cross-pollination

c r o s s – p o l l i n a t i o n

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THE GR ADUATE PORTFOLIO OF YEN YEH

CROSS–POLLINATION

G r a d u a t e P o r t f o l i o

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CROSS–POLLINATION

THE GR ADUATE PORTFOLIO OF YEN YEH


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CONCEPT

Forward

cross–pollination noun.

“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.

A sharing or interchange of knowledge, and ideas for mutual enrichment.


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INSTRUCTOR / MARY SCOT T

TABLE OF CONTENTS

TITLE / CROSS–POLLINATIONCOURSE / DESIGN SEMINAR: PORTFOLIO

P R O J .

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MASTER’S THESIS: SUSEA LAST TIME THIS YEAR 366 DAYS OF TYPEDIVE, DISCOVER AND CHANGE MANY JOURNEYS, ONE WORLDFISH YOU CAN TRUSTHEALTHY BITESGREEN SPOT


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DATE / 2011 FALL

P A G E

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P A G E

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P A G E

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P A G E

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P A G E

99

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121

P A G E

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MASTER’S THESIS: SUSEA LAST TIME THIS YEAR 366 DAYS OF TYPEDIVE, DISCOVER AND CHANGE MANY JOURNEYS, ONE WORLDFISH YOU CAN TRUSTHEALTHY BITESGREEN SPOT


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P R O J E C T

Thesis 01 02 0 3 0 4 05 06 07

P R O J . 00

TITLE / MA STER’S THESIS: SUSE AADVISOR / JUNKO MAEGAWA , L AUR A MILTON, LIANA L AWR ANCE

DEGREE / MA STER OF FINE ART

Y e n Y e h

SUSEA IS HELP-ING TO CREATE A BETTER LIFE FOR HEALTHY PEOPLE AND THE OCEAN’S ENVIRONMENT THROUGH CHOOSING SUSTAINABLE SEAFOOD.


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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/applica-

tion. 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.

P R O J . 00

SUSTAINING THE SE A WITH E ACH BITE


P R O J E C T

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Master ’s Thesis: SuSea


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Identi t y, Pr int Design, Package Design, Issue Communication

CATEGORY / IDENTIT Y, PRINT DESIGN, PACK AGE DESIGN, ISSUE COMMUNICATION, SUSTAINABLE DESIGN

DELIVER ABLES / STATIONERY, SERIES BROCHURES, PRODUCTS, WEBSITE, SMARTPHONE APPLICATION, POSTER,

BUSINESS PL AN, ADVERTISEMENTS, FOOD TRUCK E X TERIOR DESIGN, RESTAUR ANT INTERIOR DESIGN

FONT / BRYANT, SERIFA


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Identi t y, Pr int Design, Package Design, Issue Communication, Sustainable Design


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SuSea


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SuSea


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SuSeatoday.com

I SUSEA


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SuSeatoday.com


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WHY SUSTAINABLE SEAFOOD?

Decades of destructive fishing practices, people’s appetite and unsustainable fish farming

have lead to a threatening decline in available seafood supplies. Unless something can be

done to stop overfishing and habitat destruction—their population may decline to a point

where they can no longer recover.


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DINING ARE A AND WALL E XHIBITION

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

fit the lastest information about ocean situation

and sustainable news.

MEDIA PL AYER

This media player will play different vedios and

documentaries which relate to ocean issues.

INFORMATION STAND

This information stand will have different brochures,

articles or flyers to promote the idea of sustainable

attitude in our life.

SuSea

3.5

19

1900 1950 2010

62.6

WHY SUSTAINABLE SEAFOOD?

Decades of destructive fishing practices, people’s appetite and unsustainable fish farming

have lead to a threatening decline in available seafood supplies. Unless something can be

done to stop overfishing and habitat destruction—their population may decline to a point

where they can no longer recover.


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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!


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INSTRUCTOR / HUNTER WIMMER

P R O J . 01

TITLE / L A ST TIME THIS YE ARCOURSE / INTEGR ATED COMMUNICATION

DATE / 2010 SPRING

Y e n Y e h

PEOPLE ARE SUFFERING FROM LIFE’S BITTER EVENTS, ONLY THROUGH INTERACTIONS WITH OTHERS CAN HELP THE ISOLATED FIND THEIR WAYS.

P R O J E C T

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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 promo-

tional 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.

P R O J . 01

FROM ISOL ATION TO CONNECTION IN THE FILMS OF KRZ YSZ TOF KIESLOWSKI


P R O J E C T

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L ast T ime This Year

CATEGORY / IDENTIT Y, PRINT DESIGN, PACK AGE DESIGN, ISSUE COMMUNICATION

FONT / FF DIN

DELIVER ABLES / IDENTIT Y, CATALOG, POSTER, ADVERTISEMENTS, DVD PACK AGE, SOUNDTR ACK , T ICKE TS, WEBSITE, PRODUCTS, SCHEDULE


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OutAshes

of thebefore


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L ast T ime, This Year


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INSTRUCTOR / L IAN NG

P R O J . 02

TITLE / 366 DAYS OF T YPECOURSE / T YPE E XPERIMENTS

DATE / 2010 SPRING

Y e n Y e h

COUNT YOUR BEAUTIFUL DAYS WITH THESE DIFFERENT ALPHABETS. THERE ARE UNIQUE STORYS BEHIND THE LETTERFORMS IN EACH OF THE MONTHS.

P R O J E C T

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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.

P R O J . 02

T YPE E XPERIMENTAL POSTER OF 2012


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366 Days Of Type


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Pr int Design, Typogr aphy

CATEGORY / PRINT DESIGN, T YPOGR APHY

FONT / AVANT GARDE GOTHIC

DELIVER ABLES / 12 MONTHS CALENDAR POSTER, PACK AGE BOX


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366 Days Of Type


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366 Days Of Type


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366 Days Of Type


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P R O J . 03

Y e n Y e h

INSTRUCTOR / PHIL HAMLET T, HUNTER WIMMER

TITLE / DIVE, DISCOVER AND CHANGE

COURSE / V ISUAL COMMUNICATION L ABDATE / 2009 FALL

EVERY SEAFOOD CHOICES WE MADE HAVE DIF-FERENT IMPACT ON THE OCEAN. THIS BOOK MAKES US KNOW WE CAN HELP THE OCEAN ECOSYSTEM WITH “OUR HANDS.”

P R O J E C T

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P R O J . 03


DIVE, DISCOVER AND CHANGE

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.

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.

THE CONNECTION BE T WEEN OCE AN ECOSYSTEM AND FOOD CHOICES

Objective

Approach

P R O J E C T

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Dive, Discover And Change

CATEGORY / PRINT DESIGN, ISSUE COMMUNICATION, SUSTAINABLE DESIGN

FONT / UNIVERS

DELIVER ABLES / INFOGR APHICS, BOOK , FL A SHCARDS, INVITATION


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Pr int Design, Issue Communication, Sustainable Design


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P R O J . 04

Y e n Y e h

INSTRUCTOR / HUNTER WIMMER

TITLE / MANY JOURNE YS, ONE WORLD

COURSE / NATURE OF IDENTIT YDATE / 2010 FALL

THE NEW PAN AM HIGHLIGHTS OUR ASTONISHING CULTURAL DIVERSITY. THE TRAVELER’S ADVENTURES SHARING THE SIMILARITIES AND CELEBRATING THE DIFFERENCES.

P R O J E C T

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P R O J . 04


MANY JOURNEYS, ONE WORLD

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.

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.

THE REBR ANDING OF PAN AM AIRWAYS

Objective

Approach

P R O J E C T

Thesis 01 02 0 3 0 4 05 06 07


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CATEGORY / IDENTIT Y, BR ANDING, PRINT DESIGN

FONT / ZEPPELIN, FF DIN

DELIVER ABLES / IDENTIT Y, STATIONERY, CATALOG, ADVERTISEMENTS, WEBSITE, PRODUCTS

Many Journeys, One Wor ld


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Identi t y, Br anding, Pr int Design


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x= height of letter ‘P’0.5x

X = Clear Space

9x

0.5xPAN AM

X = Clear Space

x= height of letter ‘P’3x

0.5x

PAN AM


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P R O J . 05

Y e n Y e h

TITLE / FISH YOU CAN TRUST

DATE / 2009 SUMMER

INSTRUCTOR / L AUR A MILTONCOURSE / CONCEPTUAL DE VELOPMENT

EVERYONE HAS THEIR CHOICES WITH CLEANFISH. TRUST THEIR ARTISAN FISHER-IES AND BRING SUSTAINABILITY TO THE TABLE.

P R O J E C T

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P R O J . 05


FISH YOU CAN TRUST

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.

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.

THE NE W IDENTIT Y SYSTEM OF CLE ANFISH

Objective

Approach

P R O J E C T

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Fish You Can Trust

CATEGORY / IDENTIT Y, PRINT DESIGN, PACK AGE DESIGN, ISSUE COMMUNICATION, SUSTAINABLE DESIGN

FONT / VERL AG

DELIVER ABLES / IDENTIT Y, STATIONERY, BROCHURE, INFOGR APHICS, POSTER, PROMOTIONAL PRODUCTS


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Fish You Can Trust


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Fish You Can Trust


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Fish You Can Trust


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P R O J . 06

Y e n Y e h

INSTRUCTOR / PAUL K AGIWADA

TITLE / HE ALTHY BITES

COURSE / PACK AGE DESIGN2: E XCLUSIVE 3D DESIGNDATE / 2010 FALL

STAY HEALTHY AND ENJOY YOUR SALAD WITH KEN’S DRESSING AND ITS FRESH INGREDIENTS, IT’S MUCH EASI-ER TO KEEP FIT.

P R O J E C T

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HEALTHY BITES

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.

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.

P R O J . 06


THE PACK AGE DESIGN OF KEN’S SAL AD DRESSING

Objective

Approach

P R O J E C T

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Healthy Bites

CATEGORY / FOOS PACK AGE DESIGN

FONT / DIDOT, BRYANT

DELIVER ABLES / PACK AGE DESIGN


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Package Design


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Healthy Bites


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Package Design


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Healthy Bites


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Package Design


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P R O J . 07

Y e n Y e h

INSTRUCTOR / PHIL HAMLET T

TITLE / GREEN SPOT

COURSE / GR APHIC DESIGN AND SUSTAINABILIT Y DATE / 2011 SPRING

THIS INTERACTIVE PROJECT BRINGS THE COMMUNITY TOGETHER AND FULFILLS A NEED OF THE COMMUNI-TY’S GREEN SPACE.

P R O J E C T

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P R O J . 07


GREEN SPOT

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 commu-

nity–friendly area, while being environmentally and social responsible.

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 neighbor-

hood–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.

TR ANSFORMING ABANDONED SPACES IN SAN FR ANCISCO

Objective

Approach

P R O J E C T

Thesis 01 02 0 3 0 4 05 06 07


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Green Spot

CATEGORY / IDENTIT Y, PRINT DESIGN, ISSUE COMMUNICATION, SUSTAINABLE DESIGN

FONT / MEMPHIS, TR ADE GOTHIC

DELIVER ABLES / POSTER, POSTCARD, STICKER BOOK , SMARTPHONE APPLICATION


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Identi t y, Pr int Design, Issue Communication, Sustainable Design


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Green Spot


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Green Spot

GREEN SPOT Transforming abandoned spaces in San Francisco


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Green Spot


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Green Spot


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Green Spot


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Green Spot


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A Green Spot can transform one neighborhood’s landscape. A collection of Green Spot can transform San Francisco’s landscape.

Green Spot


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ACKNOWLEDGE-MENTS

To my creative design directors and advisors

To my dear friends, near and far

To my man Sean Chang

To my beloved family

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.

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.

My happiest moment can’t be complete without you, thanks for your every

little things.

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。


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CROSS–POLLINATION: THE PORTFOLIO OF YEN YEH

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: [email protected]

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


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