關怡伶 Kuan Elaine

Tainan University of Technology .

Tainan, Taiwan 台南應用科技大學 視覺傳達設計系

P O R T F O L IO Kuan Elaine Visual Communication Design kuankuan0606@gmail.com

‘17

關怡 伶 / 1997

Muar Malaysia 馬來 西 亞 麻 坡

’20

97年次，馬來西亞麻坡人，在台灣生活第五年 / 喜歡具情感、美的事物；喜歡喝茶、寫字、配色、陳列、底片、老房子及古著； 也喜歡演唱會和音樂節，想讓自己有能力成就舞台上、藝文展覽及陳列的呈現。

跨領域

2015

平面包裝、網頁設計

台南應用科技大學 / 視覺傳達設計系就學 於文創公司執行平面設計實習 大學最後兩年執行畢業製作並參展競賽 因此榮幸受邀至電視節目進行專題訪談

2018

流行音樂產業及策展

因緣際會下踏進演唱會當實習生 從基本的行政開始當現場小幫手 到舞台監督及導演團隊的身旁學習 在時間緊湊、不同領域的團隊及廠商聚集在一起的商業演唱會 讓我意識到了簡短表達及臨場解決問題能力的重要性 因此開始於現場觀摩他人的處事及應對方式 也會在腦海模擬工作流程以確保細節都被照顧 每一次的實戰經驗都讓我回味無窮

2018

劇場

接觸演唱會時覺得現場燈光和舞台很感人 技術的神秘讓我忍不住想一探究竟 於是接受了五週的劇場技術培訓 經歷了劇場週的實作演出並實習 最後接案與燈光、舞台技術結下了緣分

2019－2020

校園音樂節

演唱會現場帶給我的震撼與魅力讓我想繼續在這個領域努力 所以不想只停留在從旁協助者的角色 於是從校園音樂節開始，飛奔台北投入了台大與政大音樂節的籌辦

畢業製作

VI DE

Final Year Project

FINALY EARPRO ISJECTFIN E-ALYEAR PROJEC

繡覺－屬於臺灣的人工電繡技術文化紀錄 人工電繡是一份繡字技術，常見用於繡學號，專用繡字的平車稱為「電繡平車」。四十年代源起的 這份技術面臨如今電腦繡字的效率及少子化現象，漸漸被取代成為即將沒落的產業。

身為馬來西亞人卻深愛中文的我，第一次見到繡學號時忍不住驚嘆它的美。每一個字的形成是如此 療癒及感動，年長的師傅、生鏽的電繡平車及雙手推出來的字是傳統也是珍貴。每一位師傅繡出來 的字體字型、間距風格都不同，我認為這樣繡出來的字無可取代且獨一無二，蘊含手作溫度，猶如 自家媽媽的愛心學號。於是跟同學提起這件事，也開始了我們為期一年的畢業製作。

繡學號是經歷多年至今的現代人學生時期的共同記憶，目前並沒有屬於它的字面或網絡資料。為了 讓它在沒落前留存一份紀錄及延緩人工繡字技術的消失，我們實地走訪府城店家做訪問及觀摩他們 的工作日常。

得到充足資訊後我們製作出紀念專刊，紀錄了起源故事、技術操作解說、行業所面對的酸甜苦辣及 師傅們一路走來的心得感想。期待能藉由專刊讓民眾快速對人工電繡有基本概念，為人工電繡留下 文字記載資料。我們也為受訪的師傅們設計人物插畫製作成海報，而海報的呈現方式融入人工電繡 的工具：繡繃及布料，呈現人工電繡操作時的視覺畫面。接著海報上文字的店家資訊，再請各個師 傅親自繡上後送給他們作為禮物。最後是把人工電繡也能繡圖的技術再次翻出扭轉大眾對人工電繡 的印象，結合常用的布製品販售拉近民眾與它的距離。藉由新舊元素共存的設計，達到繡學號技術 的推廣引起關注。

人間衛視｜創藝多腦河－創作小宇宙 A+ 節目邀約訪談 因參加畢業設計展而被主持人黃子佼注意到我們人工電繡的主題，因此 受邀至電視節目進行專題訪談，分享「繡覺」的製作歷程與概念，他希 望可以成為我們的助力，給予我們曝光的機會，非常感謝他的用心。

Visual Communication Design

視覺傳達設計

平面 / 網頁 / 包裝設計

VI DE

VISUAL COMM ISUNICAT ESIONVIS ALCOM

book: review

The Straits Times

09 Cloudy

08 2017

Oon Yeoh on

Muhammad Sinatra on

Alan Teh Leam Seng on

Putri Zanina on

RENTING DESIGN STAFF

ASEAN MUST DELIVER RESULTS

GUARDIAN ANGELS OF SHIPS

TROPICAL HEAVEN

THE BUSINESS OF BATHROOM

Reviewed by

KERRY-ANN AUGUSTIN

“When you’re looking for a space to rent or buy, how often do you take note of the bathroom?” Jose Delicado throws an unexpected question my way. Before I can even muster a reply, Delicado, the managing director of bathroom specialist Roca in Malaysia and Singapore nods his head, smiles and says: “Almost never, right?”

CHANGING TIMES

W

hen they first started out, they were actually making cast iron radiators,” says Delicado of the Roca brothers who started their business in Gava, a town just outside Barcelona. Walking me to the two-storey Roca booth at the convention centre, he continues: “Then they thought, hey, if we can make cast iron radiators, we can also make cast iron baths.”

The Roca section, which takes up the space of 36 booths alone, is a showroom on its own. The first floor showcases the brand’s latest products in complete bathroom settings, while the top floor is where visitors sit for a coffee and canapés while admiring the framed print ads of Roca’s early days. “The Roca brothers were always watching the ways of society, and they were very receptive to the changes happening,” he reveals.

The changes Delicado refers to started happening in the early 20th century when advancements in science reached a whole new level. “The discovery of germs and a more specific cause for disease changed the way people perceived cleanliness and hygiene,” writes Anne Reagan, the editorial manager of corporate wellness technology company Limede. As Reagan points out in her article A Brief History of the Bathroom, the middle classes started investing in private baths, an experience which throughout

COMMUNUAL COOL

A

fter working with Roca for more than 14 years, it’s not surprising that Delicado understands the dilemma of the space we often take for granted. It’s here at the International Architecture, Interior Design

and Building Exhibition (ARCHIDEX) at the KL Convention Centre that Delicado is hoping to change the perception of the public that the bathroom

T

he ruins of the Roman baths around Europe may be popular for small wedding shoots these days, but during the run of the Empire, the baths (usually colossal in size) were a central feature in the social life of privileged Romans. This was where the wealthy would meet and network. The expansion of the Empire brought their love for baths with them to the Middle East where hammams were established and thrived for the same reasons.

is merely a functional space. “Modern bathrooms are like a living space of their own — it’s about incorporating your basic needs with space for beauty, wellness and relaxation,” he explains.

Speaking about the evolution of the bathroom space is fitting, considering Roca is celebrating a significant milestone — 2017 marks the company’s

Baths became more than just a meeting place for the upper class in England of the Middle Ages.

100th year in the business.

“Stews” as they were known, was where men and women could bathe together while enjoying copious amounts of wine and food, a practice which ended in the 1500’s when King Henry VIII banned public bathing houses, based on his belief that they were behind the series of plagues which had weakened the country. “Our modern concept of privacy is a relatively new one,” notes Reagan before pointing out that even ancient toilets were communal.

The BAIA collection is retro inspired and is considered both contemporary and timeless.

1011567123489

Vol. 6 / 60P

Chamber pots, a favourite of the Romans, were also still very much in demand among the wealthy of the Victorian era who preferred a sense of privacy and convenience. But as London grew in size and population, so did the stench. By the 18th century, irrigation projects sprouted up in London, allowing the elite to pay for fresh water taps to be installed in the privacy of their homes.

As Reagan explains, much of the modern bathroom we know of today is a result of centuries of engineering, innovation and social change.

2017 © New Straits Times. / New Straits Times Press (M) Berhad (4485-H). / All Rights Reserved.

H E R E ’ S F O O L S

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D R E A M

IN CINEMAS DECEMBER 26

R Y A N A N D

G O S L I N G

E M M A

f r o m

T H E

O F

S T O N E

D I R E C T O R

W H I P L A S H

a fi l m b y D a m i e n C ha z e l l e

HUASHAN CHILDREN’S ARTS FESTIVAL

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Tel: 2026 2297 / 98 | Fax: 2026 2397

a

50088 Kuala Lumpur.

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Suria KLCC, Kuala Lumpur City Centre,

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Lot 420 / 421 , Level 4,

a

C

大阪 食堂

Suria Osaka

a

n

t

Kwan Swee Lian aka Madam Kwan says :

created Malaysian cuisine. It brings me great joy that we have

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I have always loved serving my customers with my uniquely served our customers since 1977.

I have dedicated my life to this menu and I hope it will be

n

Osaka Canteen

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enjoyed by my customers for many more years to come.

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大學唸六年都畢不了業的超級魯蛇花甲，鎮日與他的哥兒們般好友阿瑋泡在一 起，平日也一起在飲料店打工，應付客人各種光怪陸離的要求，兩人日復一日 的過著魯蛇生活。 在疑似看到過世阿公的鬼魂之後，花甲接到了噗攏共阿爸光輝的電話臭罵說阿 嬤都要過世了，為什麼還不回家？ 接到電話的花甲難過失措不知該如何是好，還好有好哥兒們阿瑋陪伴著他連夜 南下回到了老家繁星鄉，回到家之後，正當全家人為了阿嬤的後事吵得不可開 交時，堂弟花亮又湊熱鬧趕在這個時候結婚；青梅竹馬的雅婷，似乎對自己有 著不一樣的情愫，這讓窮追雅婷的堂弟花明，充滿不安的敵意，就在全家上下 頭昏眼花之時，花甲發現了阿嬤竟然還在喘氣…… 阿嬤還在喘氣，這讓鄭家一家人措手不及，大家開始在猜想，阿嬤是不是有其

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他未了的心願？ 是因為在越南經商的三叔光仁還沒回來嗎？還是希望未嫁的五姑光好有一個好 歸宿？又或者是想見到已經離家多年的花甲媽媽靜雲？或是為愛私奔的花甲姊 姊花慧？ 花甲突然可見阿公鬼魂到底是有什麼暗示？ 家族的暗潮洶湧，也像花一樣逐個綻放！

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三分之一面紙盒

有感於樹木的消耗迅速，設計了這款包裝。名稱發想於一顆樹大約可製造三百面紙，以一包一百抽為例， 一包面紙便是三分之一顆樹木所換來的，以此警示消費者它的得來不易。

兼具美觀與理念的設計，我們以一整塊樹幹造型設計出分離式面紙盒，突破長方形紙盒包裝。一組六盒能 夠緊密排列成六邊形，加上栩栩如生的棕黑色外觀，使得整組面紙盒遠觀就像是樹幹的其中一截，近看甚 至能看見模仿樹木的斷紋、年輪。消費者將它提起時，就如同提著一截遭鋸斷的樹木；每用完一盒，無形 中代表消費者正凡是著樹木資源。

不同於市面上衛生紙大多以無法自然分解的塑料膜作為包裝，我們選用較環保的牛皮紙，呼籲推廣人們更 關心此議題。

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KUAN ELAINE | 關怡伶 1997 Muar, Malaysia Visual Communication Design

CONTACT +886 909-348-581 kuankuan0606@gmail.com