Selected work archive

I am a painter and a designer.
The method of design I practice is an intentional decision making process that builds upon active experimentations and intellectual imagination. It is a non-stylistic approach with a goal of elevating existing conditions. I am a content-driven designer and believe good design starts from identifying the beauty of fine ingredients, not garnishes.

平面設計並非盲從時尚的表面設計, 更不屬於裝飾品。
設計在乎深入顯出、去蕪存菁。天然ㄟ尚好。

hankhhuang@outlook.com

viaggio14

work in progress...

Type Specimen Book

30 typefaces, assigned by Simon Johnston. Designing a type specimen book is the exercise I would recommend to anyone who is interested in type setting. Simon is the most influential typography professor I trained under.

I worked with him as design assistant for several years. Here is a link opens up a new window to Simon's website I built in 2006.


Material: Print on paper
Dimension: 9 x 12 inches, gatefold

Cairoli Neretta

Aus der Werkstatt der Natur, designed by Jan Tschichold in 1930.

Worked with Tobias Frere-Jones in the afternoon on Mondays. The font used in this book were redrew and exported digitally with FontLab Studio.

For more details:
hankhhuang@outlook.com

Sausalito
process in steps 1 to 4

acrylic paint on canvas
76.2 x 76.2 cm

2014

Green Points 綠點

My approach to a design competition funded by the Environmental Protection Administration of Taiwan. Each of the five various leaves were based on Phyllodium pulchellum — a perennial plant that most Taiwanese would recognize as "money tree" due to its coin-shaped leaves. Each color represents various participating organizations that have joined our EPA's cause. As a holistic mark, these five leaves are arranged to reflect the look of the Prunus mume blossom, Taiwan's national flower. 

Chris Bangle Associates
Tornio, northern Italy.

Worked with Chris Bangle to visualize advance product concept for Samsung Electronics.

My experience with Chris was beyond words. His futuristic imagination, as well as his ability to cross-reference ideas from literature to sculpture was incredible to witness. I learned so much from him.

N.D.A. signed. For more details: hankhhuang@outlook.com

Johnson & Johnson Global Strategic Design Office N.Y. / Senior Designer

Collaborated with various design disciplines. Projects included: data visualization, user experience, user interface, user behavioral design strategy, product packaging, corporate branding, style guide, IFU for medical devices, and environmental design.

Images shown here is a graphic identity system I developed for a pharmaceutical research symposium.

N.D.A. signed. For more details: hankhhuang@outlook.com

What I learned

From my work experience at Johnson & Johnson Global Strategic Design Office, I had the opportunity to work with cross-disciplinary teams to develop products that focused on healthcare with the goal of improving patients’ lives and their experience with medical devices. We strongly believed that user experience has a role in defining the future of healthcare and made the effort to insert design research much earlier into the process. This allowed us to design materials to help us observe the interactions between physicians, patients and caregivers. As a result, we were able to identify and design user-centered solutions that were highly attuned to patients’ needs. ➝
What we were able to gather and produce proved indispensable because it allowed designers to present the users’ voice as well as design rationale with key stakeholders and decision makers. It also made it possible for designers to collaborate with other partners within the company in new ways that directly impacted product development - R & D, engineers, industrial designers, etc.

This experience taught me that designers can have an integral role and make exceptional contributions — especially when working with disciplines or fields outside of what is traditionally celebrated as ‘graphic design’.

Poster design announcing Matthew Carter's visit to Yale School of Art.

Printed monologue that captures the elegance and form of well-crafted characters regardless of language, era, or technologies. Letterforms used are from two calligraphy / typography masters: 王羲之 Wang Xizhi, an eastern calligrapher from the 16th century and Matthew Carter, a western letterform designer from the 21st century.


Material: Print on paper
Dimension: 60 x 24 inches

My favorite things: M.F.A. thesis

A melody can be performed by anyone with any instrument. Likewise, design is the crafting of an idea that can be expressed in a variety of ways — and each variation makes way for a particular point of view, message or nuance to be taken in by the recipient. This book explains and documents my work process from raw sketches to final execution of various projects completed during my time at Yale University.


Dimension: 7.5 x 10 x 0.75 inches
Softcover, 238 pages

Standard page spread:

Online exhibition project advised by Daniel van der Velden. My intention was to examine and deconstruct the underlying tension that exists between the actual and the digital self. The online experience was designed so viewers can experience first hand the fragility of online identities.

To demonstrate my theory, a link opens up a new window to Standard web page.

Poster announcing Irma Boom's visit to Yale School of Art.

I see Ms. Boom's work as sculptural objects that contain information. For her announcement, I decided to make paper block-books with recycled materials to reflect Ms. Boom's work and draw attention to her visit.


Dimension: 18 x 7 inches

Keywords: One Picture is Worth a Thousand Words.

Mr. William's approach was to provide the context of words from a cultural point of view rather than etymological. I expanded the idea that Keywords started with and transferred it to a modern tool: google image search. By interacting with the online exhibition, users can come to their own conclusions based on observing the search results provided by two most spoken languages; Mandarin Chinese and English.


Material: Print on paper.
An interactive site is in progress.

Jeweler’s loupe: One object, seven visual explorations.

I am fascinated by tools that were built for improving human capabilities. This series of work is my conceptual exploration of an object that serves one specific purpose.

Explorations: Entomological collection, Extended eyelashes, embellished Home Shopping Network Video, enlarged parts, eye exam charts, inventory index, and rocks as diamonds.

umma
process in steps 1 to 4

acrylic paint on canvas
50.8 x 50.8 cm

2014

Za-Sui

A project with Linda Van Deursen.
Za-Sui is an image rearrangement using the New York times image archive. Four images that relate to communication were juxtaposed to tell an unique visual story. Each sheet is intended to be a weekly publication sent out by mail.


Material: Print on paper
Dimension: 24 x 7 inches

Fifty One

Poster announcing the first exhibition of work by 51 students from Yale School of Art at Green Gallery.

I drew 51 hands to represent that all of the work in the exhibition were made by hands and one child making her first long jump at a sport event.


Material: Print on paper
Dimension: 36 x 72 inches

Magnification Formula

A series of images as the visual interpretation of a mathematical formula M= -Di / Do.

To demonstrate my analogy of the magnification formula, I used the imagery of doll faces and how they reflect ideas of girlhood / womanhood simultaneously while embodying different meanings for both.


Material: Print on paper
Dimension: 18 x 12 inches

Magnification formula

The magnification formula states that the degree of magnification is contingent on the distance of the object to the distance of the image of the object.

Conceptually applied, if an object were to represent a particular moment in our lives, the image of that moment would embody or capture one’s personal perspective of that event in time and space. And, if distance were to equal the duration of time, the “distance” between experience (object) and perception (image) is inextricably linked. In other words, the meaning of an object is directly and, equally important, dynamically related to its representation in the time space continuum. The accompanying images on this page are from a project that attempts


to model the exposition and demonstration of my method. Using the magnification formula as a conceptual springboard, I decided to use the doll as my object. To children, dolls represent the future, where, through play, they can imagine what being an adult would be like. For adults, on the other hand, dolls represent something else entirely: the past, nostalgia, and childhood, perhaps.

The object is the same, however it is when one encounters the image of the object – be it as a child or an adult – its representation takes on very different meanings. This formula, in a way, is a fluid platform, where the answer discovered depends on each individual’s unique experience.

Shapes

Exercise in variation and exploration of surface and form using found, everyday materials.


Duration: 100 days
Material: Recycled cartons
Dimension: 6 x 6 inches

Poster announcing Karel Martens' visit to Yale School of Art.

My intention was to make a completely subjective poster that used the printing technique as an homage to the dutch graphic design master. Karel and I had a conversation later on how he achieved his print by angling the ink plates by various degrees and mine was to manipulate the settings on the large format epson plotter. His method is way cooler!


Material: Print on paper
Dimension: 26 x 34 inches

Parking Lot and the attendant

As I walked around New Haven, there is a wall structure by a parking lot that attracted my attention. What intrigued me was a wall that graphically revealed the history of its construction. I could imagine how the windows were once filled, and layers of new bricks were laid on top of the old ones. My interest in this wall led me to befriend the parking booth attendant. We talked about his family and religion. Later, I give this book to him send to his family in Africa.


Material: Print on paper

Domain

An assignment given by Karel Martens. The challenge is to act on a word: Domain. My visual translation was to refer to lines used in sports. In sports, lines symbolize boundaries, territories, and rules—they also define how and where the game is played. I documented lines from a local basketball course that was also graffitied by local gangs claiming their territory to display the juxtaposition of two competitive activities.


Material: Print on paper

Thursdays, 8:30

"Always choose the right shot!" Mr. Danziger said to me. I shoot pool with Lou every Thursday morning. He is a walking design encyclopedia and a brilliant one-pocket player.

I have been fortunate to share my thoughts on my design teaching philosophy with Lou and realized my writing also reflects my design process. Though I never took his class as a student, Lou is the most exceptional design legend whom I respect greatly.

My design teaching philosophy

In addition to fundamental trainings in color theory, letterform, grid system, typography, composition, scale, craftsmanship and technology, there are five areas that I would like to focus on:

1. Stimulate curiosity and a unique personal point of view. Educational institutions provide a climate perfectly suited for encouraging creative minds to flourish. An authentic creative mind combined with an earnest attitude towards learning are reflected in the visual outcomes of a designer. My first goal as a teacher is to encourage a design solution that uses informed research filtered through a student's genuine point of view. ➝
2. Investigate, identify, and analyze the design problem. Design solutions are often identified during the process of learning and understanding the design problem. By conducting rounds of problem-centric investigations and by analyzing his or her findings, designers will gain confidence and clarity in identifying suitable visual approaches to a design problem.

3. Experiment in order to arrive at visual solutions that turn information into impactful and appropriate visual experience. Design is not a one-size-fits all practice. Having a preconceived stylistic visual approach will only result in a one dimensional visual experience which which has its limits. To arrive at impactful visual experience, a range of ➝
visual experimentation must be exercised in order to understand how best to deliver a defined message.

4. Develop skill in presentation and articulation. Graphic design does not live solely in visual form. Being able to speak about one’s work is as important as producing it. The designer’s ability to speak about how design decisions are made from concept development to execution often determines how the design is received by the client. I have found in my own practice that articulating design development to a non-design audience is often part of the design process. ➝
5. Encourage interdisciplinary design understanding in order to amplify the student’s ability to work in teams. In many settings, good design is made by a group of designers specializing in various fields such as design strategy, design research, industrial design, product engineering, environmental design, user interface / experience design, and graphic / packaging design. Although each area has its own focus, I believe the best in our field will be those who master the ability to arrive at design solutions collaboratively.


Hank H. / Dec. 2013

Nelson Bench replica

Wood working is one of my favorite things to do. Similar to design, my satisfaction comes from both the planning and the making. This bench was my imitation piece to the well-known Nelson Bench.


Material: Red wood
Dimension: 60 x 23 x 27 inches

Acuvue packaging design

Prior to join Johnson & Johnson design office full-time, I worked part-time on projects like Acuvue packaging and icon development. The ask was to experiment with visual possibilities with the current branding guideline in mind.


Material: Print on paper

GOOD sheet 003: Coming to America

Prior to President Obama’s inauguration, Good magazine and Starbucks co-published posters that tackled one election topic a week. I was invited to design an issue that covered “Immigration Process” in the United States.


Material: Print on paper

Exterior gate

I designed and constructed most of the wood projects myself around my home. This exterior gate was made with my dad’s help. According to him, his grandpa was once a fine wood worker in Taiwan. Here are my project planning sketches and the final product.


Material: Redwood

Icons, logotypes and way-finding map

I was commissioned to come up with identity redesign proposals for Grameen America Bank and PureScreen - a Neutrogena brand. I also had the opportunity to work on way-finding map for Rolling Greens Nusury, a home and garden destination. My contribution for short term projects is to provide as many visual solutions as possible to support the design team.


Material: Print on paper

neurographica

neurographica investigates the ways in which design can be used to explore and analyze neurological data.

This poster was commissioned as an announcement for Maria Moon's final thesis exhibition, neurographica, held at Art Center College of Design.


Material: Print on paper

Neutrogena cosmetic branding guideline

Working with brand strategists and marketing directors, the design team helped determine Neutrogena’s brand identity as a beauty product deeply connected to nature. This documentation explains our findings and serves as a guideline for redefining Neutrogena beauty brands.


Material: Print on paper
Dimension: 8.5 x 11 x 1.5 inches

bon appétit magazine

I was asked to join the design team briefly for bon appétit magazine in Los Angeles. One of the given task was to refresh what was then a very classic American food publication. My role was to look into the existing typographic structure and make stylistic suggestions.

This experience taught me the value of carefully examining content first in order to then construct a layout structure that can be flexible to accommodate a range of content appropriately—and pleasingly.

WACK!
Museum of Contemporary Art, Los Angeles

WACK was an exhibition that focused on feminist art during the year of 1965 to 1980. I was commissioned to design a poster announcing the exhibition.


Material: print on paper

Smart: An identity system for a kindergarten school.

Kindergarten is a place where little children come together to experience their fist social setting with their peers in an educational environment.

My approach was for the identity to communicate the idea of bright minds coming together to complete a picture.

Inventory

One of the most physically challenging projects I've done, Apt Seven Inventory is the documentation of everything I owned at that time in my apartment, No.7. It has two printed matters: a book and a poster. By looking at all the objects I owned, viewers could get an idea of who I am and how I live. This poster earned me the honor of winning the Adobe Design Achievement Award hosted in Toronto in 2006.


Poster dimension: 144 x 60 inches

emerge magazine

Hurricane Katrina photographs on newspapers across the nation created a compelling visual story that drew me into this idea of creating printed materials to support a fundraising music event. Emerge is a magazine that gathers photos, stories, events, posters and tickets commemorating the resilience of those effected by the tragedy. To symbolize this idea, a color block was overlaid on top of every page.


Material: Print on paper

want / need

Based on a book titled Commanding Heights by Daniel Yergin and Joseph Stanslaw, this project is my redesign proposal to subjects that normally are not associated with thoughtful graphic design.

An excellent subject deserves a better layout and a thoughtful visual system to enrich the experience of reading. My approach was to organize the contents chronologically by dividing it into two volumes held together in a slip case.


Dimension: 11 X 7.5 X 2 inches

KPLU 88.5

Listening to jazz accompanies me throughout my entire design process. My page layout composition is inspired by musicians like Coltrane, Monk, Brubeck and many others. KPLU is a NPR affiliated radio station based in pacific north west, and this publication along with its identity was my proposal to support KPLU.


Dimension: 19 x 12 inches

Pasadena Map Co.

Pasadena Map Company is a small local store that barely makes profit since paper maps have been mostly replaced by smart phones — still it was a great store to visit with knick-knacks from travel, old globes and the like. I came up with a proposal of redesigning a series of visual solutions, including an identity, advertising wall poster, local trail map, and map bag that reveals local hiking trails.

PBS rebranding proposal

My concept was to create a symbol that illustrated two ideas: when viewed from afar, a curious eye and up close, a media screen that attracts an audience.

The logo was implemented into several applications to see the flexibility of its usage. Images here shows few page spreads of the identity system guideline I created.


Material: Print on paper
Dimension: 8.5 x 6 inches

My thoughts on design.

Things like typographic rules, defining concepts, and the order of things were questions I had for myself while at school. This is a little book I wrote as a design journal.


Material: Print on paper
Dimension: 7.5 x 6 inches

USPS papier-mâché

A printed matter for kids that can be folded into a self-mailing envelope. It is my proposal of creating a take-away activity kit for parents to share with their children after visiting the post office. My aim was to turn recycled paper waste into a playful object.


Material: Print on paper
Dimension: 24 x 18 inches

Ich bin meine eigene Frau: an autobiography of Charlotte von Mahlsdorf

‘I am my own wife’ is a play written by an American playwright, Doug Wright that describes the life of a very unique individual during the Germany in the aftermath of World War II. I chose a specific self-pollenated german plant to be on the cover as the metaphor of a play and Ms. von Mahlsdorf.


Material: Print on paper
Dimension: 7.5 x 6 inches

Untitled

acrylic paint on canvas
38 x 18 cm

2014

My sketches

Everyone enjoys a good story, and the way I develop concepts is often times through rounds of sketches.

Like many doodlers, I believe drawing is a better communication tool than any language.

kuku
process in steps 1 to 3

acrylic paint on canvas
25.4 x 25.4 cm

2014