THE BEGINNING
Converge The Selected Works of Chung Yu Alex Chen from 2013 to 2016
0
Pressure Point
Chapter 6
Act of Subtraction
Chapter 2
Confluent Visions
Chapter 7
Derivative Joy
Chapter 3
Sounds of the Present
Chapter 8
Double Exposure
Chapter 4
Field of Conversion
Chapter 9
Food for Thought
Chapter 5
Learning from Tradition
Chapter 10
Design is Connection
Chapter 1
THE BEGINNING
Converge The Selected Works of Chung Yu Alex Chen from 2013 to 2016
0
Pressure Point
Chapter 6
Act of Subtraction
Chapter 2
Confluent Visions
Chapter 7
Derivative Joy
Chapter 3
Sounds of the Present
Chapter 8
Double Exposure
Chapter 4
Field of Conversion
Chapter 9
Food for Thought
Chapter 5
Learning from Tradition
Chapter 10
Design is Connection
Chapter 1
THE BEGINNING — CONVERGE
CONVERGE
A designer is always finding invisible connections, spontaneous reactions, and
㶓窕
profound reflections upon things or events. The ability to synthesize and transform personal experience into collective experience — converge —is the essence of design. Improving this process is an endless pursuit for a designer. As a designer, I believe the beaut y of the design is how we interpret great ideas and make it resonate with people. To have a good design, it needs dif ferent per spectives and sometimes cer tain degrees of jux taposi tion. My design is a collective representation of what I have learned, experienced, and how I react to the world. The various projects, learning experiences, and my background converge to create this collection.
• 戔懯䒍者ฎࣁತ疨ᮎ犚፡犋憎ጱ蝫奾牧犖ݶ碻݄懿袅ፗ憽ጱ玱䛑窼ڰጱ蝅段牐戔懯 ጱ螂纷ฎӞ圵ᛔ蛪妿涢ጱ౼玲奲ݳ牧蝚螂竃ศጱ螵蜉ದૣ݄ᣟݳ磪አጱزᔰ牧蝱 ᘒ旉矦౮胼䄪膏य़唰传蝢ጱ褸وݳ澕牐蝡䰬ጱ螂纷ฎྯӞ㮆戔懯䒍᮷殾玱薟娞聜膏 羊蝱ጱ෭ଉ抓氂牐 蛪傶Ӟ㮆戔懯䒍牧౯ፘמ戔懯ጱ፥蘁ࣁෝ౯㮉ই֜藢朰Ӟ㮆మဩ蚤禊盢牧虏ܻ୵ᘒ Ӥጱು虡禊盢虋胼䄪ᤩՈ眤ݑቘ薹牐傶ԧ叨ڊঅጱ戔懯牧戔懯䒍殾胼䄪薪疗ک Ԫᇔ犋ݶጱᶎፘ牧磪碻犖襑ᥝ疥皃㮆፡犲篷橕ጱమဩ㪔ᗝ牧Ԁ蝫୵౮碝ጱ嬝݄眤㵕 ๅग़ጱՈ牐౯ጱ֢ߝ珊匍ԧ౯䌘戔懯ጱݱ圵మဩ牧犖珊匍ԧ膏౯Ӯኴ㵕ጱොୗ牐ಅ 磪ጱ戔懯䌕礯牧犋樌䥁ጱ䋊聜螂纷牧᮷ࣁ蝡֢ߝ褸愊ӞӞ珊匍牐蝡֢ߝ褸牧ฎ
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Ӟ磪橕౯ጱ戔懯螂݄ಅ磪妿涢ጱᔴے膏者牐
THE SELECTED WORKS OF CHUNG YU ALEX CHEN CHAPTER
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THE BEGINNING — CONVERGE
Contents ፓ袅
The Selected Works of Chung Yu Alex Chen from 2013 to 2016
CHAPTER 1
Pressure Point
006
CHAPTER 6
Act of Subtraction
136
CHAPTER 2
Confluent Visions
038
CHAPTER 7
Derivative Joy
162
CHAPTER 3
Sounds of the Present
072
CHAPTER 8
Double Exposure
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CHAPTER 4
Field of Conversion
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CHAPTER 9
Food for Thought
190
CHAPTER 5
Learning from Tradition
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CHAPTER 10
Design is Connection
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P R E S S U R E P O I N T — B R E AT H I N G R E M O R S E F I L M F E S T I VA L
ᒫ Ӟᒍ
YEAR
Fall 2015
碻樌
ԫ̺ ӞԲ牨纩
SKILLS
Visual System, Typography
ದ胼
憙 憽 羬 翄牨ਁ ࣳ 矎 玢 䋊
KEY WORDS
Emotional, Sorrow , Destructed
橕棎ਁ
ग़眤牨珜㰁牨ૄ 瓥
TIMELINE
15 Weeks
碻纷
܈Բ 蝰
CATEGORY
Art Direction, Visual System
獤觊
萬 蔩 瞲 疩牨憙 憽 羬 翄
DELIVERABLES
A Whole Film Festival System
౮ߝ
ਠ 碉 襎 ℄ 憙 憽 羬 翄 现۱ 蕕
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ظ᯾ ේग़ ᐰ牨芛㮖
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瞲疩
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Christopher Morlan
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INSTRUCTOR
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憙憽碉ݳ传蝢
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珅督ఄ襎℄
抓纷ݷ圸
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䌕礯ݷ圸
Integrated Communications
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Breathing Remorse Film Festival
COURSE
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PROJECT
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瓟ێ讨
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抓纷虻懱
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OB JECTIVE
To chose a film director and his selected works to design a comprehensive film
ፓ秂
festival experience. Discover the common thread that appears in each of the director’s films and conceptualize a visual system. Use different design skills to create a cohesive visual and design language throughout the experience.
• 蝚螂螡䢔Ӟݷ疩ᄍ牧㪔Ӭℂ犢ጱ֢ߝӾ䢺玲䢐磪Ӟ揢薪讨ጱ襎羬ڜ牧傶ٌ戔懯Ӟॺ ਠ碉ጱ襎℄珏螲憙憽戔懯牐戔懯䒍殾窼獈݄啻薹疩ᄍጱӾஞమ牧Ӭ疥蝡犚୵ ᘒӤጱమဩ玕傶胼䄪虏Ո斕ฃ眤ݑጱ憙憽犥现向ᶎ牐蝚螂ଘᶎ戔懯牧疥疩ᄍጱ㵕眲襎 牧旉玕౮Ӟॺݢ犥䕃䛑犋ݶ粙ጱ憙憽羬翄牐䌕礯叨ڊ殾۱珀牧ଘᶎ憙憽牧 襎℄蘷獨牧ፘ橕珏螲夵盢ߝ牧夵盢襎ط繕夵盢奲缛缛牐
APPROACH
The director that I chose was Alejandro González Iñárritu, who won two Academy
ොဩ
Awards for Best Director in 2015 and 2016 for his t wo films “Birdman” and “Revenant.” His movies often portray extreme family tragedies to families using great strength and warmth to show how beautiful life is. For five selected films, I shred por traits and used then torn paper to illustrate the destruction in the stories. a The red band symbolizes a violent strike and plight in every story. These elements all converged into the final visual experience.
• ౯螡䢔ጱ疩ᄍฎ㫎稲ઊܓ牨䍫萆ڜ艌牨ն羳ڥ瑽牧犢ጱ֢ߝ̽澆Ո̾现̽ᐟ調糹Ո̾
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ൻ䵼ጱ悳䢗蚤瓟ಪ牧ಅ犥౯蝚螂ඇᏦጱՈᇔ肻猟牧℅皰哟薃ጱ羱ቘ݄珊匍襎愊ጱ
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֕犖ࣁٌӾ珊匍ԧ櫞胼ጱ伩ำ现Ոࣁᶎ䌘臒櫞ಅ䢐磪ጱ覩牐ࢩ傶犢ጱ襎獅笕ԧ
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DIRECTOR
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Alejandro G. Iñárritu
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C O N F L U EN T V I S I O N S — N A S A , T H E N E X T G I A N T L E A P
粬牨শ 博
YEAR
Spring 2016
碻樌
ԫ̺ Ӟم牨ช
SKILLS
Brand Identity, Design Strategy
ದ胼
ߝ 粞 蘷 獨牨戔 懯 ᒽ ኼ
KEY WORDS
Modern, Clean, Flexible
橕棎ਁ
匍 դ牨竃 ศ牨覄 ၚ
TIMELINE
15 Weeks
碻纷
܈Բ 蝰
CATEGORY
Logo Design, Manual Design
獤觊
秂 扮 戔 懯牨秂 伛 憒 ᒍ 戔 懯
DELIVERABLES
A Design Manual and Website
౮ߝ
戔 懯秂 伛 憒 ᒍ现 翕 ᒊ
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瞲疩
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Hunter Wimmer
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抓纷虻懱
INSTRUCTOR
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CL ASS INFO
蘷獨ጱ搡
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䐔碝ጱ蛚蝱
抓纷ݷ圸
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䌕礯ݷ圸
The Nature of Identity
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NASA, The Next Giant Leap
COURSE
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PROJECT
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وᣟጱ氎ว
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Confluent Visions
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PROJECT INFO 䌕礯虻懱
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C O N F L U EN T V I S I O N S — N A S A , T H E N E X T G I A N T L E A P
OB JECTIVE
To chose a defunct or dying brand and redesign its brand identity to fit a future
ፓ秂
vision. Researches about the brand history, analyze possible future audiences, and structure the future vision and brand direction. The main goal is to create a fresh visual identity which follows the soul of the brand and helps the brand to turn a new leaf for its new vision.
• 螡Ӟ㮆ྋᶎ屷獚犜Ӟ犋瞺ጱߝ粞傶ٌᘍ碝ጱߝ粞㰷꧊现ොݻ牧㪔Ӭ戔懯Ӟ ॺ碝ጱ蘷獨羬翄蟴ݳ碝ጱߝ粞蚎ݻ牐戔懯䒍殾蝚螂य़ᰁጱ胙วᎸ绗ԧ薹扗ߝ粞ጱ 稲ݥ牧戔懯ڊᒧݳ扗ߝ粞羊ᐟጱ碝蚎ݻ碝憙憽牐Ԇᥝጱ䜗ࣁෝ᯿碝戔懯Ӟॺๅ অጱ蘷獨羬翄牧傶᯿य蝨ጱߝ粞୵虡矮樄䐔碝ጱӞ殷牐
APPROACH
The brand that I chose was NASA. After the Space Race and Apollo Moon Landing
ොဩ
Project, NASA started to lose its importance for the US government and in people’s minds. However, with the new goal of landing on Mars, the passion and desire of exploring space are being revived. And also, NASA needs a new identity to better reflect its current place and its future goal. I chose simplify the current “Meat Ball” logo and brings some sense of the classic “The Worm” logo. The idea is to show a sense of “The Next Giant Leap” in an abstract way, to reflect the soul of NASA which aims to “Reveal the unknown, reaching the new height and benefit all humankind.”
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绫繸櫞ᤈ牐簁ᘒ磧蜱ጱ箛จጭ褢懯向牧᯿碝籒蚏य़唰䌘ෝ๚Ꭳਜਦጱ籆眐膏㽷ஃ牐疥
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S O U N D S O F T H E P R E S E N T— AU D I O C A M P O A P P
ᒫӣᒍ
ਞ牨 ظჴ 罡 ۦ
YEAR
Fall 2015
碻樌
ԫ̺ ӞԲ牨纩
SKILLS
UX/UI, User Research
ದ胼
ֵ አ ᘏ Օ ᶎ 现 妿 涢牨ֵ አ ᘏ Ꮈ 绗
KEY WORDS
Calm, Organic, Fresh
橕棎ਁ
ଘ 覌牨磪 秚牨竃 碝
TIMELINE
15 Weeks
碻纷
܈Բ 蝰
CATEGORY
UX/UI, Application Design
獤觊
ֵ አ ᘏ Օ ᶎ 现 妿 涢牨䛑 አ 戔 懯
DELIVERABLES
A Mobile Application
౮ߝ
ಋ 秚䛑 አ纷ୗ
10
瞲疩
9
Anne Kitzmiller
8
INSTRUCTOR
7
㵕戔 懯ጱ搡
6
ᶪ 毱绚樌 䛑 አ纷ୗ
抓纷ݷ圸
5
䌕礯ݷ圸
Nature of Interaction
4
AudioCampo App
COURSE
3
PROJECT
2
肔肯ጱ吚ӥ
1
Sounds of the Present
CHAPTER 0
3
THE SELECTED WORKS OF CHUNG YU ALEX CHEN
CHAPTER 3
CL ASS INFO
抓纷虻懱
PROJECT INFO 䌕礯虻懱
073
S O U N D S O F T H E P R E S E N T— AU D I O C A M P O A P P
OB JECTIVE
To create a mobile application that solves a particular problem. Demonstrate the
ፓ秂
ability to go through the UX/UI design process which includes conducting user research, generating the application concept, preparing various prototypes, user testing, and designing the application with one complete user flow.
• 戔懯Ӟ㮆ݢ犥薹究匍磪㺔氂ጱಋ秚䛑አ纷ୗ牐戔懯䒍殾疻匍磪珿ෝ蒂ቘֵአᘏ妿涢 犥现ֵአᘏՕᶎ戔懯ጱ胼ێ牧㪔Ӭ胼䄪嘦䋿䁆ᤈֵአᘏጱᎸ绗藲礚牧䢐磪অጱ戔懯窕 纷牧蕣֢℅ܻࣳ牐䌕礯ጱ౮ߝฎӞ㮆胼䄪疻纈ֵአ窕纷ጱಋ秚䛑አ纷ୗ牐
APPROACH
The problem that I tackle is people in America spending too much time staring
ොဩ
at the screens of their digital devices ever y day. Most of people spend hours browsing social feeds to gain the sense of being connected to other people. My design solution is to create an audio-based social media that encourages people to experience the world through sound. People can record an ambient sound of a special moment that they don’t want to forget, document, share, and also listen to other people’s recordings. I believe, with sound, everything becomes more intimate and people can enjoy the social network in another, perhaps more present and connected way.
• ౯螡䢔蒂ቘጱ捍氂ฎ磪橕聅㾴Ոྯॠ臺ॡग़碻樌倵薩ᐒᗭ翕ᒊӤᶎጱ虻懱ᘒ虏ኞၚ० ݄ԧ礓圵፥䋿牧犖虏战ग़Ո磪ԧ憙憽虻懱ᆌ眾ጱ眐୵牐य़蟂獤ጱՈ倵薩ᐒᗭ翕ᒊጱ 10
ܻࢩԏӞฎమ蝚螂薪፡犢Ոጱ෭ଉ㬵糷玲ᮎ圵膏犢Ո蝫奾ጱ眤憽牐ࢩ種౯戔懯ԧӞ稠
8 7
猟傶斔牧य़脲胼蝚螂肨ᶪᘒ䌘犢Ոጱኞၚ䨝磪ๅग़మ猟绚樌牧犖蜱ԧ礓圵Ո膏Ո ጱ蚣櫝牐
OUTCOME
AudioCampo project was selected and featured in Interaction Gallery on Behance
074
CHAPTER 0
1
2
3
4
5
獨Ոጱ袅ᶪ㬵眤ݑ吚ӥ牧犖ݢ犥蝚螂袅ᶪ݄懿袅ྯӞ㮆櫞盛ጱ碻ڰ牐吚犥肨ᶪ傶Ԇ牧
6
9
犥肨ᶪ傶Ԇᥝ传蝢甿Օጱጱಋ秚䛑አ纷ୗ牐ֵአᘏݢ犥蝚螂袅蕣珏螗ጱ絑हᶪ牧肯玲
౮ຎ
In
since September 2016.
• AudioCampo䌕 礯 ෝ ԫ ̺ Ӟ مଙ Ԝ ์ ᤩ 螡 獈 㪔 ږጭ ࣁ % H K D Q F H 㵕 戔 懯 䌕 玟
THE SELECTED WORKS OF CHUNG YU ALEX CHEN CHAPTER 0 1
2
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075
076
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THE SELECTED WORKS OF CHUNG YU ALEX CHEN CHAPTER 0 1 2 3 4 5 6 7 8 9 10
AudioCampo The audio-based social media that allows you to experience the world through sounds.
077
078
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THE SELECTED WORKS OF CHUNG YU ALEX CHEN CHAPTER 0 1
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079
S O U N D S O F T H E P R E S E N T— AU D I O C A M P O A P P
Record
Record and explore the world through sounds.
Listen
Listen to people’s recordings and experience different times and places through sound.
Share
080
CHAPTER 0
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Share your recording to your close friends and let them experience what you just experienced.
THE SELECTED WORKS OF CHUNG YU ALEX CHEN CHAPTER 0 1
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082
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Audio Feed
Collect and share the sound that you don’t want to forget.
083
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Easy to Post a Feed
Post your recording right away with four simple steps.
S O U N D S O F T H E P R E S E N T— AU D I O C A M P O A P P
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S O U N D S O F T H E P R E S E N T— AU D I O C A M P O A P P
Bring People Closer
088
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Send intimate messages to your close friends through this inbox function. It’s easy to manage all your personal recordings.
THE SELECTED WORKS OF CHUNG YU ALEX CHEN
Fun to Listen Comfortable visual system that enables the enjoyment of the world of sounds.
CHAPTER 0 1 2 3 4 5 6 7 8 9 10 089
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F I EL D O F C O N V ER S I O N — I N T E R F L OW D E S I G N C O N F E R E N C E
ᒫࢥᒍ
夹 ᘆz瓺 粬 凟 毉
YEAR
Fall 2014
碻樌
ԫ̺ Ӟ牨纩
SKILLS
Visual System, Typography
ದ胼
憙 憽 羬 翄牨ਁ ࣳ 矎 玢 䋊
KEY WORDS
Playful, Colorful , Dynamic
橕棎ਁ
蚕 ޱ牨ग़ 牨ኞ 㵕
TIMELINE
5 Weeks
碻纷
Բ蝰
CATEGORY
Event Design, Visual System
獤觊
ၚ 㵕 戔 懯牨憙 憽 羬 翄
DELIVERABLES
A Visual System for the Conference
౮ߝ
抷䃧ၚ㵕ጱ憙憽羬翄
10
瞲疩
9
John Nettleton
8
抓纷虻懱
INSTRUCTOR
7
CL ASS INFO
ਁ ࣳ 矎 玢羬 翄
6
㶓窕戔懯抷䃧
抓纷ݷ圸
5
䌕礯ݷ圸
Type Systems
4
Interflow Design Conference
COURSE
3
PROJECT
2
虋矦ጱ䁰ऒ
1
Field of Conversion
CHAPTER 0
4
T H E S EL E C T ED W O R K S O F C H U N G Y U A L E X C H EN
CHAPTER 4
PROJECT INFO 䌕礯虻懱
093
F I EL D O F C O N V ER S I O N — I N T E R F L OW D E S I G N C O N F E R E N C E
OB JECTIVE
To create a hypothetical design conference and design a holistic visual system for
ፓ秂
it. Show the ability to create a sophisticated visual concept that matches aim of the conference. The goal is not only to challenge a designer’s ability to demonstrate conceptual and visual design skills but also to demonstrate typography skill all in a highly flexible design system which fits the need of a design conference.
• 獺蝨Ӟ㮆మጱ戔懯抷䃧牧㪔Ӭ傶ٌᰁ蛪蝨Ӟ㮆ਠ碉ጱ憙憽羬翄牐戔懯䒍殾疻౮ ᆧጱ戔懯姘牧螭磪疥禊盢憙憽玕ጱ胼ێ牐䌕礯ጱፓ秂犋㰍ྊෝ叨ڊ磪率䋿姘च器 ጱ戔懯牧螭殾疻匍绐؋ጱਁࣳ矎玢䋊ದૣ牧犥现獺蝨ڊ胼䕃ᒧݱݳ圵抷䃧ၚ㵕襑 ᥝጱ憙憽戔懯羬翄牐
APPROACH
I created a design conference called Interflow Design Conference a design talk
ොဩ
series that gathers people in different fields to share their creative process and inspirations. The speakers are not only from fields of design and visual arts, but also in the music industr y, podcast media, publication, and industrial design. Circles, stripes, and different colors are meant to represent different creative ideas that interconnect and flow together to represent this inspirational event.
• ౯獺蝨ԧӞ㮆ݷ傶̿㶓窕̀ጱ戔懯抷䃧牧扗抷䃧螩藶ԧݱ㮆覿ऒጱ拻ᘏ݄懵抷犢㮉ጱ 獺֢螂纷犥现覄眤㬵რ牐拻ᘏ۱珀ԧ憙憽覿ऒ牧ᶪ禼叨禂牧盠砮甿誢牧ڊ粚禂螭磪ૡ 禂戔懯牧犥ग़زጱԆ氂虏ݱ圵獺Ի窕ࣁӞ蚏牐戔懯Ӥ牧螀አԧग़ጱ皃֜瑽୵牧 10
ፘԻ吩݄珊匍ग़زԻ窕ጱ虡牧蝡䰬ጱ瑽୵奲ݳ犖胼ᛔኧ瑿݄蟴ݳ犋ݶጱ戔懯ߝ殻牧
4
౮ຎ
Interflow Design Conference project was a winning entry of 2016 Print Regional
AIGA
Design Annual in Print Magazine. It was featured in the RDA 2016 (Winter Issue) of Print magazine.
CHAPTER 0
1
2
OUTCOME
3
5
6
7
8
9
覄ၚ䛑አࣁ碉㮆抷䃧ਯ㯽珏螲Ӥ牐
• ̽戔懯㶓窕抷䃧̾䌕礯ᤩ聅㾴3ULQW褾扮螡獈 玟ऒ戔懯ଙ裬ጱ糷糫֢ߝ牧֢ߝᤩ ږጭෝ3ULQW褾扮٧疄玟ऒଙ裬ԏӾ牐
• Interflow Design Conference project was selected and featured in AIGA Member Gallery in Behance since October 2015.
• ̽戔懯㶓窕抷䃧̾䌕礯ෝԫ̺ӞԲଙᤩ์܈螡獈㪔ږጭࣁ%HKDQFH 聅㾴ଘᶎ萬蔩㶧
094
䨝䨝㹓萬ୁ䌕玟牐
T H E S EL E C T ED W O R K S O F C H U N G Y U A L E X C H EN CHAPTER 0 1
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FIELD OF CONVERSION — INTERFLOW DESIGN CONFERENCE
THE SELECTED WORKS OF CHUNG YU ALEX CHEN CHAPTER 0 1
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098
FIELD OF CONVERSION — INTERFLOW DESIGN CONFERENCE
THE SELECTED WORKS OF CHUNG YU ALEX CHEN
099
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F I EL D O F C O N V ER S I O N — I N T E R F L OW D E S I G N C O N F E R E N C E
THE SELECTED WORKS OF CHUNG YU ALEX CHEN
101
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F I EL D O F C O N V ER S I O N — I N T E R F L OW D E S I G N C O N F E R E N C E
T H E S EL E C T ED W O R K S O F C H U N G Y U A L E X C H EN CHAPTER 0 1
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FIELD OF CONVERSION — INTERFLOW DESIGN CONFERENCE
THE SELECTED WORKS OF CHUNG YU ALEX CHEN CHAPTER 0 1
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106
CHAPTER 0
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every connection is a good possibility
THE SELECTED WORKS OF CHUNG YU ALEX CHEN CHAPTER 0 1
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FIELD OF CONVERSION — INTERFLOW DESIGN CONFERENCE
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L E A RSELECT N I N G FED R OWORKS M T R A DOF I T I CHUNG O N — W OY U R DALE BYXWCHEN ORD
ᒫԲᒍ
YEAR
Summer 2014
碻樌
ԫ̺ Ӟ ࢥ牨瓲
SKILLS
Letterpress, Typography
ದ胼
ڈ粚 玢 ڬ蔩牨ਁ ࣳ 矎 玢 䋊
KEY WORDS
Classic, Elegant, Tactual
橕棎ਁ
妿 َ牨褷 翭牨 珀 藉 眤
TIMELINE
5 Days
碻纷
Բॠ
CATEGORY
Print, Letterpress
獤觊
玢 ڬ牨 ڈ粚 玢 ڬ蔩
DELIVERABLES
Letterpress Literature Sets
౮ߝ
ڈ粚 玢 ڬ䋊 ॺ 奲
CL ASS INFO
抓纷虻懱
PROJECT INFO 䌕礯虻懱
119 023
博 讀z苟 凟 盓
10
瞲疩
9
Mary Laird
8
INSTRUCTOR
7
笔 ᒻ ڈ粚 玢 ڬ蔩
6
ਁਁݙݙ
抓纷ݷ圸
5
䌕礯ݷ圸
Cylinder Core at SFCB
4
Word by Word
COURSE
3
PROJECT
2
ݻ㯽翄ದ萬䋊聜
1
Learning from Tradition
CCHAPTER HAPTER 0
5
T H E S E LED SELECT E CWORKS T E D W OOF R KCHUNG S O F C HYUUNALE G YU X CHEN ALEX CHEN
CHAPTER 5
L E A RSELECT N I N G FED R OWORKS M T R A DOF I T I CHUNG O N — W OY U R DALE BYXWCHEN ORD
OB JECTIVE
To learn and practice the technique of letterpress. Present the ability to execute
ፓ秂
letterpress projects and to know the tradition of letterpress. The goal is to present the essence of literature and the beauty of quotes from great authors by using typography and letterpress’ particular design capabilities.
• 䋊聜㪔Ӭ蝚螂䋿褬砺֢݄啻薹磪橕ڈ粚玢ڬጱᎣ蘷现ದૣ牐戔懯䒍殾疻匍加缏䁆ᤈ ڈ粚玢ڬጱ砺֢胼ێ牧㪔Ӭ獅獤ቘ薹ၚ粚玢ڬጱच器Ꭳ蘷现䛑አ牐䌕礯ጱፓ秂ࣁෝၚ አਁࣳ矎玢ጱದૣ膏Ꭳ蘷牧蟴ڈݳ粚玢ڬ粬磪ጱ硳ຎ݄珊匍֢ᘏጱݷ牧犥现䋊֢ ߝጱ൹袅现蔭匍牐
APPROACH
By taking the advantage of the special texture that letterpress can make, create
ොဩ
a literature print series. These prints are classic quotes from significant writers, singers, and influential designers. The content is meant to be as timeless as traditional letterpress technique.
• ̽ਁਁ̾ݙݙฎӞ㮆ڈ粚玢ڬ现䋊傶Ԇ氂ጱ֢ߝ羬ڜ牐蝚螂֢ᘏጱݷ牏硲Ԫጱ൹ 袅膏苚玲牏螕獥瑽砇蟴牧疥ଘᶎ戔懯犥现䋊褂捝Ӭওጱ奾ݳ牐蝚螂獅笕奞℄膏藉
10 10
౮ຎ
Word by Word project was selected and featured in AIGA Member Galler y on Behance since June 2015.
AIGA
•
66
㹓 萬 ୁ 䌕 玟 牐
023 120
CHAPTER 0 CHAPTER
11
22
33
44
̽ਁਁ̾ݙݙ䌕礯ෝԫ̺ӞԲ牨ᤩ์م螡獈㪔ږጭࣁ%HKDQFH聅㾴ଘᶎ萬蔩㶧䨝䨝
55
77
88
OUTCOME
99
眤ጱڈ粚玢ڬ牧癲覿薪ᘏℂ۲盜ጱ碍֖碻դࢧک聲窔ಋૡ碻դጱ眸覄諃牐
T H E S E LED SELECT E CWORKS T E D W OOF R KCHUNG S O F C HYUUNALE G YU X CHEN ALEX CHEN
CCHAPTER HAPTER 0
1
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3
4
5
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ᒫ مᒍ
夹 ᘆz瓺 粬 凟 毉
YEAR
Fall 2014
碻樌
ԫ̺ Ӟ ࢥ牨纩
SKILLS
Visual System, Typography
ದ胼
憙 憽 羬 翄牨ਁ ࣳ 矎 玢 䋊
KEY WORDS
Modern, Clean, Organized
橕棎ਁ
匍 դ牨竃 ศ牨磪ଧ
TIMELINE
6 Weeks
碻纷
م蝰
CATEGORY
Annual Report Design
獤觊
ଙ䁭蔭戔懯
DELIVERABLES
A 52-page Annual Report
౮ߝ
Բ܈ԫ殷ଙ 䁭 蔭
10
瞲疩
9
John Nettleton
8
INSTRUCTOR
7
ਁ ࣳ 矎 玢羬 翄
6
ᩱ 磥 罡 ۦ獍ݪଙ 䁭 蔭
抓纷ݷ圸
5
䌕礯ݷ圸
Type System
4
Herman Miller Annual Report
COURSE
3
PROJECT
2
仂ဩ
1
Act of Subtraction
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CL ASS INFO
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PROJECT INFO 䌕礯虻懱
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OB JECTIVE
To choose a company’s annual report and redesign it. Show the ability to follow
ፓ秂
the design language of the brand and establish a cohesive visual communication in typography, tables, and charts. The goal is to deconstruct the design language and reconstruct it into an integrated, newly envisioned annual report.
• 螡䢔Ӟ樌獍ݪ傶ٌ戔懯碝ጱ獍ݪଙ䁭蔭牐䌕礯ጱ᯿讨ࣁෝ薪疗㪔ୌ缏Ӟॺਠ碉憙憽 羬翄牧胼䄪皤ڊ碝ጱ瑽蔭现碍硁虻懱䕍碉牐ই֜蝚螂ਁࣳ矎玢ܨ矎粚ದૣ氥獍 ݪጱ 藲 犥 现 ܻ ጱ 戔 懯 زᔰ 傶 䌕 礯 ጱ Ӟ य़ ᯿ 讨 牐 磧 盅 ጱ ౮ ߝ ฎ Ӟ 52殷 ጱ 獍 ݪ ଙ䁭蔭牐
APPROACH
The company that I chose was Herman Miller. It is not only a manufacturer in
ොဩ
design field but also a well-credited company that contributes to introducing modernism to people’s lives by designing great furniture. I tried to keep the design and layout as simple as possible. The major challenge: considering every element in the spread and trying to subtract the component without functional purposes. The process of redesigning the annual repor t was ver y similar to learn from so many great designers who have work with Herman Miller. The project provided the opportunity to learn from many great designer as well as a sort of pilgrimage to a good company with great design.
• ౯ 螡 䢔 ጱ մ 禂 ฎ ᩱ 磥 罡 ۦ獍 ( ݪHerman Miller)扗 獍 ݪฎ 聅 㾴 Ꭳ ݷጱ 猐 ק蕣 蝨 珶 牧 犖 ฎ 磧疥匍դԆ嬝戔懯疩獈聅㾴ጱ叨ߝ獍ݪԏӞ牐战ग़稲ݥӤ㯽॰ጱ戔懯䒍㷢膏ٌӾ牧
9 8 7
猻֖ضᗝ傶種䌕礯磧य़ጱ䜗牐碉㮆᯿碝戔懯ጱ螂纷ٌ䋿觊犲ෝӞ䁰ݻय़䒍䋊聜ጱ癧 因牧ฎᛔ૩ࣁᎸ绗ಅ褩ྦྷ盄᯿ᥝጱӞྦྷ妿涢牐
OUTCOME
Word by Word project was selected and featured in AIGA Member Galler y on
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承皤کଙ䁭蔭ጱ戔懯吚Ӿ牐ই֜疥瑽蔭墋㻌竃ศጱ珊匍㪔Ӭ疥ۑ胼现ፓጱ硎ࣁ
6
10
ই 㻊 လ 疴 凟 祜 (George Nelson)礚 凟 ේ 膏 襊 牨 ն ঢ ේ (Charles & Ray Eames)犢 㮉 ಅ 戔 懯ጱ猐ࣁק稲ݥӤ櫍牧犖傶匍դԆ嬝戔懯樄珸ԧӞ螇皐艾牐౯䌕ဳ疥扗獍ݪጱ戔懯
Behance since June 2015.
ොဩ
AIGA
• ̽ਁਁ̾ݙݙ䌕礯ෝԫ̺ӞԲ牨ᤩ์م螡獈㪔ږጭࣁ%HKDQFH聅㾴ଘᶎ萬蔩㶧䨝䨝
138
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D E R I VAT I V E J O Y — YA K I N I Q C A F É , TA B L E C A R E S Y S T E M
ᒫ犊ᒍ
粬牨শ 博
YEAR
Spring 2014
碻樌
ԫ̺ Ӟ ࢥ牨ช
SKILLS
Visual System, Visual Communication
ದ胼
憙 憽 羬 翄牨憙 憽 传 蝢
KEY WORDS
Playful, Characteristic , Humorous
橕棎ਁ
蚕 ޱ牨㮆 牨ଟ 认
TIMELINE
5 Weeks
碻纷
Բ蝰
CATEGORY
Visual System, Illustraion
獤觊
憙 憽 羬 翄牨矠 向
DELIVERABLES
Pamphlet, App, Postcards, Posters
౮ߝ
ੜ㲘牨ಋ 秚 蝿 瞁牨ก מ粙牨ၹ 䁭
10
瞲疩
9
Hunter Wimmer
8
INSTRUCTOR
7
憙憽ᔰ訅
6
㫎॰疴 ߅ ݢ珹 ମ 眢 虁 礰ৼ羬 ڜ
抓纷ݷ圸
5
䌕礯ݷ圸
Visual Literacy
4
YakiniQ Café, Table Care System
COURSE
3
PROJECT
2
ᤉኞጱ禼蚕
1
Derivative Joy
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D E R I VAT I V E J O Y — YA K I N I Q C A F É , TA B L E C A R E S Y S T E M
OB JECTIVE
To find a hand drawing sign and redesign it. The designer needs to find out of the
ፓ秂
intention of the sign and create a design system to serve the intention. The goal is to use graphic design skill to improve the visual communication of the sign and transform it into the next level.
• ತӞ㮆ፓጱก嘦ጱಋ媑ޞ纈粞傶ٌ戔懯Ӟॺଘᶎ憙憽羬翄牧蝚螂硬臑虏ਙๅਠ聅瑿螈 ܻکጱ藗穩牐䌕礯ጱፓጱࣁෝ蝚螂ଘᶎ戔懯ጱᎣ蘷膏ದૣ݄ी蝱෭ଉኞၚӾጱޞ纈 憙憽蔭螈犋ก嘦ጱ耬०牐
APPROACH
I found a sign that asks people not do any thing harmful to the table and other
ොဩ
furniture in a cof fee shop. I decided to use personification bring the sense of humor to the design. The final deliverables are a table pamphlet, a mobile application game poster series, and postcards.
• ౯ࣁӞ樌߅珹皣愊ತӞ㮆磭ਮՈ珿盃ମ獉疑ٍጱޞ纈牐౯究ਧአ硈Ոጱොୗ疥ମ獉 ጱ礰༗癲獈掘ጱ薫ᜋ㬵ीႲਮՈጱݶቘஞ戔懯ጱଟ认眤牐磧盅ጱ֢ߝ叨ڊฎӞ
164
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䨗礰硲Ԫಋ㲘牧Ӟ㮆ಋ秚蝿瞁牧ଟ认眤܈᪃ጱၹ䁭กמ粙奲牐
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D O U B L E E X P O S U R E — M U S I C P O S T E R : YO U T H
ᒫ獌 ᒍ
ݥԄڥ牨蜢 ֓
YEAR
Spring 2015
碻樌
ԫ̺ ӞԲ牨ช
SKILLS
Photography, Typography
ದ胼
憙 憽 羬 翄牨ਁ ࣳ 矎 玢 䋊
KEY WORDS
Blue, Drifting, Colliding
橕棎ਁ
睈 渨牨笖 窕牨悳 ඊ ጱ
TIMELINE
3 Weeks
碻纷
ӣ蝰
CATEGORY
Art Direction, Photography
獤觊
萬 蔩 瞲 疩牨硢
DELIVERABLES
A Music Poster
౮ߝ
ᶪ禼ၹ䁭
10
瞲疩
9
Stanley Zienka
8
INSTRUCTOR
7
ਁࣳ矎玢䋿涢
6
ᶪ 禼 ၹ 䁭物覇 ช
抓纷ݷ圸
5
䌕礯ݷ圸
Type Experiments
4
Music Poster: Youth
COURSE
3
PROJECT
2
᯿฿
1
Double Exposure
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D O U B L E E X P O S U R E — M U S I C P O S T E R : YO U T H
OB JECTIVE
To choose a song and create a music poster by using analog projector photography
ፓ秂
skills. Prepare various objects, such as celluloid films, glass, translucent paper and even different kinds of liquid, to construct an interesting image on an analog projector. The goal is to pull a designer out of the comfort zone and be confident to generate the imagery manually and creatively.
• 螡䢔ӞḒ稧牧簁盅蝚螂觊穉猟᯿吩ጱොୗ݄蕣֢Ӟ皰ᶪ禼ၹ䁭牐戔懯䒍殾ᛔᤈ伛 猋ग़زጱᇔկ牧ֺই搴ኀኀ粙牏ቄቼ牏蝚กጱ℅皰牏犥现犋ݶ硳ຎጱ႖誢牧ࣁಭ 秚Ӥܨ岉೪仡牧㬵ਠ౮Ӟ皰ᶪ禼ၹ䁭牐䌕礯ጱፓጱࣁෝ虏戔懯䒍䧙碻脒櫝ࣁ襎脲Ӥ֢ 禂ጱᛥ螕瑹牧᯿蜴ಋ֢膏觊穉ጱܨ岉戔懯牐
APPROACH
The song that I chose was Youth, by the band Daughter. It is about the retrospect
ොဩ
of collisions, losses, gains, loves, and regrets of youth. I used different symbols to compose rhythm-like patterns which represent to the drums and bass. Printed celluloid films compose poetic images which reflect the mood of the song. The final deliverable was an 18*24 inch music poster.
• ౯ಅ螡䢔ጱ稧ใฎ穇㱾禼㿁ጱ̽覇ช̾牧稧ใ珊匍ԧ䌘ෝଙ斕ᇰጱࢧ觎䔡盢牧ᮎ 犚傶ԧ眤眐匍䋿ጱ悳ඊ牧螭磪ಅ磪眉簁舙०ጱ㰁眤牧᮷蝚螂ӞӞၶ匍牐౯ֵአ ԧय़ᰁጱᒧ蒈奲౮ԧ磪℄ॵጱ瑽礯牧݄䛑觓໒䔶篇ጱἩ肨牐犖አԧ盄ग़搴ኀኀ粙
17 8
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ጱ猟᯿吩݄玱䛑碉Ḓ稧ጱ穢瑻眐姼牐
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F O O D F O R T H O U G H T— S T E A M M AG A ZI N E
ᒫԜ ᒍ
ਞ 盓 湗牨嬄 ᔱ
YEAR
Spring 2014
碻樌
ԫ̺ Ӟ ࢥ牨ช
SKILLS
Layout, Typography
ದ胼
矎 粚牨ਁ ࣳ 矎 玢 䋊
KEY WORDS
Open, Contrast , Concise
橕棎ਁ
樄 硯牨䌘穉牨墋 笰
TIMELINE
5 Weeks
碻纷
Բ蝰
CATEGORY
Magazine Design, Visual System
獤觊
褾 扮 戔 懯牨憙 憽 羬 翄
DELIVERABLES
A Food Magazine
౮ߝ
Ӟ 觶 觬 褾 扮 手 褂
10
瞲疩
9
Andrew Loesel
8
INSTRUCTOR
7
ਁࣳ矎玢奲ݳ
6
荑褾扮
抓纷ݷ圸
5
䌕礯ݷ圸
Type Composition
4
Steam Magazine
COURSE
3
PROJECT
2
觬蘷
1
Food for Thought
CHAPTER 0
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OB JECTIVE
To create a hypothetical magazine and direct a visual concept based on the
ፓ秂
specific subject. Show the ability to create a cohesive layout which can flexibly fit with various contents. Execute the concept of visualization. The goal is to have complete elements for the magazine which include at least five different articles, table of contents, chapter openers, and a fully designed cover.
• 獺蝨Ӟమጱ褾扮牧簁盅礬硁褾扮۱ጱԆ氂݄ګਧӞॺፘ橕ጱ憙憽禊盢牐戔懯䒍 殾獅獤疻匍磪矎粚ጱ奲而胼ێ牐褾扮矎粚䛑扗ࣁग़䰬ጱۑ胼蝫媲ԏ樌螈ک䕃 虋玕ጱଘᤍ牐Ԇᥝጱፓ秂ฎ疥褾扮ጱԆ礍䯤戔懯ਠ౮牧۱珀犋ݶ觊ࣳጱᒍ獉牧 ᒍ℄殷牧ፓ袅犥现ᶎ牐
APPROACH
Steam Magazine has three dif ferent sections. “ The Preparation” guides the
ොဩ
audience to learn practical skills in cooking. “The Main Dish” illustrates stories and information about food ingredients. “The Last Order” shows the transformation from food to literature which allows experiencing a spiritual feast through words and sentences.
• ౯螡䢔ԧ犥觬ᇔ傶Ԇ氂ጱ褾扮牧㪔Ӭݷ傶̽荑褾扮̾牐蝚螂荑穥ಅ㯽螈ጱ籆ଶ现 伩ำ݄珊匍䌘觬ᇔጱ籆眐మ磭牐荑褾扮ጱ禊盢ࣁෝ݄珊匍犋ݶ磪橕觬ᇔጱᶎᨩ牐 扗褾扮磪ӣ㮆蟂獤物̿猋碘̀拻蝄ጱฎ磪橕伛猋Ӟ螇碘ቘጱᎣ蘷膏ದ胼牐̿Ԇ訇̀㳷 ฎ蝚螂ᒍՕ奧粬ਧጱ觬Ꭳ蘷膏玕脁妏牐̿磧盅ے讨̀㳷手瑽蝚螂觶觬䋊݄伩
6
౮ຎ
Steam Magazine project was selected and featured in AIGA Member Galler y on Behance since May 2015.
• ̽荑褾扮̾䌕礯ෝԫ̺ӞԲଙԲ์ᤩ螡獈㪔ږጭࣁ%HKDQFH聅㾴ଘᶎ萬蔩㶧䨝䨝 㹓萬ୁ䌕玟牐
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觼ஞ覄䌘觬ᇔ现Ոጱ竑穩牐蝚螂ӣ㮆犋ݶጱ缰ᒍ牧݄螈ک蛪ஞ覄ጱ聅觬診牐
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MFA Thesis
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“Books are a social substitute; you read people who, at one level, you’d like to hang out with.”
— David Lipsky
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Design is Connection
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戔懯牨蝫奾
PROJECT
Tome
䌕礯ݷ圸
7R P H
COURSE
Thesis 1,2,3
抓纷ݷ圸
抷 Ӟ牨ԫ牨ӣ
INSTRUCTOR
Anthony Jagoda, Carolina De Bartolo
瞲疩
ਞ 䩚 疴牨揿ິ 螈牏ܜ嬄 ቧ 羳牨૬ 粬 嬄
CL ASS INFO
抓纷虻懱
य़ 蔫牨ᘍ 粬 শ 凟牏苌 凟牨ߢ ঢ 襊 粬
Dave Gottwald, Phil Hamlett, Fall 2014—Fall 2015
碻樌
ԫ̺ Ӟ ࢥ牨纩 ᛗ ԫ̺ ӞԲ牨纩
SKILLS
Visual System, Typography, Strategy
ದ胼
憙 憽 羬 翄牨ਁ ࣳ 矎 玢 䋊牨戔 懯 ᒽ ኼ
KEY WORDS
Motivate, Share, Connect
橕棎ਁ
珸 咳牨獤Ձ牨蝫 奾
TIMELINE
1 Year
碻纷
Ӟଙ
CATEGORY
Application Design, UX/UI
獤觊
䛑 አ 戔 懯牨ֵ አ ᘏ 妿 涢 现Օ ᶎ 戔 懯
DELIVERABLES
MFA Thesis Collections
౮ߝ
Ꮈ 绗 ಅ 抷 ֢ߝ 者 薩
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OB JECTIVE
A master’s thesis project is a year-long exploration of a chosen topic that identifies
ፓ秂
problems in the world. The purpose of the thesis is to find ways that graphic design can be used to address the problem and implement a possible solution that demonstrates unique design thinking. This includes a variety of in-depth research techniques, strategies, explorations, development and execution of deliverables.
• Ꮈ绗ಅ抷ฎӞ㮆傶๗ӞଙጱԆ氂矐ᔱ牐Ꮈ绗ኞ殾螡䢔Ӟ㮆ᛔ૩磪岉蚕ጱ捍氂牧ತ ڊ匍磪ጱ㺔氂牧蝚螂ଘᶎ戔懯ጱොୗತک薹ᒼ牐螂纷Ӿ牧Ꮈ绗ኞ殾疻匍窼獈ጱᎸ绗 ದૣ牧奲而现戔ਧ薹究ᒽኼ牧㪔Ӭ盔皈䁆ᤈፘ橕ጱ戔懯叨ᇔ牐
APPROACH
I was intrigued by the topic of “How to encourage more people to read printed
ොဩ
books.” After research and interviews, I found the most effective way to motivate people to read is to increase the sense of being connected to other people. So I created a share-economy based application which rebuilds the connection bet ween books, social media, and people. The application is called Tome — a platform that connects real people to real books.
• ࢩ傶ࡅ眢䨗罕牧磪橕ই֜Ἡ玎ๅग़ጱՈ㬵褂捝℅䨗ฎ౯磧橕獥ጱ捍氂牐妿螂ԧ战ग़ ጱ胙วᎸ绗牧犥现我㺔牐౯咳匍磧胼䄪筕咳褂捝㵕ێጱොୗࣁෝ牧݄ी䔶ᮎ圵Ո膏Ո
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ԏ樌ጱ蝫奾眤牐ಅ犥౯戔懯ԧӞ㮆犥وՁ妿倉傶疩ݻጱಋ秚䛑አ纷ୗ牧㬵᯿碝蝫奾℅ 䨗 牏 ᐒ ᗭ 牏 膏 Ո 㮉 牐 蝡 㮆 䛑 አ 纷 ୗ ฎ To m e : 蝫 奾 ℅ Ո 㮉 磧 অ ጱ फ़ ֎ 牐
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Connect with books and people at Tome.
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Share and borrow books from Tome.
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Get inspired and motivated at Tome.
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Connecting real people to real books.
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In the end, everything converges.
IN THE END — CONVERGE
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THANK YOU, MOM AND DAD
A few words are not enough to express how I grateful feel for your unconditional love, encouragement, and support both in school and life. I will do my best to let you know how all the efforts you have made on my behalf are worthwhile. There is an old saying in design the field: “Before becoming a good designer, you need to learn how to be a good person.” I think you set my design path from the very beginning. I love you and thank you for everything.
• ౯మٚग़ጱਁ犖篷ဩ蔭螈౯䌘֦㮉ጱ眤蘛牐ࢩ傶֦㮉Ӟፗ犥㬵ጱඪ瞱牧螭磪ಭဳࣁ ౯蛪Ӥጱಅ磪ۘێ牧虏౯磪秚䨝ࣁ吖瑿缱瓵牐蘛蘛֦㮉۱౯ጱ犨牧犖ඪ瞱౯ጱ 瓵మ牐犢㮉藯 ̿ࣁ౮傶অጱ戔懯䒍ԏ獮牧殾ض䋊聜౮傶Ӟ㮆অጱՈ牐̀蝡讕藯㬵牧 ࣁ蝱獈戔懯覿ऒԏ獮牧֦㮉疰૪妿傶౯ӥ绐绐ጱच器牐౯磭磪Ӟॠ牧胼䄪ࢧ訰 ֦㮉ጱஞ՞ڊ牧አ磧䋿搡磧ፗ矑ጱොୗ虏֦㮉Ꭳ螇蝡Ӟ獥ጱۘێ膏՞ڊ᮷ฎ꧊ ጱ牐౯眢֦㮉牧蘛蘛֦㮉ಅ՞ڊጱӞ獥牐
THANK YOU, INSTRUCTORS
Thank you, Mar y, for guiding me through the por tfolio class and encouraging me to push my por tfolio into the best showcase for my work. All your passion, knowledge, genuine guidance, and the endless care that you have given serve as the best example for great designers to follow. Thank you, John, for everything that you have taught me both in typography and in design practice. You always pay attention to great details and give accurate feedback take design work to the next level. You have helped me build a foundation in typography and I will always remember all the things you’ve taught. T hank you, Michael Kilgore, Lian Ng, Hunter W immer, Andrew Loesel, John Nettleton, Sandra Isla, Phil Hamlett, Stanley Zienka, Anne Kitzmiller,Kilbey, Blaire, Christopher Morlan, Anthony Jagoda, Dave Gottwald, Aries Nunez, Shel Perkins, Mary Scott, Carolina De Bartolo. I feel extremely lucky to meet and to have been taught by all of you in my design journey. You are the doors and windows that allow me to see how wide and fantastic the design universe can be. All the things that you have taught me converge in the work of this portfolio. I will bring all the knowledge, passion, practice, and experience with me, both in my designs and in my life.
• Mary 蘛 蘛 ֦ ࣁ ֢ ߝ 褸 Ӥ ጱ 瞲 牧 覿 茐 ౯ 㮉 疥 ӣ ଙ ӥ 㬵 ጱ 戔 懯 ౮ ຎ 牧 വ Ӥ 磧 অ ጱ 珊 匍牐֦ጱӞ粙ᩮ抁牏Ꭳ蘷牏疩牧螭磪䌘ภ蜇篷哴ጱᆙ觎牧䌘犨֜戔懯䒍ᘒ᮷ฎ磧 অጱ䋊聜䌘虡膏禇秇牐
John 蘛 蘛 ֦ ಅ 硽 ദ Ӟ 獥 磪 橕 ਁ ࣳ 矎 玢 䋊 ጱ Ꭳ 蘷 膏 戔 懯 䋿 率 牧 犖 傶 ౯ ጱ ଘ ᶎ 戔 懯 胼 ێ ӥಎ䋿ጱच器牐֦者ฎ胼፡憎磧盏ੜጱ奞℄牧簁盅妔Ԩ羊伛ጱୌ捍牧虏戔懯蛚獈ӥ Ӟ㮆ๅ聅অጱ䍅稞牐
Michael Kilgore, Lian Ng, Hunter Wimmer, Andrew Loesel, John Nettleton, Sandra Isla, Phil Hamlet t, Stanley Zienka, Anne Kitzmiller,Kilbey, Blaire, Christopher Morlan, Anthony Jagoda, Dave Gottwald, Aries Nunez, Shel Perkins, Mary Scott, Carolina De Bartolo 蘛 蘛 ֦ 㮉 牐 ౯ 篷 ဩ አ 承 ୵ 䌘 ֦ 㮉 ጱ 眤 蘛 牧 胼 䄪 ࣁ 蝡 戔 懯 蝡 礿 ᪠Ӥፘ蝽牧簁盅ᤩ֦㮉硽疩牧䋿痀ଛ螀牐֦㮉ฎӞ螇螇ጱ槹膏绯牧虏౯፡憎ଘᶎ戔懯 ጱݢ胼牐֦㮉ಅ硽ദጱӞ獥᮷ᣟ䨝ࣁ蝡֢ߝ褸愊ᶎ牧౯䨝癲茐֦㮉ጱᎣ蘷牧籆眐牧 螭磪้妔౯ጱ誢涢现眤㵕牧݄蚎矑ӥ㬵ጱ᪠牐
THANK YOU, MY FRIENDS
Monica, Louise, Yun, Lynn, you are the most impor tant people and best friends during my school years in San Francisco. You guys always see through things that I cannot get. Your honesty, opinions and the right-to-the-point advice, always bring me back to the right track both in design and in life. I feel lucky to have taken classes with you, to learn from you, and keep growing and graduating with you.
Edward, Kristy, and Yen, you guys are the best roommates I’ve ever had. Thanks for countless lunches, dinners, and comfort foods in my darkest times. And thank you for being inclusive, for being patient and understanding of my crazy schedule, my capriciousness, and regular messes that I brought home. You guys are the sweetest part of home. A thanks to the friends that shared meals and tears and laughter with. You are the most precious memories in my time at school. Without your support, it would have been impossible for me to make it today. Thank you with all my heart.
• ٢苉牏湗牏ถ牏犤牏蘛蘛֦㮉牐֦㮉ฎ膑ᰂઊ磧অጱ๏फ़֎牧者胼䄪፡绝ᮎ 犚౯፡犋憎ጱ緹讨牐篷抷ฎࣁ戔懯Ӥฎฎ谎褾ጱኞၚ愊牧者ฎ胼Ӟ朼憎ᤅጱ妔౯ ֦㮉ጱ፡ဩ獤ຉ牧螕碻ጱ౯ࢧྋ敍牐胼䄪֦㮉Ӟ蚏Ӥ抓牏Ӟ蚏౮裾牧Ӟ蚏継 禂ฎ౯芛य़ጱ禛ଛ牐 眢盓苉牏窩牏ᴨ䕕牏蘛蘛֦㮉牐֦㮉ฎ౯蝽螂磧অጱਰ牐蘛蘛֦㮉者ฎ۱౯ጱ 犨牏扫皰ጱ֢௳牧犥现犋ਧ๗傶疑愊癲㬵ጱ窾㫂牐眤蘛֦㮉者ฎࣁ౯磧犵ᄤጱ碻狡 伛猋ԧ伩ำጱ訇觵觬羠牧褛౯ଶ螂櫞橕牐胼౮傶֦㮉ጱਰ牧౯ӣኞ磪ଛ牐 ॡग़ጱ๏篷ဩӞӞ眤蘛牧藶౯眤蘛癲獈ྯӞ稞ጱ訇肞牧犥现ፘ肞ጱ碻ط牐ಅ磪 膏֦㮉磪螂ጱ粙ྦྷ᮷ฎ౯ࣁ膑ᰂઊ磧聅অጱࢧ䛂牐蘛蘛֦㮉Ӟፗ犥㬵ጱඪ瞱Ἡ玎牧 ౯ኧ蔴眤蘛牐
SPECIAL THANKS
Peter and Jenny, I'm so glad that I met you through the Weekend Press. Working with you gave me tremendous influence in my design. Thank you for always giving me great advice, guidance, and all the time that we spent together. It is a great experience to have learned from you for your positive spirit, great sense of generosity, and professional insistence. Ryan Wang, there won't be enough words to express my gratefulness. You are my mentor both in design and life. All these things might be totally different if I didn't meet you five years ago. You opened the door of design for me, and always guided me when I felt lost or frustrated. I will keep working hard to catch up, and thank you for all the seeds that you have planted during these years, I hope I can show you when they sprout and grow. Silvi Alcivar, knowing you is such a wonder ful coincidence, and knowing you through your words and poetry is one of the most beautiful things in my life. Your words have great strength and a great sense of healing in them, which can ignite people's hearts and mind with warmth. Thank you for all the time you have put into my portfolio, helping me with words and sentences and making them feel right and concise. I look forward to the possibility of future collaborations.
• Peter, Jenny 蘛 蘛 ֦ 㮉 牧 胼 蝚 螂 ̿ 蝰 ๛ 玢 ڬૡ ֢ ਰ ̀ 藨 蘷 ֦ 㮉 ፥ ጱ ฎ ࣁ ଛ 螀 犋 螂 ጱ Ԫ 眐ԧ牐膏֦㮉Ӟ蚏ૡ֢牧ࣁ蝍穩奞℄ጱਜਦ愊笔牧䌘౯ጱ戔懯磪茐芛य़ጱ段牐֦ 㮉坌禅ጱ眲ଶ牧䌘ภ蜇ጱ睄眼牧螭磪䌘䌕禂ጱඪ瞱ฎ藉㵕౯磧窼ጱ蟂獤牧౯䨝癲茐֦ 㮉妔螂ጱಅ磪牧媣媲獮蝱牐 犒ྋ牧蘛蘛֦牐֦Ӟፗฎ౯磧᯿ᥝጱ疩䒍牧ইຎ吚ڡ犋ฎࢩ傶旰疻藨蘷֦牧犡ॠಅ磪 ጱԪ眐᮷䨝盄犋Ӟ䰬牐֦傶౯樄ԧ磪橕戔懯ጱय़槹牧者ฎ氎ࣁ౯眤ک蝈眓ጱ碻狡 妔౯磧螕獥ጱ疩牐౯䨝ۘێ摸Ӥ֦ጱ脻ྍ牧虏֦፡้ک妿砮ӥጱ圵ৼ牧૪妿眸眸ࣁ ು舄ኞ裾牐
Silvi Alcivar 藨 蘷 ֦ ฎ ॰ ও ጱ ૣ ݳ牧 ֦ ጱ ਁ ֦ ጱ 藠 磪 茐 褲 褲 ጱ ێᰁ 砬 眿 Ո ஞ ጱ 伩ଶ牐蘛蘛֦氎臺碻樌ࣁ౯ጱ֢ߝ褸Ӥ牧ਁਁݙݙ瑿വළ牧虏ਙ㮉磪磧অጱ珊匍牧 ๗盃๚㬵ጱ֢ݳ犥现ಅ磪ጱݢ胼牐
COLOPHON 䨗罕虻懱
CONTACT
Chung Yu Alex Chen
PHONE
1(415) 867-5936
WEBSITE
alexchendesign.com
infoalexchen@gmail.com
SCHOOL
Academy of Art University Graduate School of Graphic design
INSTRUCTOR
Mary Scott
PRINTING
Graphic Imagery
BINDING
Key Printing & Binding
COVER STOCK
CM Arrestox Blue Canvas Linen
TEX T STOCK
Mohawk Digital, 100lb
PHOTOGRAPHY
Chung Yu Alex Chen
T YPEFACE
San Francisco Text, PingFang TC
SOF T WARE
Adobe Creative Cloud
Copyright © 2016 by Chung Yu Alex Chen All Right Reserved. No part of this publication can be reproduced without expressed permission from Chung Yu Alex Chen.
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PRODUCTION INFO 蕣౮虻懱
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