cross–pollination
CROSS–POLLINATION
T HE GR A DUAT E P OR T FOL IO OF Y EN Y EH
t h i s i s y e n .co m
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cross–pollination
CROSS–POLLINATION
t h i s i s y e n .co m
T HE GR A DUAT E P OR T FOL IO OF Y EN Y EH
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Graduate Portfolio Ye n Ye h
CONCEPT cross–pollination
noun .
A sharing or interchange of knowledge, and ideas for mutual enrichment.
Forward
“Cross–pollination” is a design portfolio completed at the Academy of Art University’s Graduate School of Graphic Design. It is a collection of design projects, including my master’s thesis: SuSea. The name “cross–pollination” reflects my approach to design. It is the sense of creating value through a designer’s perspective to raise awareness to an idea or message. For me, design power is like a little bee, carrying and communicating important messages like pollin. When people receive those messages, they become other little bees that spread out ideas, hope, and love to this world. I believe everyone possess the ability to create or carry a cross– pollination effect and bring good to this world.
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T I T L E / CR O S S – P OL L IN AT ION C OUR SE / DE SIGN SEMIN A R: P OR T FOL IO
IN S T RUC TOR / M A R Y S C OT T
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MASTER’S THESIS: SUSEA LAST TIME THIS YEAR 366 DAYS OF TYPE DIVE, DISCOVER AND CHANGE MANY JOURNEYS, ONE WORLD FISH YOU CAN TRUST HEALTHY BITES GREEN SPOT
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D AT E / 2 011 FA L L
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9 45 71 83 99 121 133 143
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T I T L E / M A S T ER ’S T HE SI S: S U SE A A D V I S OR / JUNKO M A EG AWA , L AUR A MILTON, L I A N A L AW R A NCE DEGR EE / M A S T ER OF F INE A R T
SUSEA IS HELPING TO CREATE A BETTER LIFE FOR HEALTHY PEOPLE AND THE OCEAN’S ENVIRONMENT THROUGH CHOOSING SUSTAINABLE SEAFOOD.
PROJECT Thesis
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S U S TA INING T HE SE A W I T H E A CH BI T E
MASTER’S THESIS: SUSEA Objective
Decades of destructive fishing practices, people’s appetite and unsustainable fish farming have lead to a threatening decline in available seafood supplies. SuSea encourages people to change their seafood eating habits and choose sustainable seafood to continue our ocean resources for our health and many more generations.
Approach
For completing the research, development, and design of SuSea, I conceived my master’s thesis in three parts: research, concept/identity, design/application. For the research part, in order to understand how can I use design power to solve the problem of ocean crisis, I gathered the information about the ocean situation, interviewed with ocean scientists, conducted several group surveys and discussed with one–on–one adivisors, that all summarized into the main concept of SuSea. I used this valuable feedback to establish all interrelated design solutions, and worked with graphic designer Junko Maegawa to develop the main identity, then worked with graphic designer Laura Milton to develop the promotional items, and graphic designer Liana Lawrence helped me to summarize and write the voice of SuSea. SuSea is more than a master’s thesis, it is a healthy and sustainable lifestyle. I hope this thesis can provide a different sustainable vision for the future. “Everyone can use their informed sustainable seafood choices to achieve their better future” has been the main concept in the final deliverables: SuSea products, SuSea on wheels, Susea headquarters and website SuSeatoday.com.
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Thesis
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M a s te r ’s T h e s i s: S u S e a
cross–pollination I d e nti t y, P r int D e s i gn , P a c k a g e D e si gn , I s s u e C o m munic atio n
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C AT EG OR Y / IDEN T I T Y, P RIN T DE SIGN, PA CK A GE DE SIGN, I S S UE C OMMUNIC AT ION, S U S TA IN A BL E DE SIGN DEL I V ER A BL E S / S TAT IONER Y, SER IE S BR O CHUR E S , P R ODUC T S , W EB SI T E , SM A R T P HONE A P P L IC AT ION, P O S T ER , BU SINE S S P L A N, A D V ER T I SEMEN T S , FO OD T RUCK E X T ER IOR DE SIGN, R E S TAUR A N T IN T ERIOR DE SIGN FON T / BR YA N T, SER IFA
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M a s te r ’s T h e s i s: S u S e a
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M a s te r ’s T h e s i s: S u S e a
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M a s te r ’s T h e s i s: S u S e a
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SuSea
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M a s te r ’s T h e s i s: S u S e a
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M a s te r ’s T h e s i s: S u S e a
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M a s te r ’s T h e s i s: S u S e a
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M a s te r ’s T h e s i s: S u S e a
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M a s te r ’s T h e s i s: S u S e a
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M a s te r ’s T h e s i s: S u S e a
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M a s te r ’s T h e s i s: S u S e a
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M a s te r ’s T h e s i s: S u S e a
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M a s te r ’s T h e s i s: S u S e a
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SuSea
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Graduate Portfolio M a s te r ’s T h e s i s: S u S e a
Ye n Ye h
I SUSEA
SuS
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Seatoday.com
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DINING A RE A A ND WA L L E X HIBI T ION
Customers can get some basic information about the connection of ocean and our eating habits while they enjoy SuSea’s sustainable seafood meals. The exhibition will change every three months to
SuSea
fit the lastest information about ocean situation and sustainable news.
WHY SUSTAINABLE MEDI A P L AY ER
This media player will play different vedios and documentaries which relate to ocean issues.
INFORM AT ION S TA ND
This information stand will have different brochures, articles or flyers to promote the idea of sustainable attitude in our life.
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Decades of destructive fishing practices, people have lead to a threatening decline in available s done to stop overfishing and habitat destruction where they can no longer recover.
cross–pollination I d e nti t y, P r int D e s i gn , P a c k a g e D e si gn , I s s u e C o m munic atio n , S u s t ain ab l e D e si gn
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Sustainable seafood uses environmentally friendly fishing practices, which creates a healthy and harmonious relationship between the ocean and people, and can endure forever. Sustainable seafood is a way to keep the oceans thriving and manage the ocean’s resources into the future. Informed consumers can make all the difference, by knowing where the seafood comes from and making wise, responsible and sustainable choices. This means choosing seafood either caught or farmed using an environmentally friendly practice. For more information, please visit us at SuSeatoday.com or follow us on Facebook, Twitter or Yelp!
E SEAFOOD?
3.5 19
e’s appetite and unsustainable fish farming seafood supplies. Unless something can be n—their population may decline to a point
62.6
1900
1950
2010
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M a s te r ’s T h e s i s: S u S e a
cross–pollination I d e nti t y, P r int D e s i gn , P a c k a g e D e si gn , I s s u e C o m munic atio n , S u s t ain ab l e D e si gn
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PROJ.
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T I T L E / L A S T T IME T HI S Y E A R C OUR SE / IN T EGR AT ED C OMMUNIC AT ION
IN S T RUC TOR / HUN T ER W IMMER D AT E / 2 010 SP R ING
PEOPLE ARE SUFFERING FROM LIFE’S BITTER EVENTS, ONLY THROUGH INTERACTIONS WITH OTHERS CAN HELP THE ISOLATED FIND THEIR WAYS.
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PROJ.
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F R OM I S OL AT ION TO C ONNEC T ION IN T HE F IL M S OF K R Z Y S Z TOF K IE SLO W SK I
LAST TIME THIS YEAR Objective
“Last time this year” is a film festival for the widely acclaimed and respected Polish film director Krzysztof Kieslowski, who is known for works that deal with a shift from a sense of solitude to an understanding and acceptance of community. Best known for the “three color trilogy: blue, white, red.”
Approach
Based on the works of a classic film director, this project is to plan and design a multi–faced film festival. The multiple deliverables gave this project various challenges. It’s not only about design, its more about project management, including set up the main thread, deeply researching for the life and works of a film director, and use different media and materials to design promotional products. To organize the film festival for Krzysztof Kieslowski, I strove to create an experience when people suffer from their life big events and choose night view images to develop the feeling of isolation and loneliness, which represent his subjects’ view of this world. This film festival allows audiences to interact with the films of Krzysztof Kieslowski on both an emotional and physical level. Each details of the festival deliverables are designed to connect the audiences’ experience and the dramatic story of Krzysztof Kieslowski. The audiences are also incresing their knowledge and appreication for Krzysztof Kieslowski through this film festival.
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Graduate Portfolio L a s t T im e T hi s Ye a r
Ye n Ye h
C AT EG OR Y / IDEN T I T Y, P RIN T DE SIGN, PA CK A GE DE SIGN, I S S UE C OMMUNIC AT ION DEL I V ER A BL E S / IDEN T I T Y, C ATA LO G, P O S T ER , A D V ER T I SEMEN T S , D V D PA CK A GE , S OUNDT R A CK , T ICK E T S , W EB SI T E , P R ODUC T S , S CHEDUL E FON T / F F DIN
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Outof Ashes
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before the
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L a s t T im e T hi s Ye a r
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L a s t T im e T hi s Ye a r
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L a s t T im e T hi s Ye a r
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L a s t T im e T hi s Ye a r
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L a s t T im e, T hi s Ye ar
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L a s t T im e, T hi s Ye a r
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L a s t T im e, T hi s Ye a r
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L a s t T im e, T hi s Ye a r
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PROJ.
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T I T L E / 3 6 6 D AY S OF T Y P E C OUR SE / T Y P E E X P ERIMEN T S
IN S T RUC TOR / L I A N NG D AT E / 2 010 SP R ING
COUNT YOUR BEAUTIFUL DAYS WITH THESE DIFFERENT ALPHABETS. THERE ARE UNIQUE STORYS BEHIND THE LETTERFORMS IN EACH OF THE MONTHS.
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T Y P E E X P ER IMEN TA L P O S T ER OF 2 012
366 DAYS OF TYPE Objective
This is a project about creating a type calendar box set based on the extension ideas and techniques of modern experiemental typographic.
Approach
While designing this project, students need to choose twelve different social and cultural issues for each months. In order to complete this project, everyone has to investigate the communication of the issue’s content and the emotional qualities of text, and explore a variety of experiences with typography. Moreover, to give voice and emotion to words, and to visualize typography as an image. The type calendar box is more than an artifact. It is a visual presentation of how the designer can develope a sophisticated understanding for not only expecting to solve formal design problem, but use typographic power to communicate with a social and cultural issue.
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3 6 6 D a y s O f Ty p e
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C AT EG OR Y / P RIN T DE SIGN, T Y P O GR A P H Y DEL I V ER A BL E S / 12 MON T H S C A L END A R P O S T ER , PA CK A GE B OX FON T / AVA N T G A R DE G OT HIC
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3 6 6 D a y s O f Ty p e
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3 6 6 D a y s O f Ty p e
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3 6 6 D a y s O f Ty p e
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PROJ.
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T I T L E / DI V E , DI S C O V ER A ND CH A NGE C OUR SE / V I S UA L C OMMUNIC AT ION L A B
INS T RUCTOR / PHIL H A ML E T T, HUN T ER W IMMER D AT E / 2 0 0 9 FA L L
EVERY SEAFOOD CHOICES WE MADE HAVE DIFFERENT IMPACT ON THE OCEAN. THIS BOOK MAKES US KNOW WE CAN HELP THE OCEAN ECOSYSTEM WITH “OUR HANDS.”
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PROJ.
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T HE C ONNEC T ION BE T W EEN O CE A N EC O S Y S T EM A ND FO OD CHOICE S
DIVE, DISCOVER AND CHANGE Objective
Enjoying the delicious seafood is one of the best thing in the world, some of us know how to make the right seafood choices that provides good nutrition and sustain the ocean resources. However, many of us are unaware of how important our seafood choices are to the lifecycle of the ocean. “Dive, Discover and Change” is a book about the connection between ocean ecosystem and people’s food choices.
Approach
This project is to find the problem and use design power to solve it. The first step in this project was to select a problem in our daily life and thoroughly research this issue and provide the different way to solve it. Base on the urgent problem of ocean ecosystem and uncertain informed food produce system. I combined sustainable ideas and ocean knowledge into meaningful messages, and strove to use these messages into powerful design, simple infographics, various products, beautiful images. This book dives into the basic ocean knowledge, to discover the importance of our seafood choices and change our seafood eating habits to sustain our ocean resources. This book not only raises public awarenss, it also provides five opportunities to show how design can give positive change for our world.
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Graduate Portfolio D i v e, D i s co v e r A n d C h a n g e
Ye n Ye h
C AT EG OR Y / P R IN T DE SIGN, I S S UE C OMMUNIC AT ION, S U S TA IN A BL E DE SIGN DEL I V ER A BL E S / INFO GR A P HIC S , B O OK , F L A SHC A RD S , IN V I TAT ION FON T / UNI V ER S
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D i v e, D i s co v e r A n d C h a n g e
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D i v e, D i s co v e r A n d C h a n g e
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D i v e, D i s co v e r A n d C h a n g e
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D i v e, D i s co v e r A n d C h a n g e
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D i v e, D i s co v e r A n d C h a n g e
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PROJ.
04
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T I T L E / M A N Y JOURNE Y S , ONE W ORL D C OUR SE / N AT UR E OF IDEN T I T Y
INS T RUCTOR / HUN T ER W IMMER D AT E / 2 010 FA L L
THE NEW PAN AM HIGHLIGHTS OUR ASTONISHING CULTURAL DIVERSITY. THE TRAVELER’S ADVENTURES SHARING THE SIMILARITIES AND CELEBRATING THE DIFFERENCES.
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PROJ.
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T HE REBR A NDING OF PA N A M A IR WAY S
MANY JOURNEYS, ONE WORLD Objective
For over 60 years, Pan Am pioneered transoceanic and intercontinental flying service. It was the launch platform for aircraft types and set the standard by which all that came later were to be measured. With a nostalgic feeling of Pan Am, which is an iconic airline symbol of America, I selected Pan Am and rebranded it through the development of a new identity, visual standards, new visual style/graphic elements, and the various introduction of brand extensions.
Approach
As an international student, I realized that life is composed of different unique experiences, we can experience our own adventures. However, the culture shock in different areas sometimes shrink us back. To reinvent the brand, I pulled back Pan Am to its origin, comfortable and efficient airplane service, but added the different cultural aspect to it. The underlying theme uniting Pan Am is connection. which encourages appreciation of the similarities we share in a world of different cultures, experiences and environments. By giving Pan Am a passionate and multicultural identity, it will establish itself as a new airline brand that stands for unique experiences around the world. This brand revolution transformed Pan Am from comfort airline services to an exciting cultural exchange experience. To capitalize on the cultural experience movement, Pan Am is not only for the comfort flight service, but pays tribute to the cultural diversity. The new Pan Am retains the flight service, and provides a more unique expeirence, including merchandise for a concept travel store, entertainment for local cultural tour and enrichment for traditional language/ cooking/dancing classes.
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C AT EG OR Y / IDEN T I T Y, BR A NDING, P RIN T DE SIGN DEL I V ER A BL E S / IDEN T I T Y, S TAT IONER Y, C ATA LO G, A D V ER T I SEMEN T S , W EB SI T E , P R ODUC T S FON T / ZEP P EL IN, F F DIN
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X = Clear Space
9x
PAN AM
0.5x x= height of letter ‘P’ 0.5x
X = Clear Space
3x
PAN AM 0.5x
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PROJ.
05
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T I T L E / F I SH YOU C A N T RU S T C OUR SE / CONCEP T UA L DE V ELOPMEN T
INS T RUCTOR / L AUR A MILTON D AT E / 2 0 0 9 S UMMER
EVERYONE HAS THEIR CHOICES WITH CLEANFISH. TRUST THEIR ARTISAN FISHERIES AND BRING SUSTAINABILITY TO THE TABLE.
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T HE NE W IDEN T I T Y S Y S T EM OF CL E A NF I SH
FISH YOU CAN TRUST Objective
Like many seafood companies in San Francisco, CleanFish devotes themselves to sell fresh seafood, but more of their focus on providing sustainable seafood which does not disrupt the ocean’s ecosystem. “Fish you can trust” is a new brand identity for CleanFish, which includes the information graphics for the consumer, visual standards, stationery system, and the promotional product design.
Approach
This project is to select a existing environmental organization or company to redesign their current identity system, and develope the promotional products. In order to gather the information, the research includes learning the core values of the company, determining the main visual system and designing the relevant promotional items. My task is to create a clean, fresh and friendly feeling for CleanFish. The resulting deliverables launch consisted of a company brochure, an oversized poster, product wrapping paper, seasoning package and paper bag. The vector drawing fish die cut when placed on different deliverables tells the relationship between customer and company: people can see the fresh and sustainable seafood through CleanFish. The fish pattern, created by the logo element represents the friendly feeling of this company.
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C AT EG OR Y / IDEN T I T Y, P RIN T DE SIGN, PA CK A GE DE SIGN, I S S UE C OMMUNIC AT ION, S U S TA IN A BL E DE SIGN DEL I V ER A BL E S / IDEN T I T Y, S TAT IONER Y, BR O CHURE , INFO GR A P HIC S , P O S T ER , P R OMOT ION A L P R ODUC T S FON T / V ER L A G
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PROJ.
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T I T L E / HE A LT H Y BI T E S C OUR SE / PA CK A GE DE SIGN2: E XCLU SI V E 3D DE SIGN
IN S T RUC TOR / PAUL K A GI WA D A D AT E / 2 010 FA L L
STAY HEALTHY AND ENJOY YOUR SALAD WITH KEN’S DRESSING AND ITS FRESH INGREDIENTS, IT’S MUCH EASIER TO KEEP FIT.
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T HE PA CK A GE DE SIGN OF K EN’S S A L A D DR E S SING
HEALTHY BITES Objective
To address the growing concern about over obesity and healthy diets plan, salad has become a first consideration food when people desire to eat well. This new salad dressing product line of Ken’s food company, creates the most healthy blends of different fresh ingredients. It will be sold in the chain grocery store for our daily healthy food choices.
Approach
This project is to select a existing salad dressing company and redesign their current package. In gathering the information for this package design, the research includes learning about the history of the company, determine the target audiences, choose the appropriate marketplace and use different materials to design graphic applications on three dimensional structure. To develope the package for Ken’s salad dressing, I strove to use the section view of fresh vegetables and big number type of calories fact to connect the light–food lovers and the salad dressing. The details of this salad dressing package aim to attract home cookers or light food lovers, who is active and has strong healthy conscious, balance their life well to enjoy the delicious food, and emphasize their healthy life quailty.
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C AT EG OR Y / FO O S PA CK A GE DE SIGN DEL I V ER A BL E S / PA CK A GE DE SIGN FON T / DID OT, BR YA N T
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PROJ.
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T I T L E / GR EEN SP OT C OUR SE / GR A PHIC DE SIGN A ND SUS TA IN A BIL I T Y
INS T RUCTOR / PHIL H A ML E T T D AT E / 2 011 SP R ING
THIS INTERACTIVE PROJECT BRINGS THE COMMUNITY TOGETHER AND FULFILLS A NEED OF THE COMMUNITY’S GREEN SPACE.
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T R A N SFOR MING A B A ND ONED SPA CE S IN S A N F R A NCI S C O
GREEN SPOT Objective
Like any city, San Francisco has its own share of public lots that are unused space, such as empty lots, brownfields and dead zones. It’s estimated roughly 1,500 space in San Francisco, which should take up half of the Golden Gate Park. “Green Spot” is an initiative and the mission is to reclaim the unused or abadoned public space of San Francisco, and convert them into community–friendly area, while being environmentally and social responsible.
Approach
This is a collaborative project with “Good Magazine”. I, Perin Rambhia and Zaniab Rupawalla were teamed up, asked to use the tool of graphic design to find a local problem, interview with people and design a thoughful solution for the future of San Francisco. Moreover, every team need to design a public event and present their project to San Francisco community with “Good Magazine”. After the field investigations of unused space, several interviews with San Francisco planning department, different local urban planning organizations and the neighborhood, we realized that “Green Spot” should be a neighborhood–driven approach project, and soliciting the input voice of the community. Our designed tools can provide the neighborhood convey their ideas on what an unused space should look like, by the way of pocked size sticker book (people can play and set the beautiful place with our illustrated stickers,) postcards, series poster with large comment space, and interactive smartphone application. A Green Spot can transform an abandon space into a green interactive place by our own opinions.
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C AT EG OR Y / IDEN T I T Y, P RIN T DE SIGN, I S S UE C OMMUNIC AT ION, S U S TA IN A BL E DE SIGN DEL I V ER A BL E S / P O S T ER , P O S TC A RD, S T ICK ER B O OK , SM A R T P HONE A P P L IC AT ION FON T / MEMP HI S , T R A DE G OT HIC
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GREEN SPOT Transforming abandoned spaces in San Francisco
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A Green Spot can transform one neighborhood’s landscape. A collection of Green Spot can transform San Francisco’s landscape.
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ACKNOWLEDGEMENTS To my beloved family
This book is delicated to my dad, aunt, Cathy, Allen, Yihsiu, Yupei, three adorable nephew and nieces and my passed mom, without your love and support, I wouldn’t have the great courage to cross the whole world, realize my dream and become a designer. Love you all, no matter where I am. 獻給我的家人，爸、二阿姨、小阿姨、姐、姐夫、哥、嫂嫂，和可愛的羽妡、宣辰、彥辰，沒 有你們無私的愛與支持，我不會有勇氣跨越半個地球完成這個夢想。謝謝，我愛你們。 媽，你看到了嗎？我真的做到了。謝謝妳帶給我的一切，很想妳。 To my creative design directors and advisors
Mary Scott, Phil Hamlett, Hunter Wimmer, Scott Rankin, Jeremy Stout, Arvi Raquel–Santos, Lian Ng, Paul Kagiwada, Laura Milton, Junko Maegawa, and Liana Lawrance. I deeply appreciate everything I have learned in this program. Thanks for teaching and pushing me harder. You all drives me crazy, but also gives me have an unique perspective and makes me a strong designer.
To my dear friends, near and far
Alice Liu, Ann Tsai, Barry Hsu, Dee Wu, Francis Liang, Janice Jiao, Jean Chen, John Chang, Michelle Cheng, Po-Chun Chang, Roger Yen, Sean Liao, Silvia Lai, Yun Lin, and my best web designer Wei–Cheng Wu, interor designer Kenny Hou, Without you guys, I couldn’t have survived this program.
To my man Sean Chang
My happiest moment can’t be complete without you, thanks for your every little things.
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CRO S S – P OL L IN AT ION: T HE P OR T FOL IO OF Y EN Y EH
School: Academy of Art University’s Graduate School of Graphic Design 79 New Montgomery St, San Francisco, CA94105, United States Student: Yen Yeh Tel: 415–699–7708 Email: yenchunyeh@gmail.com Instructor: Mary Scott Date: 2011 Fall Photography: Yen Yeh Print: Gianthorse Printing Bindery: Arnold’s Bookbinding Materials: Finch Fine iD Bright White Ultra Smooth Paper Fonts: Archer / Din Software: Photoshop, Indesign, Illustrator Camera: Canon 60D ©2011 All rights reserved. No part of this publication can be reproduced withouth express permission from Yen Yeh Page 16 8
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