DESIGNING FOR SIMPLICITY IS ABOUT THE EFFICIENT USE OF SPACE, IMAGE AND TYPE.
[ C H I N I L E E / M FA P O R T F O L I O ]
DESIGNING FOR SIMPLICITY IS ABOUT THE EFFICIENT USE OF SPACE, IMAGE AND TYPE.
[ C H I N I L E E / M FA P O R T F O L I O ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
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[ SPRING 2015 ]
08
[ CONTENTS ]
01 ¬ UNITY
[ 0 06 ] › [ 0 37 ]
[ PRO JEC T 01 ] Heartbeat from a Hollow Place
02 ¬ PURITY
[ 0 38 ] › [ 0 4 5 ]
[ PRO JEC T 02 ] Straus Family Creamery Organic Milk
03 ¬ STABILITY
[ 0 4 6 ] › [ 069 ]
[ PRO JEC T 03 ] Hummer H4
04 ¬ OPPORTUNITY
[ 070 ] › [ 085 ]
[ PRO JEC T 0 4 ] A Light in the Storm
05 ¬ SPECIALTY
[ 086 ] › [ 0 95 ]
[ PRO JEC T 05 ] Tartine Bakery Cookies
06 ¬ C LARITY
[ 0 96 ] › [ 10 9 ]
[ PRO JEC T 0 6 ] A Brighter Future
07 ¬ PECULIARITY
[ 110 ] › [ 119 ]
[ PRO JEC T 07 ] Inner Turmoil
08 ¬ RELIABILITY
[ 120 ] › [ 141 ]
[ PRO JEC T 08 ] Biascut / Locally-Sewn Fashion
[ 002 ] › [ 003 ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
02
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[ SPRING 2015 ]
08
[ SIMPLICITY ]
[ DEFINITION ] 1. The property, condition, quality of being simple or uncombined. 2. Clarity of expression, Austerity in embellishment. Simplicity is the state or quality of being simple. Something which is easy to understand or explain is simple, in contrast to something complicated. In some uses, simplicity can be used to imply beauty, purity, or clarity. Simplicity may also be used in a negative connotation to denote a deficit, insufficiency of nuance or complexity of a thing, relative to what is supposed to be required.
[ 004 ] › [ 005 ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
[ 01 ]
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03
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06
07
[ FA L L 2 0 1 3 ]
08
[ H E A R T B E AT F R O M A H O L L O W P L A C E ]
01 ¬ UNITY [ BRIEF ] This project required choosing a film director and designing a cohesive system of materials for his/her film festival. The project requires to find a common thread and develop an entire film festival around the same concept and visual style. Create several deliverables, including a catalog book, DVD packaging, poster, tickets, and products to promote the film festival. [ a pproach ] I chose the director Sam Mendes. After watching several of his films, I figured out a common thread that connected his films. His films revolve around the stagnation and mediocrity infecting the spirit of family members — t hey must rise to the challenge. However, the outcome is uncertain and often tragic. Then, I created different scenes and his visual style to convey the woman who suffers empty and hopeless in her living standards.
[ PRO JEC T ] Heartbeat from a Hollow Place [ COURSE ] Integrated Communication [ INS TRUC TOR ] Christopher Morlan [ YEAR ] Fall 2013 [ timefr a me ] 15 Weeks [ t y peface ] ITC Lubalin Graph / Gotham / Mercury Text [ c ategory ] Print / Packaging / Digital
[ 006 ] › [ 007 ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
[ 01 ]
02
03
04
05
06
07
[ FA L L 2 0 1 3 ]
08
[ H E A R T B E AT F R O M A H O L L O W P L A C E ]
[ 008 ] › [ 009 ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
[ 01 ]
02
03
04
05
06
07
[ FA L L 2 0 1 3 ]
08
[ H E A R T B E AT F R O M A H O L L O W P L A C E ]
[ 010 ] › [ 011 ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
[ 01 ]
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03
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07
[ FA L L 2 0 1 3 ]
08
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
02
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08
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
[ 01 ]
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06
07
[ FA L L 2 0 1 3 ]
08
[ H E A R T B E AT F R O M A H O L L O W P L A C E ]
[ 016 ] › [ 017 ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
[ 01 ]
02
03
04
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06
07
[ FA L L 2 0 1 3 ]
08
[ H E A R T B E AT F R O M A H O L L O W P L A C E ]
[ 018 ] › [ 019 ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
[ 01 ]
02
03
04
05
06
07
[ FA L L 2 0 1 3 ]
08
[ H E A R T B E AT F R O M A H O L L O W P L A C E ]
[ 020 ] › [ 021 ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
[ 01 ]
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07
[ FA L L 2 0 1 3 ]
08
[ H E A R T B E AT F R O M A H O L L O W P L A C E ]
[ 022 ] › [ 023 ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
02
03
04
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06
07
08
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
[ 01 ]
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03
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05
06
07
[ FA L L 2 0 1 3 ]
08
[ H E A R T B E AT F R O M A H O L L O W P L A C E ]
[ 026 ] › [ 027 ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
[ 01 ]
02
03
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06
07
[ FA L L 2 0 1 3 ]
08
[ H E A R T B E AT F R O M A H O L L O W P L A C E ]
[ 028 ] › [ 029 ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
[ 01 ]
02
03
04
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06
07
[ FA L L 2 0 1 3 ]
08
[ H E A R T B E AT F R O M A H O L L O W P L A C E ]
[ 0 30 ] › [ 0 31 ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
[ 01 ]
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03
04
05
06
07
[ FA L L 2 0 1 3 ]
08
[ H E A R T B E AT F R O M A H O L L O W P L A C E ]
[ 032 ] › [ 033 ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
02
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04
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08
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
[ 01 ]
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03
04
05
06
07
[ FA L L 2 0 1 3 ]
08
[ H E A R T B E AT F R O M A H O L L O W P L A C E ]
[ 036 ] › [ 037 ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
[ 02 ]
03
04
05
06
07
[ FA L L 2 0 1 4 ]
08
[ S T R A U S FA M I LY C R E A M E R Y O R G A N I C M I L K ]
02 ÂŹ PURITY [ BRIEF ] This project is a collaboration with the company Straus Family Creamery. Since 1994, the company has been dedicated to make the highest quality and minimally processed organic dairy products. This project is to redesign its package system, especially product lines in the organic milk products. [ a pproach ] After researching this company, I found Straus Family Creamery has been offering their organic milk in reusable glass bottles from the very beginning. It is a good idea to keep a sustainable community. I chose a minimalist design style to convey simple and healthy fresh milk products. The use of color palette includes red, green and blue to emphasize different kinds of milk fat.
[ PRO JEC T ] Straus Family Creamery Organic Milk [ COURSE ] Package Design 2 [ INS TRUC TOR ] Gina Chang [ YEAR ] Fall 2014 [ timefr a me ] 7 Weeks [ t y peface ] FF Super Grotesk / Gotham [ c ategory ] Print / Packaging
[ 038 ] › [ 039 ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
[ 02 ]
03
04
05
06
07
[ FA L L 2 0 1 4 ]
08
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
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[ S T R A U S FA M I LY C R E A M E R Y O R G A N I C M I L K ]
milk organic dairy
[ 042 ] › [ 043 ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
[ 02 ]
03
04
05
06
07
[ FA L L 2 0 1 4 ]
08
[ S T R A U S FA M I LY C R E A M E R Y O R G A N I C M I L K ]
[ 044 ] › [ 045 ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
02
[ 03 ]
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07
[ SPRING 2014 ]
08
[ HUMMER H4 ]
03 ÂŹ STABILITY [ BRIEF ] This project required choosing a company that was dead, dying or defunct, and rebrand them to give them a new life. The new directions are based on the company's original essence, but takes the brand to an entirely different category. Design a series of products, services or activities with the new identity system. [ a pproach ] The Hummer is a well-known brand for 4X4 vehicles and luxury SUVs combining off-road capabilities and rugged sophistication. However, most people see it as conspicuous consumption, but that doesn't really come into play if the truck is not used for daily driver duty. I rebranded the Hummer to the H4 which is transforming something greater than vehicles. I kept the same core concept, and extended the various services, and products to improve the target audience's knowledge to next level.
[ PRO JEC T ] Hummer H4 [ COURSE ] The Nature of Identity [ INS TRUC TOR ] Hunter Wimmer [ YEAR ] Spring 2014 [ timefr a me ] 15 Weeks [ t y peface ] FF QType / Forza / Vitesse [ c ategory ] Print / Branding / Digital
[ 046 ] › [ 047 ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
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06
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08
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
02
[ 03 ]
04
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07
[ SPRING 2014 ]
08
[ HUMMER H4 ]
[ 050 ] › [ 051 ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
02
[ 03 ]
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07
[ SPRING 2014 ]
08
[ HUMMER H4 ]
[ 052 ] › [ 053 ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
02
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[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
02
[ 03 ]
04
05
06
07
[ SPRING 2014 ]
08
[ HUMMER H4 ]
[ 056 ] › [ 057 ]
[ SIMPLICIT Y ] [ SIMPLICIT Y ]
[ PROJECT NUMBER ] [ PROJECT NUMBER ]
[ SELECTED WORKS OF CHIN I LEE / MFA ] [ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
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04
04 05
05 06
06 07
07 08
[ SPRING 2014 ]
08
[ HUMMER H4 ]
[ 038 ] › [ 059 ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
02
[ 03 ]
04
05
06
07
[ SPRING 2014 ]
08
[ HUMMER H4 ]
[ 060 ] › [ 061 ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
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[ HUMMER H4 ]
5.25X
0.5625X
1.125X
1.125X
135 Degree
1.125X 0.5625X 75 Degree 0.5625X
X
[ 062 ] › [ 063 ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
02
[ 03 ]
04
05
06
07
[ SPRING 2014 ]
08
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
02
[ 03 ]
04
05
06
07
[ SPRING 2014 ]
08
[ HUMMER H4 ]
[ 066 ] › [ 067 ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
02
[ 03 ]
04
05
06
07
[ SPRING 2014 ]
08
[ HUMMER H4 ]
[ 068 ] › [ 069 ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
02
03
[ 04 ]
05
06
07
[ SPRING 2013 ]
08
[ A LIGHT IN THE STORM ]
04 ¬ OPPORTUNITY [ BRIEF ] This project required choosing a film director and designing a cohesive system of materials for his/her film festival. The project requires to find a common thread and develop an entire film festival around the same concept and visual style. [ a pproach ] I chose the director Gus Van Sant. After watching several of his films, I figured out a common thread that connected with his films. His films revolve around t he turmoil of youth becoming overwhelming — a mentor appearing on the journey to adulthood and guiding the young person though their emotional crisis and helping them achieve self acceptance. Then, I shot some photos which convey that the young need rescue in their lives.
[ PRO JEC T ] A Light in the Storm [ COURSE ] Integrated Communication [ INS TRUC TOR ] Hunter Wimmer / Christopher Morlan [ YEAR ] Spring 2013 [ timefr a me ] 7 Weeks [ t y peface ] Freight Sans / Freight Text / Tungsten / Vitesse Sans [ c ategory ] Print / Digital
[ 0 7 0 ] › [ 0 71 ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
02
03
04
05
06
07
08
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
02
03
[ 04 ]
05
06
07
[ SPRING 2013 ]
08
[ A LIGHT IN THE STORM ]
[ 0 74 ] › [ 0 7 5 ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
02
03
04
05
06
07
08
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
02
03
[ 04 ]
05
06
07
[ SPRING 2013 ]
08
[ A LIGHT IN THE STORM ]
[ 078 ] › [ 079 ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
02
03
[ 04 ]
05
06
07
[ SPRING 2013 ]
08
[ A LIGHT IN THE STORM ]
[ 080 ] › [ 081 ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
02
03
04
05
06
07
08
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
02
03
[ 04 ]
05
06
07
[ SPRING 2013 ]
08
[ A LIGHT IN THE STORM ]
[ 084 ] › [ 085 ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
02
03
04
[ 05 ]
06
07
[ FA L L 2 0 1 4 ]
08
[ TA R T I N E B A K E R Y C O O K I E S ]
05 ¬ SPECIALITY [ BRIEF ] This project is a collaboration with the company, a design for new cookie package. Tartine Bakery is an artisanal bakery that specializes in bread and pastry featuring inventive flavor and texture combinations in San Francisco. Tartine always keeps the highest quality which reflects the sense of human made baked goods. [ a pproach ] After researching this company, I found Tartine Baker y has a local reputation for delicious baked goods made with organic flour and local eggs. So, I designed a series of square paper boxes with signature color for each flavor, and a cylindrical can jar for mixed flavors. When a series of square paper boxes sit side-by-side people will see the word “Legendary” which signifies Tartine's illustrious history in San Francisco.
[ PRO JEC T ] Tartine Bakery Cookies [ COURSE ] Package Design 2 [ INS TRUC TOR ] Gina Chang [ YEAR ] Fall 2014 [ timefr a me ] 7 Weeks [ t y peface ] Brothers / Sentinel / Fenway Park [ c ategory ] Print / Packaging
[ 086 ] › [ 087 ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
02
03
04
05
06
07
08
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
02
03
04
[ 05 ]
06
07
[ FA L L 2 0 1 4 ]
08
[ TA R T I N E B A K E R Y C O O K I E S ]
[ 090 ] › [ 091 ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
02
03
04
05
06
07
08
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
02
03
04
[ 05 ]
06
07
[ FA L L 2 0 1 4 ]
08
[ TA R T I N E B A K E R Y C O O K I E S ]
[ 094 ] › [ 095 ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
02
03
04
05
[ 06 ]
07
[ SPRING 2012 ]
08
[ A BRIGHTER FUTURE ]
06 ÂŹ CLARITY [ BRIEF ] This project is to create a book about the future of lighting through imagery and type. It introduces the evolution of lighting, and details out the future trends. I explore more possibilities where lighting may exist in the future, such as the fields of architecture, interior decorating, and photography. [ a pproach ] After researching the lighting, I found the future of lighting will be simple, efficient, and interactive. I used a minimal design layout to show the atmosphere in the future. In addition, I created some circles and dots to enhance this topic.
[ PRO JEC T ] A Brighter Future [ COURSE ] Type System [ INS TRUC TOR ] David Hake [ YEAR ] Spring 2012 [ timefr a me ] 7 Weeks [ t y peface ] United San / United Serif [ c ategory ] Print
[ 096 ] › [ 097 ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
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06
07
08
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
02
03
04
05
06
07
08
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
02
03
04
05
[ 06 ]
07
[ SPRING 2012 ]
08
[ A BRIGHTER FUTURE ]
[ 102 ] › [ 103 ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
02
03
04
05
[ 06 ]
07
[ SPRING 2012 ]
08
[ A BRIGHTER FUTURE ]
[ 104 ] › [ 105 ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
02
03
04
05
[ 06 ]
07
[ SPRING 2012 ]
08
[ A BRIGHTER FUTURE ]
[ 106 ] › [ 107 ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
02
03
04
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07
08
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
02
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06
[ 07 ]
[ SPRING 2015 ]
08
[ INNER TURMOIL ]
07 ¬ PECULIARITY [ BRIEF ] This project is a collaboration with the de Young Museum which is a well-known fine arts museum in San Francisco. It introduces the upcoming special Chinese contemporary ink exhibition. [ a pproach ] I made some experimental art and combined it with modern typography, using only black and white to represent this exhibition.
[ PRO JEC T ] Inner Turmoil [ COURSE ] Side Project [ INS TRUC TOR ] Ariel Grey [ YEAR ] Spring 2015 [ timefr a me ] 5 Weeks [ t y peface ] Din / Kettler [ c ategory ] Print / Packaging
[ 110 ] › [ 111 ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
02
03
04
05
06
07
08
[ INNER TURMOIL ]
[ 112 ] › [ 113 ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
02
03
04
05
06
[ 07 ]
[ SPRING 2015 ]
08
[ INNER TURMOIL ]
[ 114 ] › [ 115 ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
02
03
04
05
06
[ 07 ]
[ SPRING 2015 ]
08
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
02
03
04
05
06
07
[ 2 0 1 4 – 2 0 1 5 ]
[ 08 ]
[ B I A S C U T / L O C A L LY- S E W N FA S H I O N ]
[ MFA THESIS ]
[ BI ASCUT / L OCA L LY-SE W N FASHION ] The objective of the MFA Thesis is to choose a problem to solve with graphic design. Conduct extensive research and analysis over the course of a year, and master a solution that is both conceptually and visually successful. The project should demonstrate the student's complete range of design skills, thinking, analysis, and the ability to tackle a real world problem with an effective design solution.
[ 120 ] › [ 121 ]
[ SIMPLICIT Y ]
[ PROJECT NUMBER ]
[ S E L E C T E D W O R K S O F C H I N I L E E / M FA ]
01
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08 ¬ RELIABILITY [ BRIEF ] This project is a collaboration with local clothing stores. It is a response to the over whelming amount of clothing mass produced by the fast fashion industry, because thousands of garments from fast fashion companies are designed to fall apart in few washes. Biascut is a brand that offers our consumer a good quality garment to promote locally-sewn clothing and increase the local economy though better delivery and package design. [ a pproach ] Our consumer can choose self pick up, bicycle delivery or electric car delivery to reduce air-pollution. In addition, if the customers do not use the packaging from Biascut, we will have people to collect it for second time use. The idea is reducing energy use, greenhouse gas emissions, and packaging waste. Biascut is going to take responsibility for our community.
[ PRO JEC T ] Biascut / Locally-Sewn Fashion [ COURSE ] Graduate Thesis [ INS TRUC TOR ] Carolina de Bartolo / Ariel Grey / Anthony Jagoda [ YEAR ] 2014 – 2 015 [ timefr a me ] 1 Year [ t y peface ] FF Kievit / Hoefler Text [ c ategory ] Print / Branding / Packaging / Digital
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[ ACK NOW L EDGMENT ] Thank you mom and dad for your unconditional suppor t and for always believing in me and listening my problems. Without you two, I would not have come this far. Everything that I have achieved in my life is because of you. Thank you Mary Scott, Phil Hamlett, Hunter Wimmer, Ariel Grey, Carolina de Bartolo, and all of my other Academy of Art University instructors for your mentorship, professional guidance and sharing your invaluable knowledge with me. Thank you to my fellow Academy classmates for staying creative and inspiring. I have learned a lot from you guys. Thank you, Hsuan Jung Hung, and all of the amazing people in my life. Even if I did not mention your names, you know who you are.
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© 2015 Chin I L ee All rights reserved. No part of this publication can be reproduced without express permission from Chin I Lee. [ As soci ation ] Academy of Art University 79 New Montgomery Street, San Francisco, CA Department Chair / M ary Scott Graduate Director / Phil Hamlett 800.544.2787 [ Contac t ] Chin I Lee 415.640.5685 chininicklee@gmail.com chinilee.com [ W rit ten a nd Designed ] Chin I Lee [ T y peface ] Blender Pro / Din [ Photogr a ph y ] Chin I Lee / Yan Li [ Im age cr edit s ] sonsam / Shutterstock Page 124 –125 De Visu / Shutterstock Page 126 –127 [ te x t s tock ] 100Ib. Finch Fine Text [ Printer ] Plotnet [ Bindery ] The Key Binding [ Sof t wa r e ] Adobe Creative Cloud
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