WELCOME TO MY GRAFIC WORLD!  💭️


THESE EXPERIMENTAL TYPOGRAPHIC POSTERS ARE CREATED FROM MY PASSION ON GRAPHIC DESIGN.




Double-sided Print
Translation from English to Japanese then back to English  


Sound

Sulki & Min Poster #1
T͎u͎e͎s͎d͎a͎y͎ ͎N͎i͎g͎h͎t͎ ͎L͎e͎c͎t͎u͎r͎e͎ ͎S͎e͎r͎i͎e͎s͎ ͎
Boston University




Sulki & Min Poster #2
T͎u͎e͎s͎d͎a͎y͎ ͎N͎i͎g͎h͎t͎ ͎L͎e͎c͎t͎u͎r͎e͎ ͎S͎e͎r͎i͎e͎s͎ ͎
Boston University




Letter ͓̽'͓̽t͓̽'͓̽ ͓̽&͓̽ ͓̽'͓̽P͓̽ are substituted by ₵Ʉ₴₮Ø₥łⱫɆĐ ⱠɆ₮₮ɆⱤ₣ØⱤ₥₴




Letter '͓̽a͓̽'͓̽,͓̽ ͓̽'͓̽p͓̽'͓̽,͓̽ ͓̽'͓̽i͓̽'͓̽ ͓̽,͓̽ ͓̽'͓̽s͓̽ were substituted by hand drawn letterforms





Sulki & Min Poster #3
T͎u͎e͎s͎d͎a͎y͎ ͎N͎i͎g͎h͎t͎ ͎L͎e͎c͎t͎u͎r͎e͎ ͎S͎e͎r͎i͎e͎s͎ ͎
Boston University




Sulki & Min Poster #4
T͎u͎e͎s͎d͎a͎y͎ ͎N͎i͎g͎h͎t͎ ͎L͎e͎c͎t͎u͎r͎e͎ ͎S͎e͎r͎i͎e͎s͎ ͎
Boston University




“Transitional Typefaces” 
Editorial Publication Design
The book used one serif typeface only. The hierachy and editorial details were emphasized by the font family. 




A parallel book of 《愛不釋手》📖




RISO PRINT #1
By recognizing the influence of the global pandemic, I’ve noticed that Chinese students battle rising tide of prejudice in other countries BUT fear they are not welcomed home.




RISO PRINT #2
StopAsianHate




Black Letter Posters 10 iterations
Term: Applied style vs. Intrinsic Style




This poster is consisted of mixed 50% elements from both Jaeho Shin and Pierre Vanni’s posters. The goal was to create a complete transformation.




A glyph of my multi-dimensional identity as a graphic designer. 10 pictorial symbols of my design interests.




A visualizations of my design process from no-idea to the final production. The goal was to keep the diagram clear, well structured, and visually interesting.




I practiced my knowledge in poster design to help promoting mask wearing. It was spread widely through my friends, and I am proud to contribute a bit to stop the spread through my expertise.




A Year of 2020






































CHEN LUO 👀️

/’pasij/












/’pasij/
2021
Installation; flag, motion graphicsHallway, tunnel, corridor, etc.

We can easily identify the shell of a liminal space. But we often neglect the carrier/passenger that moves through liminality. Unlike other common carriers, the elevator moves up and down, with limited and encapsulated inner space, resulting in a blinded sense of transition during its ride. In these countless short rides, most people simply do nothing (maybe more cell phone browsing with 5G!). But interesting attempts were made to fill the void — overwhelmed advertisement, elevator pitch, map, and signage, etc. COVID also tweaks it a bit with fewer people but more signs contained. By reiterating the visual, audible, touchable impression of my elevator rides, I hope to reconstruct such commonly ignored liminal space and explore inspiration from it with my audience.



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