Chi Jen Wang (Chris) — Design & Marketing Portfolio

01About me

I'm Chris — a bilingual designer working in English and Traditional Chinese, based in Brunswick, Melbourne.

For a year I ran design and marketing at a Taipei art gallery: exhibition posters, printed menus, product listings, social graphics and the writing that went with them. I've drawn the line artwork for tactile maps read by touch, designed posters independently for theatre and concerts, and photographed the events I designed for.

Since moving to Melbourne I've also worked as a product and process analyst, so my recent CV reads as analysis rather than design. Visuals or processes—my job is to translate complexity into clarity.

Compose in Gmail +61 447 214 526 LinkedIn

DesignAdobe Illustrator · Photoshop · Canva · print-ready artwork · bilingual typesetting · accessible & wayfinding design · illustration

Web & marketingShopify · Wix · EDM copy & build · social content · product & event photography

Product & processProcess mapping (BPMN) · onboarding flows & animated walkthroughs · knowledge bases · specifications & Jira · SQL

LanguagesEnglish (professional) · Mandarin (native), written in Traditional Chinese

EducationMaster of Information Systems, University of Melbourne · BA Radio & Television, National Chengchi University

Based inBrunswick, Melbourne · full Australian working rights

02Brand, web & e-commerce

EDITIONS — a print brand, built and run

EDITIONS by THE STUDIO · Taipei · 2022–2023

I established EDITIONS, the gallery's online art-print brand, and built the bilingual store on Shopify end to end — store design, navigation, product listings and their imagery, pricing, copy and fulfilment. Alongside it I designed and managed the gallery's Wix site, wrote and built the English EDM campaigns, and produced the social graphics.

NT$400,000 in first-year print and artwork sales through the channel I built
+64% Facebook and +87% Instagram follower growth from bilingual marketing material I produced
3 pop-up print exhibitions coordinated with TSUTAYA BOOKSTORE and JustCo, each with its own printed and social collateral

Homepage. The hero is a real gallery wall, not a render. Navigation sorted the way people shop for art — by theme, by artist, by collector picks — with a language switch top-right.

EDITIONS catalogue page showing 106 products in a grid with Chinese titles and NT dollar prices — **Catalogue.** **106 products** live, with filtering and sorting — every print named, described and priced.

Product listing visuals

Art prints are hard to sell flat — a customer needs the scale and the room it belongs in. So every listing got its print placed into an interior at true size: the frame, the wall, the furniture, the light.

London travel print in a walnut frame above a wooden sideboard — Travel — *London*

Oslo print above a bed with lilac bedding and a palm — Travel — *Oslo*

Figurative print above a desk with a laptop and monitor — Desk setting

Red dog print in a dining room with pale timber furniture — Dining room

Small landscape print in a bedroom with a black desk and blossom branches — Bedroom

Hot air balloon print above a cream sofa beside an antique bureau — Living room

Blue Shiba Inu print in a dining room with a round table — Character series

Wide panoramic print above a long white dining table — Panoramic format

Different rooms, one product-photography language — consistent framing, light and scale cues, so the grid reads as one catalogue.

03Art events

Visuals for the event, photographs of the event

THE STUDIO, Taipei · art dinners, exhibitions and tastings

Event visuals

Art Dinner social graphic pairing a photograph of a laid table with a typographic panel — **Art Dinner** — photo-led

Artipsy Afternoon wine tasting graphic with flat illustrated bottles and co-branded logos — **Artipsy Afternoon** — co-branded

Drink with the Collector banner with an ink wash and illustrated champagne glasses — **Drink with the Collector**

Alice Chen exhibition social graphic in the same series — **Eat, Taste, Record, Remember**

Three registers — editorial, playful, formal — all recognisably from the same house. I wrote the captions and the English EDM copy with them. Events were the gallery's engine and I ran the visual side in both directions: the graphics that got people through the door, then the photographs that became the next campaign's raw material.

Event photography

Exhibitions, dinners and merchandise, shot as they happened — so listings, social posts and next season's invitations all drew on our own images rather than borrowed ones.

The full-table shot was the one the gallery needed most: one frame showing the food, the room, the artwork on the walls, and the fact that people came.

A long dinner table filled with guests eating beneath a wall of framed prints — **Art dinner, full table.**

The artist speaking into a microphone to seated guests in front of a hung wall of works — Artist talk, mid-dinner

Guests at an artist open house at THE STUDIO — Artist open house

A plated burger beside a printed card illustrating the same dish, with a guest photographing it — Plated course, beside its illustration

Wine bottles lined up on a wooden counter in front of framed art prints — Tasting line-up with prints

A row of illustrated ceramic cups and saucers arranged on a white table with flowers — Ceramics, set out

Hands reaching for tarts and tea in illustrated cups on a wooden table — Ceramics in use

04Print & layout

Posters, menus and print-ready files

Exhibition work for THE STUDIO, Taipei, plus independent commissions for theatre, concerts and music

Manifesto 42 exhibition poster, grid of coloured shapes in perspective over marble — **Manifesto 42**
Cesar solo exhibition · THE STUDIO

Coalescence exhibition poster with teal contour line-work and a circular artwork crop — **Coalescence**
Jon Renzella · EDITIONS by THE STUDIO

Eat, Taste, Record, Remember exhibition poster with painted food illustrations — **Eat, Taste, Record, Remember**
Alice Chen · THE STUDIO

The fin. concert poster, purple gradient seascape with layered serif type — **The fin.**
Concert, Legacy Taipei · independent

Metamorphosis theatre poster, dark red smoke and a dancer with outstretched arms — **Metamorphosis**
Theatre · independent

Vivaldi Four Seasons Winter music lecture poster with cello line drawing on deep teal — **Vivaldi · Four Seasons**
Music lecture · independent

Every one of these carries the same information set — title, dates, session times, venue, address, QR code, organiser lock-up — and the whole job is deciding what a person sees first, second and third. Several are bilingual, set in English and Traditional Chinese within one layout, which means building the grid with slack in it: English copy always runs longer than the Chinese it's translated from.

Print production, end to end

Autumn Feast tasting menu · THE STUDIO
Trim 105 × 297 mm.

A bilingual tasting menu for a ticketed art dinner at THE STUDIO. Every course appears in Chinese and English, in order, legible in low restaurant light, with the dietary note — this menu contains no dairy — placed where a guest sees it before the courses.

I set the type, chose the stock, produced the print-ready file at trim size and ran the print. A tall DL sits on a set table without crowding the plates, and its terracotta and marigold came off that table.

The printed Autumn Feast menu on a dark table with autumn flowers, photographed at the event — **On the table.** The finished piece, in the light it was set for.

A long table of guests eating at the Autumn Feast dinner, framed drawings on the white wall behind them — **On the night.** Photographed by me.

Cover artwork

An album sleeve — one continuous artwork that has to survive being folded around an object and still work as a thumbnail. My own macro photograph, hand-lettered title, and an illustration drawn into the same photograph so the two panels read as one wrapped object.

Album cover: macro photograph of a yellow leaf with the hand-lettered title Mellow — **Front.**

Album back cover: the same leaf with a hand-drawn rabbit and a small figure silhouette — **Back.**

05Product & process

Where design meets analysis

Melbourne · 2025 · the work my recent CV is about

If you've come here from my LinkedIn, this is the part that explains it. Since moving to Melbourne I've worked as a product and process analyst — mapping how work actually gets done, then designing the thing that makes it easier. Same instinct as the tactile maps above, pointed at software instead of paper.

Onboarding for an enterprise auditing platform

Quartile 5, Melbourne · Product / Business Analyst · Jan 2025 – Jan 2026

New customers of our industrial auditing platform were arriving, opening the product and stalling. I walked the onboarding journey myself and documented 15+ system issues and friction points as the baseline for the roadmap — then built the fix rather than just recommending it.

Eight guided task flows, so a first-time user could complete their first audit plan unassisted. The instructional weight sits in the visuals: I designed the animated GIFs that carry each step. Around them, a 19-article knowledge base written from scratch with an AI assistant on top, plus 50+ developer-ready specifications defining interaction behaviour and QA criteria.

15+

friction points documented as the baseline

8

guided task flows with animated walkthroughs

19

knowledge-base articles written from scratch

90%+

of early customer queries resolved without a person

A GIF like this replaces a paragraph. The user doesn't read "open the layout menu in the top left" and then go hunting — they watch it happen once and copy it.

Which made the decisions about attention rather than decoration: how long to hold on the target before moving, how tightly to crop so the control fills the frame, when a highlight helps and when it's noise. Zoomed this far, one step still reads at thumbnail size inside a help article.

A note on what I can show. Our platform is under confidentiality, so this is a single cropped step rather than the full set of eight flows or anything carrying customer data. Happy to talk through the process, the decisions and the results in detail — I just can't publish the screens.

Animated walkthrough GIF: a red highlight ring and cursor draw attention to a navigation icon in the Quartile 5 interface, then the panel opens — **One step from one walkthrough.** Still frame — the original is animated. The ring and cursor arrive before the panel opens, so the eye is already in the right place when the change happens.

Still from the walkthrough GIF, showing a red highlight ring around a navigation icon in the Quartile 5 interface — **One step from one walkthrough.** Still frame — the original is animated. The ring and cursor arrive before the panel opens, so the eye is already in the right place when the change happens.

Unimelb Go — campus navigation concept

University of Melbourne · INFO90006 · Semester 2, 2025 · team project, edited by me

A three-minute concept film for an app that gets a student from their timetable to the right room. I edited it — the cut, the pacing, the countdown device, the on-screen titles and the sound.

It opens on the problem rather than the product: a clock ticking down while someone circles a sandstone building, looking for a lecture theatre the signage won't admit to. The interface only appears once you already want it to. Cutting it was the same editorial problem as the rest of this page — decide what the viewer needs next, cut everything that isn't that.

Opening title frame of the Unimelb Go concept film — **Unimelb Go** — 3 min, edited by me. Press play.Video file: `unimelb_go.mp4`, supplied alongside this document.

Film frame with a card reading Lack of Indoor Navigation and Confusing Signages over a student walking a corridor — The problem, named on screen

Film frame showing the app's map view finding Old Arts West Public Lecture Theatre, held over a shot of the student walking — The interface, held in the world

Closing title card reading Unimelb Go, one tap away from your class, beside a phone showing the timetable view — Closing card

06Tactile map artwork

Line art that gets read with fingers

Pre-press artwork for tactile map production · 2023

Tactile maps are embossed, not printed — raised lines and surfaces that a blind or low-vision reader traces by hand. My part sits before the machine: I draw the map as clean line work and colour-code every area, so the production technician knows which lines and surfaces to raise. The colours aren't decoration; they're instructions.

Two projects. One to get someone out of a building, one to get them to the right counter.

Evacuation route map

Huei-Ming School for Blind Children · Taichung

An evacuation route map for a school whose students are blind or low-vision. One continuous dashed route with directional arrows runs from a marked you-are-here point out to the stairwells and exits.

The legend holds six items: current position, evacuation route, lift, fire exit, and the two toilets. Everything else on the sheet is a room label.

Evacuation route map for the Guangming Building second floor at Huei-Ming School for Blind Children, with a dashed orange escape route, exit icons and labelled classrooms — **Evacuation Route Map** — Guangming Building, Level 2.

Guidance maps for four branch buildings

Shin Kong Life Insurance — Taipei · New Taipei · Taichung · Kaohsiung

Shin Kong Life Taipei building guidance map, portrait format, eight numbered counters along a filled tactile spine — **Taipei branch.** Portrait. Eight numbered counters, ATM zone, accessible lift.

Shin Kong Life Kaohsiung building guidance map, portrait format, with office zone, six counters and curved specialist counters — **Kaohsiung branch.** Portrait. Six counters, curved specialist counters, VIP room.

Shin Kong Life New Taipei building guidance map, landscape format, with a circular counter island numbered one to six — **New Taipei branch.** Landscape. A circular counter island of six, plus a straight run of three.

Shin Kong Life Taichung building guidance map, landscape format, with six counters and rows of waiting seats — **Taichung branch.** Landscape. Six counters, seated waiting area, charging station.

Customer-floor guidance maps for four Shin Kong Life branch buildings, drawn to one shared visual system across four different floor plans. Each carries the numbered service counters, waiting areas, ticket machines and charging stations, and a colour-coded key for the accessible toilet, water fountain and ATM.

07Event guidance

An illustrated map to walk an event by

Christmas event, 2017 · a community church in Banqiao, New Taipei · A3 event guide

A church asked me to draw a guidance map for their Christmas event, so visitors could find their way around it. I illustrated the site as a flat plan with one bold path running through it, marked each activity point with its own icon, and set the session times along the bottom as plain running text.

Icons do the work text can't here. Someone glancing at this while walking should be able to match a picture to a place without reading a legend first.

Illustrated A3 Christmas event map on a green ground, with a bold white path, illustrated activity stations, a main stage, parking marker and session times along the bottom — One sheet: the site, the path, the activity points, the main stage, parking, and the session times.

08Personal work

Two photographic series

Shot for myself, not for a brief

Grandmother

Documentary series · shot on film at home

A quiet series about my grandmother, made in the rooms she spends most of her time in. The chair by the window, the watch worn every day, the bed left mid-morning, the light she sits in.

I keep coming back to it because it's the opposite of how older people are usually pictured — neither pitied nor implausibly sunny, just present.

Film portrait of an older woman in glasses looking off-frame in soft window light — Portrait

An empty cane rocking chair beside a bright bedroom window — The chair by the window

Close-up of an older woman's hand wearing a gold watch and a beaded bracelet — The watch, worn every day

Rumpled pale bedsheets in dim green-tinted light — Mid-morning

Happy Zoo

Ongoing series · on whether zoos should exist

A series made to sit inside the argument over whether zoos should continue to exist. The title is the question, asked flatly.

So I shoot the barrier instead of cropping it out. The mesh, the bars, the glass and the weather stay in frame, because they're the part of the animal's life we built. A silverback gorilla looking back through glass is a different photograph to a silverback gorilla — and the difference is the whole subject.

I'm not arguing a side. I'm trying to photograph the enclosure honestly enough that the question stays open.

Close portrait of a silverback gorilla resting its chin on its hand, looking directly at the camera through glass — Silverback gorilla, through glass

A golden pheasant photographed close-up through the vertical bars of its cage — Pheasant, behind bars

Four giraffes standing together in an open enclosure in heavy rain — Giraffes in the rain

A lynx sitting behind chain-link fencing, looking away from the camera — Lynx, behind mesh