Asian Heritage Month 2022   |

Asian Heritage Month 2022   |

Asian Heritage Month 2022   |

Asian Heritage Month 2022   |

Asian Heritage Month 2022   |

Asian Heritage Month 2022   |

Asian Heritage Month 2022   |

Asian Heritage Month 2022   |

Asian Heritage Month 2022   |

Asian Heritage Month 2022   |

Asian Heritage Month 2022   |

Asian Heritage Month 2022   |

Asian Heritage Month 2022   |

Asian Heritage Month 2022   |

Asian Heritage Month 2022   |

Asian Heritage Month 2022   |

Asian Heritage Month 2022   |

Asian Heritage Month 2022   |

Asian Heritage Month 2022   |

Asian Heritage Month 2022   |
Designed by Kristen Chan  |  Coding supported by Ho Chung Law  |  Directed by Wendy Wong
Embracing
Young Asian Canadians’ Talents
The Design Show
Presented by:
This virtual show features the work of young designers of Asian descent who live in the Greater Toronto Area and are studying in the Department of Design at York University. Their design works include brand identity design, packaging design, web and user interface design, publication design, lettering and type design, infographic design, and motion graphics. The wide range of design works reflect their creativity and potential as upcoming talents in our unique multicultural milieu in Canada.
Designers
Embracing
Young Asian Canadians’ Talents
The Design Show
Presented by:
This virtual show features the work of young designers of Asian descent who live in the Greater Toronto Area and are studying in the Department of Design at York University. Their design works include brand identity design, packaging design, web and user interface design, publication design, lettering and type design, infographic design, and motion graphics. The wide range of design works reflect their creativity and potential as upcoming talents in our unique multicultural milieu in Canada.
Designed by Kristen Chan | Coding supported by Ho Chung Law | Directed by Wendy Wong
Designers
Embracing
Young Asian Canadians’ Talents
The Design Show
Presented by:
This virtual show features the work of young designers of Asian descent who live in the Greater Toronto Area and are studying in the Department of Design at York University. Their design works include brand identity design, packaging design, web and user interface design, publication design, lettering and type design, infographic design, and motion graphics. The wide range of design works reflect their creativity and potential as upcoming talents in our unique multicultural milieu in Canada.
Designed by Kristen Chan  |  Coding supported by Ho Chung Law  |  Directed by Wendy Wong
Designers
Gallery Brochure: X Modern
Design Rationale
The name of the gallery—“X Modern”—inspired the designer and she wanted to achieve a sleek, modern and luxurious look. The colour palette, typefaces and grid design are carefully chosen to accentuate these attributes that she associates with the name. To not take away from the beautiful work on display, black and grey are used throughout the publication to establish hierarchy within the information displayed, as opposed to bright and distracting colours. The sleek sans-serif fonts are specifically chosen to emphasize modernity and minimalism, with the varying stroke widths of Fino Sans creating a sense of sophistication. This is also reflected in the grid design that features slimmer top and bottom margins than side margins. Following this grid, the artwork is often displayed diagonally, reminiscent of the letter “X” present in the gallery name. This detail also makes its appearance on the cover and end pages to unify the entire publication and solidify its identity.
By Catriona Nguyen
Publication Design
Hello! I am Catriona and I am a young Vietnamese-Canadian designer. When designing, I love to create visuals that speak to both the client and their intended audience, advocating for pride and fulfillment in every piece and creating refined experiences that leave a lasting impression on everyone involved. Portfolio link
Catriona Nguyen
Designer
Next >
Gallery Brochure: X Modern
Design Rationale
The name of the gallery—“X Modern”—inspired the designer and she wanted to achieve a sleek, modern and luxurious look. The colour palette, typefaces and grid design are carefully chosen to accentuate these attributes that she associates with the name. To not take away from the beautiful work on display, black and grey are used throughout the publication to establish hierarchy within the information displayed, as opposed to bright and distracting colours. The sleek sans-serif fonts are specifically chosen to emphasize modernity and minimalism, with the varying stroke widths of Fino Sans creating a sense of sophistication. This is also reflected in the grid design that features slimmer top and bottom margins than side margins. Following this grid, the artwork is often displayed diagonally, reminiscent of the letter “X” present in the gallery name. This detail also makes its appearance on the cover and end pages to unify the entire publication and solidify its identity.
Publication Design
By Catriona Nguyen
Hello! I am Catriona and I am a young Vietnamese-Canadian designer. When designing, I love to create visuals that speak to both the client and their intended audience, advocating for pride and fulfillment in every piece and creating refined experiences that leave a lasting impression on everyone involved. Portfolio link
Catriona Nguyen
Designer
Next >
Gallery Brochure: X Modern
Design Rationale
The name of the gallery—“X Modern”—inspired the designer and she wanted to achieve a sleek, modern and luxurious look. The colour palette, typefaces and grid design are carefully chosen to accentuate these attributes that she associates with the name. To not take away from the beautiful work on display, black and grey are used throughout the publication to establish hierarchy within the information displayed, as opposed to bright and distracting colours. The sleek sans-serif fonts are specifically chosen to emphasize modernity and minimalism, with the varying stroke widths of Fino Sans creating a sense of sophistication. This is also reflected in the grid design that features slimmer top and bottom margins than side margins. Following this grid, the artwork is often displayed diagonally, reminiscent of the letter “X” present in the gallery name. This detail also makes its appearance on the cover and end pages to unify the entire publication and solidify its identity.
Publication Design
Hello! I am Catriona and I am a young Vietnamese-Canadian designer. When designing, I love to create visuals that speak to both the client and their intended audience, advocating for pride and fulfillment in every piece and creating refined experiences that leave a lasting impression on everyone involved. Portfolio link
Catriona Nguyen
Designer
By Catriona Nguyen
Next >
Ingrid Wong
As a young designer, my passion for design currently lies in visual identity, communication and motion design. Ultimately, I hope to create design pieces that can make my audience think a little harder, feel a little deeper, and laugh a little longer. Portfolio link
Design Rationale
The Musica Universalis is a fictional poetry series created for the design course Typography for Publishing System. The project is to create a series of three books based on the essay The Sound and the Story: Exploring the World of Paradise Lost written by Philip Pullman. The goal is to establish a typographic system that utilizes a consistent grid system and effective font choice while adapting the various important typography principles into the design. Instead of separating one single essay into three different books, the designer decided to treat Pullman’s text as an introduction to the first book. The poetry series consists of three books: Sound of Heaven, Harmony of the Gospels and Rhythm of the Saints. The chosen font for this project is Bodoni, which is a classic serif typeface that the designers think can best represent the poetry series due to its elegance and timelessness. As each book is based on a type of poetry, her intention is to utilize a pastel version of the primary colours to represent each type of poetry.
Designer
Next >
By Ingrid Wong
The Musica Universalis
Typography For Publishing System
Design Rationale
The Musica Universalis is a fictional poetry series created for the design course Typography for Publishing System. The project is to create a series of three books based on the essay The Sound and the Story: Exploring the World of Paradise Lost written by Philip Pullman. The goal is to establish a typographic system that utilizes a consistent grid system and effective font choice while adapting the various important typography principles into the design. Instead of separating one single essay into three different books, the designer decided to treat Pullman’s text as an introduction to the first book. The poetry series consists of three books: Sound of Heaven, Harmony of the Gospels and Rhythm of the Saints. The chosen font for this project is Bodoni, which is a classic serif typeface that the designers think can best represent the poetry series due to its elegance and timelessness. As each book is based on a type of poetry, her intention is to utilize a pastel version of the primary colours to represent each type of poetry.
The Musica Universalis
Typography For Publishing System
By Ingrid Wong
As a young designer, my passion for design currently lies in visual identity, communication and motion design. Ultimately, I hope to create design pieces that can make my audience think a little harder, feel a little deeper, and laugh a little longer. Portfolio link
Ingrid Wong
Designer
Next >
The Musica Universalis
Typography For Publishing System
By Ingrid Wong
Design Rationale
The Musica Universalis is a fictional poetry series created for the design course Typography for Publishing System. The project is to create a series of three books based on the essay The Sound and the Story: Exploring the World of Paradise Lost written by Philip Pullman. The goal is to establish a typographic system that utilizes a consistent grid system and effective font choice while adapting the various important typography principles into the design. Instead of separating one single essay into three different books, the designer decided to treat Pullman’s text as an introduction to the first book. The poetry series consists of three books: Sound of Heaven, Harmony of the Gospels and Rhythm of the Saints. The chosen font for this project is Bodoni, which is a classic serif typeface that the designers think can best represent the poetry series due to its elegance and timelessness. As each book is based on a type of poetry, her intention is to utilize a pastel version of the primary colours to represent each type of poetry.
As a young designer, my passion for design currently lies in visual identity, communication and motion design. Ultimately, I hope to create design pieces that can make my audience think a little harder, feel a little deeper, and laugh a little longer. Portfolio link
Ingrid Wong
Designer
Next >
Yum Cha Beauty
With an interest in branding and visual communication design, I’m inspired by how design can spark conversations and meaningful messages to connect communities and cultures. I have always loved illustrating and being able to incorporate that into my designs make me truly happy! Portfolio link
Design Rationale
Inspired by the food cultures of Hong Kong, this series of lipstick packaging designs uses the theme of “Yum Cha,” a literal translation in English as “drink tea,” which is also known as going for dim sum. Considering the target users and their habit of reapplying lipstick after meals when eating out, Jasmine wanted to connect global Hong Kong food cultures into the design by choosing three dim sum dishes— Har Gow, Sim Mai and Fung Zao. They are to represent three different colour shades of lipstick. Furthermore, as a tribute to the disappearing traditional dim sum cart in restaurants, she replicated its design as the outer packaging box to hold the three lipsticks as a box set. To boast the pride of Hong Kong culture, a catchline: “You are Beautiful,” is placed inside the box’s lid. In addition to the three lipstick packages, an informational sheet is included for educational purposes to introduce consumers to some of the most popular dim sum dishes that are enjoyed in this cuisine.
By Jasmine Wong
Package Design
Jasmine Wong
Designer
Next >
Yum cha Beauty
Package Design
By Jasmine Wong
Jasmine Wong
Designer
Next >
Design Rationale
Inspired by the food cultures of Hong Kong, this series of lipstick packaging designs uses the theme of “Yum Cha,” a literal translation in English as “drink tea,” which is also known as going for dim sum. Considering the target users and their habit of reapplying lipstick after meals when eating out, Jasmine wanted to connect global Hong Kong food cultures into the design by choosing three dim sum dishes— Har Gow, Sim Mai and Fung Zao. They are to represent three different colour shades of lipstick. Furthermore, as a tribute to the disappearing traditional dim sum cart in restaurants, she replicated its design as the outer packaging box to hold the three lipsticks as a box set. To boast the pride of Hong Kong culture, a catchline: “You are Beautiful,” is placed inside the box’s lid. In addition to the three lipstick packages, an informational sheet is included for educational purposes to introduce consumers to some of the most popular dim sum dishes that are enjoyed in this cuisine.
With an interest in branding and visual communication design, I’m inspired by how design can spark conversations and meaningful messages to connect communities and cultures. I have always loved illustrating and being able to incorporate that into my designs make me truly happy! Portfolio link
Yum Cha Beauty
Package Design
By Jasmine Wong
Next >
Jasmine Wong
Designer
Design Rationale
Inspired by the food cultures of Hong Kong, this series of lipstick packaging designs uses the theme of “Yum Cha,” a literal translation in English as “drink tea,” which is also known as going for dim sum. Considering the target users and their habit of reapplying lipstick after meals when eating out, Jasmine wanted to connect global Hong Kong food cultures into the design by choosing three dim sum dishes— Har Gow, Sim Mai and Fung Zao. They are to represent three different colour shades of lipstick. Furthermore, as a tribute to the disappearing traditional dim sum cart in restaurants, she replicated its design as the outer packaging box to hold the three lipsticks as a box set. To boast the pride of Hong Kong culture, a catchline: “You are Beautiful,” is placed inside the box’s lid. In addition to the three lipstick packages, an informational sheet is included for educational purposes to introduce consumers to some of the most popular dim sum dishes that are enjoyed in this cuisine.
With an interest in branding and visual communication design, I’m inspired by how design can spark conversations and meaningful messages to connect communities and cultures. I have always loved illustrating and being able to incorporate that into my designs make me truly happy! Portfolio link
The Hitchhiker’s Guide to the Galaxy
Design Rationale
The designer approached this project from a crude/humorous style reflecting the book’s theme. For the image-based design approach, she chose a literal approach that references the title. The thumb, for example, is a main focus for hitchhiking and the eyes represent aliens. One theme that the designer wanted to address was the communication barrier between the different people and aliens. This distance is emphasized in the differently drawn styles of the hand versus the eyes. For the type-based approach, she tried to push for abstraction; she started by creating shapes in her sketchbook and settled on one that looked like an eye. The eye represents an absurd moment in the story where a whale occurs in space. The eye shape itself has long tendrils extending out to look like tears or an alien. The designer tried to play on the irony that Earth is revealed to be artificially created in the story *spoiler* by drawing Earth digitally to separate it from the organic shape in the back cover.
By Jenny Yuhan Zhao
Book Cover Design
I found my passion for design after my short-lived career painting landscapes for the TV series Star Trek Discovery. I realized I loved art, but I also loved problem-solving, and design has been the best of both worlds for me. Portfolio link
Jenny Yuhan Zhao
Designer
Next >
The Hitchhiker’s Guide to the Galaxy
Book Cover Design
By Jenny Yuhan Zhao
Jenny Yuhan Zhao
Designer
Next >
Design Rationale
The designer approached this project from a crude/humorous style reflecting the book’s theme. For the image-based design approach, she chose a literal approach that references the title. The thumb, for example, is a main focus for hitchhiking and the eyes represent aliens. One theme that the designer wanted to address was the communication barrier between the different people and aliens. This distance is emphasized in the differently drawn styles of the hand versus the eyes. For the type-based approach, she tried to push for abstraction; she started by creating shapes in her sketchbook and settled on one that looked like an eye. The eye represents an absurd moment in the story where a whale occurs in space. The eye shape itself has long tendrils extending out to look like tears or an alien. The designer tried to play on the irony that Earth is revealed to be artificially created in the story *spoiler* by drawing Earth digitally to separate it from the organic shape in the back cover.
I found my passion for design after my short-lived career painting landscapes for the TV series Star Trek Discovery. I realized I loved art, but I also loved problem-solving, and design has been the best of both worlds for me. Portfolio link
The Hitchhikers’ Guide to the Galaxy
Book Cover Design
By Jenny Yuhan Zhao
Next >
Jenny Yuhan Zhao
Designer
Design Rationale
The designer approached this project from a crude/humorous style reflecting the book’s theme. For the image-based design approach, she chose a literal approach that references the title. The thumb, for example, is a main focus for hitchhiking and the eyes represent aliens. One theme that the designer wanted to address was the communication barrier between the different people and aliens. This distance is emphasized in the differently drawn styles of the hand versus the eyes. For the type-based approach, she tried to push for abstraction; she started by creating shapes in her sketchbook and settled on one that looked like an eye. The eye represents an absurd moment in the story where a whale occurs in space. The eye shape itself has long tendrils extending out to look like tears or an alien. The designer tried to play on the irony that Earth is revealed to be artificially created in the story *spoiler* by drawing Earth digitally to separate it from the organic shape in the back cover.
I found my passion for design after my short-lived career painting landscapes for the TV series Star Trek Discovery. I realized I loved art, but I also loved problem-solving, and design has been the best of both worlds for me. Portfolio link
Hello! I am Jersey and I come from a Filipino background. I am an aspiring UX/UI designer, striving for design experiences that leave lasting impressions and positive impact. In every design, I focus on educating, connecting, inspiring and bringing a smile to everyone’s faces. Portfolio link
Design Rationale
This book cover revisualizes the well-loved fairy tale story, The Little Prince by Antoine de Saint-Exupéry. The project includes two covers, one focusing on an image and the other on a type basis. Her image-based cover is intended to appeal to a young audience. She incorporates elements from the book, including the sunset, asteroid B-612, stars, water, skies and space, which children can easily visualize as the core motifs mentioned in the book. For her type-based cover, the designer’s intention is to appeal to the teen to young adult audiences. She incorporates elements that would require a little bit of cognitive thinking from the readers, such as deciphering the intent behind the red and green lines, the colour palette, the playful handwritten, cursive lettering, or if it hints at a particular scenario. To add a bit of playfulness, readers receive a surprise or a reward as they flip to the back to see a fox illustration.
Jersey Stuartt
Designer
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By Jersey Stuart
Book Cover Design
The Little Prince
The Little Prince
Book Cover Design
By Jersey Stuart
Jersey Stuart
Designer
Next >
Design Rationale
This book cover revisualizes the well-loved fairy tale story, The Little Prince by Antoine de Saint-Exupéry. The project includes two covers, one focusing on an image and the other on a type basis. Her image-based cover is intended to appeal to a young audience. She incorporates elements from the book, including the sunset, asteroid B-612, stars, water, skies and space, which children can easily visualize as the core motifs mentioned in the book. For her type-based cover, the designer’s intention is to appeal to the teen to young adult audiences. She incorporates elements that would require a little bit of cognitive thinking from the readers, such as deciphering the intent behind the red and green lines, the colour palette, the playful handwritten, cursive lettering, or if it hints at a particular scenario. To add a bit of playfulness, readers receive a surprise or a reward as they flip to the back to see a fox illustration.
Hello! I am Jersey and I come from a Filipino background. I am an aspiring UX/UI designer, striving for design experiences that leave lasting impressions and positive impact. In every design, I focus on educating, connecting, inspiring and bringing a smile to everyone’s faces. Portfolio link
The Little Prince
Book Cover Design
By Jersey Stuart
Next >
Jersey Stuart
Designer
Design Rationale
This book cover revisualizes the well-loved fairy tale story, The Little Prince by Antoine de Saint-Exupéry. The project includes two covers, one focusing on an image and the other on a type basis. Her image-based cover is intended to appeal to a young audience. She incorporates elements from the book, including the sunset, asteroid B-612, stars, water, skies and space, which children can easily visualize as the core motifs mentioned in the book. For her type-based cover, the designer’s intention is to appeal to the teen to young adult audiences. She incorporates elements that would require a little bit of cognitive thinking from the readers, such as deciphering the intent behind the red and green lines, the colour palette, the playful handwritten, cursive lettering, or if it hints at a particular scenario. To add a bit of playfulness, readers receive a surprise or a reward as they flip to the back to see a fox illustration.
Hello! I am Jersey and I come from a Filipino background. I am an aspiring UX/UI designer, striving for design experiences that leave lasting impressions and positive impact. In every design, I focus on educating, connecting, inspiring and bringing a smile to everyone’s faces. Portfolio link
‘Us’ Title Sequence
Jethro Sanchez
I seek to find beauty in all things through editorial, communication, and visual design. I love to organize layouts, typography and design book covers for as long as the Earth continues to spin. When I am not designing, I play kalimba and love eating mangoes. Portfolio link
Design Rationale
For this project, the designer creates a main title sequence for the movie, Us (2019). The
sequence draws from the film’s suspenseful environment and various symbols that adheres to
tropes of the horror genre. The various images of white bunnies and blood are subtle allusions
to scenes in the film. These symbols act as hints for audiences to observe without revealing the
film’s plot. Using flat shapes also maintains a consistent visual style and ensures that audiences
can easily navigate through the title sequence as the many visual elements appear in
succession. Jethro also uses a serif typeface to enhance the feeling of horror whilst the
audience reads the names of the cast and crew. Lastly, he selects  background music with
violins and repetitive beats with the intention that the music supports the visuals as they appear
on the screen like heartbeats. Much like the film, his title sequence builds suspense to engage
and hook the audience from the beginning of the video.
Designer
Next >
By Jethro Sanchez
Motion Design
‘Us’ Title Sequence
Motion Design
By Jethro Sanchez
Jethro Sanchez
Designer
Next >
I seek to find beauty in all things through editorial, communication, and visual design. I love to organize layouts, typography and design book covers for as long as the Earth continues to spin. When I am not designing, I play kalimba and love eating mangoes. Portfolio link
Design Rationale
For this project, the designer creates a main title sequence for the movie, Us (2019). The sequence draws from the film’s suspenseful environment and various symbols that adheres to tropes of the horror genre. The various images of white bunnies and blood are subtle allusions to scenes in the film. These symbols act as hints for audiences to observe without revealing the film’s plot. Using flat shapes also maintains a consistent visual style and ensures that audiences can easily navigate through the title sequence as the many visual elements appear in succession. Jethro also uses a serif typeface to enhance the feeling of horror whilst the audience reads the names of the cast and crew. Lastly, he selects  background music with violins and repetitive beats with the intention that the music supports the visuals as they appear on the screen like heartbeats. Much like the film, his title sequence builds suspense to engage and hook the audience from the beginning of the video.
‘Us’ Title Sequence
Motion Design
By Jethro Sanchez
Next >
Jethro Sanchez
Designer
Design Rationale
For this project, the designer creates a main title sequence for the movie, Us (2019). The sequence draws from the film’s suspenseful environment and various symbols that adheres to tropes of the horror genre. The various images of white bunnies and blood are subtle allusions to scenes in the film. These symbols act as hints for audiences to observe without revealing the film’s plot. Using flat shapes also maintains a consistent visual style and ensures that audiences can easily navigate through the title sequence as the many visual elements appear in succession. Jethro also uses a serif typeface to enhance the feeling of horror whilst the audience reads the names of the cast and crew. Lastly, he selects  background music with violins and repetitive beats with the intention that the music supports the visuals as they appear on the screen like heartbeats. Much like the film, his title sequence builds suspense to engage and hook the audience from the beginning of the video.
I seek to find beauty in all things through editorial, communication, and visual design. I love to organize layouts, typography and design book covers for as long as the Earth continues to spin. When I am not designing, I play kalimba and love eating mangoes. Portfolio link
The Consequences
Jocelyn (Hnin Tha Zin) is an international student from Yangon, Myanmar, currently undergoing an Honours Bachelor of Design at York University. Jocelyn hopes to become a designer in the advertising, publishing, or film industry post graduation. Her interests include film and television, art, reading, and listening to music. Portfolio link
Design Rationale
These designs depict the consequences of Myanmar’s military coup with an overarching sense of strength in the spirit of the people. They are linked through consistent design elements like the three-finger salute motif — which has become the most prominent symbol of solidarity and resistance against the military — and the color palette: black, white, and red. I chose these colors because the bold red draws attention, especially in contrast with black and white. Red is also associated with danger, war, and courage. The first design incorporates a Burmese marionette puppet (known as “yoke thé”, meaning “miniature”) to indicate a sense of youth and lack of autonomy, subverted by the perseverance of the Burmese people. The second focuses on bringing humanity to the egregious death toll, and the third aims to highlight the baseless incarceration of innocent people. Ultimately, I hope to engage with a wider, more global audience to educate them on an issue that hits, quite literally, too close to home.
By Jocelyn Shen
Jocelyn Shen
Designer
Next >
Phone Wallpaper Design
The Consequences
Phone Wallpaper Design
By Jocelyn Shen
Jocelyn Shen
Designer
Next >
Design Rationale
These designs depict the consequences of Myanmar’s military coup with an overarching sense of strength in the spirit of the people. They are linked through consistent design elements like the three-finger salute motif — which has become the most prominent symbol of solidarity and resistance against the military — and the color palette: black, white, and red. I chose these colors because the bold red draws attention, especially in contrast with black and white. Red is also associated with danger, war, and courage. The first design incorporates a Burmese marionette puppet (known as “yoke thé”, meaning “miniature”) to indicate a sense of youth and lack of autonomy, subverted by the perseverance of the Burmese people. The second focuses on bringing humanity to the egregious death toll, and the third aims to highlight the baseless incarceration of innocent people. Ultimately, I hope to engage with a wider, more global audience to educate them on an issue that hits, quite literally, too close to home.
Jocelyn (Hnin Tha Zin) is an international student from Yangon, Myanmar, currently undergoing an Honours Bachelor of Design at York University. Jocelyn hopes to become a designer in the advertising, publishing, or film industry post graduation. Her interests include film and television, art, reading, and listening to music. Portfolio link
The Consequences
Phone Wallpaper Design
By Jocelyn Shen
Next >
Jocelyn Shen
Designer
Design Rationale
These designs depict the consequences of Myanmar’s military coup with an overarching sense of strength in the spirit of the people. They are linked through consistent design elements like the three-finger salute motif — which has become the most prominent symbol of solidarity and resistance against the military — and the color palette: black, white, and red. I chose these colors because the bold red draws attention, especially in contrast with black and white. Red is also associated with danger, war, and courage. The first design incorporates a Burmese marionette puppet (known as “yoke thé”, meaning “miniature”) to indicate a sense of youth and lack of autonomy, subverted by the perseverance of the Burmese people. The second focuses on bringing humanity to the egregious death toll, and the third aims to highlight the baseless incarceration of innocent people. Ultimately, I hope to engage with a wider, more global audience to educate them on an issue that hits, quite literally, too close to home.
Jocelyn (Hnin Tha Zin) is an international student from Yangon, Myanmar, currently undergoing an Honours Bachelor of Design at York University. Jocelyn hopes to become a designer in the advertising, publishing, or film industry post graduation. Her interests include film and television, art, reading, and listening to music. Portfolio link
By Kristen Chan
Kristen Chan
My name is Kristen Chan, and I’m a multidisciplinary designer with a focus on package and communication design. I love all forms of nature and am intrigued by the many ways it can be translated into different mediums of design. Elements of the natural environment can often be found in my designs, and I delight in portraying them through my illustrations! Portfolio link
Package Design
Design Rationale
Kō-en in Japanese means the garden in English. Washi paper is a traditional art form dating back to the 8th century. Washi tape is made from traditional rice paper and differentiates from the typical masking tape you might find in the hardware store. Often, washi tapes are sold in craft or stationery stores in Japan. Intending to inform its potential consumers about plants used in the washi paper production process and its connection with traditional art forms, this series of washi tapes is named Kō-en. Its package design replicates three core plants of washi papermaking to house and dispenses each washi tape with a square basket that showcases old Japanese art. With this series, consumers can collect three different packaging designs, each containing a different washi tape pattern. When the roll is finished, users can unwrap the plant’s leaves and replace a roll of new washi tape, allowing for reusing the package.
Designer
Kō-en Washi Tape
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Kō-en Washi Tape
Package Design
By Kristen Chan
Kristen Chan
Designer
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Design Rationale
Kō-en in Japanese means the garden in English. Washi paper is a traditional art form dating back to the 8th century. Washi tape is made from traditional rice paper and differentiates from the typical masking tape you might find in the hardware store. Often, washi tapes are sold in craft or stationery stores in Japan. Intending to inform its potential consumers about plants used in the washi paper production process and its connection with traditional art forms, this series of washi tapes is named Kō-en. Its package design replicates three core plants of washi papermaking to house and dispenses each washi tape with a square basket that showcases old Japanese art. With this series, consumers can collect three different packaging designs, each containing a different washi tape pattern. When the roll is finished, users can unwrap the plant’s leaves and replace a roll of new washi tape, allowing for reusing the package.
My name is Kristen Chan, and I’m a multidisciplinary designer with a focus on package and communication design. I love all forms of nature and am intrigued by the many ways it can be translated into different mediums of design. Elements of the natural environment can often be found in my designs, and I delight in portraying them through my illustrations! Portfolio link
Kō-en Washi Tape
Package Design
Kristen Chan
Designer
By Kristen Chan
Design Rationale
Kō-en in Japanese means the garden in English. Washi paper is a traditional art form dating back to the 8th century. Washi tape is made from traditional rice paper and differentiates from the typical masking tape you might find in the hardware store. Often, washi tapes are sold in craft or stationery stores in Japan. Intending to inform its potential consumers about plants used in the washi paper production process and its connection with traditional art forms, this series of washi tapes is named Kō-en. Its package design replicates three core plants of washi papermaking to house and dispenses each washi tape with a square basket that showcases old Japanese art. With this series, consumers can collect three different packaging designs, each containing a different washi tape pattern. When the roll is finished, users can unwrap the plant’s leaves and replace a roll of new washi tape, allowing for reusing the package.
My name is Kristen Chan, and I’m a multidisciplinary designer with a focus on package and communication design. I love all forms of nature and am intrigued by the many ways it can be translated into different mediums of design. Elements of the natural environment can often be found in my designs, and I delight in portraying them through my illustrations! Portfolio link
Next >
Nabiha Tasnim
I’m Nabiha, a Bengali-Canadian Design student. Growing up, I’ve always had an interest in visual arts and anything creative, which is why I love design. I gravitate towards anything that is colourful, playful and cute, which is what I hope to continue implementing in my own work.
Design Rationale
In this campaign, the designer wants to introduce York’s Design program as an exciting prospect by taking the postcard medium quite literally and implementing a travel theme. She chose different landscapes and replaced certain aspects of the scenery with design-related elements. The city postcard pertains to digital design; the mountain postcard is about the traditional, hand-drawn aspect of design; and the beach postcard is a more general representation of the creativity involved in design. Her target audience for this campaign is creatively-inclined high school students; even if one is unfamiliar with graphic design, they would still understand the connotation of a lightbulb or a pencil. For the postcards’ overall look, she adopted a vintage theme to evoke the nostalgia and familiarity associated with retro holiday cards. Regardless, the illustrations still present DESN as something new and fun to explore—a potential destination.
Designer
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Explore Design
By Nabiha Tasnim
Postcard Design
Explore Design
Postcard Design
By Nabiha Tasnim
Nabiha Tasnim
Designer
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Design Rationale
In this campaign, the designer wants to introduce York’s Design program as an exciting prospect by taking the postcard medium quite literally and implementing a travel theme. She chose different landscapes and replaced certain aspects of the scenery with design-related elements. The city postcard pertains to digital design; the mountain postcard is about the traditional, hand-drawn aspect of design; and the beach postcard is a more general representation of the creativity involved in design. Her target audience for this campaign is creatively-inclined high school students; even if one is unfamiliar with graphic design, they would still understand the connotation of a lightbulb or a pencil. For the postcards’ overall look, she adopted a vintage theme to evoke the nostalgia and familiarity associated with retro holiday cards. Regardless, the illustrations still present DESN as something new and fun to explore—a potential destination.
I’m Nabiha, a Bengali-Canadian Design student. Growing up, I’ve always had an interest in visual arts and anything creative, which is why I love design. I gravitate towards anything that is colourful, playful and cute, which is what I hope to continue implementing in my own work.
Explore Design
Postcard Design
By Nabiha Tasnim
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Nabiha Tasnim
Designer
I’m Nabiha, a Bengali-Canadian Design student. Growing up, I’ve always had an interest in visual arts and anything creative, which is why I love design. I gravitate towards anything that is colourful, playful and cute, which is what I hope to continue implementing in my own work.
Design Rationale
In this campaign, the designer wants to introduce York’s Design program as an exciting prospect by taking the postcard medium quite literally and implementing a travel theme. She chose different landscapes and replaced certain aspects of the scenery with design-related elements. The city postcard pertains to digital design; the mountain postcard is about the traditional, hand-drawn aspect of design; and the beach postcard is a more general representation of the creativity involved in design. Her target audience for this campaign is creatively-inclined high school students; even if one is unfamiliar with graphic design, they would still understand the connotation of a lightbulb or a pencil. For the postcards’ overall look, she adopted a vintage theme to evoke the nostalgia and familiarity associated with retro holiday cards. Regardless, the illustrations still present DESN as something new and fun to explore—a potential destination.
By Nieves Rocillo
Nieves Rocillo
I am Nieves, an adventure seeker based in Toronto. Finding the beauty in little things is my mission. I believe that the most creative ideas come from always looking at the world with wonder. I am a storyteller and problem-solver, I seek to create lasting, meaningful experiences with every project. Portfolio link
Event Identity Design System
Design Rationale
This project reimagines the visual identity for Salon Du Chocolat, an annual Paris festival dedicated to the celebration of chocolate as an artform and timeless confectionery product. The goal is to restore the festival’s signature drama and sophistication, which has been lost in its current visual identity. Following a symbolic approach, the designer created a new system that better reflects Salon Du Chocolat’s values and attributes. She designed a collection of decorative geometric motifs that pay homage to the detail and intricacy of confectionery, while simultaneously maintaining a formal, professional feel. Acting as the primary brand element, these motifs are carried throughout the entire series of deliverables, which include: a line of posters, etickets and a program booklet. The new design presents a timeless visual system appropriate for art lovers and culinary enthusiasts. The illustrative motifs communicate the signature charm of the festival by capturing the drama and artistic flair of a beloved craft.
Designer
Salon Du Chocolat Festival
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Salon Du Chocolat Festival
Event Identity System Design
By Nieves Rocillo
Nieves Rocillo
Designer
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I am Nieves, an adventure seeker based in Toronto. Finding the beauty in little things is my mission. I believe that the most creative ideas come from always looking at the world with wonder. I am a storyteller and problem-solver, I seek to create lasting, meaningful experiences with every project. Portfolio link
Design Rationale
This project reimagines the visual identity for Salon Du Chocolat, an annual Paris festival dedicated to the celebration of chocolate as an artform and timeless confectionery product. The goal is to restore the festival’s signature drama and sophistication, which has been lost in its current visual identity. Following a symbolic approach, the designer created a new system that better reflects Salon Du Chocolat’s values and attributes. She designed a collection of decorative geometric motifs that pay homage to the detail and intricacy of confectionery, while simultaneously maintaining a formal, professional feel. Acting as the primary brand element, these motifs are carried throughout the entire series of deliverables, which include: a line of posters, etickets and a program booklet. The new design presents a timeless visual system appropriate for art lovers and culinary enthusiasts. The illustrative motifs communicate the signature charm of the festival by capturing the drama and artistic flair of a beloved craft.
Salon Du Chocolat Festival
Event Identity Design System
By Nieves Rocillo
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Nieves Rocillo
Designer
Design Rationale
This project reimagines the visual identity for Salon Du Chocolat, an annual Paris festival dedicated to the celebration of chocolate as an artform and timeless confectionery product. The goal is to restore the festival’s signature drama and sophistication, which has been lost in its current visual identity. Following a symbolic approach, the designer created a new system that better reflects Salon Du Chocolat’s values and attributes. She designed a collection of decorative geometric motifs that pay homage to the detail and intricacy of confectionery, while simultaneously maintaining a formal, professional feel. Acting as the primary brand element, these motifs are carried throughout the entire series of deliverables, which include: a line of posters, etickets and a program booklet. The new design presents a timeless visual system appropriate for art lovers and culinary enthusiasts. The illustrative motifs communicate the signature charm of the festival by capturing the drama and artistic flair of a beloved craft.
I am Nieves, an adventure seeker based in Toronto. Finding the beauty in little things is my mission. I believe that the most creative ideas come from always looking at the world with wonder. I am a storyteller and problem-solver, I seek to create lasting, meaningful experiences with every project. Portfolio link
Sam Loiselle
My cultural roots stem from Cantonese and French-Canadian heritage. I find inspiration in unapologetic experimentation, always pushing the boundaries of the briefs that they are given, while creating cohesive and technically sound creative work. Portfolio link
Design Rationale
No One Knows What Tomorrow Will Look Like – Designed with the anxiety of applying to university in mind, this playful postcard series hopes to bring an exciting and potential-filled perspective to students taking the next step in their educational journeys. The absurdity of the graphics emphasizes the idea of how the future is filled with unlimited opportunities that we have yet to discover. The tagline “Design the Future” incorporates the idea of mystery, but is also ironic in itself because no one has the ability to predict tomorrow; ultimately putting the power in the student’s hands to create it. In terms of the colour scheme, a CMYK-inspired palette as an homage to printing setup and mechanics. The cyan (blue) appearing as the technology, the magenta (pink) showing up on the back of the postcard and on the York University logo, and the yellow (cream) acting as the solid colour background for the cards.
Designer
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Design the Future
By Sam Loiselle
Postcard Design
Design the Future
Postcard Design
By Sam Loiselle
Sam Loiselle
Designer
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Design Rationale
No One Knows What Tomorrow Will Look Like – Designed with the anxiety of applying to university in mind, this playful postcard series hopes to bring an exciting and potential-filled perspective to students taking the next step in their educational journeys. The absurdity of the graphics emphasizes the idea of how the future is filled with unlimited opportunities that we have yet to discover. The tagline “Design the Future” incorporates the idea of mystery, but is also ironic in itself because no one has the ability to predict tomorrow; ultimately putting the power in the student’s hands to create it. In terms of the colour scheme, a CMYK-inspired palette as an homage to printing setup and mechanics. The cyan (blue) appearing as the technology, the magenta (pink) showing up on the back of the postcard and on the York University logo, and the yellow (cream) acting as the solid colour background for the cards.
My cultural roots stem from Cantonese and French-Canadian heritage. I find inspiration in unapologetic experimentation, always pushing the boundaries of the briefs that they are given, while creating cohesive and technically sound creative work. Portfolio link
Design the Future
Postcard Design
By Sam Loiselle
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Sam Loiselle
Designer
Design Rationale
No One Knows What Tomorrow Will Look Like – Designed with the anxiety of applying to university in mind, this playful postcard series hopes to bring an exciting and potential-filled perspective to students taking the next step in their educational journeys. The absurdity of the graphics emphasizes the idea of how the future is filled with unlimited opportunities that we have yet to discover. The tagline “Design the Future” incorporates the idea of mystery, but is also ironic in itself because no one has the ability to predict tomorrow; ultimately putting the power in the student’s hands to create it. In terms of the colour scheme, a CMYK-inspired palette as an homage to printing setup and mechanics. The cyan (blue) appearing as the technology, the magenta (pink) showing up on the back of the postcard and on the York University logo, and the yellow (cream) acting as the solid colour background for the cards.
My cultural roots stem from Cantonese and French-Canadian heritage. I find inspiration in unapologetic experimentation, always pushing the boundaries of the briefs that they are given, while creating cohesive and technically sound creative work. Portfolio link
Sanyukta Ghag
I am based in Toronto, and a first-year Design student at York University. I am interested in semiotics as well as visual communication and hope to develop my skills in these areas. I also enjoy learning about photography and printmaking in my free time. Portfolio link
Design Rationale
These postcards were designed with the goal of inspiring people to learn more about York’s Design program and be motivated to create art and design. The composition is maximalist and has a lot of movement and bright colours, as opposed to being more minimalistic. The hands in each postcard represent the idea of “focus and expand”; the smallest hand is focusing inwards, while the biggest hands are expanding out of the smallest. The designer communicates her tagline using hand-done letters to appeal to her primary audience of Gen-Z applicants, as it relates to the “modern nostalgia” element that is key to designs for this audience. The hand-done lettering references the ‘zines from the 1960s and 1970s and pairing this older form of lettering with bright colours and a more modern block letter style brings the piece back to today’s age. Gen-Z designs also focus on maximalist compositions as they are moving away from the International Style that came before it, which focuses on minimalism and grid systems.
Designer
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Focus and Expand
By Sanyukta Ghag
Postcard Design
Focus and Expand
Postcard Design
By Sanyukta Ghag
Sanyukta Ghag
Designer
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I am based in Toronto, and a first-year Design student at York University. I am interested in semiotics as well as visual communication and hope to develop my skills in these areas. I also enjoy learning about photography and printmaking in my free time. Portfolio link
Design Rationale
These postcards were designed with the goal of inspiring people to learn more about York’s Design program and be motivated to create art and design. The composition is maximalist and has a lot of movement and bright colours, as opposed to being more minimalistic. The hands in each postcard represent the idea of “focus and expand”; the smallest hand is focusing inwards, while the biggest hands are expanding out of the smallest. The designer communicates her tagline using hand-done letters to appeal to her primary audience of Gen-Z applicants, as it relates to the “modern nostalgia” element that is key to designs for this audience. The hand-done lettering references the ‘zines from the 1960s and 1970s and pairing this older form of lettering with bright colours and a more modern block letter style brings the piece back to today’s age. Gen-Z designs also focus on maximalist compositions as they are moving away from the International Style that came before it, which focuses on minimalism and grid systems.
Focus and Expand
Postcard Design
By Sanyukta Ghag
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Sanyukta Ghag
Designer
Design Rationale
These postcards were designed with the goal of inspiring people to learn more about York’s Design program and be motivated to create art and design. The composition is maximalist and has a lot of movement and bright colours, as opposed to being more minimalistic. The hands in each postcard represent the idea of “focus and expand”; the smallest hand is focusing inwards, while the biggest hands are expanding out of the smallest. The designer communicates her tagline using hand-done letters to appeal to her primary audience of Gen-Z applicants, as it relates to the “modern nostalgia” element that is key to designs for this audience. The hand-done lettering references the ‘zines from the 1960s and 1970s and pairing this older form of lettering with bright colours and a more modern block letter style brings the piece back to today’s age. Gen-Z designs also focus on maximalist compositions as they are moving away from the International Style that came before it, which focuses on minimalism and grid systems.
I am based in Toronto, and a first-year Design student at York University. I am interested in semiotics as well as visual communication and hope to develop my skills in these areas. I also enjoy learning about photography and printmaking in my free time. Portfolio link
Nostalgia of the Abyss
I am a fourth-generation Japanese Canadian. I have aspired to become a designer since high school. Seeing your work displayed for people to see is like no other feeling for me, and I hope I can continue to do more of this in the future. I aim primarily for a style of minimalism in my works to see how I can best manage space. Portfolio link
Design Rationale
For his communication design class, the designer had to catalogue a photographic collection. He chose to catalogue his collection of seashells from Japan that were collected from a beach during his childhood. He remains very fascinated by the ocean, as there is a mystery to its exploration. Seashells are a way to reflect this mystery for a long time, as they are the shells to something living. The shell itself spent a long time beneath the ocean and that remnant from below washes up to the surface, where one can only wonder where its origins. As it has been many years since the designer visited Japan, there is naturally some associated childhood nostalgia. He is also inspired by the aesthetic of Japanese minimalist design, which seems appropriate given the subject matter. Using this minimalism, he designed the facing pages on each spread to mirror each other from the spine, whether that be textual or visual, to reflect the duality between the surface and the ocean.
By Shane Toyama
Book Design
Shane Toyama
Designer
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Nostalgia of the Abyss
Book Design
By Shane Toyama
Shane Toyama
Designer
Home
Design Rationale
For his communication design class, the designer had to catalogue a photographic collection. He chose to catalogue his collection of seashells from Japan that were collected from a beach during his childhood. He remains very fascinated by the ocean, as there is a mystery to its exploration. Seashells are a way to reflect this mystery for a long time, as they are the shells to something living. The shell itself spent a long time beneath the ocean and that remnant from below washes up to the surface, where one can only wonder where its origins. As it has been many years since the designer visited Japan, there is naturally some associated childhood nostalgia. He is also inspired by the aesthetic of Japanese minimalist design, which seems appropriate given the subject matter. Using this minimalism, he designed the facing pages on each spread to mirror each other from the spine, whether that be textual or visual, to reflect the duality between the surface and the ocean.
I am a fourth-generation Japanese Canadian. I have aspired to become a designer since high school. Seeing your work displayed for people to see is like no other feeling for me, and I hope I can continue to do more of this in the future. I aim primarily for a style of minimalism in my works to see how I can best manage space. Portfolio link
Nostalgia of the Abyss
Book Design
By Shane Toyama
Home
Design Rationale
For his communication design class, the designer had to catalogue a photographic collection. He chose to catalogue his collection of seashells from Japan that were collected from a beach during his childhood. He remains very fascinated by the ocean, as there is a mystery to its exploration. Seashells are a way to reflect this mystery for a long time, as they are the shells to something living. The shell itself spent a long time beneath the ocean and that remnant from below washes up to the surface, where one can only wonder where its origins. As it has been many years since the designer visited Japan, there is naturally some associated childhood nostalgia. He is also inspired by the aesthetic of Japanese minimalist design, which seems appropriate given the subject matter. Using this minimalism, he designed the facing pages on each spread to mirror each other from the spine, whether that be textual or visual, to reflect the duality between the surface and the ocean.
I am a fourth-generation Japanese Canadian. I have aspired to become a designer since high school. Seeing your work displayed for people to see is like no other feeling for me, and I hope I can continue to do more of this in the future. I aim primarily for a style of minimalism in my works to see how I can best manage space. Portfolio link
Shane Toyama
Designer