01 | graphic design & fashion
August. 2018
Rebelle




“Rebelle” is a project from the Experimental Type class at ArtCenter College of Design. Stemming from the idea of experimenting typography and typographical approaches, “Rebelle” can be understood as exploring and practicing typography through fashion and clothing. From a macro standpoint in the fashion industry, “Rebelle” is a graphic designer’s response to the wide-spread notion of breaking the boundary between luxury fashion and streetwear. It reveals a strong willing to potentially be part of other existing fashion explorers in the realm of mixing luxury and streetwear, such as Off-White, Vetements, Undercover, John Elliott, Fear of God, Dior Homme and Balenciaga.

The “Rebelle” project contains clothing designs, fashion photography, a promotional video, stationery, the brand catalogue with a line-sheet, a brand manual, a set of packaging design, and collaterals. It is fundamentally creating an independent luxury streetwear brand. The brand’s tone is established as a nostalgic sensation mainly by using a set of 80s–90s color palette. The major part of “Rebelle”, fashion photography, is achieved with help of a professional photographer, a fashion stylist, and a hair & make-up artist (HMUA).

The emergence of Rebelle can be seen as a millennial’s response to contemporary graphic design and fashion design. It can also be understood as a brave reaction to the counterculture that keeps breaking the boundaries between luxury and streetwear. In fact, Rebelle may be seen as an idea that “officially” makes graphic design and fashion design collaborate with each other. Rebelle, as a new-born fashion brand with graphic spirit, reveals a sense of unruliness, rebellion, and optimism that have long in existence among many individuals. Additionally, it is an expression of its own type of millennial somberness and effervescence.


Art Direction: Yi Mao
Photography: Charlie Sin
Stylist: Sondra Choi
HMUA: Shu Zhang
*specialy thanks ot Chelsea Phuong and Oriana Ren. 


*DISCLAIMER: This project is not for any types of commercial uses. 

Instructor: Cheri Gray 
Client: ArtCenter College of Design

*for further information, please visit https://www.behance.net/gallery/70755539/Rebelle

02 | graphic design
August. 2018
Kanna—a recreational cannabis brand







Kanna is a hypothetical line of products targeted for recreational cannabis markets. It intentionally aims to offer customers a luxurious and unique cannabis brand experience.

The first challenge in designing this product line, is how to successfully create a premium and aesthetic appearance to audience through visuals under the strict laws of California cannabis packaging. Another main challenge is how to reveal a sense of joy through packaging and label to formally demonstrate the education of cannabis use. The solution is to apply minimal design approaches with appropriate illustrations and vivid colors. Using black & white to simultaneously create a sense of clean, premium quality, and rigor.

Colors are intentionally used to reveal the strength of the product.
Alce (red): strength—level 8–9 (max.10)
Toco (orange): strength level 7–8 (max.10)
Hope (green): strength level 3–4 (max.10)
Gouldin (blue): strength level 0 (max.10)
Lori (purple): strength level 1–2 (max.10)


Art Direction: Yi Mao
Photography: Charlie Sin
Stylist: Charlie Sin & Yi Mao

*DISCLAIMER: This brand is a hypothetical project for the Package Design 1 at ArtCenter College of Design. It is not for any types of commercial uses. It may not fully follow the cannabis packaging regulation of the States of California. It is only trying to indicate a specific design aesthetic that potentially apply to the future products in Recreation Cannabis market.


Instructor: Dan Hoy 
Client: ArtCenter College of Design

*for further information, please visit https://www.behance.net/gallery/70790145/Kannaa-recreational-cannabis-brand 




03 | graphic design
April. 2018
Comerica Rebranding




Assignment: I was assigned to rebrand Comerica for a communication class at ArtCenter College of Design. Comerica is a financial services company that operates within business banks, retail banks, and wealth management. One of their corporate responsibilities is “sustainability”.

Concept: The new identity system is named “Oakes”. It is a dynamic identity composed of three icons of an oak leaf. A single oak leaf icon contains two parts. The top part is a silhouette of mountains. The bottom part can be read as lakes, waves, or rivers. Two parts join together to form the “Comerica Oak Leaf”, correlating with Comerica’s philosophy of sustainability. Three leaves are positioned together to frame a circle-like icon, indicating an attitude of sustainability and trustworthiness.


Instructor: Gerardo Herrera 
Client: ArtCenter College of Design

*for further information, please visit 
https://www.behance.net/gallery/66243261/Comerica-Rebranding

Mark
04 | graphic design
February. 2018
Great Writer Series


This project is to design an 8 page plus cover, text-heavy publication based on the research of a writer's life and work. The writer I choose is the Argentine short-story writer, essayist, poet and translator, Jorge Luis Borges and his famous short story, The Garden of Forking Paths.

The requirements of this project:
01—letter size
02—double-sided printing
03—black laser (no bleed, no colors)
04—collated, saddle stitch
05—any choices of paper stock

*One experimental approach I do for this project is the use of paper stock. What I do is producing three versions of brochures based on two papers, Clearprint 10001416 Design Vellum Paper and Neenah Translucent Gold Paper.

*Design concept: Borges's works mainly deal with topics of time, space, self-identity, bizarreness, and contradiction. His works have inspired so many contemporary movies like The Matrix, Inception, and Interstellar. In order to present his writing style, the arrangement of layout is using type glyphs, lines and juxtaposition of texts to reveal a sense of passage of time. From the first page to the last page, all the spreads would be able to compose a timeline.

*One version of brochures is using only vellum paper for printing. The initial idea is that when audience see the closed brochure, they would see the translucent pages overlap each other, creating complex layers. This approach is to mimic one of the Borges's writing styles, which is about contradiction.

Instructor: River Jukes-Hudson 
Client: ArtCenter College of Design