ALICE LAI 2009-2013 Profolio
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Alice Lai 賴彥希 1991/02/05 +886 0912405087
aliceycl@gmail.com Hsinchu, Taiwan
EDUCATION
EXPERIENCE
Diploma, National Hsinchu Girls’ High School, Hsinchu, Taiwan, 2009
2013 Graphic Design Team Member, Class of 2013 Showcase and Young Designers’ Exhibition, Department of Industrial Design, Shih Chien University, Taipei, Taiwan
Bachelor of Arts in Design, Department of Industrial Design, Shih Chien University, Taipei, Taiwan, 2013 2009 國立新竹女子高級中學畢業 2013 實踐大學工業產品設計學系畢業
SOFTWARE Pro/E, Alias, Keyshot, Photoshop, Illustrator, Indesign
2012 Graphic Design Team Member, Industrial Design Department Association, Shih Chien University, Taipei, Taiwan Design Intern, Department of Notebook Design, Micro-Star International, Taipei, Taiwan 2011 Graphic Design Team Leader, Shih Chien University Exhibition, 2011 Taipei World Design Expo, Taipei, Taiwan Graphic Design Team Leader, Soul Changing – an industrial design experience camp for high school students, Shih Chien University, Taipei, Taiwan 2013 實踐工設畢業展暨新一代設計展平面組員 2012 第18屆實踐工設系學會平面組組員 微星(MSI) NB設計部暑期實習 2011 IDA台北世界設計大會實踐大學展區平面組長 實踐工設高中生工作體驗營「Soul Changing」平面組長
CONTENT
CONTENT Product Design
CHESISHELL 微星企業實習
REPAPER 循紙
Page
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11
MOVINGLIGHT 打燈
PULP MOLDING 塑漿玩紙
3D PULP 立體抄紙
STARRY STORY 故事之光
ANCIENT LEGEND OF SHREDDER 玩樂家電：碎紙機古代物語
Re: 花邊碎紙機
REVOLVING VOLD 旋虛
WALKING TIME 走時
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Graphic Design
Behind – SCID Class of 2013 Special Feature 實踐工設2013畢業專刊Behind
SCID BROCHURE FOR IDA 2011 2011世界設計大會 - 實踐工設簡介
SEAL SCRIPT – IN FOUR SEASONS 篆四季
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PRODUCT DESIGN
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CHESISHELL 微星企業 實習 10” Tablet Design 1 0 吋平板電腦設計 3D Render / Plastic 電腦建模 / 塑料 600x600x50 mm
designer) was focused on coming up with a design proposal for Windows 8 tablets. 2012 年的七、八月，在 MSI 的 NB 設計部實習兩個月。當
時正逢 Windows 8 正要發布，同時微軟也釋出兩款自家設 計的平板電腦的消息：規格媲美筆電的 Surface Pr o 與較 為輕薄的 Surfac e RT 。此外，配合搭載 Win 8 作業系統的 平板電腦所配備的 Microsoft Office 系列文書軟體，微軟也 設計了兩款鍵盤式的 Smart Cover ：厚度 3mm的Touch Cover 以及厚 5mm 的 Type Cove r。為了跟上市場趨勢，
During July – August 2012, I was an intern in the notebook design department of Micro-Star International (MSI). Windows 8 was just about to be released at that time, and Microsoft also released two tables: Surface Pro, with specification like a laptop, and the lighter Surface RT. Also, to accompany tablets with Windows 8 operating system, Microsoft designed two Smart Covers with keyboard: the 3 mm-thick Touch Cover and 5 mm-thick Type Cover.To follow the trend in the market, my two-month internship (with much help from the lead
兩個月的實習就在設計師前輩的帶領之下，針對 Win 8 平 板電腦做了一個設計提案。
2012 / CHERISHELL
Focusing on Microsoft Office Suites! 著眼於 Microsoft Office 系列!
Back then, Katie Huberty from Morgan Stanley published a report on the tablet market, which included a survey of people who planned to buy tablets. The results showed that 25% of the people would choose a tablet with the Windows 8 operating system, slightly more than the 22% of people who chose Android. 61% of potential tablet buyers believed that Microsoft Office is the most important software feature, which is much higher than the 44% within people who already own a tablet. In addition, the Smart Cover from Microsoft hinted the advantage Windows 8 tablets have on word processing. Thus, my design focused on people who mainly use tablets for word processing. Using the Surface RT, I designed a 10-inch tablet with a keyboard cover. 當時 Morgan Stanley 的 Katie Huberty 發表了一份有關平板 電腦市場的報告，報告中包含了一項針對計劃購買平板電 腦者的調查，結果顯示，有 25% 的人將會選擇 Windows 8 ，略勝 Android 的 22% 。 61% 的潛在購買
者認為 Office 是最重要的軟體功能，高於已經擁有平 板者的 44% 。 加上微軟預計推出的 Smart Cove r也暗示了 Win 8 平板電 腦在文書處理上的優勢，因此，我的設計也將以文書處理 的使用者為主，搭配 RT 作業系統，設計一款附有鍵盤保護 蓋的 10 吋平板電腦。
My sketch from brainstorming. My primary focus was on designing a tablet that is easy to hold in hands. 發想時的sketch，設計之初以好握持為發想重點。
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In 2D render, I proposed designing a model with sides that look as if they are wrapped from above and below, much like a closed seashell. The elegant curves were sure to appeal to female consumers. 2D Render時，提出有如被上下包覆的側邊造型，以優雅的線條吸引女性 消費者。
The model is inspired by a seashell, with curves of romantic elegance, while the data in the tablet are as precious as pearls found inside the seashell. 造型概念來自於貝殼，線條優雅浪漫，而電腦的資料就有如貝殼中的珍 珠一般珍貴。
2012 / CHERISHELL
HDMI Audio Jack
Volume
USB 2.0
Power Button Micro SD
DC in
With the edges shaped like a seashell, a user can still press buttons on the sides when the keyboard covers the tablet. 在內部設計多種色彩，增加個人風格。
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Where those recycled waste paper go? 這些回收廢紙到哪裡去了？
The paper recycling system in Taiwan is about the same level with the occidental countries, even better in implementation compared to some E.U. countries. But lacking of efficient ways to reuse the recycled paper leads to another problem: Piles of recycled paper heaped up from the ground. It's only shifting the paper from home to the recycle yard. Unwilling to see this phenomenon, we hope to solve the problem through the power of design, letting the excess paper be more useful. In our daily lives, we always remember to recycle used paper, but seldom use something made from recycled paper. This leads us to wonder, where do these sheets of recycled paper go? 日常生活中，我們總是不忘將用剩的廢紙回收，然而卻很 少真正用到再生紙製品，於是我們很好奇，這些回收廢紙 究竟到哪裡去了呢？ 根據調查，台灣回收的環保作業前端與先進國家並列，甚 至以回收的執行度而言，較歐盟部分國家還徹底。然而回 收後的紙張，卻缺乏「有效管道」重新再利用，以致於產 生環境的另一項問題—過剩的紙張於回收紙廠無限期堆積 ，形同問題轉移。這個現象並非我們樂見，因此，我們希 望藉由設計的力量，能幫助改善「剩餘紙」的問題。
2013 / REPAPER
REPAPER
What is the connection between recycled pulp
循紙
廢紙漿如何與文化連結？
Furniture 傢俱設計 Re c y c l a b l e p a p e r 再生紙 Joint Desinger / Churchle Chang 共同設計者 / 張巧喬
Taking advice from the wisdom of our ancestors, we've found the historic path and the language of paper. We developed a new use of the recycling paper by using the modern industrial design method.
and Oriental culture?
The first nation with the technique of making paper came right from our Ethnic Chinese culture. In Eastern Han Dynasty, Cai Lun had invented the technique for papermaking, and then the word "Paper" appeared in history. Han Dynasty was also a flourishing age with many inventions for paper usage, evolution of chairs... which showed much more convenience than the further dynasty. Hence set Eastern Han as our start of design, finding different forms of paper and ways to perform based on the papermaking method. 全球最早出現造紙技術的地區，正源於我們所處的華人文 化。自東漢蔡倫造紙，「紙」始見於歷史記載中，而漢也 是我國第一個大盛世。紙的發明、座椅的演進....等，在
依循先人於紙的智慧，找尋出使用紙的歷史脈絡、語彙，
生活上都比前朝更為方便，於是設計發想自東漢開始，從
藉由現代設計手法，讓回收、循環利用的紙資源擁有新的
造紙的過程中，找到紙的三種型態與其他的運用方式。
出路...
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Walk at night? 如何夜行於道？
In the ages before light bulbs were invented, people lit their ways in the dark with lanterns. Lantern was a common application of paper in daily life. Its corresponding objects in the modern age would be a light bulb or flashlight. We used recycled paper to reinvent the art of lanterns, and designed a mobile electronic light source, the brightness of which can be adjusted according to height of the user. Using the movement of opening and closing an elastic lantern to adjust the brightness, we use traditional crafting techniques to create possible new models. 在燈泡被發明出來以前的年代，古人夜間便打燈行於道。 燈籠是早期生活中常見紙的運用，對應至現代，便是電燈 或手電筒。於是我們使用再生紙來『再生』這項工藝。並 賦予其現代的語匯，設計成一款能隨燈身高度調整光源強 弱的行動電光源。仿照古代伸縮燈籠的動作來調整光源強 弱，加之運用傳統製作工法，嘗試新造型的可能性。
2013 / REPAPER
MOVINGLIGHT
How to change the brightness of the lantern? 如何改變光源強弱？
打燈 Lamp 燈具設計 Paper / Plastic / Alumiunm 紙 / 塑料 / 鋁 260x260x310 mm 260x260x330 mm
The light would be off when the lantern is flat closed. 當燈籠扁平收齊時，為關燈狀態。
The light would be on while pulling up the handle. 將提把向上提起的同時，便會啟動燈的電源。
Different handles can be changed depending on using it in mobile or hanging from a stationary location.
With the lantern taken higher, the light becomes brighter.You can control the brightness as needed.
不同的把手，提供移動或吊掛等不同場合作更換。
將把手往上提，當燈的高度越高時，燈的亮度也越亮。可以依自己想要
Each lantern comes with a charger. 每個燈都附有充電座
When not in use, just place the lantern on the charger and it will automatically start charging (red light) until full battery (green light). 當燈不用時，只要放到充電座上，就會自動充電，紅燈為充電中，綠燈 為充電完畢。
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Can hardened pulp actually support weight? 紙漿能承重？
To try how hard pulp actually is, we drenched more of the pulp on the frame, and then used our hands to shape the final product, presenting the plasticity of the slurry and conserving the strong handmade look. In addition, the hardness of the table or chair surface is increased after the slurry hardened, strengthening the aluminum wires that otherwise would not provide enough support. We covered the chair surface with different amount of the slurry, creating different ratio of emptiness and covered surface, providing each product with a uniqueness of its own. 嘗試挑戰紙漿硬化後的堅硬程度，我們將更多紙漿淋於骨 架之上，最後用手捏塑完型。體現紙漿的可塑性，同時保 留強烈手工製作的質感。其次，利用紙漿硬化後的硬度， 增加桌面、椅面金屬條的硬度，使原本支撐力不足的鋁條 得以強化。椅面以虛實相異的狀態結合，表現不同特性。
PULP MOLDING 塑漿玩紙 Furniture 傢具設計 Paper / Alumiunm 紙 / 鋁 320x320x550 mm 300x300x1200 mm
2013 / REPAPER
How do you shape pulp into furniture? 如何捏塑紙漿傢俱？
Shape the outline, also its structure, with aluminum. 將主要的外型用鋁做支撐。
For the inside, bend the aluminum sticks to form the cloud-shape patterns. 內部則以鋁條坳折出雲氣紋的紋樣。
Dip the metal structure in the diluted pulp. Repeat for a few times and put on the pulp by layers.
Put on enough layers of pulp until it makes ideal shape of the furniture.
先將金屬放入水槽中抄過，再慢慢敷上紙漿。
多次敷上紙漿到想像中的造型。
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What is the evolution of pulp scooping? 抄紙的工法如何進化？
Cai Lun of the Han Dynasty invented papermaking in China, using a process that starts with soaking bamboo fiber in water to form a pulp and ends with removing the water from mats of fiber to produce paper. Taking ideas from this historic process, we extend the movement of scooping out the pulp using a wire screen from two dimensions to three dimensions. Using a conclave and interweaving metal net, we made a 3D structure, which is then used to scoop up the fiber pulp. We let the pulp to drip naturally throughout the structure, and adjust the concentration of the pulp and times of scooping to control the amount of paper on the furniture model. Using different ways of scooping, we also created products with all type of different curves. 東漢蔡倫發明造紙術，從「斬竹漂塘」到「透火焙乾」的 造紙過程中，技術得以被歷史傳承下來。 我們截取「蕩料入簾」中抄紙的動作加以延伸，使原本平 面的抄紙，轉化為3D立體的抄紙。運用金屬網凹折、互相 交織，從平面做成立體的家具，再利用網狀的構造去抄紙 漿，使紙漿自然流落，再藉由漿的濃與稀，或抄紙的次數 ，去控制紙在模型上的比例，經由不同的抄法，也能使產 品線條產生多重的樣貌。
3D PULP 立體抄紙 Furniture 傢具設計 Pulp / Alumiunm 紙 / 鋁 3800x380x530 mm 400x480x1100 mm
2013 / REPAPER
How do you scoop a chair out of the pulp? 如何抄出一張椅子？
Look for workable molds in your daily lives. (ex. a washbasin、your kneel、a baseball bat...etc.)Bend the net into the shape you want with the molds.
Put the aluminum net balls underneath the seat surface, and then close up with the down part. 椅面上下蓋之中放入鋁網小球後接合。
在生活中尋找模具（臉盆、膝蓋、棒球棒...等），將鋁網依模具凹折到 椅面所要的造型。
Use small acrylic balls as molds to form metal net balls. 利用小壓克力球製做許多金屬網球。
Put the whole chair into the diluted pulp and shake for a few times.Then put on the pulp layers by layers. 整張椅子放入大水缸中抄紙。
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STARRY STORY 故事之光 Household Product Design 生活用品設計 Plastic / Electronic Parts 塑料 / 電子零件 220x140x150 mm 300x300x1200 mm
There is always light and hope in fairytales. 童話故事中總有光明與希望
The matches in Hans Christian Andersen’s the Little Match Girl symbolize hope, while the lamp in Aladdin has magical powers. Both are mystical objects in the bedtime stories familiar to children. Using interactive switch that is intuitive, children who are afraid of the dark could light up hope or rub up out magical light. As the glimmer appears from the match or the lamp, children’s fear toward the dark could be diminished. Around one minute when the glimmer starts to dim, so will children’s desire to stay awake. These are helpful tools to help children fall asleep. 童話故事<賣火柴的小女孩>中，象徵希望的火柴；<阿拉 丁神燈>有著神奇魔法的神燈，都是孩子們熟悉的睡前故 事裡的神奇道具。運用直覺式的互動式開關，讓怕黑的孩 子們在黑暗中，點燃希望之火、擦出魔法之光。在短暫的 微光亮起之際，能減少孩子對於黑暗的恐懼，一分鐘左右 微光漸暗，引領孩子漸入夢鄉。
2011 / STARRY STORY
shape to fit and be pasted the side of the lamp. With the side wall of the lamp being 1.5 mm, it can sense touch by hands. 利用平板電腦和手機常使用的電容式觸控技術，試著將現有的加以改造 成設計上需要的觸弄開關。在現有的機構上，開關感應區狹小且固定在 電路板上，因此我嘗試用銅箔仿製出更大的感應區，再請工程師接上電 路。新的銅箔感應區能夠隨著神燈的燈壁改變形狀並且服貼於壁上，透 過1.5 mm的燈壁，能受順利感應手部的觸碰。
A glimmer brings infinite hope. 微小的火光帶來無限的希望
Make a wish to the magic lamp. 向魔法的燈許願
In the story of Aladdin and the Wonderful Lamp, rubbing the magical lamp will make the genie appear, and one can make wishes to the genie. Using the concept of a magical lamp and the motion of rubbing from the story, this product serves as a magical lamp to children in the dark. They can rub the lamp for a dim light, which will slowly extinguish after 10 seconds.
In the Little Match Girl, each match lit managed to shine for the girl at night, while at the same time ignited hope for her. Taking the idea of the matches from the story, I combined a LED bulb and a reed switch to emulate the motion of lighting a match. Lighting a match in the dark can provide a sense of courage of warmth. Through this fun mechanism of lighting a match and the company of their parents, children might be able to conquer their fear of darkness. 在<賣火柴的小女孩>的故事中，一根根劃過的火柴，照亮 了小女孩的黑夜，點燃了小女孩的希望。擷取火柴在這個 故事裡的意象，結合使用LED燈和磁簧開關，設計如火柴 一般劃過即亮的操作方式。在劃過火柴的同時也能在黑夜 中得到一點勇氣與溫暖。透過操作趣味，希望怕黑的孩子 在父母的陪伴下孩子能夠克服對黑暗的恐懼。
在<阿拉丁神燈>的故事中，只要磨擦神燈，就能向神燈精 靈許願，是個神奇的魔法燈。這個設計就是運用故事中的 神燈和摩擦的動作，打開魔法的燈，讓孩子在黑暗中得溫 暖的光明。微弱的光會在10秒後漸漸熄滅。
Using capacitive sensing technology often used in tablets and smartphones, I tried to create a switch that can be turned on or off by touch.In most conventional switches, the sensing region is narrow and stationary on the circuit board. I thus tried to use copper foil to create a larger sensing region, and then attach it to the circuit with help from other engineers. The new copper foil sensing region can change
Orange-yellow switch and a LED bulb were placed in 10 mm-diameter acrylic tubes, while magnets were placed in the sides of the matchbox. When a match is lit, it triggers the reed switch to turns on the light. 在直徑10mm的壓克力圓管中塞入橙黃開關和LED燈等機構，並且在火柴 盒的側邊中心放入磁鐵，當火柴劃過，就會觸動火柴棒裡的磁簧開關， 使燈亮起。
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A story of working machinery for the ancient times 碎紙機古代工人物語
Shredder turns paper into chad, Reversely, Can shredder also produce new things in the process of destruction? A series of ancient legends thus are developed, Transforming the composition of the shredder into working machinery for the ancient times, Imagine the possibilities. Paper that comes from trees, After going through the blades of a shredder, Drifts again as falling leaves; To be used as feeds for pets; To be used as nutrients for trees; To be used as textile for clothes; To be used as paper to write history…… 碎紙機將紙割碎， 反過來思考， 碎紙機能不能在破壞的同時產生新的事物呢？ 於是發展出一系列古代工人物語， 將碎紙機的結構變成古代的工作機械， 想像各種生產可能。 來自於數目的紙張， 經過碎紙機的切割後， 又成為落葉飄散而下； 由落葉豢養的寵物們； 吸收落葉養分生長的樹木； 由落葉做成的布料； 由落葉來書寫的歷史……
2011 / THE ANCIENT LEGEND OF SHREDDER
ANCIENT LEGEND OF SHREDDER
To imagine, and then to transform. 想像，然後轉化
玩樂家電 ： 碎紙機古 代物語
Through the process of disassembling a household electronic, I gained insight on the structure and working mechanism of an electronic product. With some imagination, it evolved into the design for this fun electronic product.
Paper / Technical Pen 紙 / 代針筆
經由拆解家電的過程，理解電器產品的結構和運作原理，
545x1572 mm
並且從中加入想像，進而演化設計出有趣的玩樂家電。
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Re: 花邊碎紙機 Household Product Design 生活用品設計 Paper / Alumiunm 紙 / 鋁 280x120x140 mm
Rebirth of paper chad. 讓紙張重生
Shredder turns used paper into chad. Reversely, can the shredding process also produce something new? Combining strips of chad with tape and paper lace, the process of destroying confidential or used materials was transformed to be a process for producing new materials. The new generation of shredder – [Re:] – turns chad into inspiration and material for new creations. Shredded paper comes out of [Re:] as paper tape and paper lace. 碎紙機將使用過的紙銷毀，反向思考， 碎紙的過程中是 否能產生新的事物?將條狀的碎紙與膠帶和紙蕾絲結合， 讓銷毀機密或廢料的過程，轉化成產出新材料的方法。新 型態的碎紙機[Re:]讓碎紙也能成為創作的靈感與材料，碎 出來的紙即成為紙膠帶與紙蕾絲。
P２０１２／ULP MODLING 2011 / RE:
Charging socket design. 充電插孔設計。
Transform the shredding blade into replaceable lace-shaped blade. 將原本碎紙的刀片，設計成可替換的花邊刀片。
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After a piece of paper is cropped,where does the rest of it go?
REVOLVING VOID
一張紙被剪裁之後所剩下的部分通常被丟到哪裡去了呢？
旋虛
In observing the leftover from cropped sheets of paper, I found patterns of “voids” on these sheets. Revolving Void is a stool designed using this concept.
Furniture Design 家具設計
I turned sheets of paper (2D) into the structure for the legs of the stool (3D), while also using the cropped, leftover papers as the legs for a second stool – the “void”. This provides an interesting contrast between concrete and void.
Paper / MDF 紙 / 密底板 300x300x40 mm 300x300x40 mm
觀察紙張被剪裁後剩下的部分，發現原本剪下的樣式在剩 餘的部分行成了「虛」的圖案，而「旋虛」就是利用這個 概念而設計的凳子。 利用旋轉(revolve)的手法，將平面的紙片轉化成立體的椅 腳結構，同時也將裁切後剩餘的紙片製作成另一張凳子「 虛」的椅腳，兩張成對一虛一實的凳子相映成趣。
Modular and removable structure. 模組化，可裝卸的結構。
2010 / REVOLVING VOID
The material used is medium-density fiberboard, similar to kraft paper. The scorch marks from laser cutting were intentionally left on the finished product to provide the sense of warmth and enjoyment I had in making this stool. 材質選擇質感與牛皮紙相近的密底板，成品刻意保留雷射切割時的燒焦 痕跡，呈現製作時的溫度與趣味。
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WALKING TIME 走時 Household Product Design 生活用品設計 Paper / Plastic 紙 / 塑料 600x600x50 mm
2010 / WALKING TIME
Time passed through the cropped kraft papers.
How to make the 3D pattern?
時間在一頁一頁的牛皮紙之間敲敲溜過
如何製作立體的圖樣?
This piece was from my sophomore year and was my first try in product design. Time always passes soundlessly, and like flipping through a book, it accumulates and stacks in pages. Thus, I used kraft paper to design a large clock face. The whole piece involved a large amount of experimenting and handcraft, and true to the design of the clock and quite literally, time passed through the cropped kraft papers.
Position the designed pattern 先將設計好的圖案放置在預期的位子上
大二上學期的作品，是為產品設計的第一件作品。時間總 是無聲無息的流逝，像是翻書一樣，一頁一頁的累積和堆 疊，因此用牛皮紙設計的一個大的鐘面。整件作品經過大 量的嘗試和手工製作，而時間，也在一張張牛皮紙的裁切 之間悄悄溜過了。 Arrange the fan (including the pattern) into rectangles 將含有圖案的扇形分割排成長方形，以得到變形前的樣子
Divide the pattern into tens and hundreds of paper slips 將變形前的圖案平分成數十、數百個單位的紙條
Crop the paper slips and fold 將紙條一一割下並翻摺
The process of experimenting involved multiple tries in presenting the designed style on the face of a fan-shaped object. 實驗過程中多次嘗試如何在扇形的面上表現出設計好的造型。
Re-assemble the folded paper slips to form the pattern 再將翻摺的好的紙條集合好完成圖案
GRAPHIC DESIGN
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Story inside and outside of the special feature
每一位設計師，因為不同的經歷、不同的專長、不同的喜
在作品與作品之外的故事
好…等等不同的故事，因而設計出不同的產品，每一件產 品也都或多或少的帶有設計的個人色彩，透過這次的主題
In the 2013 Young Designers’ Exhibition, I was deputy team leader for the graphic design team of the Shih Chien University Department of Industrial Design (SCID) exhibition, mainly involved with planning the themes of the exhibition and designing the content and format of the special feature publication. Every designer, with their different experiences, specializations, and preferences, has his or her own different story. They design different products, and each one of these products contains some sort of personal style. Through the theme – “Behind”, we hope readers can learn about the story of each one of the works from the special feature, and can also connect and imagine the relationship between the designer and his or her work through the visuals provided across the pages. 2013 年新一代展覽，我擔任實踐工設展區的平面組副組
長。主要的參與部分為展覽主題的企劃與專刊內容版型的 設計。
B ehind ，我們希望讀者能從專刊中閱讀每件作品的故事， 也透過設計師所設計的視覺跨頁，對設計師本身與作品之 間的關係產生想像和連結。
The binding chosen was yellow wired-bound. 裝訂方式選用黃色的線裝。
2013 / BEHIND
Behind – SCID Class of 2013 Special Feature 實踐工設 2 0 1 3 畢業專刊 B e h i nd
Special Feature Planning and Layout Design 專刊企劃與版面設計
Publication 出版品 297x840x500 mm
Picturing the designers! 想像設計師的模樣!
One of the distinguishing features in our publication is that there is a double spread visual design before each piece of work. Designers presented the lively Q and A as visual elements and invite readers to get a sense of the personality and style of the designer. It also hoped that readers will be able to make connections from the work to its author. Behind專刊的特色，在每件作品的前面都有一個視覺設 計跨頁。設計師們將一些生活化的問答轉化成視覺元素， 讓讀者從設計師的回答案和視覺的風格中，一窺設計師的 Behind...
個性、風格，並對作品產生想像和連結，亦能從作品中看
在…之後
見作者。
The special feature is divided into four parts to explore “Behind”: About SCID, Behind SCID, Stories Behind, and Pipers Behind. Each parts was designed to be in different dimension and incorporated papers of different materials, in the hope that reading each part would create a different experience, while at the same time making it easier to find the particular part a reader is interested in. 針對主題 Behind ，專刊的內容分成四個部分：關於實踐工 設、公共頁 （BEHIND SCID） 、個人頁 (STORIES BEHIND) 以及設計師照 (PIPERS BEHIND) ，而針對每個部份設計了 不同的尺寸、使用不同材質的紙，讓每一個分類的閱讀都 是不同的感受，也能更輕鬆地找到自己想要閱讀的分類。
Frame design for Behind SCID. 公共頁的版型設計
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Favorite food.
Favorite animal.
Draw at least 5 items that you consider the most important.
Draw yourself.
W y
DESIGNER PROFILE
張 巧喬 / C h u r c h l e C h a n g happycat1201@livemail.tw
DESIGNER PROFILE
賴 彥希 / A l i c e L a i aliceycl@hotmail.com
Draw yourself.
2013 / BEHIND
Favorite weather or holiday? Christmas!
We love rainig when we’re home.
What kind of clothes you would never wear?
Draw at least 5 items that you consider the most important.
Favorite food. Favorite animal.
This is the graphic design for the section Stories Behind. I and the other co-author were like two travelers, meeting and one place and leaving each other at other places, but always moving towards the same direction. We are so similar, yet so different. 專刊個人頁部分的視覺設計，我與另外一位共同作者就像兩個旅人，在某些地方相遇，又在某些地方分離，卻始終朝著同樣的方向前進，我們是如此的 相似卻又如此的不同。
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ICSID Educational Member
實踐大學工業產品設計學系 台北 台灣
Shih Chien University, Department of Industrial Design, Taipei, Taiwan
EXPO'11 TAIPEI WORLD DESIGN EXPO
台北世貿展覽館 １館Ａ區
TWTC Exhibition Hall 1 Area A Taipei, Taiwan
2011 / SCID BROCHURE FOR IDA 2011
SCID BROCHURE FOR IDA 2011 2011 世界 設 計大會
實 踐工設 簡介 Graphic Design 視覺設計 Print 印刷品 140x260 mm
Common Difference 合而不同
The 2011 IDA Congress was held in Taipei World Trade Center Nangang Exhibition Hall. The Department of Industrial Design, Shih Chien University (SCID) participated in the exhibition with the theme “Commom Difference”, and I was Team Leader in charge of main visual and graphic design of the department’s exhibition booth.
The main graphic design was also utilized in the SCID brochures. 展場主視覺沿用於實踐工設的系簡介手冊上。
2011 年世界設計大會在台北南港展覽館舉辦，而實踐工
設以合而不同 (Common Difference) 為主題參展，我在這次 展覽中擔任展場主視覺設計組的組長。
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SEAL SCRIPT: IN FOUR SEASONS 篆四季 Graphic Design 視覺設計
Print 印刷品 297x840 297x840 297x840 297x840
mm mm mm mm
According to early rules that created Chinese characters, each character is able to present a unique typography and meaning. Being able to see the rough evolution of each character and the thinking behind its creation is especially interesting in its earliest form – pictograms. Seal script is a transitional script between pictograms and the scripts used today. With seal script, one can see its roots in pictogram, while at the same time find the logic behind the neat organization we see today. I used these characteristics of the seal script to design a series of poster featuring the four seasons, presenting pictures using Chinese characters.
From Shuowen Jeizi (also known as Shuowen, an 2nd-century Chinese dictionary describing different Chinese characters’ form and meaning): sparrow, like a bird leaning on a person. 雀，依人小鳥也。從小、隹。
Shuowen: flower bulb, like leaves under the flower’s receptacle. 苞，艸也。南陽以為麤履。從艸，包聲。 苞，花托下面的葉子。字形採用“艸＂作邊旁，“包＂是聲旁。
根據漢字的造字法則，每一個文字皆能表現出獨特的形與 意，在每一個字元中皆可略見文字的演變與造字的意涵， 這就是象形文字特有的趣味。而小篆是介於圖像化與符號 化之間過渡時期，既能看出造字的源頭，亦有符號化的整 齊邏輯。因此我運用小篆的這些特色，設計出一系列四季 的海報，以文字表現圖畫的趣味。 Shuowen: Nest, a bird on wood. 巢，鳥在木上曰巢，在穴曰窠。從木，象形。凡巢之屬皆從巢。
Lotus 荷，芙蕖葉。從艸，何聲。
2012 / SEAL SCRIPT – IN FOUR SEASONS
Shuowen: leaf, leaf of grass and woods. 葉，艸木之葉也。從艸。
Shuowen:Snow, form through frozen rainwater, floats down from the sky and brings the beauty of ice crystal to the world. 雪，凝雨說物者。從雨，彗聲。
Shuowen: fish, bug in the water; pictogram; fish tail is similar to swallow tail.
Shuowen:Forest, depicted as many “woods”. 森，樹木極多的樣子。字形採用“林、木＂會義。
魚，水蟲也。象形。魚尾與燕尾相似。凡魚之屬皆從魚。
Shuowen:Reeds and Rushes 蒹，雚之未秀者。從艸兼聲。 葭，葦之未秀者。
Shuowen:Deer, a beast whose character looks like the deer’s head, antlers, and four feet. 飛，鳥翥也。象形，鳥振翅而翔。
Shuowen: fly, a bird flapping its wings and soar.
Shuowen:Foot, the lower limbs of human.
飛，鳥翥也。象形，鳥振翅而翔。
足，人的下肢，在人體的下部。
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Using the characters for “sparrow”, “flower bulb”, and “nest” to present the liveliness of spring. 運用了漢字雀、苞、巢，表現出春天的生機無限。
Using themes often found in poems describing summer, the characters for “lotus”, “leaf”, and “fish” present lives in a summer pond. 運用古詩中常見富有夏季意象的漢字荷、葉、魚表現出夏天池塘的生機。
2012 / SEAL SCRIPT – IN FOUR SEASONS
Using themes from poems describing the golden color and the rustling wind of autumn, and transforming the character for “fly” into dragonflies. 運用古詩中富有秋季意象的漢字蒹葭表現秋天時金風吹過的蕭瑟，並將 飛自轉換成蜻蜓的樣子表現出秋天的韻味。
Using the characters for “snow”, “wood”, “deer”, and “foot” to depict the unique vitality found in winter. 畫面中使用漢字雪、木、鹿、足，描繪出蕭索冬天中特有的生機。