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PROJECT 1
SWAN WEI 2O2O portfoli
PROJECT 1
SWAN WEI 2O2O portfoli
PROJECT 1
exhibition planning
WITHOUT COMPUTER 展覽策劃
PROJECT 1
《無腦》臺師大設計學系 107 級畢業展覽
Without Computer, We Think Deeper. "Without computer" means that we reduce the use of computer throughout the design process, finding
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the unexpected and irreplaceable sparks of beauty. We want to examine that "brain" plays much more important role than "computer" in design.
無腦，我們想得更深。
「無腦」，並非意指空洞的設計，「腦」代表電腦。在
本次畢業製作的發想過程、實驗階段、設計產出，都減 少對電腦的依賴。發掘電腦無法取代的設計，從實驗中 尋覓意外火花，說明「人腦」在設計中扮演多麽重要的 角色。
IN CHARGE OF exhibition planning, video director, editor and editorial design
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YEAR: 2O18
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WITHOUT COMPUTER
CONCEPT VIDEO 無腦
PROJECT 1
概念宣傳影片
Turn on Your Mind Before Computer With the rapid development of computer, we use much software to draw, typeset, and model. After
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reflecting ourselves, we find that we rely too much on them. Sometimes we rush to computers and start designing without thinking thoroughly. On the other hand, Social networking and platforms for design spring up nowadays, which makes it easy to search information. We can get hundreds of similar pictures just by typing one keyword. The swift data transmission also results in the restricted common value of visual style. Can we call ourselves designers only because we can use software correctly? What is the essence of design if software no longer exists?
在電腦發達的時代，學設計的我們使用許多電腦軟體進
行繪圖、排版、建模，在經過觀察反思後，我們發現自 己對軟體産生依賴，甚至會在思考未完善透徹時便急於
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打開軟體，著手進行設計。
另一方面，社群媒體串聯迅速，衆多設計平台出現，現 在搜尋資料非常容易，輸入一個關鍵字便能搜出上百張
近似圖片。資訊快速傳遞的結果使得潮流容易被掌握， 視覺風格也常受主流媒體影響，這或許也跟近年新一代
或是各畢業展覽作品關注的議題與視覺風格同質性都相 當高有關。
會使用軟體就能稱為設計師嗎？
去掉了熟悉的軟體，設計的本質是什麼？
Scan for Video →
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WITHOUT COMPUTER
INTRO and TRAFFIC FLOW 無腦
PROJECT 1
概念展示區與動線設計
Exhibition concept includes four levels: UNPLUGGED, NATURALLY, SENSES, WITH. As the prologue of the exhibition, the curatorial team
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presented six installation arts to elaborate the concept.
主題分為四個層次：
移除、有機、五感、協力。
在各組作品之前，用六個裝置闡述主題概念，作為楔子。 展場設計以「腦紋」作為發想起點，幾何化為「鋸齒狀」
的主展牆結構，相較平直的牆面，有更多樣的使用空間； 亦能遮蔽部分視野，強化整體展場的層次與深度。
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1. installations in the exhibition 2. traffic Flow
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WITHOUT COMPUTER
DIALOGUES and PUBLICATION 無腦
PROJECT 1
專欄與刊物
Trying to to meet our conpect more closely, the curation team had conversations with a professional curator and four artists which were featured in the
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exhibition publication afterwards.
《無腦・臺師大設計系 2018 畢業展》策展團隊就「無電 腦」的主題，邀請了一位設計師兼策展人與四位資深職
人分享他們的專業。策劃一個好展覽的必備知識；電腦 與數位軟體未普及的時代，暗房沖片與活版印刷産業的 故事；拼貼創作與手繪招牌體的手感溫度……
• More information at p.49
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branding
A REAM OF TIME
YEAR: 2O18
品牌設計
PROJECT 2
一令實光
A Ream of Time is pronounced Yī lìng shí guāng in Chinese. Yī lìng is the unit of paper, Shí represents fruit, and guāng is sunlight, which makes A Ream
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of Time literally “a piece of fruit and sunlight”, symbolizing our idea of delivering messages from the nature through our waste-based papers. Furthermore, shí guāng is a homophone of “Time” in Chinese, meaning that all our designs focus on the “time” element.
「一令」為紙張的單位，「實」取自於果實，「光」則 是來自陽光，希望能藉由紙張來傳達自然所帶來的溫度
及感觸，讓大眾體會到時間流逝所遺下最真切的痕跡， 「實光」的諧音「時光」也是我們產品設計中最核心的 想法。
pineapple paper and logotype →
IN CHARGE OF art director, graphic design and video editor
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A REAM OF TIME
CONCEPT and EXPERIMENTS 一令實光
PROJECT 2
概念與實驗
Fibers of pineapple leaves were often used in handcrafting industries in the past, including papers, textiles, leather, and so on, thus, this became our
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primary candidate for our project. In order to gather more information about the features of pineapple leaves, we went to Pingtung to visit Mr. Yen, who offered us with this precious ingredient. Much to our surprise, though the fibers of pineapple leaves were known for its multifunction, most of the farmers only use them as fertilizer, or worse, treat them as useless waste. So, how can we enhance the value of pineapple leaves with design methods? Apart from the pineapple-fiber-based paper currently existing in the market, we kept the original color of these pineapple leaves, consisting with our concept of “shí guāng (time)”, leaving marks and traces on the paper through time. Plus, we also notice that pineapple-fiber-based paper has way better tenacity and plasticity than all other kinds of papers. 鳳梨葉提煉出的鳳梨纖維過去經常被利用於工藝中，無
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論是紙張、織品、皮革⋯⋯。然而，該如何透過設計手
法替鳳梨葉創造更大的價值？為了更清楚地了解其特性， 我們前往屏東拜訪提供我們鳳梨葉的顏佑霖先生；發現 種植鳳梨的過程中，鳳梨葉除了堆肥外剩下只能被廢棄
處理。與市面鳳梨紙不同的是，我們保留了鳳梨葉原始
的顏色，不進行漂白，讓紙張隨著使用時間的累積，更 容易留下歲月的痕跡。並在實驗過程中發現，其具有的 韌性及可塑性遠勝於其他紙張。
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A REAM OF TIME
PRODUCTS and COMMERCIAL VIDEO 一令實光
PROJECT 2
產品與宣傳影片
In order to let people know more about our local story and sense the power of design, we reinterpret Taiwanese fruit culture and enhance the value of
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fruit waste by integrating eco-friendly elements with our design ideas. We try to optimize the use of ecofriendly products in Taiwan. Our vision is to create and advocate environmental harmony worldwide.
藉由我們的設計，提高水果廢料的價值並結合附加產品， 將臺灣水果文化重新詮釋，使人們感受到設計的力量， 也更了解臺灣的土地故事。期望將臺灣的水果及人情味 發揚至世界各地。
• More information at p.79
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1. wall lamp 2. calendar 3. table Lamp
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Scan for Video →
campaign
ART IS VOICE 活動形象
《知了》臺師大藝磚節
PROJECT 3
CGDA 2O17: Excellence Award
You would hear it first but not see it. Following the concept of AHF (Arts & Humanities Festival) last year, we want to discuss and focus on
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our land's story this time. The goal is to make our life surrounded by arts and let people be touched by arts again. In Taiwan, we pronounce cicada as "jhihliao" which also means "I got it". Cicada can be an strong image of summer and voice. Their loud voice symbolizes the strength of art influencing the society these days.
你會先聽到它，而非想到它的樣子。
承襲了第一屆師大藝磚節的精神，這次我們將核心定為
專一，獨立的思考與這片土地息息相關之事，把藝術化
為生活，讓人重新體認感動。知了的聲音意象鮮明，在 字面上亦有得知了某一件事的含義。從白色恐怖時期、
太陽花學運到國際女性影展，從詩詞、影像到音樂創作， 藝術沒有停止發聲。捉得住蟬，卻捉不住蟬聲，簡媜的 夏之絕句這麼寫著。春夏之際，讓藝術再一次成為一種 語言，一種力量！
IN CHARGE OF art director, video director and digital advertising
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YEAR: 2O16
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ART IS VOICE
DIGITAL ADVERTISING and PRODUCTS 知了
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PROJECT 3
網路宣傳與週邊設計
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1. SNS posts 2. NTNU × AHF crewneck graphic design 3. try on
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coporate identity
GOOD FOR U
YEAR: 2O17
企業形象
PROJECT 4
小農飯盒
GOOD FOR U is a team providing healthy ecofriendly lunch box consisted of NTU and NTNU students. In this project, I try to combine a smiling
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face that represents the idea of being friendly to our environment with the Chinese typeface and use light green to bring out the fresh energy of this new brand.
小農飯盒為一群台大與師大學生所組成的團隊，他們主
要提供環境友善的健康餐盒。在這個專案中，我嘗試將 象徵友善的微笑與農字結合，並且使用了青綠色，讓品 牌更加清新活潑。
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1. logotype 2. lunch box sticker 3. flyer design
IN CHARGE OF graphic design and photography
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GOOD FOR U
FOOD PHOTOGRAPHY 小農飯盒
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PROJECT 4
食物攝影
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GOOD FOR U
COMMERCIAL VIDEO 小農飯盒
宣傳影片
• More information at p.81
Scan for Video →
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theatre visual
4.48 PSYCHOSIS
YEAR: 2O2O
劇場視覺
4.48 精神崩潰
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PROJECT 5
CLIENT: TNUA Dept. of Theatre Art
IN CHARGE OF graphic design and photography
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To convey what the writer, Sarah Kane, was trying to deliver in this play, we attemp to be close to her mental state as much as we can. In this project, we used photography as the fundamental material. By using the unstable methods, long exposure and a scanner, we expect to get the results that "can not be expected". 這是北藝大戲劇系主修表演的張欣同學的畢業製作。劇作家，Sarah Kane，英國人，1971 – 1999。
因為她長期被所謂的精神疾病折磨，又在《4.48 精神崩潰》發表後不久在醫院裡上吊自殺，所以這個 劇本通常被當作她的遺言、一種對精神疾患的深入剖析。本次的設計概念以攝影為基礎媒材，並使用
無法預期產出效果的方式，例如長時間曝光、掃描，意圖無限靠近此劇作主人翁的不穩定、癲狂之美。
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1. invitaion card (riso-printing) 2. playbill (riso-printing) 3. team member portrait (processed by scanner)
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theatre visual
LAST WORDS
YEAR: 2O19
劇場視覺
最後的遺言
PROJECT 6
CLIENT: TNUA Dept. of Theatre Art
This is a story about a girl's dead that happened in an old tattered motel. However, several people that seem to be unconnected with the incident were
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involved. This black comedy is going to make the story more complicated... 一名女孩的死亡將一群看似毫無關聯的人們捲入一間破 爛的汽車旅館裡。一齣黑色幽默的懸疑喜劇將旅館裡的 人們推向更複雜的劇情漩渦當中。
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1. team member portrait 2. poster
IN CHARGE OF graphic design and photography
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album design
SPARKLE HORSE MEMORIAL ALBUM 專輯設計
《天馬樂團》紀念專輯
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PROJECT 7
CGDA 2O17: Nominated
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In memorial of my favorite singer, Mark Linkous. 僅此紀念我最喜愛的樂團主唱 Mark Linkous。
YEAR: 2O17
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souvenir design
ORCHID TEA SET 禮品設計
PROJECT 8 1
蘭染
Taiwan is famous for Orchid and Bamboo. This tea set combines the image of Orchid with traditional Chinese ink painting by dying epoxy with different
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color in layers. Using bamboo as the material of the outer package enriches the Zen spirit to it.
花中四君子當中的「蘭」與「竹」，都是台灣享譽國際 的特產。因此將蘭花印象使用墨染方式，水墨的情境融 入此茶點餐具，環保的包裝竹盒更增添賢人氣息。
YEAR: 2O17
product design
DOODLE BUBBLE
YEAR: 2O17
產品設計
PROJECT 9 1
兒童積木蠟筆
Doodle Bubble is a crayon-building block set designed for kids at the age of 3~6. With both the crayon and building blocks features built in the
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product, there is no need for parents to purchase them individually! The curvy edge of the crayon allows kids to hold it easily. Additionally, with different using habits by each individual, every Doodle Bubble shapes into a unique form, encouraging children to explore the distinctive outcomes of their own work.
Doodle Bubble 是一組專為 3~6 歲學齡兒童設計的積木 蠟筆。家長不需要花兩筆費用購買積木與蠟筆，此產品
外形相較市面上積木圓潤，方便兒童小手握持。在兒童 的繪畫過程中消逝，因此產生了不同型態；讓堆疊積木 有更多可能。
IN CHARGE OF art direct and graphic design
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campaign design
TATTOO TINT PARTY 活動設計
絕無色限叛逆唇霧派對
PROJECT 1O
CLIENT: ETUDE Taiwan
Colorful Tattoo Tint was the new product of ETUDE launching in May, 2019. Different from the past, ETUDE choosed to "play wild" this time! Here's the
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event for KOLs and media gathering. 絕無色限叛逆唇霧為 ETUDE 於 2019 年五月發表的新品。 與以往的俏皮可愛風格不同，為了搭配這次的產品調性， 我們選擇挑戰更加狂野大膽的佈置，來呈現此次的媒體 發表活動。
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1. neon-alike acrylic 2. light Box 3. visual 4. sticker on the stairs (color of the tints)
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YEAR: 2O19
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PROJECT 1
poster design
NKDA LEADER TRAINING PROGRAM 海報設計
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CMYK 1
織青春
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YEAR: 2O18
poster design
SINGING BOWL HEALING 海報設計
光音仙境頌缽
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poster design
PROTECTIVE COLORATION 海報設計
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CMYK 1
保護色
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YEAR: 2O15
poster design
POETRY EXHIBITION The Blue Porcelain Poetry Association
海報設計
《你是我身旁無語的隆冬》 藍瓷現代詩社微型詩展
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infographic design
ATLANTIS: The Deep Sea Monster 資訊圖表設計
亞特蘭提斯：深海怪獸 CGDA 2O17: Nominated
CMYK 2 1
CLIENT: Deloitte Taiwan
"Atlantis" is a lost city in the deep sea. This infographic guides companies to create a new service model. With the Beatle’s Yellow Submarine,
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it begins with lateral thinking (beach), then vertical thinking (sea). The deep sea monsters represent the issues that companies need to resolve during the design process. After overcoming all the difficulties, the companies could find Atlantis, the lost city. That is, the new innovative service model. 傳說中，亞特蘭提斯是一個在深海的遺落城市。以此為 概念，由水平（海灘）思考發展至垂直（深海）思考； 運用這組資訊圖表，我們嘗試幫助企業發展新的服務模 式。不同的深海怪獸代表企業在設計過程中可能遇見的
困難，在突破重重困境之後，企業將會尋找到屬於自己 的亞特蘭提斯：一個創新的服務模式。
YEAR: 2O17
infographic design
WAX LAB
YEAR: 2O17
資訊圖表設計
蠟：三種蠟的比較
CMYK 2 1
11st MACAO DESIGN BIENNIAL: Nominated
After several researches and experiments of three kinds of wax, we transformed the results into infographic by using photography directly with some
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graphic elements.
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經過一連串的資料搜集以及實驗，我們將三種蠟的特性
分成六個部分，直接以攝影與平面設計的方式轉換成容 易閱讀理解的資訊圖表海報。
editorial design
WITHOUT COMPUTER
YEAR: 2O18
刊物設計
CMYK 3 1
《無腦》專刊
WITHOUT COMPUTER means that we reduce the use of computer throughout the design process, finding the unexpected and irreplaceable sparks of
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beauty. We want to examine that brain plays much more important role than computer in design.
「無腦」意指我們在設計過程中減少電腦的使用，尋找 不可預測、無法替代的美；強調思考與實驗的重要性。
Hard cover book with white and black ink →
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WITHOUT COMPUTER
ADDITIONAL PROCESSING 《無腦》專刊
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CMYK 3 1
後加工
BOOKCASE silkscreen printing brain graphic. Readers can use white stamps to create their own design. 書殼
使用絹印製作，讀者可以使用展覽現場的印章完成屬於 自己的書殼設計。
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To highlight design teams’ concept, we put their quotes by stamp at the first page of each. It makes a little difference between every single book and presents the idea that every design has a unique feature. 為了強調各組概念，我們將概念文字作成橡皮章，並在 各組的頁面開頭親手蓋上。這使每本專刊都有了一些獨 特之處。
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WITHOUT COMPUTER
LAYOUT DETAILS and EXHIBITION 《無腦》專刊
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CMYK 1 3
編排與展覽現場
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4
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1. the opening page of each area 2. team's introduction 3. process of creation timeline 4. the exhibition
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editorial design
TAOYUAN CULTURE VOL.2O 刊物設計
《文化桃園》第 2O 期：與水同行
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CMYK 3 1
CLIENT: Dept. of Cultural Affairs, Taoyuan
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YEAR: 2O2O
Reading online →
zine design
NON-VERBAL COMMUNICATION 小誌設計
非語言式的溝通
CMYK 4 1
CGDA 2O17: Excellence Award
Turning people's movements and facial expressions into signs is a method to make conversation vivid
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which called "Non-verbal communication".
將人的動作和臉上的表情化成記號，這種非語言式的溝 通方式讓會話也能充滿生動豐富的表情。依布德費斯特
的理論，對話中語言的功能只占 7％，剩下的 93％中， 聲音的高低和音量的大小占 38％，其他的 55％則是由臉 上表情來傳達。據說動作學可以用記號來表達喜怒哀樂， 讓對話更生動立體。還可以把內心的波動資料化並加以 掌握，其效果已應用在心理學和諮商等領域。
節錄於 ZERRO 零 － 世界記號大全 松田行正 著
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1. made by celluloid with screen printing cover 2. expression practice
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YEAR: 2O17
Each piece of celluloid has a sign. You can overlap them to create your own facial expression. 本書為可拆式，每個表情都有一片透明片，將記號相疊，你可以自己組合想要的表情。
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cover design
LIAN POETRY ASSOCIATION VOL.4 封面設計
《煉詩刊》第四期：星升首測
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CMYK 5 1
CLIENT: Lian Poetry Association
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YEAR: 2O17
YEAR: 2O19
cover design
UPA: LOVE OF A FOOL 封面設計
cover painting by Upa →
UPA: LOVE OF A FOOL
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small graphic
OSOD.P
YEAR: 2O19-
圖形設計
CMYK 6 1
One Song One Day Project
OSOD.P (One Song One Day Project) is a long-term project to archive my enthusiasm in graphic design and music. After everyday works, I transform the
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song that creates chemistry into whether concrete or abstract graphic.
OSOD.P 是一個長期的自我計畫，目的為紀錄我對音樂 以及設計的熱愛。完成例行工作後有餘力之時，將當日 讓我有感受的歌曲，轉化成一幅具象或是抽象的圖案。
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printings
版畫作品
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CMYK 7 1
YEAR: 2O16
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3
2
1. experimeant OO1 2. eperimeant OO2 3. the flower's growing higher than the sun
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PROJECT 1
commercial photography
BOOK OF TEA
YEAR: 2O18
商業攝影
戲台茶館 《茶書》
SWAN WEI 2O2O portfoli
CMYK RGB 11
CLIENT: Theater Teahouse
Based on traditional Chinese opera characters, we give each kind of tea a unique personality.
以中國傳統戲曲表演之經典角色為概念，賦予每一種茗 茶不同個性。
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1. Ruby Black Tea 2. High Mtn Oolong 3. Honey Black Tea
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4. Biluochun 5. Iron Guanyin 6. Dongding Oolong
7. Wenshan Pouchong 8. Oriental Beauty Oolong 9. Jinxuan Oolong
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animation scene design
MERRY YARD GROUP BRANDING VIDEO 動畫場景設計
達達企業集團 形象影片
SWAN WEI 2O2O portfoli
CMYK RGB 21
CLIENT: Merry Yard Group
69
YEAR: 2O2O
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animation scene design
ㄅㄆㄇ TREASURE BOX CROWDFUNDING VIDEO 動畫場景設計
ㄅㄆㄇ 玩趣寶盒 募資影片
SWAN WEI 2O2O portfoli
CMYK RGB 21
CLIENT: MEFA Taiwan
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YEAR: 2O19
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animation scene design
KIWI FRUIT TEXTBOOK CROWDFUNDING VIDEO 動畫場景設計
奇異果版國文課本 募資影片
SWAN WEI 2O2O portfoli
CMYK RGB 21
CLIENT: Dig Deeply
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YEAR: 2O18
animation scene design
HUMANS OF TAIPEI BRANDING VIDEO 動畫場景設計
我是台北人 形象影片
SWAN WEI 2O2O portfoli
CMYK RGB 21
CLIENT: Dept. of Information and Turism Taipei
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YEAR: 2O18
taipeifriend
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animation graphic design
OVENPLUS CROWDFUNDING VIDEO 動畫美術設計
OVEN PLUS 帶著走的多功能廚房 募資影片
SWAN WEI 2O2O portfoli
CMYK RGB 21
CLIENT: LOVINFLAME
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YEAR: 2O19
in lower oven
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storyboard and copywriting design
A REAM OF TIME PRODUCT VIDEO 腳本與文案設計
CMYK RGB 31
一令實光 產品影片
To emphasize the idea of "time" that A Ream of Time wants to deliver, we write short stories about
SWAN WEI 2O2O portfoli
the daily little things happend on a girl.
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透過女孩生活中發生的小事，集結成短篇故事，強調一 令實光產品的日常性以及品牌核心所強調的「時間」。
YEAR: 2O18
80
storyboard and copywriting design
GOOD FOR U COMMERCIAL VIDEO 腳本與文案設計
CMYK RGB 31
小農飯盒 廣告影片
Six absurd short storis happened between students and lunch box.
SWAN WEI 2O2O portfoli
六個發生在學生與午餐之間的荒謬小故事。
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YEAR: 2O18
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storyboard design
PORTFOLIO OF CLEMENT YANG BOOK VIDEO 腳本設計
楊允城作品集 新書上市影片
SWAN WEI 2O2O portfoli
CMYK RGB 31
CLIENT: ARTouch
YEAR: 2O18
CREDITS
p.5-p.12 WITHOUT COMPUTER
editorial team: Swan Wei, Shi Wang, Megan Chao, Pingchen
curation team: Jim Lu, Chihhsi Chen, Swan Wei, Millie Peng, Tow
Hsieh, Jenny Lin, Millie Peng
Wu, Corie Hou, Pinghan Wen
trandslator: Megan Chao
key visual: Zoey Chen
photography: Jim Lu, Demi Chen, Huihsin Chang
editorial team: Swan Wei, Shi Wang, Megan Chao, Pingchen Hsieh, Jenny Lin, Millie Peng
p.57-p.58 NON-VERBAL COMMUNICATION
photography: Jim Lu, Demi Chen, Huihsin Chang
model: Jim Lu, Tow Wu
p.13-p.18 A REAM OF TIME
p.60 UPA: LOVE OF A FOOL
design team: Jim Lu, Jagn Chang, Swan Wei
artist: Upa
p.21-p.22 ART IS VOICE
p.67-p.68 BOOK OF TEA
film photo credits: Ray Han
diretor: Chee Lin
photographer: Chiashu Miao, Chengding Yang
assistant: Wanling Lee
model: Tingo Tseng, Julie Huang, David Zhou p.69-p.70 MERRY YARD GROUP p.26 GOOD FOR U
director: Chee Lin
actor: Qiaoyu Ke, Yang Cheng, Yixin Chen
animator: Angel Huang editor: Chenghao Yu
p.27-p.28 4.48 PSYCHOSIS portrait photographer: Millie Peng, Swan Wei director: Fushan Lee, Pingyuan Huang
p.71-p.72 ㄅㄆㄇ TREASURE BOX director: Chee Lin
actress: Amber Chang
storyboard: Chee Lin, Tingru Han, Shuting Xie
writter: Sarah Kane
charactor design: Abby Chen animator: Fei Li
p.29-p.30 LAST WORDS
editor: Chenghao Yu
director: Fushan Lee
vo: Martida Yeh
script writter: Yiqian Xu p.73-p.74 KIWI FRUIT TEXTBOOK p.35-p.36 DOODLE BUBBLE
director: Chee Lin
design team: Jim Lu, Kida Hsu, Mille Peng, Swan Wei, Tow Wu
charactor design: Angel Huang animator: Angel Huang
p.43 PROTECTIVE COLORATION
editor: Chenghao Yu
model: Wanling Lee
vo: Martida Yeh
p.45-p.46 ATLANTIS: The Deep Sea Monster
p.75-p.76 HUMAN OF TAIPEI
creative diretor: Zach Van
director: Chee Lin charactor design: Angel Huang
p.47-p.48 WAX LAB
animator: Angel Huang
design team: Jim Lu, Kida Hsu, Mille Peng, Swan Wei, Tow Wu
editor: Chenghao Yu copywriting: Wanling Lee
p.49-p.54 WITHOUT COMPUTER
vo: Li Hong
p.77-p.78 OVENPLUS director: Chee Lin animator: Angel Huang editor: Chenghao Yu
p.79-p.80 A REAM OF TIME design team: Jim Lu, Jagn Chang, Swan Wei
p.81-p.82 GOOD FOR U storyboard: Swan Wei, Yang Cheng, Julian Fu copywrting: Swan Wei, Yang Cheng, Julian Fu
p.83-p.84 PORTFOLIO OF CLEMENT YANG artsit: Clement Yang
SWAN WEI 2O2O portfoli
CMYK 1