Page 1

張 育豪 Chang Yu-Hao

萌芽︑過渡︑入門

一段從無到有的真實紀錄

Sprout, Transition, Entrance

a real record from 0 to 1


張 育豪 Chang Yu-Hao

萌芽︑過渡︑入門

一段從無到有的真實紀錄

Sprout, Transition, Entrance

a real record from 0 to 1


當心中零碎的片段被 重新拼湊,我們才知 道自己從何而來。

01

When scattered fragments were put together in mind, we finally knew where we came from.


序| Preface 「當心中零碎的片段被重新拼湊,我們才知道自己從何而來︒」 關於作品集,最想讓觀者看到的是,除了作品的整理與呈現之外,背後的心路歷程︒對於一個非本科出生的設 計工作者,從自主學習建立對設計的理解︑付諸實踐藉由實作解決生活問題︑到下定決心投入設計領域,需要 付出大量的時間和努力︒但努力並不一定能成功,還需要一點運氣和天分︒慶幸在實踐理想的道路上,遇到了 許多貴人和前輩,他們給予鼓勵,並適時地修正方向,著實地幫助我在這條曲折的路上走得更平穩︑踏實︒不 知道自己能走多遠,但肯定的是:在沒有力氣前,我會繼續走下去的︒

在這本書裡,記錄著從 0 到 1 的過程,是反省回顧,也是一種鼓勵,鼓勵自己延續這得來不易的故事︔鼓勵擁

有相同夢想的朋友們,堅持自己選擇的道路︒由衷感激每件成就今朝的人事物,在那些至關重要的片刻裡,你 們見證了我的成長︒

“When scattered fragments were put together in mind, we finally knew where we came from.” In the portfolio, the most important things I want to present, except for arrangement and presentation of my works, is the process and the track behind it. For a creative worker who majors in irrelevant subject, it takes lots of time and efforts to build up comprehension of design by himself, apply design to solve problems in life, and make a resolution to go in for the field. However, great efforts cannot equal success. It also takes a little lucks and gifts. Fortunately, there were many helpers and seniors who inspired me, and corrected my direction at the right times, which helped me walk more steadily and surely on this winding road a lot. I don’t know how far can I reach, but it’s for sure that I will keep walking until I have no effort. This book records the process from 0 to 1, which is a review, also a kind of encouragement, to encourage myself to continue this hard-earned story, also friends with the same dreams to persist in the road they choose. I sincerely appreciate everything that accomplishes me of today. On those important moments, you witnessed my growth.

02


目錄| Contents 0.

關於我| About Me

1.

萌芽| Sprout 1.1 拙作選|Humble Selection

2.

過渡| Transition 2.1 台克尼克|TAICNIC 2.2 光合作用|NTU Photosynthesis

2.3 國立臺灣大學 CIS 設計徵選|NTU CIS Contest 2.4 活大藝廊《The Gallery》|The Gallery 2.5 2015 作品集|Portfolio 2015

3.

入門| Entrance 3.1 3.2

字我定義|Typeface, my self-image 跳跳| Jump, Jump

3.3 去你的作品集|FUCK OFF PORTFOLIO

3.4 臺大電影節《跨越‧藩籬》|NTU Movie Festival “Step over the hedge.” 3.5 貞貞美容工作室| Jhen Jhen Beauty Workshop

3.6

水越實習|Works in AGUA Design

3.7 獨角獸實習|Works in UNICORN Skincare

4.

附錄| Appendix 4.1 攝影選|Photography

4.2 把夢做大|Dream Big

4.3 設計與經濟|Design & Economics 03


05

07 09

13 15 17 19 25 27

31 33 37 41 45 49 55 65

71 73 85 87 04


2015 年夏天進入業界實 習,自此眼界大開,決 定全心投入設計領域。

05

He has determined to go in for design since he entered the industry as an intern, which greatly widened his vision.


0. 關於我 About Me 張育豪,1994 年生,臺北人,就讀國立臺灣大學經濟學系,非設計本科,在求學路上意外接觸平面設計,利用

課餘時間潛心於此,2015 年夏天進入業界實習,自此眼界大開,決定全心投入設計領域︒最喜歡的設計師是王

志弘和何庭安,代表作為字我定義︒

Chang Yu-Hao, born in 1994 in Taipei, majors in economics in National Taiwan University. He didn’t study in design school, but got in touch with graphic design in college accidentally. He has devoted himself to it in his extracurricular life. He has determined to go in for design since he entered the industry as an intern, which greatly widened his vision. His favorite designer are Wang Zhi-Hong and Ho Ting-An, and his representative work is《Type“FACE”, my self-image》.

學歷| Education

經歷| Experience

國立臺灣大學

2015

經濟學系 雙主修政治學系 2017 年畢業

UNICORN Skincare|設計實習生

National Taiwan University, Taipei, Taiwan(R.O.C)

UNICORN Skincare|graphic design intern

Major in Economics expected January 2017

水越設計|實習生

臺北市立成功高中

AGUA Design|intern

Chenggong High School, Taipei, Taiwan(R.O.C)

Colorweb Print|part time designer

Graduated June 2014

台大藝術季|空間視覺設計師

第一類組 2012 年畢業

演色印刷|兼職設計師

NTUArtFest|spacing visual designer

技能| Skills 擅長領域|Domain 平面設計︑數位排版︑後製修圖︑設計思考 Graphic Design, Layout, Retouching, Design Thinking

電腦軟體|Computer Skills Illustrator, Photoshop, Indesign Illustrator, Photoshop, Indesign

外語能力|Language

2014 粉樂町台北東區當代藝術展|志工 Very Fun Park |volunteer 臺大學生會|文化部

NTUSA|cultural department 臺大電影節|設計宣傳 NTU Movie Festival|design and promtion 臺大湖說音樂節|設計宣傳 NTU Music Festival|design and promotion

多益金色證書 (945)︑全民英檢中高級︑簡單日文

TOEIC Golden Certificate(total score 945), GEPT High-

Intermediate, Simple Japanese 06


對我來說,這是一個舞 台,讓我實踐一直以來 想做的事情,同時也開 啟了意想不到的旅程。

07

As to me, it was a stage to let me realize what I have wanted to do since long time ago, and at the same time opened an unexpected journey.


1. 萌芽 Sprout 對於創作的渴望可以追溯到孩提時期,記憶裡 懵懂的男孩在紙上用鉛筆勾勒出想像中的輪

Desire to create can be traced back to childhood. The naïve boy in memory used pencils to draw the outline of his

廓,沉浸在自己的世界裡,好不快樂︒

imagination, enjoying his own world.

童年的我是個想像力豐富的孩子,從卡通建構

I was an imaginative kid in my childhood, building up

出對真實世界的想像,嘴裡說的話和紙上畫的 圖說明了這是個鬼靈精怪的小毛頭︒無憂無慮

的生活沒有持續太久,卡通和畫筆在求學的過 程漸漸地被補習和課本給取代,於是創作被排 除在課業之外,興趣也被慢慢地被遺忘︒

直到大學,沒有過往的包袱,每個人可以選擇

自己的方向︒憑著長久以來的嚮往,在參與社 團活動的時候,得到擔任美宣的機會,終於我 又開始在活動視覺︑文宣品︑邀請卡等零碎的

imagination of real world from cartoons. What I said and drew told that I was such a mischief. However, joyous and carefree life did not last long. Cartoons and draw pens were replaced by cram school and textbooks during student life little by little, and thus, creation was excluded from school work, and the interest has been forgotten gradually. After I went to college, there was no obligation before. Everyone can choose their own direction in this period. By desire of long time, I got a chance to do design work for my

項目裡,展開新的創作里程︒

club. Finally I started to create again for scattered projects.

此時的作品沒有確立的風格,實驗性濃︒多的

Works in this period was very experimental and didn’t

是工具的嘗試和創作方法的摸索,雖然生疏,

卻也是第一次用視覺傳達的方式向觀者溝通︒ 對我來說,這是一個舞台,讓我實踐一直以來 想做的事情,同時也開啟了意想不到的旅程︒

establish any style. I put most of time on trying tools and finding ways of creation. It may seem clumsy, but was first time to communicate with language of visual communication. As to me, it was a stage to let me realize what I have wanted to do since long time ago, and at the same time opened an unexpected journey.

08


萌芽|Sprout

1.1 拙作選 Humble Selection 拙作選包含最早接觸設計時,為臺大電影節︑

Humble selection includes design for NTU Movie Festival &

臺大湖說音樂節所設計的文宣︒

NTU Music Festival, which are pieces of the earliest stage.

臺大電影節由臺大學生會文化部主辦︒在臺大

NTU Movie Festival has been held by cultural department

校園已經有超過 26 年的歷史,是臺大學生眾

of NTUSA(NTU Student Association). It has been held for

所皆知的年度盛大活動︒2014 上半年度主題為

26 years and is a big activity known to all students. Theme

議題探討非主流價值的關係認同︒視覺設計上

the discussion of non-mainstream identification of relation

《藩籬‧跨越》,從性別︑種族︑流浪動物等

採較為抽象隱晦的元素,破碎牆面和混濁色系 的油畫背景隱喻為關係的屏障,戀人的剪影作 為故事的主體,欲呈現出虛實之間的衝突感︒

下半年度的主題為《練習》,強調每一日的生

of first half 2014 was “Step Over The Hedge”, focusing on from issues such as sex, race, and stray dogs. I created its visual identity with abstract and obscure elements. Broken wall and muddy painting symbol screen in relation, and the outline of lovers is the main body of the story, which I

活都是各種形式的練習︒子活動「影人沙龍」

wanted to present conflict between unreality and reality.

明體,欲傳達電影的人文感︒

daily life are various kinds of practice for each day. The

臺大湖說音樂節同樣由臺大學生會文化部主

followed the colors of the main visual identity and Mincho

的酷卡設計配合主視覺的紅黑配色,字型採用

辦︒靈感取自經典的「胡士托音樂節」,以關 懷社會並付諸行動為號召,欲藉由音樂傳達

「社運之後」的種種情感︒子活動“This Land Is Your Land”為一小型展場,特別設計的互動 海報讓觀者由簡單的測驗找到屬於自己的歌︒

Theme of second half year was “Practice”, emphasizing design of card of its sub-activity “Salon of Filmmakers’” is used to convey the humanity of movies. NTU Music Festival was held by cultural department of NTUSA, too. The idea came from “The Woodstock Music & Art Fair”. We want to call to show loving care for society and convey kinds of emotion after series of social movements. The sub-activity “This Land Is Your Land” was a small exhibition. The interactive poster designed for special let visitors find their own music by simple test.

09


拙作選|Humble Selection

10


萌芽|Sprout

11


拙作選|Humble Selection

12


設計是入學以來,擁有 最多熱情,付出最多時 間,而自已也還能夠勝 任的事情。

13

Design is the subject that I have paid most of time on with great enthusiasm since I went to college and also a subject that I can handle.


2. 過渡 Transition 過渡,意味著狀態或階段間發展︑變化的過程︒

Transition means a change from one state to another.

在創作種子重新萌芽後,開始習慣於負責視覺

After the seed of creation sprouted again, I got used to

設計的工作︒慢慢地,對於工具的掌握逐漸熟 悉,表現手法較過去成熟,更加注意細節的處

理,但這僅限於自己的解讀︒由於自學的關係, 身邊沒有太多創意工作者可以觀摩學習,我就 像隻井底蛙一般,一度感到拿翹,但事實上對 於設計的理解仍是以管窺天︑流於狹隘︒

直到開始進入業界尋覓實習機會,才開始體認 到,設計不只是我所想像的樣貌︒面試的過程

有人挑戰我投身設計的決心︔有人測試我對設 計的品味︔有人則考驗我對於作品的理解,一 次次反覆提醒著自己的不足和天真︒

面試的挫敗讓我不得不重新檢視自己,也開始 思考設計是否是人生未來的選項︒思考過後, 我認定設計是入學以來,擁有最多熱情,付出 最多時間,而自已也還能夠勝任的事情︒

還得尋求更多機會讓自己成長,我告訴自己︒

running the part of visual design. Gradually, I became more familiar with the use of tools, the way of expression became more mature, and I paid more attention to dealing with details. However, that was only for my opinion. For I studied design on my own and there weren’t many creative guys around me who I could learn from, I was just like the frog in the well, once sliding into complacency. In fact, my comprehension are too narrow, easy and superficial. Not until I started to look for the chance of internship did I know that design is not what I think of. During interviews, some interviewers challenged my resolution to go in for the field, some measured my taste of design, and some tested my understanding of my own works. It reminded me again and again my deficiency and innocence. The frustration of interviews made me obliged to review myself again, and think whether design is the right choice. After deliberation, I determined that design is the subject that I have paid most of time on with great enthusiasm since I went to college and also a subject that I can handle. I still had to get more chances to go further. I told myself.

14


過渡|Transition

2.1 台克尼克 TAICNIC 台克尼克即台灣 (Taiwan) 與野餐 (Picnic) 的結合︒活動由臺大學生會與臺大藝

術季共同舉辦,以台式野餐為出發點,於醉月湖畔發放裝滿各式台灣風味小吃 的野餐籃,並加入樂團表演︑闖關遊戲︑電影播放等相關活動,提供臺大學生 一個美好的夏日饗宴︒

標準字的設計上採用極粗︑圓角特徵的無襯線字體呈現「肉感」,搭配烤香腸︑ 糖葫蘆等台式小吃元素,希望能激起觀者的食慾︒粉嫩色系的配色欲傳達風和 日麗的清新感受︒

TAICNIC is the combination of “Taiwan” and “picnic”. The activity was coheld by NTUSA and NTUArtFest. Started from Taiwanese picnic, organizers provided picnic baskets filled up with Taiwanese-favored snacks, adding bands, games, movies as entertainment beside Moon Lake in NTU, to provide NTU students a nice summer festival. Extra bold sans with rounded angles is used to present “chucky” image in design of logotype, and Taiwanese elements such as roasted sausage and sugarcoated haws are added to provoke appetites of viewers. Pinky colors are used to convey pleasantly peaceful freshness.

15


台克尼克|TAICNIC

16


過渡|Transition

2.2 光合作用 NTU Photosynthesis 光合作用由臺大學生會和學生活動中心共同舉

辦,邀請校園內的樂團在學生餐廳旁的光合作 用木板舞台表演,讓同學們能一邊享用美食,

Activity Center, inviting student band to perform at photosynthesis wood stage near the student restaurant,

一邊享受美好的音樂時光︒

making students and enjoy meals with good music time.

午餐時的音樂如同陽光一般,令人產生能量,

Music makes people generate energies, and pours vitality

達透光感,將明體字的橫筆去除,融合樹苗︑

of typeface were took off to convey touch of light. Sprout,

也為世界注入一股生氣︒標準字的設計上為傳 水滴︑毛蟲和啄木鳥等元素,並以翠綠色為主 色調,表現與大自然的結合︒

17

NTU Photosynthesis was co-held by NTUSA and Student

into the world, just like sunshine. The horizontal strokes drops, caterpillar, and woodpecker are used, and green is used as main color, to present combination with nature.


光合作用|NTU Photosynthesis

中午 點 @ 活大木板區

12

18


過渡|Transition

2.3 國立臺灣大學 CIS 設計徵選 NTU CIS Contest 由臺大校方舉辦的徵選比賽,限定使用校徽及中文標準字,設計其識別系統︒ (標準色︑英文標準字︑各種基本組合︑及應用項目)

在沿用校徽及中文標準字的情況下,能發揮的空間不多,因此設計上以校正︑

配合原設計為首要考量︒中文標準字微調成較為均匀︑易讀的結構︒英文標準 字以襯線字型 Georgia Italic 為範本,設定較寬鬆的字距以配合中文標準字︒

標準色採藍︑黑兩色,兼顧清新︑活力的青年形象及嚴謹︑端正的優良學風︒ 應用項目以藍色色塊為一致的識別,呈現明快的風格︒

Held by NTU officially, the contest invited people to design its CIS, including colors, English logotype, basic variation, and applications, under a condition that the school badge and original Chinese logotype are used. Under the condition of using the school badge and original Chinese logotype, my space was not wide, so I took coordination with original design into first consideration. Chinese logotype is fine tuned into a structure more welldistributed and easier to read. Georgia Italic is used as model of English logotype, and spacing between characters is expanded to coordinate with Chinese logotype. Blue and Black are used to present youth and correctitude. Blue blocks are used in applications consistently to present a vibrant style.

19


國立臺灣大學 CIS 設計徵選|NTU CIS Contest

Original Revised

20


過渡|Transition

Colors & Typeface

C

85

R

40

C

0

R

47

C

0

R

255

M

61

G

95

M

0

G

39

M

0

G

255

Y

0

B

172

Y

0

B

37

Y

0

B

255

K

0

K

95

K

0

Avenir ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789

思源黑體

本校的校訓「敦品、勵學、愛國、愛人」

係傅斯年校長在民國 38 年本校第四次校慶 紀念會演說詞中,期勉師生之訓示。

21


國立臺灣大學 CIS 設計徵選|NTU CIS Contest

10617 臺北市羅斯福路四段一號 TEL \ 02-3366336 FAX \ 02-23629997 E-mail \ secretariat @ ntu.edu.tw URL \ http://www.ntu.edu.tw

國立臺灣大學前身為日據時期之「臺北帝國大學」 (創立於日本昭和3年、西元1928年、民國17年) 。當時首任校長為幣原坦

總長;至民國34年(1945年)二次世界大戰結束,日本投降、臺灣光復,同年11月15日我政府完成接收臺北帝國大學,改制 更名為「國立臺灣大學」 ,由羅宗洛博士任首任校長。

林 別卓 戲劇學系

教授

國立臺灣大學 10617 臺北市羅斯福路四段一號 TEL \ 02-33663366 FAX \ 02-23629997 E-mail \ secretariat @ ntu.edu.tw URL \ http://www.ntu.edu.tw

臺北帝大時期最初設置文政、理農兩學部,59位學生入學。1936年增設醫學部,1943年增設工學部,同年理農學部分為理、 農兩學部。至1945年二次大戰結束前,臺北帝大發展為文政、理、農、醫、工等五個學部以及預科(1941年設立) ,學生約

1,600名。臺北帝大另有附屬農林專門部(1928年設置,於1943年獨立為臺中高等農林學校) 、附屬醫學專門部(1936年設

立) 、熱帶醫學研究所(1939年) 、南方人文研究所(1943年) 、南方資源科學研究所(1943年) 。臺北帝大採用講座制度,每 一講座由一位教授主持,其下有副教授、助手、講師和僱員等,係經費預算獨立、多數設有圖書室之研究單位。

民國34年臺灣光復後,依照我國學制,分設系、科,各「學部」改稱「學院」 ,並將文政學部劃分為文學院及法學院,再加上理、 醫、工、農共為6個學院、設立22門學系;至36學年度學生約為1,855人。往後,院系隨師資、硬體設備與社會需求而逐漸增

加。民國49年試辦夜間部,56年開辦新制夜間部,76年成立管理學院,82年則成立公共衛生學院,86年成立電機學院(89年

更名為電機資訊學院) ,夜間部轉型為進修學士班(96年最後一屆招生) ,88年法學院更名為社會科學院,所屬法律學系改

制為法律學院,夜間部與推廣教育中心併編為進修推廣部,91年農學院易名為生物資源暨農學院,92年增設生命科學院, 97年設立牙醫、獸醫兩專業學院。臺大目前已有11個學院,以及3個專業學院,共約54學系、109研究所,另設有30餘個各學 術領域之國家級或校級研究中心,是臺灣規模最大的綜合性大學。學生總人數現今已達33,000多人,其中大學部近18,000

人,研究生15,000餘人,比例接近一比一,已經成功轉型為研究型大學。臺大培養出眾多學術界頂尖學者,包含臺灣第一位 諾貝爾獎得主李遠哲博士,以及多位的正副元首、企業領導人,是臺灣最具影響力的學校。

臺大幅員遼闊,校地分布臺北、宜蘭、新竹、雲林,以及中部高山地區,校地面積約3萬4千公頃,佔臺灣總面積的百分之一, 提供師生豐富的生物與生態多樣性研究環境。

10617 臺北市羅斯福路四段一號 TEL \ 02-33663366 FAX \ 02-23629997 E-mail \ secretariat @ ntu.edu.tw URL \ http://www.ntu.edu.tw

地址:10617臺北市羅斯福路四段一號 電話:(02)3366-3366(總機)

交通資訊:http://www.ntu.edu.tw/map.html

訪客中心:http://visitorcenter.cloud.ntu.edu.tw/

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過渡|Transition

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國立臺灣大學 CIS 設計徵選|NTU CIS Contest

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過渡|Transition

2.4 活大藝廊《The Gallery》 The Gallery 活大藝廊由臺大學生會和學生活動中心共同舉

辦,邀請校內社團於活動中心走廊以展覽的形 式發表其學習成果︒

海報大量地使用畫框和簡潔的線條,搭配乾淨 的黑白調,呈現現代藝廊簡潔︑優雅的視覺印 象︒字型和主元素都採用圓角的處理,降低藝

廊給人的距離感,增添柔和︑平易近人的形象︒

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The Gallery was co-held by NTUSA and Activity Center, inviting clubs in school to present their achievement. Frames and lines are used largely with clean monochrome tone to present a clean and elegant image of modern gallery in the poster. Main elements and typeface are rounded to add softness and familiarity, reducing distance between people and gallery.


活大藝廊《The Gallery》|The Gallery

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過渡|Transition

2.5 2015 作品集 Portfolio 2015 為申請實習製作的作品集︒透過分類,將接觸設計以來的作品做了簡單的回顧︒ 以幾何︑線條等元素構成的插圖代表各章節:視覺設計如充滿故事的雨,排版

設計如看似紛亂卻井然有序的星球,未能分類的部分則如貪食蛇般無限延伸︒ 因籌備時間過短,而未能做到內容的深化,是這個作品可惜的地方,但透過這 次重新揀選︑闡述作品的經驗,讓我對自己的創作有新的見解和反省︒

For applying for internship, I made this Portfolio. Through categorization, works since I started to get in touch with design are reviewed simply. Illustration composed of geometry and lines represents each section. The rain telling vivid stories is like visual design, the galaxy seeming disorganized but actually in order is like layout design, and the part which cannot be classified is like snake (game) which extends itself infinitely. The preparing was so urgent that the contents could not be deepen more, which was a pity for this work. But, through this time, I gained new understandings and reflection of my creation while selecting and expounding works again.

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2015 作品集|Portfolio 2015

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過渡|Transition

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2015 作品集|Portfolio 2015

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從對設計的觀點到跨域合 作的思考,從設計方法到 未來願景的形塑,它是深 刻、且全面性的,至今仍 深深影響著我。

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From viewpoint of design to thought of cross-domain cooperation, from methods of design to thought of future vision, it has been profound and comprehensive, and still influenced me since then.


3. 入門 Entrance 在水越的實習是目前為止最重要的轉捩點︒ 下定決心投入設計後,第一步仍是實習,我想

進入產業可以幫我快速建立方向︒陸陸續續收 到面試的通知,最終我幸運地錄取水越設計的 暑期實習,水越是一間重視跨域合作︑理念實 踐︑和社會設計的設計公司,由其推動︑為打 造黏性都市的都市酵母計畫已持續九年有餘︒

兩個月來,和十多位不同背景的實習生和設計

師,一同參與設計提案︑展覽策劃︑數位出版︑ 議題探討,學習最多的是設計實務的流程︑設 計思考的運用︑還有團隊合作的重要︒很難細

數實習帶給我的改變︒從對設計的觀點到跨域 合作的思考,從設計方法到未來願景的形塑,

它是深刻︑且全面性的,至今仍深深影響著我︒ 在參與實習後的作品更加重視概念的傳達,性 質也不再僅限於學生活動的文宣,從個人創

作︑作業延伸︑商業實務,到過去作品的重新

設計,都是過去沒有的創作類型︒藉由自發性

的創作,我得以將設計這項工具,做更多元的

使用,並在不設限的練習裡,建立自己的風格︒

The internship in AGUA Design can be the most important turning point by now. After making a resolution, my first step was still internship. I thought entering the industry could help me set up the direction quickly. After interviews in succession, I was luckily accepted by AGUA Design. AGUA Design pays attention to cross-domain cooperation, realization of ideas and social design. City Yeast, one of its projects, has been carried out for more than 9 years to form a sticky city. I participated in proposals, exhibition planning, digit publication, and dealing with social issues with more than 10 interns and designers of different backgrounds. What I learned most were processes of design practice, design thinking, and teamwork. It was hard to count out changes AGUA Design brought to me. From viewpoint of design to thought of cross-domain cooperation, from methods of design to thought of future vision, it has been profound and comprehensive, and still influenced me since then. Works have focused more on conveyance of concepts, and their properties haven’t been limited to student activities since internship. They can be personal works, extending of homework projects, commercial design, or re-design of old works, which are new trys I haven’t done before. By spontaneous creation, I can have more various uses of design, and form my style with those unlimited practices.

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入門|Entrance

3.1 字我定義 Type“FACE”, my self-image 字體,可以是表情,也可以是一個人的符號︒

Typeface, can be expression, also one’s own symbol.

原為師大視覺傳達設計課的作業,我將它延伸

I extended homework of a course into the poster of my self-

成自己的形象海報︒嘗試拆解姓名筆劃的方

式,重新組成一張代表自己的臉孔:看似分心, 其實正探索著隱藏在生活之中的靈感︔看似不 屑,其實他堅定地看著遠方的目標︒

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image. Strokes of my name are separated to reform a face. Seeming distracted, but in fact he is exploring inspiration behind ordinary life; seeming to disdain something, but in fact he is concentrating on his long targets unswervingly.


字我定義|Type“FACE”, my self-image

Typeface, can be a kind of expression, also one’s own symbol.

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入門|Entrance

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字我定義|Type“FACE”, my self-image

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入門|Entrance

3.2 跳跳 Jump, Jump 跳跳,常保年輕之道︒

Jump, Jump, always keep young.

由隨口發想的標語延伸而成的字型設計海報︒

This typography poster came out from a slogan crossing

使用 POP 風格的字型搭配鮮豔︑明快的選色, 欲呈現跳躍時的動感和青春洋溢的視覺印象︒

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my mind occasionally. POP-styled typeface with lively color is used to present impression of jumping moves and youth.


跳跳| Jump, Jump

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30° 30 °

入門|Entrance

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30°

140

°

30

5° 35

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140

15°


跳跳| Jump, Jump

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入門|Entrance

3.3 去你的作品集 FUCK OFF PORTFOLIO 製作作品集期間,由煩悶情緒醞釀而成的趣味作品︒ 設計師藉著敏銳的感知能力,針對需求以視覺的語言溝通︑解決問題,但當角

色顛倒,設計師為自己服務時,所有的細心細膩將會成為一種折磨︒作品集之 所以成為設計師的難題,我想是因為設計師自己就是最難被滿足的客戶吧︒

凌亂歪斜的文字與線條如同一件件待整理的作品一般,灰︑紫色代表著或淺或 深的負面情緒,赤紅色則為情緒當下的暴躁盛怒︒面對著始終難以滿意的作品 集,設計師只想大聲地說一聲:去你的!

The work was made for fun during the period of making the portfolio. By keen perception, designers aim at needs and use visual language to communicate and solve problems. However, when roles change, designers serving themselves, all consideration and attentiveness will be torture. The reason why portfolios become difficulties for designers may be that they themselves are the most difficult clients to satisfy. Tilted and disorderly words are just like works to be arranged. Grey and purple represent negative moods, and scarlet symbols irritation. Faced with portfolios always less than satisfying, designers only want to say “FUCK OFF!”

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TOO DOOMED TOO TRAGIC TOO MUCH HAT

It is always hard work for a designe


去你的作品集|FUCK OFF PORTFOLIO

TE

TOO DOOMED TOO TRAGIC TOO MUCH HATE

er to make his/her portfolio.

It is always hard work for a designer to make his/her portfolio.

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入門|Entrance

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去你的作品集|FUCK OFF PORTFOLIO

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入門|Entrance

3.4 臺大電影節《跨越‧藩籬》 NTU Movie Festival “Step over the hedge.” 第一個嘗試重新設計的案子,保留大部分主要

main set, adding elements of geometry and photography.

藩籬,本義是指用竹木編成的籬笆或柵欄,引

FAN-LI (hedge in Chinese), originally refers to fences of

申為邊界︑屏障,也比喻界域︑境界,或用來 指某一特定範疇︒

每個人的生命裡,都存在著有形或無形的藩

籬,它阻隔了我們不願面對的情緒︑關係︑和

回憶,但一味地逃避並不能獲得心靈的自由,

bamboo, extended as barriers, boundaries, or states. There are visible or invisible hedges in our lives, which separate moods, relations, and memories we are unwilling to face. However, we cannot reach freedom in mind if avoiding them invariably. Only when stepping over them

唯有跨越它才能看清自己,得到真正的解放︒

can we see ourselves clearly and get the real liberation.

主視覺的設計上,用反差強烈的元素相結合,

I integrate different elements with strong contrast, putting

將原先代表青春︑積極意象的女孩,置入在闇

黑的宇宙空間裡,想表達的是隔離於藩籬之外 的渾沌空間,彷彿另一端的自己被禁錮其中︒ 配色上以灰暗色調為主,欲呈現未知︑不明︑ 冰冷︑混沌的視覺印象︒

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This was the first project I redesigned, maintaining most of

設定,但增添幾何︑攝影等新元素︒

a girl, originally standing for youth and positiveness, into the dark universe. I want to express a space of chaos separated from hedges. It seems that the self on the other side of the scene are confined to it. The murky colors are used to present images of unknown, coldness, and chaos.


臺大電影節《跨越‧藩籬》|NTU Movie Festival “Step over the hedge.”

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入門|Entrance

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臺大電影節《跨越‧藩籬》|NTU Movie Festival “Step over the hedge.”

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入門|Entrance

3.5 貞貞美容工作室 Jhen Jhen Beauty Workshop 貞貞美容工作室創立於 1990 年,秉持超過二十年的執業經驗,提供您專業︑ 親切︑量身訂製的服務︒

將品牌形象設定為優雅︑專業的美容專家,設計上去除多餘裝飾,以簡潔︑優 雅的風格為首要考量︒LOGO 以基礎圖形依比例繪製,勾勒眉宇的輪廓︒標準

字採明黑混合,簡潔背後還多了份雅緻,既符合專業形象,又不失親切感︒色

彩上除了基本的黑白色調外,加入了粉嫩色系的輔助色,增添一點年輕的活力︒ Jhen Jhen Beauty Workshop was founded in 1990, offering specialized, friendly, and custom services with experience more than 20 years. The brand image is set as an elegant specialist of beauty. Unneeded decoration is abandoned, and style of elegance and cleanness is in first consideration. The logo derives from basic graphs with given ratios, outlining a beauty’s brows and eyes. The Chinese logotype combines Mincho and Gothic, adding elegance into simpleness, not losing friendliness but corresponding with the specialized image. In addition to basic tone of black and white, pinky colors are set as supplementary colors to add some vitality.

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貞貞美容工作室| Jhen Jhen Beauty Workshop

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入門|Entrance

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貞貞美容工作室| Jhen Jhen Beauty Workshop

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入門|Entrance

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貞貞美容工作室| Jhen Jhen Beauty Workshop

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入門|Entrance

3.6 水越實習 Works in AGUA Design 合作夥伴|Partners Agua︑李培儂︑林克軒︑高偉恩︑林資芬︑周純如︑賴泰銘︑吳欣郿︑曹家寧︑ 吳志豪︑沈祐安︑劉子豪︑黎海瑩︑黃若潔︑蔡晉怡︑賴子安︑徐碩文︑邱世倫 在水越設計參與的案子包括白色插畫展︑《我的爸媽是設計師》︑安所樂設計

展「那些日常設計」︑台東工藝設計展「麻布袋再利用專案」︑大衛美語宣傳 設計︑水越設計口碑行銷︒

白色插畫展是以水越設計近二十年來所累積的插畫為主題的展覽,白色象徵著

創作最原始︑純粹的型態︒內容包含未公開的商業設計草圖︑水越插畫產品草 圖︑插畫的拼貼圖樣︑實習生和設計師繪製的 LINE 角色貼圖︑公園改造計畫 的插畫提案︑以插畫為主題的互動遊戲︑圖樣實驗室……等︒ 主要負責展區規劃︑水越圖樣設計︑文案編寫︑導覽︒ Projects I participated in in AGUA Design include AGUA Design ‘Daily in

White’ exhibition, My parent is designer, Ensouler Design Festival ‘Everyday Design’, Taitong Art & Craft Exhibition, Propaganda of David’s English Center, and Public Reputation Marketing of AGUA Design. AGUA Design ‘Daily in White’ exhibition is themed with the company’s illustration accumulated for almost 20 years. The contents include unpublished sketches of commercial projects and products, collage patterns of illustration, Dayline (sticker design by interns & designers), illustration of project of park reformation, interactive games of illustration, pattern lab, etc. Be responsible for area collocation, collage patterns, texts, and guide.

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水越實習|Works in AGUA Design

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入門|Entrance

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水越實習|Works in AGUA Design

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入門|Entrance

《我的爸媽是設計師》是水越設計於 2015 年 7 月開始進行的數位出版計劃,

以環境美學︑世代教育為發想核心,欲藉由與十多位為人父母的設計師深度訪 談,向大眾傳達環境教育的重要價值和影響力︒ 主要負責計劃發想︑版型提案︑標準字設計︒ “My parent is designer” is a digit publication project starting from July 2015.

With aesthetic education as core, it is expected to communicate importance and influence of environment education to public by case of designer. Be responsible for planning, layout proposal, and logotype.

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水越實習|Works in AGUA Design

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入門|Entrance

安所樂設計展由網路藝文平台 Fliper 發起,

以推廣平面設計︑品牌識別為宗旨,邀請國內 外設計團隊參展︒水越設計受邀以「那些日常

platform of art and culture, inviting worldwide design teams to spread graphic design and branding into public.

設計」為題,濃縮過去「捨不得包裝展」之

AGUA Design was invited and set theme as ‘Everyday

案,以及安排設計師和實習生接力進駐會場

Package’ exhibition,an exhibition held in the past, adding

內容,加入都市酵母出版品︑精選商業設計

Design’. It concentrated AGUA Design ‘Cherished

所進行的一日產出計畫,包含「一條街的展

publication of City Yeast, selected commercial projects,

究室 Daily Pattern Lab」︑「細節都在報紙裡

a relay of designers and interns to let visitors see design

覽 An Open Street Project」︑「 生 活 花 樣 研

Newspaper In Details」︑「外帶台灣圖樣考 Taiwan Pattern To Go」等四大主題,讓參展 民眾看見設計充斥在生活中的每個角落︒ 主要負責一日產出計畫︑網站上稿︒

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Ensouler Design Festival was held by Flipper, an internet

and a special project “Outputs in One Day” executed by is everywhere, which had 4 themes and they were “An

Open Street Project”, “Daily Pattern Lab”, “Newspaper In Details”, and “Taiwan Pattern To Go”.

Be responsible for Outputs in One Day and website posting.


水越實習|Works in AGUA Design

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入門|Entrance

臺東工藝設計展由臺東縣政府文化處與臺灣創

意中心共同舉辦,水越設計受邀參展︒響應資 源再利用︑永續發展的創作精神,水越設計與

臺東在地的「尤將工廠」︑「日出藍染織工坊」 合作,以廢棄麻布袋為媒材,將麻布纖維透過

臺東小青藍染與在地木作鐵工加工,製成融入

County Cultural Affairs Department and Taiwan Design Center. In response to recycling and sustainable creation, AGUA Design cooperated with local craft industries and used dumped sacks as materials, machining fibers of sackcloth with local aisome and carpentry to make into a

居家風景的環保書報架︒

newspaper rack becoming a part of home furnishing.

主要負責設計提案︑計畫編寫︒

Be responsible for proposal and writing the report.

大 衛 美 語 為 水 越 設 計 重 要 客 戶 之 一︒ 為 宣

David’s English Center is one of AGUA Design’s important

傳其使用劍橋大學出版社編製的優良教材

clients. The center need us to design a poster to tell people

Touchstone,並成為亞洲區第一個教材示範

that it uses well-known teaching materials Touchstone by

校,設計一款於各院校張貼之全開海報︒

well-known Cambridge University Press.

主要負責設計提案︒

Be responsible for proposal.

水越設計口碑行銷是 Agua 給大夥出的作業,

Reputation of AGUA Design was homework by Agua.

以社群行銷傳遞水越設計的迷人之處︒我以插 畫為主題,將水越的插畫以合成的方式置入於 生活的空間之中,用吸引人的圖片讓觀者記住 插畫的生動形象,並藉機宣傳白色插畫展︒

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Taitung Art & Craft Exhibition was co-held by Taitung

Interns had to spread goods of AGUA Design in way of social marketing. My project was themed with the company’s illustration, putting it into daily scene to catch eyes by and advertise exhibition at the same time.


水越實習|Works in AGUA Design

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入門|Entrance

3.7 獨角獸實習 Works in UNICORN Skincare 新創品牌獨角獸自 2015 年成立,以全球首創

Founded in 2015, known for its globally initiative product

於提供風格男士全方位的專業保養︒

providing stylish men specialized care in an all round way.

擔任設計實習生期間,負責滿足公司內部各種

During internship, I was responsible for satisfying any

品︑網站用圖︑線上廣告,到任何為改善使用

package, prints, pictures for website, online advertisement,

的臀膜聞名,採用最頂級︑天然的原料,致力

大大小小的設計需求,從產品包裝︑各式印刷 者經驗而做的設計︒作為新創公司的一員,必 須善用工具,在有限的資源條件下,快速地因 應問題提出可行的解決方案︒

65

“buttocks lift mask”, UNICORN Skincare is aimed at

kind of the corporation’s demand of design, from product to any work for improving user experience. As a member of a startup, you have to make good use of tools, and react to problems quickly under the condition of limited resources.


獨角獸實習|Works in UNICORN Skincare

淨痘還原身體乳 包裝設計 U

66


入門|Entrance

67


獨角獸實習|Works in UNICORN Skincare

68


入門|Entrance

69


獨角獸實習|Works in UNICORN Skincare

70


71


4. 附錄 Appendix 攝影選

Photography

把夢做大

Dream Big

設計與經濟

Design & Economics

72


附錄|Appendix

4.1 攝影選 Photograpgy

73


攝影選|Photography

74


附錄|Appendix

75


攝影選|Photography

76


附錄|Appendix

77


攝影選|Photography

78


附錄|Appendix

79


攝影選|Photography

80


附錄|Appendix

81


攝影選|Photography

82


附錄|Appendix

83


攝影選|Photography

84


附錄|Appendix

4.2 把夢做大 Dream Big 把夢做大,是在水越設計的兩個月裡最重要的收穫︒

Leon 的故事讓我茅塞頓開:原來,成就一件事的關

願景對於水越是如此重要,從面試前的問卷填答,到

當晚說道,也許是做記者的夢太小︑太容易實現了,

生活裡設計發想的命題,都能察覺那股甘為理想赴湯 蹈火的正面氣息︒耳濡目染之下,我開始思考在這不

長也不短的人生裡,能完成些什麼讓自己感到驕傲的 事︒然而回顧二十年來的人生,沒有脈絡可循的發展

讓他不安於現狀,而現在的設計夢很不容易,夠付出 好多年去實現︒剎那間我感觸良多,夢想之所以為夢 想,因為它值得我們付出青春歲月在一件事情上︒

卻讓我感到遲疑,設計真的是我的歸屬嗎︖

賈伯斯說過,沒有人能預見今日的種種會如何與未來

真正讓把夢做大的想法深深地烙印在腦海中的,是在

設計上產生多大的幫助︒也許因為劣勢的條件,讓我

實習最後一週無有設計創辦人 Leon 的講座︒一個新

聞系的學生完成了當記者的夢想,卻在三年後感到厭 倦︒緊繃的生活讓他有了新的想法和願景,深思熟慮

連結,就如同 Leon 不會知道,記者的訓練會在溝通

們害怕面對心中真實的渴望,但唯有擇你所愛,付諸 實踐,夢想才有實現的可能︒

後,他投入了一個完全陌生的領域—設計︒偏門的路

既然已經啟程,又何須瞻前顧後︒回顧從無到有的設

聊,潛心學習︒歲月如梭,幾年的時間過去,現在的

願漫長旅程莫忘初衷,堅持在所愛的事物上,共勉之︒

不容易走,為了理想他遠走高飛,生活不易他甘於無 他已是獨當一面的設計師︑一流公司的負責人︒

85

鍵不在於條件或背景,而在於你所付諸的行動︒Agua

計歷程,為自己感到幸運,越崎嶇的路越能讓人成長,


把夢做大|Dream Big

To dream big, is the most important gain in two

I became enlightened at once by Leon’s story that

months of AGUA Design.

the key is actions you take rather than strength or

Vision is so important to AGUA Design that you can feel it from questionnaire before interview to daily topics. Imperceptibly influenced by surroundings, I started to think what I can accomplish and be proud of in neither long nor short life. However, looking back the 20-years-life, I hesitated for there were no sequence or trend to go by. Do I belong to design? What made dreaming big be fixed in my mind was a lecture in last week of internship by Leon, founder of Wooyo Design. A journalism-majored student accomplished his dream of being a journalist, but felt tired 3 years later. Stressful life made him generate some new thoughts and visions. After deliberation, he decided to go in for a totally

backgrounds. On the night, Agua said, the dream of being a journalist may be too small and easy to fulfill so he would be unsatisfied with existing state, and the nowaday dream of design isn’t easy at all, which is deserving of spending lots of years on it. I was deeply moved at once that dream is dream because it deserves to be spent your lifetime on. Steve Jobs once said no one can connect the dots looking forward, which is just like Leon could never know the training of journalist can help him with communication of design practice. Maybe inferior strength would make us afraid of facing the yearning in mind, but only when you choose what you love and carry them out will dreams come true.

inexperienced field – design. The irregular road was

Since the journey begins, there is no need to be

not easy to take. For ideal, he flied to New York on

filled with misgivings and fears. Reviewing the

his own support. Life was difficult so he lived rough

process from 0 to 1, I feel lucky for myself. The more

without complaint and devoted himself to studying.

rough road is, the more gains one can get. Don’t

Time flied and in few years, he became a skillful

forget the original goal and persist in what you love.

designer and the chief of first class corporation.

I wish that for all of us.

86


附錄|Appendix

4.3 設計與經濟 Design & Economics 潛心於設計的日子裡,總會聽到前輩們建議我可以朝

然而這些經濟學的知識能有什麼幫助呢︖我想一個好

它應當與異學門結合︒作為一個非本科的學生,值得

力也是必須的,在這一點上,社會科學的訓練可以有

跨域的方向發展︒誠然,既然設計是為解決問題,那 思考如何將設計結合所學︒

經濟學是一門關於選擇的科學,也是一門關於資源分 配的科學︒這門分析導向的科學如何與設計結合呢︖

很大的幫助︔再者,當我們地位足夠高,得以掌握資 源分配的時候(想像自己是文化部長),我們可以應

用這些知識,擬定適當的政策,為產業注入一股活水︒

可以先從設計經紀人馬克斯的《極地之光:瑞典.設

本書也提到,對於瑞典社會民主黨政府而言,設計是

瑞典何以發展蓬勃的設計產業︒在若干章節裡即能見

濟成長,更協助政府從人民的食衣住行各方面,塑造

計經濟學》一書看起,本書以多角度闡述小國寡民的 到產業經濟學的影子,從自然地理︑歷史︑生產條件︑ 市場需求︑上下游供應鏈︑政府政策︑社會價值分析

瑞典設計的利與弊︒在這裡我們看到結合的第一個契 機:以設計財為標的的經濟學分析︒

例如:就設計服務而言,以生產要素的角度,它是一

項熟練勞力密集財,根據 H-O 定理 (Heckscher-Ohlin Theorem),擁有豐富設計人才的瑞典在設計服務上 具比較利益︔從市場的角度,設計市場為生產同類商

品但品質互異的眾多廠商所組成的獨佔性競爭市場 (monopolistic competition)︔又根據經驗法則,市場 規模除了供給面外,很大程度取決於社會風氣,即消 費者對於文化財的偏好與設計服務的需求呈正相關︒

87

的設計人才除了值得倚賴的才華外,洞察大環境的能

一項政治工具︒它落實了「人民之家」政策,刺激經 新瑞典的文化價值觀:一個奠基在民主政體與福利國 思想上的新國度……︒從瑞典設計我看到了第二個契 機:以設計為手段落實濟世的目的︒

廣義的設計指涉任何一種有目的的創作,它可以是有 形的產品,也可以是無形的制度︒我們或許不是主政

者,但設計仍是一種實踐理念的方法︒都市酵母用設

計讓人們愛上自己居住的都市︔圖文不符用設計改善 資訊落差,增進知識流通︔經濟學家 Thomas Piketty

在《廿一世紀資本論》中也針對抑制資本集中提出課 徵「全球資本持有稅」的大膽想法︒面對日新月異的 新時代,透過創新解決問題已是趨勢所在,設計將不

只出現在經濟學,它會在電子學︑工程學︑農業科學︑ 資訊科學︑生態學等任何領域上,扮演進步的推手︒


設計與經濟|Design & Economics

In these days, I have always heard seniors said

depends on social atmosphere in addition to supply

that I can take the way of cross-domain. Indeed,

side; that is, people’s preference of cultural goods is

since design is for solving problems, it should be

positive relative with demand of design service.

integrated with different fields. As a non-designoriginated student, it is worth thinking how to integrate design with what he has learned.

However, how can these economics knowledges help us? I think a good design talent should have an insight into the overall situation in addition

Economics is a science about choice, also distrib-

to reliable talents. In this way, training of social

ution of resources. How can this analysis-oriented

science helps a lot. In addition, when our position

science be integrated with design? We can start

is high enough to distribute resources (think about

from “Swedish Design Economics”, a book by a

you are Minister of Culture), you can apply these

design agent, Max. It talks about how Sweden

knowledges to formulate suitable policies, and bring

develop its vigorous design industries in multi-

vigor and vitality into industries.

perspective. In a few chapters, we see the shadow of industrial economics, analysing pros and cons of Swedish design from geography, history, production conditions, demand of market, supply chain, government policies, social value, etc. Here we see first joint: Economic analysis with design as a good.

Also, this book tells that design is a political tool for government of Swedish Social Democratic Party. It help government carry out policies of “Folkhem”, stimulate economic growth, and build up the new Swedish cultural shared values: a new country based on democratic government and welfare state….

For example: as for design service, in a way of

Again, we see the second joint in Swedish design:

production factors, they are skilled-labor-intensive

Assisting our generation in a way of design.

goods. According to Heckscher-Ohlin Theorem, Sweden has comparative advantage in design service with its rich resources of design talent; in a way of market, market of design service is monopolistic competition which is composed of producers selling same kind of products with different quality. Besides, according to experiences, size of the market

Generalized design refers to creation with any purpose. It can be a visible product, also invisible system. We may not be politicians, but design is still a way of carrying out ideas. City Yeast uses design to make people love the city they live, Simple Info uses design to reduce informational gaps and 88


附錄|Appendix

improve delivery of knowledges. Economist Thomas Piketty raises the bold idea of “global capital tax” to restrain accumulation of capital. In face of unpredictable new age, using innovation to solve problems is the general trend. Design will not only be seen in economics, but also play pushing hands in electronics, engineering science, agricultural science, information science, ecology, and any other fields.

89


設計與經濟|Design & Economics

90


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