Profile: HIU CHONG TAN – Real Leather Design Competitions

HIU CHONG TAN

Guangzhou Panyu Polytechnic

本人谭晓庄，25级皮具艺术设计专业在读学生，在校同时担任班级团支书，兼具专业创作能力与班级事务统筹协调经验，日常兼顾学业、团务工作与原创设计创作，做事细致有条理，擅长多任务平衡推进。专业方向深耕皮具、鞋履、饰品企划全流程，完整掌握产品开发逻辑，从市场调研、目标用户画像搭建、风格定位，到材质搭配、草图绘制、3D视觉呈现、肌理工艺落地均有实操经验。擅长将细腻情绪转化为具象设计语言，注重皮革、珠宝等不同材质的碰撞融合，常通过AI视觉工具辅助完成产品草图、扩图、光影构图、色彩筛选等创作，对画面参数、色调质感、负面规避词等细节要求精准，追求作品完整统一的美学氛围。生活中热爱文娱和旅游，喜欢挖掘不同美学意象用于设计灵感补充。做事有规划，撰写企划案、PPT、文案时严格把控篇幅、页数与结构框架，习惯用列表结构化梳理调研数据，逻辑清晰；沟通上偏好直白通俗的表达方式，能快速抓住核心信息，兼顾理性调研分析与感性艺术创作，既能沉下心做专业深度研究，也能耐心完成团内各类组织、沟通工作，持续在设计专业与学生工作双向积累成长。 My name is Tan Xiaozhuang, a current Year 25 undergraduate student majoring in Leather Goods Art and Design. On campus, I also serve as the class Youth League Branch Secretary, balancing professional design capabilities with hands-on experience in class administration and coordination. I manage my coursework, league duties, and original design projects simultaneously, with a meticulous and organized approach, and a strong ability to advance multiple tasks in parallel. My professional focus covers the full planning process for leather goods, footwear, and accessories, with a solid command of product development logic—from market research and target user persona building to style positioning, material matching, sketching, 3D visualization, and texture technique execution. I excel at translating subtle emotions into tangible design language, with a keen interest in the interplay of different materials such as leather and jewelry. I frequently use AI visual tools to support sketching, image expansion, lighting composition, color selection, and other creative tasks, with precise attention to image parameters, tonal texture, and negative prompt details, striving for a cohesive and unified aesthetic atmosphere in every piece. Outside of studies, I enjoy entertainment, travel, and exploring diverse aesthetic inspirations to feed into my design work. I am well-organized in my approach—when writing proposals, PPTs, or copy, I strictly control length, page count, and structural frameworks, and I habitually use lists to structure research data for clear logic. In communication, I prefer direct and straightforward expression, quickly grasping core information. I balance rational research-based analysis with artistic creation, capable of both deep focused study in my field and patient organizational and liaison work within the League. I continue to grow steadily through both my design practice and student leadership roles.

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《熔忆馆藏》Melted Memory Gallery

Category: Accessories

Competitions: China Mainland

系列三件海洋主题银饰，以贝壳、水母、海螺为载体，诠释「人类由爱过之人拼凑而成」的内核。贝壳吊坠收束细碎温柔，像初次心动落进心底的点滴好感；水母发饰缠绕编织飘带，垂落珠串与星饰，是绵长羁绊里层层叠叠的陪伴；海螺挂饰舒展多支触角，汇聚所有相遇碎片。每一件饰品都是收藏馆的陈列格，将过往爱意熔铸为具象器物。那些擦肩、相伴、别离的人，化作血液里流淌的印记，拆解成海洋意象留存。爱意不必永久相守，而是拆解、融合、收纳进专属收藏，融于骨血相伴终生。不必害怕离别，所有温柔相遇都会凝为随身饰物，永远归属于我。 A trilogy of ocean‑themed silver jewelry pieces—featuring a shell, a jellyfish, and a conch—embodies the core idea that “a human being is pieced together from all the people they have loved.” The shell pendant gathers up delicate tenderness, like the little drops of fondness that fall into your heart with the first flutter of love. The jellyfish hair ornament is woven with trailing ribbons, from which bead strings and star‑shaped charms dangle—a layered, enduring companionship within long‑standing bonds. The conch pendant stretches out multiple tendrils, bringing together fragments of every encounter. Each piece is a display case in a museum of memories, casting past affections into tangible objects. Those who brushed past us, stayed with us, or left us—all become marks flowing in our blood, deconstructed into oceanic imagery and preserved. Love need not last forever in the same form; rather, it is deconstructed, fused, and stored in a personal collection, blending into our bones and blood to accompany us for life. Do not fear farewells; every gentle encounter will condense into a wearable ornament, forever belonging to me.