BRACKET Branding & Packaging

Since target audiences value professional advice and quality products over having a vast selection, I chose to focus on brand elements of precision, elegance, and clarity, all of which appeal strongly to passionate photographers.

JAPAN EARTHQUAKE WEB INFOGRAPHIC

Concept & design

The target audience is everyday Internet users interested in current events, and Japan in particular.

One of the main goals of this web poster is to deliver information without boring data and confusing graphs. To achieve this, a limited colour palette (red, grey, black) and a very graphic style is used to convey the information about the location, magnitudes, number of deaths and number of houses destroyed in each earthquake, and the significance of each quake in relation to each other in an easily accessible format.

1. HOKAIDO & OKUSHIRI QUAKE

» 1993, JULY, 12

8. TOKACHI-OKI QUAKE

» 1968, APRIL, 1

6. GREAT KANTO QUAKE

» 1923, SEPTEMBER, 1

5. NIIGATA QUAKE

» 1964, JUNE, 167. KOBE QUAKE

» 1995, JANUARY, 17

3. SENDAI QUAKE

» 2011, MARCH, 114. NOBI QUAKE

» 1891, OCTOBER, 28

2. MIYAGI-KENOKI QUAKE

» 1978, JUNE, 12

MAGNITUDE

MA

GN

ITU

DE

DE

AT

HS

1 2 3 4 5 6 7 8LOCATION

9.0

8.07.5 7.9

6.9

8.27.87.7

1 2

3

4

5

6

7

8236 28

18,4007,273

26

143,0006,434

47

EC

ON

OM

IC H

ITH

OU

SE

S D

ES

TR

OY

ED

6

73

-$309 Billion(US) -$102.5 Billion

(US)

(US)-$100 Billion

-$700 Million

500+ 1,100 190,000 142,000 3,534 694,000 200,000 N/A

-$131 Million

(US)

(US)1

8

1 2 3 4 5 6 7 8

2

34

5

6

7

8

1

1 HOKAIDO & OKUSHIRI QUAKE (1993, JULY, 12)

2 MIYAGI-KENOKI QUAKE (1978, JUNE, 12)

3 SENDAI QUAKE (2011, MARCH, 11)

4 NOBI QUAKE (1891, OCT, 28)

5 NIIGATA QUAKE (1964, JUNE, 16)

6 GREAT KANTO QUAKE (1923, SEPTEMBER, 1)

7 KOBE QUAKE (1995, JAN, 17)

8 TAKACHI-OKI QUAKE (1968, APRIL, 1)

TOP 8 EARTHQUAKES IN(SINCE 1890)

JAPAN

WILD RICE

Branding & graphics

The solution embodies the theme “East meets West” while integrating local sourcing and sustainable business values into the brand.

SEASONING PALETTE

Branding & packaging

The company believes that less is more. I have designed the package to stay true to this core value. The packaging is clear, simple, eye catching, and meaningful. Through a spectrum of beautiful colours that peek through the die-cut, consumers can easily find the perfect match for both the eye and the palate.

IDEA GR ADSHOW CONCEPT

Concept & design

Since the IDEA program is known for its strength in design and illustration, it made sense to design our promotional materials to emphasize the benefits of having both. My grad show material is designed to present the event as a wedding or engagement party, as if “Design” and “Illustration” were a couple—a perfect match.

ILLUSTRATION

IS THE PROCESS OF MAKING A CONCEPT CLEAR THROUGH

DRAWING. TO ILLUSTRATE WITH TOO MUCH EGO WILL KILL YOUR TALENT.

EVEN IF YOU CAN'T DRAW, DO A LITTLE DOODLE OR RIP AN ILLUSTRATION FROM

A MAGAZINE - THESE VISUALS WILL HELP BRING YOUR IDEA TO LIFE. ILLUSTRATION DOESN’T

NEED TO BE DIGITAL,

IT COULD BE HAND DONE WITH A WIDE VARIETY OF MEDIUMS: GUACHE, ACRYLIC,

WATERCOLOUR, COLLAGE, OR SOMETHING AS SIMPLE AS A PENCIL. HAVE A STYLE. DON’T BE AFRAID TO

USE

SURPRISE COLOURS. BE INSPIRE

D BY THE MASTERS, AND GIVE YOUR OWN INTERPRETATION. CAPTURE THE

ESSENCE OF THE S

TORY IN A UNIQUE, CONFIDENT WAY. CONSIDER LOST EDGES. PAY ATTENTION TO

THE DETAILS. THE

ELEMENTS

THAT HELP

MAKE A VISUALLY

ENGAGING COMPOSITION ARE THE USE OF THE NEGATIVE SPACE AND HOW THE

SUBJECT

IS FRAMED O

N THE PAGE.

EVOLUTION. REALLY TRAIN YOUR EYES TO DRAW WHAT YOU SEE. LET MUSIC B

E INSP

IRATIONAL

BE PATIEN

T, THERE I

S SO MUCH TO LEARN. G

REAT IDEAS FOR ILLUSTRATION IS ALWAYS LURKING AROUN

D EVERY CORN

ER.

ILLUSTRATIO

N

IS THE MAGIC

CONNECTION BETWEE

N INSPIRATION AND EXPRESSION. DRAWING STARTS WITH IMAGINATIO

N BEFO

RE IT EXPRE

SSES

ITSELF A

S A PRAC

TICAL MEAN

S OF GENERAT

ING OR COMMUNICATING AN IDEA. ALWAYS BRING A SKETCHBOOK W

HEREVER YO

U GO.

THE ONLY

WRONG DECI

SION IS TO DO NOTHING.

THE ACT OF ILLUSTRATING; THE ACT OF MAKING CLEAR AN

D DISTIN

CT; EDUCATIO

N;

TO RAISE

AWAREN

ESS ON A

SUBJECT

MATTER THA

T PEOPLE CARE ABOUT. TO CREATE M

EAN

ING B

EHIN

D THE

IMAGES. SPEND MORE TIME ON THE CONCEPT

VERSUS

IN FR

ONT OF

THE COM

PUTER.

YES.

WHAT IS CHARACTER B

UT THE D

ETE

RMINATIO

N O

F INCIDENT? WHAT IS INCIDENT BUT THE ILLUSTRATION O

F CHAR

ACTER

? HAVE FUN IN LIFE

. RELAX.

THINK AB

OUT ALL T

HE DIFFER

ENT PERSPECT

IVES AND VIEWS OUT THE

RE HE

LD BY ALL THESE UNIQUE AND DIFFERE

NT PEOP

LE.

SAYING O

UT LOUD THE KEY ELEMENTS OF THE STORY STARTS THINGS ROLLING. EVEN

IF THEY

ARE BA

D IDE

AS,

SAYING O

UT LOUD

THE K

EY ELEMENTS OF THE STORY STARTS THINGS MOVING. MAKE A PICTURE B

OOK DUMMY. P

AINT T

RADIT

IONA

LLY.

CHILDRE

N’S BOOKS,

COMIC BOOKS, C

ARICATURE,

EDITORIAL, MEDICAL, BOTANICAL, FASHION, FAN

TASY, BOOK CO

VERS, CD CO

VERS. DEADLINES ARE INSPIRATIONAL. THE IDEA

OF PR

OBLEM

SOLVING.

DREAMS ARE

ILLUSTRATIO

NS... FRO

M THE B

OOK YO

UR SOUL IS WRITING ABOUT YOU. KEY ELEMENTS OF ST

ORY. L

OOK

TO YO

UR PAST WO

RK

IN OTHER WORDS THE P

ICTURES ARE

IN A K

IND O

F RELATIO

NSHIP W

ITH EACH OTHER WHICH IS TOUCHING ONLY AT POINTS RATHER THAN PICTUR

ES BEING

ILLUS

TRATIONS

OF PO

EMS OR POEM

S INFL

ATED D

ESCRIPTI

ONS BY TH

E PEN OR EX

AGGERATED

ILLUSTRATIONS BY THE PEN

CIL. PRACTICE

MAK

ES PERFECT. WORD ASSOCIATION. COLOUR ASSO

CIATIO

N. MO

OD ATM

OSPHERE.

WHE

N YO

U’RE N

OT SURE

AN AN

SWER EX

ISTS, FINDING IT CAN BE HARD. WHEN YOU KNOW THERE ARE MANY A

NSWER,

FINDIN

G ONE

OR TW

O IS EARSY.

WRITE

ALL YOUR

IDEAS

DOWN AS Q

UICKLY AS POSSIBLE BEFORE YOUR INNER CRITIC STARTED TO CENSOR. DR

AW WITH L

EFT HA

ND

MAKE A P

ICTURE BO

OK DUMMY. READ A BOOK, WATCH A M

OVIE, READ OTHER ARTISTS’ TH

OUGHTS. PAI

NT A SE

LF-PORT

RAIT.

MAKE A PO

SITIVE CHANGE FOR THE W

ORLD THROUGH ILLUSTRATIO

N.DO GREAT WORK., STAY FRESH.

IDEAS

. DO

BRAN

D MATR

IX, COMPETIT

IVE ANALYSIS. MOOD BOARDS, AND BRAND

DEFIN

E TH

E PRO

BLEM. THE

N, BRAINSTORM, MIND MAP., GENERATE

BLUEPR

INTS.

LOTS

OF SKE

TCHES.

TAKE HOT SHOWERS, RELAX. SEE YOUR DESIGN IN

DIFF

ERENT ME

DIUMS

: POSTE

RS, BUS

INESS CAR

DS, BUS SHELTERS, BILLBOARDS, DIRECT MAILS, BOOK

MARKS, M

AG

AZINES, B

ROCHU

RES, N

EWSPAP

ER ADS, T-S

HIRTS, INFOGRAPHICS, WEBSITES, AND ART

DIRECTOR’S ANNUAL. T

AKE PROP

ER B

REAKS.

LOOK AT THINGS DIFFERENTLY. MANAGE YOUR TIME WELL. CONSIDER

THE PRO

CESS OF CREATING. FIRST,

DESIGN IS

LEGIBILITY OF YOUR DES

IGN

BY ADJ

USTING

LEADING,

TRACKING,

TYPEFACES

, GLYPH

S, ALIGN

MEN

T, P

ARAGRAPHS,

INDENTS

, COLUMS, AND GRID SYSTEMS. THINK ABOUT BLEED OR NO BLEED, FOLIOS,

WHE

N D

ESIGNING, AP

PEAL TO THE L

OGIC

AND E

MOTION. K

NOW YOUR TARGET MARKET, AND ALWAYS DESIGN WITH A REASON / RATIONALE.

THINK B

IG, TH

INK O

UTSIDE

OF THE BOX. D

ON’T BE S

TATIC, BUT INTERACTIVE. TRY TO FIND WAYS TO DESIGN CAMPAIGNS THAT ENGAGE PARTICIPATION

FROM THE

AUD

IENCE

. BE INSIGH

TFUL W

HEN

POSIT

IONING TH

E CLIENT’S BRAND. FIND A UNIQUE SELLING POINT THAT SETS YOUR BRAND

DIFFE

RENTL

Y FR

OM O

THER

S. B

E CHARISMAT

IC. TELL A

STORY, BUT STAY FOCUSED ON A SINGLE MESSAGE THAT YOU WISH TO TELL. ONLY ONE, NOT

TWO, AN

D D

EFINITEL

Y NOT TH

REE. WHEN

COPY WRIT

ING, GET THE TONE OF THE VOICE RIGHT. READ LOTS OF LITERATURE, LIKE MUSIC, IT IS A GREAT

CREATIVITY IS INVENTING, EXPERIMENTI

NG, GRO

WING, TA

KING R

ISKS,

BREA

KING R

ULES, M

AKING

MISTAKES, AND HAVING

FUN. — MARY

LOU C

OOK T

O CRE

ATE A

MEMORABLE DESIGN

YOU NEE

D TO

START

WITH

A

THOUGHT THAT

’S WORT

H REM

EMBE

RING.

PRACTICE SAFE DESIGN. USE A CONCEPT. GOOD DESIGN IS OBVIOUS, GREAT

DESIGN

IS T

RANS

PARE

NT. — J

OE S

PAR

ANO G

OOD

DESIG

N GOES TO HEAVEN; BAD DESIGN GOES EVERYWHERE. — MIEKE GERRITZEN

"I BELIEVE THE MOST IMPORTANT SINGLE THING, BEYOND D

ISCIPLINE

AND C

REATIV

ITY IS

DARIN

G TO DA

RE.

A DESIGNER KNOWS HE HAS ACHIEVED PERFECTION NOT WHEN THERE IS

NOTHING

LEFT TO

ADD, BUT

WHE

N TH

ERE I

S NOTHING LEFT TO TAKE AWAY. — ANTOINE DE SAINT EXUPÉRYLESS IS MORE.

DESIGN CREATES CULTURE. CULTURE SHAPES VALUES. VALUES DET

ERMINE

THE

FUT

URE. DE

SIGN

IS CREATIVITY WITH STRATEGY

GOOD DESIGN IS A LOT LIKE CLEAR THINKING MADE VISUAL.— TECHNOLOGY OVER

TECHN

IQUE

PRO

DUCE

S EMOTIONLE

SS D

ESIGN.

SIMMILE, UN

DERS

TATE

MENT, AND PA

RADO

X. LOVE FIR

ST IDEA

NOT.

LEAR

N ALL THE

RULES B

EFORE BREAKING THEM. STAY POSITIVE. CAFFINE DO

THE WORK F

OR YOU

STEP O

UT OF YO

UR COMFORT ZONE.

KERNING, ELIMINATING ORPHANS, WIDOWS,

HIERA

RCHY O

F TE

XT, M

ARGINS

, PAGE

ORIENTATION

, RULE OF THIRDS, RULE OF ODDS, WHITE SPACE, COLOUR CHOICE AND WATCH OUT FOR WORD

UNDERS

TAND FIGUR

ATIVE TE

RMS LIKE

MET

APHO

RE, IR

ONY,

DESIGN IS LIKE A MOM, NOBODY NOTICES W

HEN SH

E’S ARO

UND, BUT EVERYBODY MISSES HER WHEN

SHE’S NOT

REM POSTCARDS

Concept, photography & design

I love photography and design. I believe that every image is a reflection of the state of mind and heart that the photographer was in at that moment, I also believe that design is the best way to interpret this state of being. Combining the two, something beautiful and meaningful emerges.

REM Postcards

©REM Postcards. All Rights Reserved. www.sharonhsiao.com

TOURIST

I’M B E I NG A

IN MY OW N

©REM Postcards. All Rights Reserved. www.sharonhsiao.com

Beautiful

©REM Postcards. All Rights Reserved. www.sharonhsiao.com

M E

TO YOUR

C O R E©REM Postcards. All Rights Reserved. www.sharonhsiao.com

TWIN WAVE

Branding & packaging

These repackaged kids’ snacks eliminate the original non-recyclable materials (plastic and aluminum), and help reduce fuel used in transportation with their lighter and more stackable form.

The style and format of the illustrations is designed to appeal to the younger audience, making the snacks fun and exciting to eat.

LIBERTY SNUFFED

Concept & illustration

This editorial illustration reflects on the fact that consumers have handed over too much power to corporations.

TRUTH ABOUT BOTTLED WATER

Concept & illustration

This editorial illustration uncovers the ugly truth behind the perceived safe, clean, and smart drinking choice of bottled water.

GENDER PREFERENCE

Concept & illustration

This editorial illustration communicates how the age-old bias for boys not only unbalances the gender proportion for both sexs, it also foreshadows the emergence of many potential social issues in China.

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