2202
Short Film / Art Direction
2022
OVERVIEW
As part of the Future Masterclass – Film Art & Costume Direction Professional Training, I worked in a four-person art department on 2202, contributing to concept development, set design, construction, painting, props and final dressing. My main responsibility was Ziwei’s bedroom, designed to reflect her determined, imaginative and slightly eccentric personality. Inspired by the visual world of Amélie, the room uses a red-dominant palette, layered objects and an “organised chaos” aesthetic to create a private world separated from reality. In contrast, the male protagonist’s space is more restrained and grey-blue. Although the two environments appear visually different, both retain cool undertones, creating a subtle connection between the characters. Through colour, props and spatial design, the production design supports the storytelling by expressing their individual personalities, emotional distance and underlying sense of resonance.
透過「未來大師班——電影美術及服裝指導專業培訓」參與《2202》美術製作，與三位學員共同負責場景設計、搭景、髹油、道具及陳設。我主要負責女主角紫微的房間，以《天使愛美麗》作視覺靈感，運用偏紅色調、密集物件及「亂中有序」的空間設計，呈現她古靈精怪、理想化的性格。房間亦與男主角灰藍冷調空間形成對比，同時保留相近的冷色質感，透過美術設計表現兩人之間既衝突又互相呼應的關係。
ROLE
ART DIRECTOR — ZIWEI’S BEDROOM / PRODUCTION DESIGN TEAM
2202
Short Film / Art Direction
2022
OVERVIEW
As part of the Future Masterclass – Film Art & Costume Direction Professional Training, I worked in a four-person art department on 2202, contributing to concept development, set design, construction, painting, props and final dressing. My main responsibility was Ziwei’s bedroom, designed to reflect her determined, imaginative and slightly eccentric personality. Inspired by the visual world of Amélie, the room uses a red-dominant palette, layered objects and an “organised chaos” aesthetic to create a private world separated from reality. In contrast, the male protagonist’s space is more restrained and grey-blue. Although the two environments appear visually different, both retain cool undertones, creating a subtle connection between the characters. Through colour, props and spatial design, the production design supports the storytelling by expressing their individual personalities, emotional distance and underlying sense of resonance.
透過「未來大師班——電影美術及服裝指導專業培訓」參與《2202》美術製作，與三位學員共同負責場景設計、搭景、髹油、道具及陳設。我主要負責女主角紫微的房間，以《天使愛美麗》作視覺靈感，運用偏紅色調、密集物件及「亂中有序」的空間設計，呈現她古靈精怪、理想化的性格。房間亦與男主角灰藍冷調空間形成對比，同時保留相近的冷色質感，透過美術設計表現兩人之間既衝突又互相呼應的關係。
ART DIRECTOR
2202
Short Film / Art Direction
2022
OVERVIEW
As part of the Future Masterclass – Film Art & Costume Direction Professional Training, I worked in a four-person art department on 2202, contributing to concept development, set design, construction, painting, props and final dressing. My main responsibility was Ziwei’s bedroom, designed to reflect her determined, imaginative and slightly eccentric personality. Inspired by the visual world of Amélie, the room uses a red-dominant palette, layered objects and an “organised chaos” aesthetic to create a private world separated from reality. In contrast, the male protagonist’s space is more restrained and grey-blue. Although the two environments appear visually different, both retain cool undertones, creating a subtle connection between the characters. Through colour, props and spatial design, the production design supports the storytelling by expressing their individual personalities, emotional distance and underlying sense of resonance.
透過「未來大師班——電影美術及服裝指導專業培訓」參與《2202》美術製作，與三位學員共同負責場景設計、搭景、髹油、道具及陳設。我主要負責女主角紫微的房間，以《天使愛美麗》作視覺靈感，運用偏紅色調、密集物件及「亂中有序」的空間設計，呈現她古靈精怪、理想化的性格。房間亦與男主角灰藍冷調空間形成對比，同時保留相近的冷色質感，透過美術設計表現兩人之間既衝突又互相呼應的關係。
ART DIRECTOR — ZIWEI’S BEDROOM