rubber, space suit sleeves, Memphis Group prints, and the Parisian savoir faire of sculptural dresses in sequin-embroidered mesh.

It wasn’t a single-message collectionan eclectic series of propositions: a wardrobe for the firswave of SpaceX flyers printed with images of (I’m riffing here) terraforming colonies on distant planets anlakes on the planet we’ll have to leave behind. As always, there was sharp,compelling tailoring. His new jacket zippedmiddle with wide peaked lapels, and his pants, which were worntrio of androgynous models some mistook for men, were straightlegged and hip-slung; these were the grounded foundation around which his sci-fi experiments rotated.

To finish, Ghesquière showed a trio of “space suits” in metallic florjacquards,

Nicolas Ghesquière renewed his Louis Vuitton contract this Spring.

B Summer 2019 Runway

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It wasn’t a single-message collection, but rather an eclectic series of propositions: a wardrobe

alenciaga

Newly committed to the LVMH mother ship, he sent out a collection that was uniquely personal—a transporting, confident return to the futuristic forms of his early work. “I felt the need to dig into my obsessions,” he said during a preview at LV headquarters on the Rue du Pont-Neuf.

In a season of solutions dressing, in which designers have been emphasizing the real-world applications of their clothes, Ghesquière was in a world of his own tonight—starting with his set, a space-age anachronism set down in the courtyard of the centuries-old Louvre. He said he was interested in the edge between the virtual reality we experience through our social media streams and real life. That played out via 1980s callbacks (the decade’s exaggerated silhouettes are recurrent motifs in his work), high-tech fabrications like molded rubber, space suit sleeves, Memphis Group prints, and the Parisian savoir faire of sculptural dresses in sequin-embroidered mesh.

It wasn’t a single-message collection, but rather an eclectic series of propositions: a wardrobe

Nicolas Ghesquière renewed his Louis Vuitton contract this Spring.

typography

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BALENCIAGA Summer 2019 RUNWAY

Nicolas Ghesquière renewed his Louis Vuitton contract this Spring.

CHANEL spring 2019 runway An Unconventional Biography Of Karl Lagerfeld Is In The Works

Newly committed to the LVMH mother ship, he sent out a collection that was uniquely personal—a transporting, confident return to the futuristic forms of his early work.

“I felt the need to dig into my obsessions,” he said during a preview at LV headquarters on the Rue du Pont-Neuf.

In a season of solutions dressing, in which designers have been emphasizing the real-world applications of their clothes, Ghesquière was in a world of his own tonight— starting with his set, a space-age anachronism set down in the courtyard of the centuries-old Louvre. He said he was interested in the edge between the virtual reality we experience through our social media streams and real life.

That played out via 1980s callbacks (the decade’s ex-

This part of typography exercise is to learn how to create our own path to align the paragraph and the picture. Adding rectangles with colors in different areas can also separate between the paragraph and the picture. It becomes more difficult when we added colors in the background.

We needed to compare the color of the fonts and the background to see if it is well-arranged.

After this practice, I finally realized that there are various ways to layout. And adding colors in it makes the whole picture more lively.

the subject, but this was not dystopic cyberpunk.

There was a clever, thematic offering on the accessories front, including a space-capsule evening bag and an egg-shaped style that instantly conjured Aliens.

Best in show was a top-handle trunk puzzled together from several of LV’s popular Petites Malles. of the centuries-old Louvre. He said he was interested in the edge between the virtual reality we experience through our social media streams and real life. That played out via 1980s callbacks (the decade’s exaggerated silhouettes are recurrent motifs in his work), high-tech fabrications like molded rubber, space suit sleeves, Memphis Group prints, and the Parisian savoir faire of sculptural dresses in sequin-embroidered mesh.

It wasn’t a single-message collection, but rather an eclectic series of propositions: a wardrobe for the first wave of SpaceX flyers printed with images of (I’m riffing here) terraforming colonies on distant planets and toxic lakes on the planet we’ll have to leave behind. As always, there was sharp, compelling tailoring. His new jacket zipped up the middle with wide peaked lapels, and his pants, which westant planets and toxic lakes on the planet we’ll have to leave behind. As always, there was sharp, compelling tailoring. His new jacket zipped up the middle with wide peaked lapels, and his pants, which were worn by a trio of androgynous models some mistook for men, were straight-legged and hip-slung; these were the grounded foundation around which his sc

CHANEL

spring 2019 runway An Unconventional Biography Of Karl Lagerfeld Is In The Works the subject, but this was not dystopic cyberpunk.

There was a clever, thematic offering on the accessories front, including a space-capsule evening bag and an egg-shaped style that instantly conjured Aliens.

Best in show was a top-handle trunk puzzled together from several of LV’s popular Petites Malles. of the centuries-old Louvre. He said he was interested in the edge between the virtual reality we experience through our social media streams and real life. That played out via 1980s callbacks (the decade’s exaggerated silhouettes are recurrent motifs in his work), high-tech fabrications like molded rubber, space suit sleeves, Memphis Group prints, and the Parisian savoir faire of sculptural dresses in sequin-embroidered mesh.

It wasn’t a single-message collection, but rather an eclectic series of propositions: a wardrobe for the first wave of SpaceX flyers printed with images of (I’m riffing here) terraforming colonies on distant planets and toxic lakes on the planet we’ll have to leave behind. As always, there was sharp, compelling tailoring. His new jacket zipped up the middle with wide peaked lapels, and his pants, which westant planets and toxic lakes on the planet we’ll have to leave behind. As always, there was sharp, compelling tailoring. His new jacket zipped up the middle

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to use creative ways to present a visual impact so that it can be seen and noticed even from far away.

Picture on the right is a simulation of putting the ad on the bus stop’s billboard.

contrast.

The skin of the two models are represented as old and new walls. I tried

This ad design is about promoting a company that gives good quality on fixing the walls. Walls in old buildings might have the problem of having holes in it or leaking water. I use two models which one has great skin and the other does not to create a

The concept of this ad design is to convey that anyone whenever or wherever taste this brand of instant noodle, they will feel that it isn’t just a normal instant noodle, but a cuisine that their mom used to make at home. While using the magazine as the way to convey the whole concept, I used the action “turn the page� as everyone does when they read a magazine. By rotating the whole picture, the page can also be the cover of the instant noodle.

When the reader turn over the page, a picture of a exhausted mom who is cooking will appear on the upper side of the magazine. Letting the reader understand the meaning of how great this brand of instant noodle is.

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m a e p th “NO MICRO PLASTIC” was the topic that our visual design teacher in the workshop gave us under the big topic EMPATHY. Micro plastic was now known as a major pollution to the sea. The concept of the poster is to use fish as the main character that is drinking polluted sea water, using the straw as the tool to drink and the blender with a plastic bag inside it is to convey that human will drink or eat like those sea creatures. And there will be consequences if we don’t stop using plastic products, instead of breaking down thoroughly, they will just become micro plastic and float around the sea.

The sketch that I drew first was meant to simulate the fish as a human being, so that people will think and reconsider about the question after seeing the poster. When it comes to adding the color, I first used black and white to present the saddness of sea creatures being affected by the micro plastic. My teacher then told me that it didn’t have to be black and white because a successful poster can convey its thought just by seeing it. The final poster is then filled with warm colors.

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“the sketch that I first drew and then scanned into the computer to photoshop details and colors.”

This communication design is about six different pages using the same materials to layout a main character, a title, a subtitle and a paragraph. After combing these six pages, they need to have a connection between both pages. I choose shrimp as mine main character, so my title will be Elf in Sea, I used it’s shape to layout, using different ways to put in the area. The first one I used a way that can separate the shrimp’s body into six same small pieces. The second one I maintained the original shape of the shrimp but changed the stripes on it’s body from thick to thin. The third one I enlarged the shrimp’s head and put it in the layout. The fourth one I shrinked the shape of the shrimp to a very small size and multiplied it

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to a large amount. The fifth one I compared it to a whale, which its size is completely in contrast.

The sixth one I used hard lines instead of its original smooth lines, and made it feel like glowing in the dark.

communication-design

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BUGATTI HETEROTAXY CREATE TO EXCITE. FLIGHT IN FUTURE!

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bugatti-drone

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We combined Bugatti’s three indispensable element in our drone’s design. The curve on the side, the half-oval design in the front, and also the hard straight line on the top of the car.

We wanted to create a drone that is the fastest, just like Bugatti wanted in their sportscars. The sketch that we drew was meant to be four wind sticks on the side of the drone, but its different from the other four wind sticks drones. We searched for the photos of WW2’s helicopter, and there were designs that are two wind sticks on the lower side and the other two on the higher side.

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We used 3D-printer to print our main model, after 3D-modeling in our computer using Solidworks and Alias, we rendered in Keyshot to present the best way of our Bugatti’s drone. After we decided that dark blue as our main color, we began to work on our model, we first sticked everything together in the right place, and then added clay to smoothen our surface. After all is done, we carefully added the colors on it. The colors were difficult to spray on it due to the size of our model, it’s easy on the outside but on the contrast in the inside.

bugatti-drone

These are the details of our Bugatti drone, the main color of our drone is dark blue, and we chose red for the interior, as it can highlight the engine in the inside of the drone. Black are for the protection sticks for the four wind sticks of the drone. We considered that its shape is difficult to sit down on the ground, so we designed a stick on the back that is able to support the drone.

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This is the photo of our drone on the final presentation of our class. We hanged it down from the roof to present its flying form. Our teacher is very satisfied about the final product. He said that after weeks and weeks of correcting and designing, the drone has now the shape of Bugatti’s concept in it. Although it can’t actually fly, our teacher was focused on the shape. Bugatti’s car was to made of curves and strong lines on the outside to show its form of speed. The project was made in one and a half month, at first we just chose Bugatti and didn’t decide what to do with it, but after we thought that drones are now designed in almost the same shapes, we decided to give it a try. The project was meant to combine a product with a brand, and the product we chose must be the product that the brand didn’t make. It’s difficult because combining any product with Bugatti is hard to present its form.

We tried motorcycle and skateboard at first, but those two didn’t satisfied us. The drone was the third one we tried at the final product is very successful.

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a closer look of our final model

bugatti-drone

The picture of me presenting the 1:1 product of our Bugatti Drone.

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squider

‘E LE GA NC E & B EAUTY ’ This product redefined the meaning of using skateboard as a transportation tool. Adding bright colors and electricity to it makes it a lot different to the other skateboards on the market.

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We also added lights in the front and back, due to its need of a transportation tool. White LED light in the front and red in the back to alert people. The final model is strong enough to let a people stand on it, but we stuck the wheels too hard into the mechanics beside it so it is hard to slide that smooth.

Skateboards are now become an exercise instead of a type of transportation. Before there were teenagers that believed skateboards are a cool way to go to work or school, nowadays motorcycles and cars increased, so that there were no one using a skateboard as their transportation tool. We designed it to make it stronger and more stable.

With electricity inside it, the user can automatically control its speed using the remote connected to it, we enlarged the wheels so that it can improve the stability on the road, which is considered with Safety.

This is the electric skateboard that me and my partner designed. We think that most electric skateboards on the market are almost the same, not only the shape but also the colors. Electric skateboards are often seen as black or white, but what we wanted is to give the teenagers a skateboard that its color is bright and full of energy.

squider

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POSTER KV A better life was the topic of our exhibition.

What this topic wanted to convey is that what we do in industry design is to make our life and our society better. Not only consider about our daily lifes but also the user of our products. We considered and decided to use it as our topic.

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designed by “visual group�

a-better-life

After we decided our topic, we told everyone in the class and then started to work on the poster kv and our own products. What we do is always connect to our topic. There are people who want to help the elders, people who fitness, and even a new type of transportation system just like gogoro.

We each have different jobs to do, mine was to ask different people who wanted to support us and give us the funds that we need for our products and site costs. We had six months to prepare and exhibit in our school and in the biggest library in Kaohsiung. Exhibiting in the biggest library in Kaohsiung was meant to let everyone see our designs.

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FIRST EXHIBITION

SECOND EXHIBITION

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The project I promoted on our exhibition is a new type of saving device that is made for children. I combined the floating device with the swimming cap that children will wear while in the water. The device will pop out a half-rounded airbag when the child is in danger, he or she just need to pull the ring off the cap and the device will activate. I want to let children have the ability to save themselves when they are in danger instead of shouting out loud and let others to save them.

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MUFFIN-MAKER

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muffin-maker

This chair was designed for coffee shops, especially for those which are decorated as pink and for girls and women. We chose bright and warm color to lighten the chair. The decision of making it 1:1 is made from the very beginning, we thought it will be very successful if we actually did a 1:1 chair and it can really sit on it. Once we decide our shape and colors, we started to shop our materials. The materials are not that expensive, but the effort of making it into a real chair is very difficult and tired. We tried for a week and finally made it out before the final presentation. Our teacher was very proud of our work, but he didn’t believe that people can actually sit on it. Although we were worried at first, but we thought that after presentation we might be able to give it a try, and it did work.

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These were the parts of our chair, after rendering in Keyshot we decided that our color will be like this.

A warm color on the outside, and pink as the supportive stick. Very simple colors because we thought that the colors didn’t need to be that much. The mechanics we made were able to stable the whole chair even when people sit on it. The handle on it was to let people pull it out and open the chair. Muffin-Maker, the name of our chair was decided because we wanted it to look like one. Making the chair tall because we think that its more elegant than just making it a normal chair size or a sofa. The ring in the back is not just for decorating, we designed it to let people hang their coats in the back.

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muffin-maker

The photos on this page is about doing a final presentation in the end of the semester. Me and my partner were all dressed in black because we want to highlight our product.

We demonstrated the mechanics on the back while presenting to our teacher, although the ring is sticked on the top of the chair, our teacher knew our meaning after we explained. Our teacher also agreed that the height of the chair can show the elegant of it. The final product also had some problems that need to be fix, like we want to use pillow as their seat, but due to the lack of time, we just use a very rough material to cover the seat.

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acwp

This is the product which helps people who wants to pet a fish in the office. A desk for a person in the office is often small, people need to organize well to put everyting in good order.

However, those people who want to pet a fish will be worried about the space. More importantly, even though they have the space to pet a fish on their desks, the difficulty of changing the fish tank’s water is very high. No one wants to spray their water out and make their paper wet while changing the water. We thought of that and we decided to make a product that can automatically change water depend on the user’s settings.

We combined the system to the user’s phone, using its app can change the settings of how long does it have to change the water. The system uses a tube to connect from the clean water to the tank, and when it’s time to change the water, the system will first flash its light to show that its going to operate. It then starts the suck the water from the bottom of the tank at least one of a third, after sucking it back to the container, the clean water inside the container will then be sucked into the fish tank to finish the job of changing the water. When all the work is done, users only need to change the water inside the container on the outside, which its shape is designed to easy pouring the water out without splashing it everywhere.

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poster kv

REVENGE

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OF

CHICKEN

activity-poster-design

DEVOTION

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poster kv

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exhibition-poster&card-design

JUNIO

R

SOPHOMOR

I OT CARE DESIGN A BETTER LIF E

FRESHMAN

E

BIONIC STYL DEDUCTIVE

GE

E

6th Final Presentation

6th Final Presentation

6th Final Presentation

BRAIN

CHICKEN CA LAMP

STOMACH LIVER

The poster kv of this exhibition is mainly to convey that when it’s three o’clock in the morning, most people are already asleep, except for designers who are still working hard on making our society better. Designers often stay off very late for their products, not only industrial designers, but every designers are important and hard-working. The card on this page were designed into three different kinds, I separated each grade from freshman to junior. Each one has a body part to maintain their health, freshman is the liver, sophomore the stomach, and junior the brain. I believe that every student who study in design want to do their best in every homework, so everyone will spent a large amount of time correcting it to the very good form.

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2018-christmas-card-design

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CONTACT:

name 宋柏叡 phone 0925698666 mail a89883579@gmail.com