A U T H A N I C H E
N A I V E T É T A I H U A C H E N
P O RT F O L I O C o l l e c t i ve G r aph ic D e si gn Wo r k s & I l l ust r at i ve A r t works 2012 - 2016 by Au t h a n i c h e / Ta i - H u a C h e n
英 文 自 傳
A U T O B I
AUTO-
PROFESSIONAL SKILLS
BIOGRAPHY
O G R A P H
Illustration
Digital Painting
Graphic Design
Branding
Oil Painting
Printmaking
LANGUAGES
INTERESTS
Y
Hi there! My name is Authan Chen(Tai-Hua Chen). First of all, thank you for taking your time to review my portfolio.
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I am both a graphic designer and an illustrator that have more than 2 years of working experience, and 5 years of freelancing experience. I graduated from National Taiwan University of Arts with a BFA in Visual Communication Design, acquiring essential professional computer skills and artistic techniques. For the devotion of time into the field of art practice, I have a great advantage in the embodiment of virtual concepts and the utilization of illustration with graphic design.
Mandarin:Native English: Fluent
Painting
TOEFL iBT Test Score: 109/120 Test Year: 2015 Reading: 26/30 Listening: 30/30 Speaking: 26/30 Writing: 27/30
Street Dance
Lomography
展 覽 經 歷
2016
「Bubble Station第二站」 曬收藏展
出 版 / 受 訪 經 歷
2014
雜誌收錄
地點：TAF空總創新基地
2014年三月第14期 第106頁
作品名稱：一個熱帶小叢林
2015
「活著真好」 安寧因藝術活得更美好十週年特展
“Cacao” 雜誌
2013
刻畫入微：插畫創作的思 維與表現III
地點：高雄市岡山文化中心
作品收錄
作品名稱：備忘錄
作者：林學榮 第24頁
2014
A U
「城市創合」 台北設計城市展
“DESIGN x PIPI”
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都市酵母合作計畫“創造你的一條街”
網頁採訪
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地點：台北市松山文創園區
designxpipi.wordpress.com/2013/02/05/蜂駭/
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作品名稱：我們的森林
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I
G
2012
好Young創意特展2012
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地點：台北市松山文創園區
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課 外 活 動 經 歷
作品名稱：蜂駭
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第31屆新一代設計展 地點：台北市世貿一館 作品名稱：蜂駭
「設取SEARCH」 國立臺灣藝術大學 設計學院101級畢業展 地點：新北市國立臺灣藝術大學
2011
2008
2014
Lumi Dance School 第5屆「臺起頭來」年度 展演 Maniac Style：舞者
2012
畢籌會文宣組組長
作品名稱：蜂駭
視覺傳達設計學系畢籌會
「XHOLE」 視覺傳達設計系班級聯合展
Merry Monarc Dance Studio 成果發表會
地點：新北市國立臺灣藝術大學
Hip Hop Style：舞者
作品名稱：「放假去玩」與「Find the Creature」
熱舞社社團編舞以及教學 國立臺灣藝術大學熱舞社
2008年國立臺灣藝術大學 視覺傳達設計系系展
HRC Dance Academy 年度成果發表會
地點：新北市國立臺灣藝術大學
New Style：舞者
作品名稱：浮世繪
2007
「當我們同在藝起」 大溪鎮繪畫聯展活動 地點：桃園市大溪大溪鎮展示館 作品名稱：恐懼
P H
2009
班級活動長 大二
2008
班級活動長 大一 1 3
O I L P A I N T I N G
OIL PAINTING
D R A
DRAWING
W I N G
Section Two 油 畫 與 手 繪
PAG E
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Rising Back
Oil Paintings and Drawings from 2013 to 2016.
Dinner with the Angel
Spring Thunder
Motherhood
Original Story
Guardian: Lanterns of Jiufen
Guardian: Deer of Nara
The Rowing Shepherdess
Aspiration
Salt and Shishamo
Song of Melancholy
Pencil Drawings
返 啟
O I L P A
RISING BACK
I N T I N G
This painting expresses the artist’s emotions such as anger, frustration, and despair, which depicts the personification of the sentiment. On the day of devastation, a photo of the sunset was taken, which became the origin of the background. This is a symbolization of putting oneself back together and reviving from the flame. A short novel is created simultaneously with this painting, which is included on the next page. 此幅油畫表現出作者將自身所受到的情緒如 憤怒、挫折、絕望等賦予形體使其具象化。 背景來自於一張受挫當天所拍下的夕陽，象 徵著要在此時此刻將悲憤傳化為力量，重新 振作。此畫作更衍生出一篇短篇英文小說， 4 8
收錄於後面四頁。
2015 | Oil on canvas |
油畫/仿麻
| 65×50 cm
O I L P A I N T I N G
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original story & artwork by Tai Hua Chen edited by Olivia Yang
It would have been a plain afternoon, if only you could ignore the unusually pink sunset. The sunlight lit the rims of rose-dyed clouds, as if they were embellished with golden rings. The sky was illuminated by the sunset, like a forest of violet wisteria burning in yellow flames. A nearby river was shimmering under the gleam of the falling sun. There was a narrow path for pedestrians along the river, and normally joggers or commuters heading home would stop to look at the view. Yet there was no one to be seen on this strange afternoon. A young man around twenty or so appeared in the distance. It seemed as if he had been walking down the trail for a while. He wandered around aimlessly, kicking pebbles and
crushing twigs with his steps. Finally, he chose a boulder, cleaned the dust off and sat down on it, letting the focus of his eyes drift beyond the horizon. All at once, as if his mind was suddenly relieved, the deepest repressed memories began to ascend. Memories about his latest relationship, the boy’s face and their conversations simultaneously arouse. With a piercing ache drilling through his upper chest, floods of emotions rushed to his face and heated his cheeks. The combination of pain and heat finally surged to the edges of his eyes, and gushing tears started to blur his visions. The riverside was where he first revealed his feelings to the boy. Perhaps he was unaware of the subconscious mind that led him to the venue, tending to let the emotional outburst act as a remedy for the breakup. Why had he spent all the time and effort on him? Regardless of their relationship, this boy had vanished to a European country within a blink. Furious fire lit inside of him as he shivered uncontrollably with anger and he dug his nails deeply into his palm. At first, it was just a slight rumble from far beneath the earth. A subtle vibration that was barely noticeable. Although he was overly indulged in his mental fatigue, it was impossible for him to ignore the intensifying roar.
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Trying to figure out what had caused the noise, he opened his eyelids in a flash and unfolded his legs to stand up. Then it all happened at once. The weirdest thing he had ever experienced in a single second. Two loud and intimidating noises exploded constantly, followed by clatters of rocks crashing into each other and everything shook violently around him. An invisible force weirdly bound his legs. It was as if something was dragging his legs deeper into the ground. The more he struggled to free himself, the more surroundings collided into each other and shattered into pieces. As he attempted to lift both his arms to guard his face from the falling rocks, the third and fourth blasts exploded loudly beside him. His arms were also being
restrained to the earth, similar to both of his legs. While he twisted and jerked his body from left to right, trying to pull all four of his limbs from the ground with all his might, the earth beneath him suddenly collapsed. Or at least to him, it felt like a collapse. When finally his four limbs were released from their constraint, they were barely recognizable as arms and legs anymore. They appeared as enormous pillars built of towers, statues and piers, as if they were subterranean ruins of an ancient city that had begun to emerge above the surface. The four columns then carried his torso, which was now more like a massive, castellated formation of a floating European city, high up into the air. His body, however, was split apart from the middle of his waist, with a magnetic force linking his upper and lower body. A soaring tower formed on the top
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of his right shoulder, like an extension of the stonework-structure on his arm. As for his head, it had now transformed into a tremendous stone sculpture of an upside-down human face. The boy was able to overlook the whole world lying beneath through the giant quartz eyes of the sculpture. He deeply inhaled the fresh air above, and then surprisingly, the shrubs and trees began to sprout from his body and immediately swelled into bundles of forest. As he tried to move forward by crawling on all fours, chunks of wrecked buildings crashed into each other and tumbled down to the ground. As he breathed, his body sprouted new plants and buildings to replace the damage, as if it was a self-sufficient metropolis generated by the power of Mother Nature.
rocks from his chest to keep the hysterically roaring head from falling apart. It felt like the roar had gone on for an hour or so before it started to fade out and was finally restored to silence. The boy opened his eyes again, slightly dazed by the golden reflection of sunlight on the clouds. He sat up and looked around, noticing that the sky had turned darker and the wind was turning the evening even chillier.
His chest was strangely crammed with emotions: anguish of his ex-boyfriend’s absence, the rage of his betrayal, and thrill and excitement over his newly formed body. Most notable, however, was the vitality flourishing and inflating in his spirit, as if he was freshly reborn. Eventually, he couldn’t bare it anymore and he let out a boisterous roar with all his might. He yelled so hard that lumps of rocks began tumbling off the sculpture. Then vines and branches instantly burst out of the
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與 天 使 共 進 晚 餐
O I L P A I N T I N G
DINNER WITH THE ANGEL
When friends or family members pass away, I believe that they have turned into angels. Being freed from the pain of living, these angels may have the ability to soar freely in the sky, or to ramble in the wild plains. With this concept in mind, I illustrated this image of an angel, and applied the elements of Native American culture as a symbol of the great plains. 當朋友或家人們過世時，我相信他們會轉化 成天使。從人世間的苦痛中獲得解放之後， 這些天使們就能在廣大的天空中恣意翱翔， 或在一望無盡的草原裡盡情馳騁。用這樣的 5 4
概念，我將天使的形象畫了出來，並加入了 印地安人的元素，象徵廣大的天空與草原。
2015 | Oil on panel |
油畫/木板
| 60×40 cm
O I L P A I N T I N G
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驚 蟄
O I L P A
SPRING THUNDER
I N T I N G
“Jing-Zhe” is the third point of the 24 Solar Terms, which means the awakening of insects. To be more specific, the first thunder of spring wakes up all the creatures in hibernation. The painting depicts the goddess of spring thunder striking down from the clouds, with vines and flowers not only symbolizes the start of spring, but also resembles the bolts of lightning. 「驚蟄」是一年裡第三個節氣，「蟄」代表 著冬眠中不進行飲食的萬物。而到了驚蟄這 時，始有春雷，將冬眠中的萬物喚醒。這幅 油畫裡，象徵春雷的女神從烏雲中落下，將 蟄居中的昆蟲與動物們喚醒。而女神身上的 5
花草與藤蔓，除了帶有春暖花開的概念，也
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同時結合了閃電的形象。
2015 | Oil on canvas |
油畫/仿麻
| 60.5×80 cm
O I L P A I N T I N G
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羈 絆
O I L P A
MOTHERHOOD
I N T I N G
This portrait depicts the indestructible relationship between parent and child, and intends to create a solemn and divine atmosphere. The two colossal statues of pregnant women represent my own mother carrying the two of my younger siblings. The arms of the three statues then are conjoined by rock rings, as the symbol of the strongest bond of kinship. 這幅作品欲表達的為親子之間無堅不摧的羈 絆，並試圖以莊嚴神聖的氛圍呈現。左右方 的雕像各為懷著我弟弟與妹妹時期的母親， 而三個雕像的手腕向中間靠攏，並由石環緊 5
繫著，象徵著親子間的關係。
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2015 | Oil on canvas |
油畫/仿麻
| 60.5×80 cm
O I L P A I N T I N G
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守 護 神 ： 九 份
O I L P A I N T I N G
GUARDIAN: LANTERNS OF JIUFEN
Jiufen is a small town located on the seashore in nothern Taiwan, and is famous for it’s night view. Hundreds of red lanterns swarm around the village at night, forming an unforgetable scene. Thus in my imagination, the guardian of this village lights up these lanterns every night, like a child playing with soap bubbles, and protects the residents from danger. 九份是北台灣的一個靠海小鎮，以美麗的夜 景聞名於世。數以百計的紅燈籠在夜晚中亮 起，形成一幅幅難忘的美景。在我的想像之 中，九份的守護神會在每個夜裡，以孩童的 形體、吹著泡泡般的方式點亮每個燈籠，守 6
護著當地的居民們。
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2015 | Oil on canvas |
油畫/仿麻
| 65×50 cm
O I L P A I N T I N G
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守 護 神 ： 奈 良
O I L P A I N T I N G
GUARDIAN: DEER OF NARA
I was fascinated by the roaming sika deers on a trip to Nara, Japan. The deers dwelled around the temples like sacred spirits, as if they were the guardians of Nara. In this painting, I used only a small variety of colors, to enhance the greenish atmosphere in the forest and the contrast between the shades and the strong sunlight. 在一次去了日本奈良的旅遊之後，便對當地 馳騁的梅花鹿一見鍾情。居住在寺廟周遭的 的鹿群就像神聖的守護神般保護著奈良。在 這幅油畫中，我只使用了少量的色彩變化， 以強化森林中翠綠的氛圍，與陽光穿透樹葉 6
間的光影感。
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2015 | Oil on canvas |
油畫/仿麻
| 40.5×31.5 cm
O I L P A I N T I N G
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划 著 船 的 牧 羊 女
O I L P A I N T I N G
THE ROWING SHEPHERDESS
Year 2015 was the year of the ram in Chinese calendar, thus this illustration is based on the topic of the ram. In a family, the child may act as the key to guide or link between separating couples. Therefore, the two separated adults are curled up in the middle of the splitted ram skull, while the kid row the skulls and lead them as the shepherd in the darkness. 西元2015為羊年，而這幅作品則是以羊年為 主題所畫的插畫。在一個父母面臨吵架或分 離的家庭裡，小孩常常會是唯一連繫著兩人 的繩索。因此在裂成兩半的山羊頭骨內各自 6 4
蜷縮著父親與母親，而象徵著孩童的牧羊女 正划著頭骨，引領著迷失在汪洋裡的兩人。
2015 | Oil on canvas |
油畫/仿麻
| 60.5×72.5 cm
O I L P A I N T I N G
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野 心
O I L P A
ASPIRATION
I N T I N G
The stairways to the destination might be hard to reach, yet step by step, people with aspirations will attain their goals one day. This artwork contains several symbols, such as the holding palms which represent one’s perserverance and determination. Futhermore, the doorway on the giant’s face symbolizes one’s dream, while he reaches out his hand to welcome anyone in pursuit of his or her dreams. 通往終點的階梯往往難以前進，但一步一步 來，有野心的人們總有達成夢想的一天。這 幅油畫採用了許多象徵手法，合掌的雙手代 6
表著專心一致的恆心。而巨人臉上的門代表
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著夢想本身，伸出手歡迎所有追夢的人們。
2016 | Oil on canvas |
油畫/仿麻
| 60.5×72.5 cm
O I L P A I N T I N G
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鹽 與 喜 相 逢
O I L P A I N T I
SALT AND SHISHAMO
N G
No matter what the season, freshly grilled shishamo tastes best with rice, or serves as the most refreshing combination with beer. Whether the burnished wooden plate made by the finest craftsman, or the pinch of salt floating in the air, all reminds me about that Japanese gastropub I visit every summer in Japan. 鹽烤的喜相逢無論哪個季節都是最下飯的配 菜，或是最清爽的下酒菜。師傅用心打磨拋 光的木盤子，抑或是漂浮在空中的那一小撮 6
鹽巴，都讓人回想起那間每年夏天去日本旅
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遊時必拜訪的居酒屋。
2014 | Acrylic on panel |
壓克力/木板
| 31×20 cm
O I L P A I N T I N G
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悲 慟 之 歌
D R A W I N G
SONG OF MELANC HOLY
“Song of melancholy” is a special type of the pitcher plant, and I used this as the concept to develop this drawing. Sadness is an emotional pain, and the longer people experience this emotion, the more it bears resemblance to a trap. Suffering in grief lures people for their attention and concern. Yet in the meantime, it also imprisons the victims themselves. 「哀慟之歌」是款特殊的豬籠草品種，我用 此概念發展出這幅作品。悲傷是一種情緒上 的傷痛，當人們經歷此情緒越久，它就越像 個陷阱。難過的人們不僅只是從其他人那引 7
誘注意力與關心，更將自己囚禁在悲傷裡。
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2015 | Colored Pencils |
色鉛筆
| 52×76 cm
D R A W I N G
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少 了 你 的 世 界 因 而 有 了 缺 陷
R A W I N G
HOW
Pencil Drawing
D
MY WORLD REMAINS INCOMPLETE WITHOUT YOU
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鉛筆
| 18×18 cm
How My World Remains Incomplete Without You.
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2015 | Pencil |
無 題
Pencil Drawing
UNTITLED
D R A W I N G
3
| 18×18 cm
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鉛筆
Untitled.
2015 | Pencil |
後 果
R A W I N
AFTERMATH
Pencil Drawing
D
G
鉛筆
| 18×18 cm
Aftermath.
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2015 | Pencil |
靜 候 之 價 值
WAITIN G
Pencil Drawing
WORTH
R A W I N G
FOR
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| 18×18 cm
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鉛筆
Worth Waiting For.
2015 | Pencil |
D
實 驗 混 合 體
R A W I N
FUSION EXPERIMAE
Pencil Drawing
D
G
鉛筆
| 18×18 cm
Fusion Experimae.
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2015 | Pencil |
全 化 為 謊 言
Pencil Drawing
HOW IT
D R A W I N G
ALL TURNED TO LIES?
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| 18×18 cm
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鉛筆
How It All Turned to Lies.
2015 | Pencil |
G R A P H I C D E S I G N
G R A P H I C
G R A
D E S I G N
P H I C
Section Four 平
面
設
D E
計
S I G N
PAG E
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Graphic Design Works from 2013 to 2016.
Application Visual Branding
The Everlasting Melody
Ubiqconn Product Webpage
W.A.S.P. Web-Abode Stinging Pests
Work Display / Design Concept / Logo Design / Color Palette / Iconography / Design Details
Work Display / Design Concept / Logo Design / Color Palette
Work Display
Work Display / Specimen
W.A.S.P. Handbook W.A.S.P. Chronicle
SEARCH
Happy Mother’s Day Logography
Work Display / Backstory / Design Concept / Logo Design / Color Palette
Work Display / Design Concept / Logo Design / Color Palette
Work Display
申 請 資 料 視 覺 整 合
G R A P H I C D E S I G
APPLICATION VISUAL BRANDING
N
This is the personal visual branding I created for my own MFA application. Since I was applying for illustration MFA programs, sophisticated illustration icons are used to embellish the whole identity system. The colors are chosen to represent the personalities of me, and to perform a refreshening and modern visual style. 此專案為申請研究所用的個人形象視覺整合 設計。因為申請的科系為插畫研究所，所以 在整體的設計上大量的運用了許多精緻的插 畫標誌。在配色上，也選了能表現出個人特 質的顏色，以及營造出清新又現代的感覺。
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Papers 文件：21×29.7 cm Envelope 信封：10.5×24 cm A4 Envelope 文件信封：23×32.6 cm
2015 | Adobe Photoshop
G R A P H I C D E S I G N
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LOGO DESIGN
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The visual strategy of the project is to demonstrate my abilities to utilize illustration in graphic design. Therefore I combined exquisite vintage drawings and modern minimalism to create the visuals of the brand. The key of this branding is the interpretation of the iconography, while each of them narrates their own story, like the covers of a novel.
The logo of the brand shows a vintage drawing of a man painting with both hands. This a method sometimes used by artists when they are painting details, implying that I focus on details on all of my artworks. On the other hand, it also hints that I have a great enthusiasm towards illustration and can’t stop myself from painting. The slogan in the logo states, “Illustration is the only method, to interpret the imagination and bizarre world within my mind.”
在整個專案的視覺規劃上，主要是希望能表
在這個人品牌的商標中，可見一個復古插畫風格的男子用
現出自己運用插畫在平面設計上的能力，所
雙手在作畫。這是許多油畫家在畫細節的時候會用到的方
以結合了精緻的復古線條插畫，和帶有現代
法，象徵著在我的作品裡，任何細節我都不會放過。同時
感的極簡設計風。而這專案的重點則在於各
也暗示著，我對插畫抱著極大的熱情，永遠無法停止畫圖
個插畫圖像的象徵意義，每個插畫圖像都宛
。商標周圍的標語則寫著：「插畫是我將腦裡詭譎的想像
如小說封面般，敘述著自己的故事。
世界呈現出來的唯一途徑。」
2015 | Ink on paper | 原子筆 | 10×10 cm
COLOR PALETTE
As mentioned previously, the colors of this visual system intend to represent the personalities of me: easy-going, upbeat, and creative. The shades of green varies from celadon to mint green, and within the collaboration of pale gold, a refreshening and elegant visual is formed. In addition, Art Deco symbols were used as a formation with the illustrations, to spice up the minimalist design with vintage elements.
Easy-Going #BEE2D3
如前所述，在選色上為了表現出隨和、樂觀，以及富有創造力的個人特質，所以選了介 於青瓷綠及薄荷綠之間的漸層色，再搭配上淡金色，營造出清新又帶有質感的風格。另 外在整體規劃上，也使用了帶有裝飾藝術感的符號，搭配著插畫，希望在現代感濃厚的 設計中，加入復古元素，增添整體設計的趣味性。
Upbeat #62C2A5
Creative #279A86
Resourceful #253735
Diligent #B8B08B 8 3
Exhibition: The Antlers of Glory A whimsical combination of the artist and the stag head decor, which represents the satisfaction of artwork accomplishment and the glory of exhibitions. 展覽經歷：榮耀的鹿角 在這個人品牌的商標中，可見一個復古插畫風格的男 子用左手扶著另一隻手，以避免在
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Experience: The Feeding Goat
Awards: The Nike of Samothrace
A humorous way to represent the concept of a person’s education and work experiences. A goat chewing on books implies that one dedicates himself in assimilating knowledge.
The notable statue of “The Nike of Samothrace” is combined with the ring game, symbolizes the achievement of awards and contests.
教育與工作經歷：啃食的山羊
得獎經歷：勝利女神
以幽默的手法呈現教育程度與工作經歷的整體概念，
將知名的勝利女神像與套圈圈結合，象徵著比賽和成
啃書中的山羊象徵著一個努力吸收知識與經驗的人。
功得獎的經歷。
2015 | Ink on paper | 原子筆 | 5×5 cm
Extracurricular Activities: The Traveler
To portray the abundance of one’s publications, this illustration shows prosperous plants and funghi thriving from the typewriter.
This drawing derives from the story of “The North Wind and the Sun”, which represents the abundance of extracurricular activities and exploring experiences.
出版經歷：茂盛的打字機
課外活動經歷：旅行者
打字機上翠綠的植物與香菇蓬勃茂盛地生長著，代表
漂泊的旅行者與北風與太陽的趣味結合，象徵著豐富
著出版經歷豐碩的概念。
的課外活動以及見多識廣的遊歷經驗。
Essays: The Ink of the Thinker
Recommendations: The Blessed Letter
This icon is used for the writing sample and the statement of purpose. It depicts “The Thinker” as a bottle of ink, which embodies the struggles of a writer.
A stork delivering a pigeon with post, which illustrates that the letters are sincere endorsement and blessings from the recommenders.
短文寫作：沈思的墨水瓶
推薦信：祝福的信件
此圖像運用在寫作範例及讀書計畫上，結合了沈思的
由一隻送子鳥叼著一隻信鴿，送子鳥象徵著來自推薦
大衛像與墨水瓶，代表著金淘沙揀的寫作過程。
者們誠摯的祝福，而鴿子則代表信件的傳達。
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Publications: The Typewriter
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申 請 資 料 視 覺 整 合
G R A P H I C D E S I G N
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Curriculum Vitae |
個人履歷
2015 | Adobe Photoshop | 21×29.7 cm
G R A P H I C D E S I G N
短文寫作
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Writing Sample |
琴 續
G R A P H I C D E S I G
THE EVERLASTING MELODY
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The client of this project is the Guitar Club of Taipei Municipal Heping High School. The graphics are designed for their 17th annual performance “Ching-Shu (The Everlasting Melody)”. Items in this project includes posters, invitation postcards and event brochures. 此專案的客戶為台北市立和平高中吉他社， 為他們第十七屆的成果發表會“琴續”做宣 傳品設計。設計項目包含海報、邀請酷卡、 以及活動手冊。
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Poster 海報：42×59.4 cm Postcard 酷卡：10.5×14.8 cm Brochure 活動手冊：14.8×21 cm
2013 | Adobe Illustrator
G R A P H I C D E S I G N
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The illustration of the poster depicts a cosmic-themed female musician with headset microphone, while being surrounded by celestial objects. This implies that the melody and harmonies of this event will be as everlasting as the universe. The entire design consists of neat, vector art with bold and vigorous colors, which indicates the vitality of high school youngsters. 主視覺描繪出一個太空風格造型、別著麥克 風的女音樂家，被許多行星及太陽圍繞著， 象徵著這場活動的旋律及琴聲，將會如宇宙 的存在般，永遠延續不斷。整體視覺由乾淨 9
俐落的向量風格插畫包裝，以及鮮明活潑的
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用色，帶出高中社團青春有活力的意象。
2013 | Adobe Illustrator | Poster: 42Ă—59.4 cm
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LOGO DESIGN
Besides the key visual illustration, there are other combinations of guitar and astronomical elements, permeating the whole project. The twenty multicolored guitar spaceships on the postcard represents the twenty members of the guitar club. In the meantime, as the mascot of this event, the guitar spaceships appear on various items of this design project.
In order to match the vector artwork of the project, I designed a set of geometrical logotype with contemporary aesthetics. I rounded the corner of the edgy letters to reduce the starkness, and to make the typography visually more entertaining. The slanted extension of the letter “Ching” associates with a flying guitar spaceship on purpose. Therefore, this not only enlightens the logotype with playfulness, but also balances the visual weight of the design equally.
除了主視覺插畫外，還有結合了吉他與太空
在琴續的標準字上，為了搭配著向量風格的插畫，使用了
元素的小物件穿插於整體設計中。在邀請卡
帶有現代感的俐落幾何形做設計。字的轉折部分，也使用
上的二十架彩色吉他太空船，象徵著該吉他
了圓角，讓字體在視覺上顯得活潑又順眼。「琴」字的斜
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社團的二十位社員，並以該吉祥物結合活動
邊延長處，則趣味性地與吉他太空船做連結，同時達到視
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標準字，穿梭於各個設計品項之中。
覺重心上的平衡性。
2015 | Adobe Illustrator | 10×10 cm
COLOR PALETTE
Since the client requested the basic color of the design to be white, I used different tones of gray as the main color. In this way, the vivid colors of the design can be more attractive in comparison to the bleached background. Bold colors were used in the illustration to create technological aesthetics of the outerspace. The shades of midnight blue represents the universe, and the bright orange symbolizes the sun and the beaming energy.
Celestial #DEDCDB
在選色上，由於客戶希望整體底色是白色，便決定以淺灰色作為設計主體色，相較之下 色彩鮮豔的主視覺反而能更吸引目光，而插畫的配色上則以少量顏色營造出外太空的科 技感。深藍色的漸層色象徵著外太空，而橘色則象徵太陽與能量。
Meteor #BBBDBF
Solar #E5A93D
Energetic #9AC454
Eternal #45617E 9 3
攸 泰 科 技 產 品 頁 面
G R A P H I C D E
UBIQCONN PRODUCT WEBPAGE
S I G N
The client of this project is Ubiqconn Technology, and the visual direction of this case is subcontracted to me by Begonia Design. The key point of the design is to display the process and advantages of the product clearly. A variation of icons were used in the application diagram and to indicate the features of the product. It is also important to follow the original visual strategy of the main website. 此專案為海棠網頁設計所外包的網站頁面視 覺，客戶為 Ubiqconn攸泰科技。設計重點 主要為完整且清楚的呈現科技產品的優點、 9 4
特色及使用方式，以及符合該網站的視覺規 劃。
2015 | Adobe Photoshop
G R A P H I C D E S I G N
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蜂 駭
G R A P H I C D E S I G
W. A. S. P. WEB-ABODE STINGING PESTS
N
Co-designer: Fanyu Lin 林凡榆 Chia-Ju Lin 林佳儒
2012新一代設計獎視覺傳達設計類：銅獎。
Bronze Medal Award of “YODA: Taiwan Young Designer’s Award 2012 (Graphic Design Section).” Silver Medal Award of “The 6th Taiwan Golden Print Award”
蜂駭W.A.S.P.(全名Web-Abode Stinging Pests)是我們的大學畢業製作專題，主題為
第六屆台灣金印獎：銀獎。
網路謾罵。在社群網路上，常常會有引起騷 動的影片，接著網路使用者們便會群體對受 害者進行言語攻擊，或是進行人肉搜索等等 的行為，這其實與黃蜂毫無忌憚的攻擊行為
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W.A.S.P.(Web-Abode Stinging Pests) is our graduate thesis project, and the project focuses on cyberbullying. Internet users that assault victims with violent words or methods are very similar to wasps. A single creature can do no harm, but when they attack in groups, these stingers can cause severe damage to the victims.
非常相似。我們將這種行為比擬為一種新的 怪物「寄網蜂蟲」，少數幾隻看似無害，但 當牠們進行群體攻擊時，便會造成極大的傷 害。
W.A.S.P. Handbook 蜂駭研究紀錄：22×22 cm W.A.S.P. Chronicle 蜂駭事件年表：34×32 cm Specimen 蜂駭標本：34×18×10 cm Observation Box 觀察箱：18×25×36 cm
2012 | Mixed media |
混合媒材
| Closed Box Size: 64×18×34 cm
G R A P H I C D E S I G N
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The W.A.S.P. specimen in the wooden box is consisted of more than 60 pieces of laser cutted acrylic panels, which is illuminated by LED installation. In addition, the layered consolidation of the acyrlic panels also coincides with the embedded specimen in the W.A.S.P. Handbook. 木箱中的標本，為六十來片經過雷射雕刻的 壓克力片堆疊而成，並裝設了LED燈照射。 9
另外，堆疊而成的標本也呼應了蜂駭研究紀
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錄中，鑲嵌在書中的寄網蜂蟲標本。
2012 | Acrylic |
壓克力
| 34×18×10 cm
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蜂 駭 研 究 紀 錄
G R A P H I
W. A. S. P. HANDBOOK
C D E S I G N
The W.A.S.P. Handbook is an illustrated book that introduces the details about the creature. A specimen of the wasp is embedded into the middle of the book by the overlap of printed cellophanes. A gatefold spread that introduces the W.A.S.P. habitat is included at the end of the book. The handbook explains all sorts of facts of this made-up creature thoroughly with illustrations. 蜂駭研究紀錄是一本記載了所有關於寄網蜂 蟲習性與特徵的圖鑑。圖鑑中運用透明片重 疊的手法，嵌入了一隻寄網蜂蟲的標本，書 後則收錄了該生物的生態棲息地圖。所有關 10 0
於寄網蜂蟲的資料都繪製成插圖，並附有詳 細的文字說明。
2012 | Adobe Photoshop | 22×22 cm
G R A P H I C D E S I G N
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蜂 駭 事 件 年 表
G R A P H I
W. A. S. P. CHRONICLE
C D E S I G N
The W.A.S.P. Chronicle is a handmade pop-up foldout book. It includes ten cyberbullying cases that happened in Taiwan from year 2009 to 2011. Real messages from social network user are recorded in every case, and they eventually turn into wasps and attack the vicims in every scene. The paper structure of each page represents 蜂駭事件年表是一本手工製作的摺頁立體書 ，收錄了從 2009 到 2011 年之間十個台灣曾 經發生過的網路霸凌事件。年表上記錄了從 社群網站上面找到的各種針對受害者的謾罵 10 2
字句，這些帶有強烈攻擊性的字眼會慢慢轉 變成寄網蜂蟲，攻擊畫面裡的受害者。
2012 | Adobe Photoshop | 34×32 cm | Full Length: 328×32 cm
G R A P H I C D E S I G N
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設 取
G R A
SEARCH
P H I C D E S I G N
Co-designer: Fanyu Lin 林凡榆 Key visual and promotion material design for “College of Design: Graduate Exhibition of National Taiwan University of Arts” in year 2012. The “College of Design” is made up of three departments, and though three departments vary in distinct specialties, they all face similar obstacles when searching for inspirations. 2012年國立臺灣藝術大學設計學院年 101級 主視覺與平面文宣設計，用於宣傳校內設計 展與新一代設計展。設計學院由工藝、多媒 與視傳三個系組成，專業各不同，尋找靈感 卻是共通課題。
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Poster 海報：70×100 cm Postcard 酷卡：10.5×14.8 cm
2012 | Adobe Photoshop
G R A P H I C D E S I G N
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背 景 理 念
G R A P H I C D E
SEARCH: THE BACKSTORY
S I G N
Beyond the deepest zone underseas where light is imperceptible, we struggle to dive even deeper into the dark, in order to seek for more innovative inspirations.
However, after all the effort and enduring through the predicament, the consequences undoubtedly reflect the beliefs of painstaking designers.
Designers always have to explore endlessly until they come up with a good idea. We combined the concept of “Search” with a Chinese idiom “looking for a needle in the ocean”, symbolizing how difficult it is for a designer to create something new.
看不見的尺度底下，我們朝更深的黑暗中潛 去，設取 靈感。
在完成一件設計作品前，設計師總是需要無 止盡地摸索，才能找出新的靈感與構想。將 尋找過程—「設取」結合「海底撈針」的意 象，象徵設計師要架構一個嶄新的概念有多
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When we reach our hands into the abyss, our brain might conceive intimidating sceneries due to the anxiety of approaching unpredictibilities. This concept inspires us and we created the monsters in this project, representing the obstacles we might overcome frequently in the process of completing our designs.
麼地困難。
人們伸手探入深海中的過程裡，由於想像力 作祟，不免憑空捏造出許多嚇人的情景，將 其比喻為我們在做設計時常會面臨到的種種 困難，而經過如此淬煉完成的作品，更能體 現設計人不斷索求完美過程本質。
2012 | Pencil |
鉛筆
| 52.1×37.5 cm
G R A P H I C D E S I G N
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LOGO DESIGN
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The progress of the Search project lasted for more than half a year, while we developed ten or more different versions of the poster. In addition, we produced all the sources (photos and illustrations) used in the design by ourselves. Most of all, the same visual elements and strategy were extended to the designs of our website, promotion animated video, and thesis collection catalog.
Designer: Fanyu Lin 林凡榆 Before making the final decision, we tried four to five different logotype designs. Since both chinese characters “She(設)” and “Chu(取)” have similar structures, there are plenty of transfromations to exert in the design process, such as the intersections in the bottom-right corner of both letters. Eventually we decided to use the logotype designed by the other co-designer Fanyu Lin.
此專案前後共計歷時了半年以上，從最初草
在敲定最終定案為這組標準字前，我們設計了四到五組不
稿到定案，約莫設計了數十種的版本，而主
同的標準字。由於「設」跟「取」兩字都有許多重複可發
視覺的插畫及合成素材也由我們親手製作。
揮的結構，所以在設計上能做變化的地方很多，例如兩個
另外，此主視覺也延伸至同一屆設計學院的
字右側都有的「又」字結構。最後我們決定由另一位合作
網頁、宣傳影片，以及專刊編輯的設計上。
設計師設計的這組標準字進行最後完稿。
2016 | Copic marker | 麥克筆 | 20×20 cm
COLOR PALETTE
In the printing process, we chosed one Pantone Metallic Color(silver) and one Pantone Neon Color(fluorescent yellow) to make the target pop out. In the meantime, the quality of the design is also improved by the print textures. The greenish-yellow font captures all the focus on the monochrome poster, as if it is implying that inspiration is the only relief when you eventually seized it in the drowning abyss.
Bioluminescence PANTONE PASTELS NEONS 809C
在印刷品上我們採用了兩種 Pantone的特殊色：螢光綠以及帶有金屬光澤的銀色，以 凸顯視覺焦點，同時增加印刷品的質感。在黑白無彩度的海報裡，唯有螢光綠的字體跳
Fish Scale
出來，也彷彿在暗示著伸手不見五指的黑暗裡，只有找到靈感那刻才是唯一的解脫。
PANTONE METALLIC 877U
Abyss PANTONE COATED BLACK C
Darkness #4D4C4D
Miscreation #88807E 10 9
母 親 節 卡 片 設 計
G R A P H I C D E
HAPPY MOTHERʼS DAY
S I G N
A self-designed and handmade Mother’s Day card, with three pages of content being revealed when the card is opened. Illustrations of my siblings are printed on the pages respectively, while on the inside contains the messages written to our mother. The drawings on the pages correspond to the colored painting in the middle, which depicts the whole family huddling together, celebrating the Mother’s Day. 自己親手設計的母親節卡片，卡片打開後可 看見三片分頁，畫了家中兄弟妹三人，內頁 分別為寫給媽媽的話。線稿對應著中間的彩 11 0
色插圖，整張卡片打開後可看見一家人溫馨 的在切蛋糕、慶祝母親節。
2016 | Adobe Photoshop | 30×30 cm
G R A P H I C D E S I G N
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母 親 節 卡 片 設 計
G R A P H I C D E S I G N
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Inside Details |
內部細節
2016 | Adobe Photoshop | 30×30 cm
G R A P H I C D E S I G N
背部細節
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Back Details |
THANKSMOM MOTHERʼS DAY | MAY 8TH 2016
LOGO DESIGN
Hoping to surprise the receiver with layers of amazement, I designed an iron cross fold card with three inner pages and one cover page. The three folds are just appropiate for my siblings and me to put on our messages and portraits individually. On the other hand, the visuals of the card design intends to portray an intimate and loving atmosphere in entirety.
This time I used hand lettering to design the logo. I wrote the quote with Copic markers and then scanned it into the computer to finish the process. The square blank on the letters makes the reader to focus on the slogan of the logo. However, the script still remains identifiable, which forms a subtle balance between the decorative function and the legibility of the letters. Additionally, the typeface Futura are chosen to increase the elegance of the design. 這次使用了手寫字作為 Logo的風格，用麥克筆手寫後再
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在設計卡片結構的時候，希望能讓收到卡片
掃描進電腦描繪。手寫字的上方壓上空白方塊，使視覺焦
的人有一層一層的驚喜感，所以用了三層的
點更為集中於正中央的標題上。同時，壓上方塊的字體依
卡片包覆著最中間的插畫，而三層頁面上則
然保留了其可讀性，在裝飾與辨識度上達到了微妙的平衡
剛好能放上兄妹三人。卡片的視覺設計上，
。另外， Logo中央的標題與卡片都同樣使用了 Futura字
則希望整體能呈現溫馨中充滿愛的感覺。
體，增添整體設計的現代感。
2016 | Copic marker | 麥克筆 | 20×20 cm
COLOR PALETTE
Instead of using the traditional bright pink color scheme as a symbol of the Mother’s Day, the color combination of this project creates a deluxe and classic atmosphere with lavender pink and pale gray. In addition, to match with the warm-colored illustration in the middle, the inside of the card is covered in shades of biege. Like a frosted cupcake, a mild coziness mixed with a modern trend is formed altogether with the composition of the creamy, yellowish colors. 配色上因為不希望用傳統的粉紅色系作為母親節的意象，所以外部以淺灰底配上低彩度 的薰衣草粉，營造高級典雅的氣氛。另外為了搭配中央偏棕色的彩色插畫，卡片內部主 要以米色為主。就像糖霜蛋糕般，卡片整體在溫馨的氛圍中又帶點不落俗套的現代感。
Loving #BEE2D3
Cherish #8C7174
Kin #279A86
Coziness #253735
Purity #F0F1F2 11 5
商 標 設 計
G R A P H I
LOGOGRAPHY
C D E S I G N
This is a collection of various logotypes I designed through year 2013 to year 2016. I have a great interest in Chinese typeface design, because unlike the creation of visual art, the process of logotype design is a way of seeking harmony and aesthetics through logical solutions. The achievement of logotype design provides a rather distinct satisfaction than illustration. 此系列為 2013至 2016年間所設計的標準字 作品。我對中文標準字的設計一直很感興趣 ，不像繪畫創作，字體設計是以理性的思考 11 6
方式去達成美感及和諧的表現。而透過設計 所獲得的成就感，也與插畫創作十分不同。
THANKSMOM MOTH E R ʼS DAY | MAY 8T H 2016
2013-2016 | Adobe Illustrator
G R A P H I C D E S I G N
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T H A N K S . F O R . WATC H I N G
CONTACT INFO
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