The logo of the brand is composed of four Chinese characters, whose style is more futuristic, symbolizing the studio’s spirit of innovation.
Drawing from my memories of Hangzhou, I utilized color to differentiate between areas on the grid. Specific locations were indicated by handwritten Chinese characters, preserving the original sense of space as accurately as possible.
(Middle) When my father said: “This year’s lucky money will all be spent on school.”
(Right) Energy is Money; individuals strive to build a vibrant life in their youth. The dynamic posture of the woman in the poster evokes a sense of joy and strength, symbolizing a spirit of enterprise.
*Poster selected by JAGDA International Student Award 2020
Having measured and recorded the temperatures in the station, I designed this poster to highlight the sweltering conditions of the London Underground. The poster depicts an intriguing visual transformation, akin to a shrimp changing color in response to heat, symbolizing the intense heat experienced within the system.
From the mall’s interior aesthetics to the building’s brand logos and even the shopping bags in tourists’ hands, each element spoke of uniqueness. Drawing from my personal insights, I conceived a new brand image for Ginza.
The primary colors—blue, silver, and gold—hold significance: blue symbolizes the daytime vibrancy, silver signifies the historical local buildings, while gold represents the radiant illumination emitted by stores at night.
Contrastingly, LGBTQ recognition in Asia remains insufficient. Hence, I conceptualized this promotional poster. The two simple Chinese characters on the poster signify ‘the world,’ arranged in a staggered formation. This design intends to convey that the world should not be devoid of the rainbow’s colors, advocating for inclusivity.
*Poster selected by JAGDA International Student Award 2019
The logo representing San Babila’s commercial precinct exudes modernity. However, a closer look reveals hidden serif lines—a design inspired by the area’s unique blend of classical and contemporary charm.
Drawing from the architectural texture and hues of Chiesa di San Babila, the logo adopts colors harmonizing with the area’s aesthetics, ensuring seamless integration within the San Babila vicinity.
The publications discuss how automation technology influences the traditional Chinese writing system and the design of Chinese characters.
They are divided into three sections: the first section focuses on Automation in China; the second section explores the influence of the Chinese printing press, while the final section serves more as teaching material.