Disc 1

Side B: Design

Yufeng Wu | 吴御风

I design and study technologies for the moments that are hard to measure: remembering, caring, communicating, and feeling understood.

Home About

Side A: Research

I am a PhD candidate in Human-Computer Interaction at the University of Technology Sydney, supervised by Dr A. Baki Kocaballi and Professor Elise van den Hoven. My research asks how emerging interactive technologies can support memory and wellbeing in everyday life. Alongside my PhD, I work as a Research Assistant on the NurtureNextGen project. I am also a Research Intern at the Australian Research Centre for Interactive and Virtual Environments.

2026

Context-aware interaction model connecting detected AR context, interaction initiative, and conversational agent actions

Conversational Agents in Augmented Reality: A Systematic Review

Yufeng Wu, Raj Mahmud, Abdullah Bin Sawad, Elise van den Hoven, A. Baki Kocaballi

ACM Transactions on Interactive Intelligent Systems, 2026.

DOI

A participant's original photograph compared with four generative AI edits that change personal and contextual details

"I'm happy even though it's not real": GenAI Photo Editing as a Remembering Experience

Yufeng Wu, Qing Li, Elise van den Hoven, A. Baki Kocaballi

CHI Conference on Human Factors in Computing Systems, 2026.

DOI PDF

2025

A five-stage co-design journey from families and conversation through collaborative workshops and needs gathering to design insights

From Needs to Insights: Designing Digital Support with Parents of Children with Genetic Neurodevelopmental Conditions

Yufeng Wu, Jasmeet Kaur Bedi, Elizabeth Callinan, Falak M Helwani, Heather Renton, Julia Dray, Kate R Davidson, Maya Pinn, Meagan Cross, Alison McEwen, Elise van den Hoven, Erin Turbitt

Australian Conference on Human-Computer Interaction (OzCHI), 2025.

DOI PDF

A turning calligraphy brush gesture mapped to flute sound control

Calligraphy Echo: Sonifying Chinese Calligraphy with MIDI-Enabled Brush

Yizheng Xu, Kexin Nie, Yufeng Wu, Huiying Lu, Longyu Zhang

SIGGRAPH Asia Posters, 2025.

DOI PDF

Illustrated bedroom and study showing a smart speaker in a Saudi home context

Unplug, Mute, Avoid: Investigating Smart Speaker Users' Privacy Protection Behaviours in Saudi Homes

Abdulrhman Alorini, Yufeng Wu, Abdullah Bin Sawad, Mukesh Prasad, A. Baki Kocaballi

Australian Conference on Human-Computer Interaction (OzCHI), 2025.

DOI PDF

Systematic review flowchart from database searching through screening to 23 included articles

Evaluating User Experience in Conversational Recommender Systems: A Systematic Review Across Classical and LLM-Powered Approaches

Raj Mahmud, Yufeng Wu, Abdullah Bin Sawad, Shlomo Berkovsky, Mukesh Prasad, A. Baki Kocaballi

Australian Conference on Human-Computer Interaction (OzCHI), 2025.

DOI PDF

Speech pathologists and conversational agents supporting people with communication disability

Conversational Agents to Support People with Communication Disability: A Co-design Study with Speech Pathologists

Fahad Khan, Yufeng Wu, Julia Dray, Bronwyn Hemsley, A. Baki Kocaballi

CHI Conference on Human Factors in Computing Systems, Extended Abstracts, 2025.

DOI PDF Poster Video

NurtureNextGen: Co-designing a Digital Tool to Support Families of Children with Genetic Neurodevelopmental Conditions

Yufeng Wu, Kate Davidson, Elise van den Hoven, Jasmeet Bedi, Julia Dray, Elizabeth Callinan, Erin Turbitt

Human Genetics Society of Australasia Annual Scientific Meeting, 2025. Top Oral Presentation.

2024

RememberMe workflow for personalised reminiscence therapy with an embodied conversational agent and life storybook

RememberMe: An Embodied Conversational Agent for Reminiscence Therapy in Virtual Reality

Yufeng Wu, Elise van den Hoven, A. Baki Kocaballi

Digital Health Week, 2024.

Poster Video

Jul 2023 - Present

Ph.D. Researcher

Human-Computer Interaction, University of Technology Sydney

Topic: Designing Generative AI-Mediated Personal Memory Technologies for Everyday Remembering and Reminiscence

Supervisors: A. Baki Kocaballi & Elise van den Hoven

Sep 2025 - Present

Research Intern

Australian Research Centre for Interactive and Virtual Environments, The University of Adelaide

Investigating how affective touch can be designed for emotional engagement in interactive technologies, from a scoping review to design principles and prototypes

Mentor: Ghazaleh Sepahpour

Jan 2025 - Present

Research Assistant

NurtureNextGen Project, University of Technology Sydney

Co-designing digital support with parents of children with genetic neurodevelopmental conditions, spanning interviews, co-design workshops, prototyping, and publications

Supervisors: Erin Turbitt & Elise van den Hoven

Courses

Interaction Design Studio class group photograph

Interaction Design Studio (Capstone Project)
Tutor · University of Technology Sydney
Spring 2024 · Spring 2025 · Autumn 2026 · Spring 2026

Students sharing and discussing research activities in Human-Centred Design Research Methods

Human-Centred Design Research Methods
Tutor · University of Technology Sydney
Spring 2024 · Spring 2025 · Spring 2026

Students developing interface sketches together in Fundamentals of Interaction Design

Fundamentals of Interaction Design
Tutor · University of Technology Sydney
Autumn 2024 · Autumn 2025 · Autumn 2026

Supervision & Mentoring

Ineshka De Mel: 2026 Bachelor of Computing Science (Honours), Interaction Design, University of Technology Sydney, Co-supervisor

Jonathan Werner: 2024 Bachelor of Computing Science (Honours), Interaction Design, University of Technology Sydney, Co-supervisor

Service

2027Proceedings Chair, ACM Tangible, Embedded and Embodied Interaction (TEI).

2026Organising Committee, Oceania CHI.

2025Student Volunteer, ACM OzCHI.

2023Student Volunteer, ACM SIGGRAPH Asia.

Review

Reviewer, Frontiers in Human Dynamics.

Reviewer, CHI 2026.

Reviewer, OzCHI 2026.

Reviewer, CHI 2025.

Reviewer, OzCHI 2025.

Awards

2026Vice-Chancellor's Conference Fund (A$3,000), University of Technology Sydney.

2025Top Oral Presentation, HGSA Annual Scientific Meeting.

2023Pratt Circle Award, Pratt Institute.

2019Presidential Scholarship, Tiangong University.

Home About

Side B: Design

I am an interaction designer working across printed matter and interactive experiences, including interfaces, visual identities, books, and installations. I care about how a design works and how it feels, from the structure of an interaction to the smallest visual detail.

Interactive Experiences

GROUPTHINK

Animation, interaction and print · 2023

A flocking simulation about following the group and thinking for yourself.

Pixel-art autonomous vehicle carrying two character tokens on a road

The Weight of Choice

Cultural probe and game design · 2022

A cultural probe that made AI moral dilemmas tangible before becoming the basis for iCommand.

Wave

Generative installation and creative coding · 2022

A field of characters from Su Shi's First Rhapsody on the Red Cliffs, carried by a continuous noise current.

Star Echo

Interactive installation and voice visualisation · 2021

An imagined conversation with the solar system, shaped by voice, sonification, colour, and vibration.

User Experience

BrainFit

UI/UX, service concept and training kit · 2021

An early concept for making cognitive concerns and everyday training easier to approach with families.

Homing

UI/UX and service concept · 2021

An early exploration of care, menopause, and communication across generations.

Brand

NAILIT

Brand creation · 2024

Naming, identity, packaging, and art direction for a press-on nail startup.

EGO Camping

Brand identity and experience · 2022

A calm, minimal identity for a campsite, outdoor programme, and seasonal events.

Six Devil Fruit bottles in a colour lineup

Devil Fruit / 恶魔果实

Brand identity and packaging · 2022

A rebrand for a fruit-wine label that keeps the devil and gives it a system.

Stay Real Art and Benlai Art Education eye-form identity construction

Stay Real Art / 本来计画

Rebrand · 2021

A complete rebrand for a Tianjin children’s art education institution, built around the idea of opening eyes.

Editorial, Books & Print

[1,0,2,4]

Interactive book and game · 2023 · MFA thesis

A publication that unfolds into a board game about human judgment, AI, and responsibility.

EXIT

Book, photography and motion · 2023

A study of how signs, thresholds, and architecture direct the body and unsettle the mind.

Modern Underground

Exhibition guide and editorial print · 2022

A newspaper-like guide and reflection inspired by E. McKnight Kauffer’s modernist posters.

MOSSCUBE

Installation and publication · 2022

An installation and book that bring overlooked urban moss into view as a shared ecology.

Campaign & Communication

La La Land title treatment in purple on a bright yellow background

La La Land: Title Sequence

Illustration and motion · 2023

A reimagined animated opening for La La Land, built from illustrated scenes and music.

Hanging exhibition banner for a Whitney Museum graphic extension study

Whitney: Projection System

Identity extension and exhibition collateral · 2023

A graphic system that gives the Whitney W depth, shadow, and a new scale across exhibition materials.

ORDER

Typeface · 2023

A display typeface in two weights, cut from single shapes and their shadows.

Douyin E-commerce Fresh Livestream Guide graphic with a collection of fresh-produce guide pages

Douyin Fresh Livestream Guides

Content template system · 2021

One fill-in template that gives every product category a single, consistent voice.

Light-blue Kuaishou Alliance visual with orbital forms and orange spheres

Kuaishou Alliance Ecosystem Conference

Event key visual and presentation design · 2021

A Blender-built visual system for a conference about developers, connection, and shared momentum.

2024Design Lead, NAILIT
Sydney, Australia · Jan 2024 - Jul 2024

2021Brand Designer, Baron Design Studio
Tianjin, China · Jan 2021 - Sep 2021

2020UI/UX Designer, Tencent · Internship
Beijing, China · May 2020 - Sep 2020

2020User Interface Designer, iFLYTEK Co., Ltd. · Internship
Hefei, China · Feb 2020 - Apr 2020

2022Design works listed in AAA Visual Art Exhibition.

2021Third Prize, Tencent National University Mini-programme Design Competition.

2019First Prize, China College Students' Internet Plus Innovation and Entrepreneurship Competition.

2019Champion, National Takeda Medical & Nursing Innovation Competition.

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← Side B: Design

MFA thesis, 2023

[1,0,2,4]

An interactive book and board game about the choices people delegate to AI and the responsibility they retain.

Date2023

ContextMFA Communication Design, Pratt Institute

RoleResearch, concept, editorial and interaction design

AdvisorAsad Pervaiz

The [1,0,2,4] interactive book, inserts, and numbered pages arranged as a system

The thesis is designed as a set of nested publications, movable pages, and game components.

The question

AI is often treated as a neutral source of answers. In practice, it learns from human data, behavior, values, and bias. This thesis asks what happens when people hand decisions to a system that can calculate but cannot accept responsibility for the outcome.

My position is not that people should reject AI. AI can help us process complexity, but judgment and accountability remain human. I used communication design to turn that argument into something readers could handle, rearrange, and discuss.

A small thesis booklet showing three research questions beside oversized numbered pages

Research into form

The project began with research into the history of AI decision-making, ethical responsibility, and the limits of automated judgment. Three questions structure the inquiry: how AI changes decision-making, how it should handle ethical questions, and how visual communication can help people examine these issues.

Instead of presenting the thesis as a single linear volume, I divided it into layers. Different page sizes, spiral bindings, loose inserts, and oversized numbers make the reader uncover relationships across the argument.

The interactive book open to overlapping pages and the printed thesis booklet

Reading becomes a physical act of opening, comparing, and repositioning information.

Colorful printed game sheet and book components on a black surface

The modular visual system carries the project from publication into play.

Game instruction spread with pixel-style player and non-player figures

From book to game

The book opens beyond its binding and becomes a board. The game requires at least two players and one non-player, moving the thesis from private reading into shared negotiation.

Roles, commands, and instructions ask participants to make choices together. AI is not presented as an unquestioned answer, but as one part of a decision in which people still need to interpret, disagree, and take responsibility.

The publication fully unfolded into a dark gridded game board

Fully unfolded, the book becomes the playing surface.

Visual language

The black ground and restricted palette of blue, red, yellow, and white give the project the logic of a system. Brackets, grids, numbers, and command-like phrases suggest calculation and control, while the changing paper formats keep the experience tactile and visibly human.

Exhibition

[1,0,2,4] was exhibited at Pratt Shows 2023, Pratt Institute's public exhibition series for its graduating class. The installation brought the book, game components, and large-format graphics together as one system.

The book and printed components within the exhibition display.

Full [1,0,2,4] installation at Pratt Shows 2023

The full installation at Pratt Shows 2023.

Exhibition graphics

The display extended the publication's visual system into large-format panels, connecting the project's argument, game instructions, and physical components across the installation.

Red, blue, yellow, and white statement panels designed for the [1,0,2,4] exhibition

Statement panels exploring human responsibility in AI decision-making.

Rules and play instructions designed for the [1,0,2,4] exhibition

Rules and play instructions for the exhibition display.

← All projects Next: EXIT →

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Editorial design, photography and motion, 2023

EXIT

A book that turns signs, corridors, and urban fragments into a study of direction, attention, and unease.

Date2023

ContextMFA Communication Design, Pratt Institute

RoleConcept, photography, editorial design and motion

FormatSpiral-bound book and animation

The translucent cover catches a familiar command and holds it between object and image.

A sign before thought

EXIT began with a familiar piece of visual language: the emergency exit sign. It is designed to be read instantly, yet its effect is not neutral. A door, an arrow, or a strip of red type can redirect the body before conscious thought catches up.

The project follows that signal through photography, page sequence, and motion. Signs repeat, enlarge, blur, and disappear. The book asks how graphic systems shape not only the way we navigate a city, but also the way its spaces feel.

A hand turning the black pages of the spiral-bound EXIT book

Reading as movement

The spiral binding lets the book behave like a sequence of frames. Photographs, diagrams, signs, and blank architectural planes create cuts and pauses. Turning a page begins to resemble moving through a building, where each threshold reveals another instruction or another doubt.

An EXIT book spread showing a black door and a stark modernist interior

A functional sign becomes a compositional device, then an expectation.

An EXIT book spread pairing a half-closed eye with a blurred exit sign

Looking, missing, and looking again.

An EXIT book spread pairing a red eye with a distorted corridor photograph

The city shifts between a place we observe and a place that observes us.

The ordinary made uncertain

The visual direction grew from my interest in semiotics, horror films, and modernist architecture. Horror can make an ordinary corridor feel charged before anything happens. Modernism gives the same corridor order, repetition, and control. EXIT sits in the tension between those two readings, using a language of safety to produce a quiet sense of unease.

An EXIT book spread where a small door faces a blurred red architectural image

From page to time

The animation extends the rhythm of the publication. Pages become doors, cropped signs interrupt the frame, and the red EXIT mark changes from instruction into atmosphere. Motion makes the act of orientation less stable: the way out is always visible, but never quite still.

Other Islands Book Fair

EXIT was shown at Other Islands Book Fair 2023 at Pratt Institute. The fair brought together independent publishers, designers, artists, zine makers, and bookshops around printed matter as a way to circulate ideas and build communities.

← All projects Next: GROUPTHINK →

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Animation, interaction and print, 2023

GROUPTHINK

A flocking simulation turned into animation, interaction, and printed cards, about following the group and thinking for yourself.

Date2023

ContextMFA Communication Design, Pratt Institute

RoleConcept, code, motion and print design

FormatInteractive simulation, animation and print

The simulation runs live on this page, ported from my original Processing sketch. Move your cursor: the flock follows from a distance and scatters up close.

The idea

GROUPTHINK began with a flocking simulation I wrote in Processing. Each triangle follows three rules: keep your distance, match your neighbours, stay with the group (Reynolds, 1987). No one leads, but the crowd moves as one. Psychologists describe the human version as groupthink: the wish for harmony in a group overrides individual judgment (Janis, 1972).

I used the simulation as raw material for a motion sequence, an interactive piece, and a set of printed cards. The flock plays the group. Short statements play the individual.

Framed black screen of flocking triangles with the statement: most people aren't always right

The statements

The statements interrupt the animation and push back against the flock: most people aren't always right. They are set in the same plain type as everything else, so the dissent comes from the words, not the styling.

Flocking triangles with the statement: keeping your distance is not being out of line

The rules

Each rule reads two ways. As code, separation is a steering force. As a sentence, it is advice: keeping your distance is not being out of line.

Black statement cards from GROUPTHINK hanging on strings with paperclips

The statements as a printed card series.

Craig W. Reynolds. 1987. Flocks, Herds, and Schools: A Distributed Behavioral Model. Computer Graphics 21(4), SIGGRAPH '87, 25–34.
Irving L. Janis. 1972. Victims of Groupthink. Houghton Mifflin.

← All projects Next: Whitney: Projection System →

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Identity extension and exhibition collateral, 2023

Whitney: Projection System

A graphic extension study that turns the Whitney W into a field of shadows, scale, and exhibition material.

Date2023

ContextBrand extension study for the Whitney Museum of American Art

RoleConcept, visual identity, exhibition graphics and collateral

OutputsPoster, publication, T-shirt and tote bag

Hanging banner for the exhibition Ongoing, Individual Adaptability or How to Quiet

The graphic system anchors the exhibition banner in a single, oversized W-derived composition.

Giving the W a body

The Whitney W is normally a precise line. I treated that line as the edge of a folded form. Once it has depth, light can strike it and cast a second set of shapes. The shadow becomes the extension: recognisable as Whitney, but no longer confined to the original outline.

Rather than redrawing the mark, the system lets its planes crop, repeat, and shift in scale. The result is a visual field with the directness of signage and the physical presence of an exhibition object.

Diagram showing the Whitney W changing from a two-dimensional line into a three-dimensional shadow form

A line becomes a plane, then a projection system.

Large black and grey Whitney W-derived forms arranged as a graphic system

The projected forms can fill a surface, recede, or become a structural crop for information.

Whitney exhibition publication, cards, and printed collateral arranged on a dark surface

The identity carries through the exhibition publication, invitation, and printed cards.

An exhibition with its own rhythm

For the proposed exhibition, Ongoing, Individual Adaptability or How to Quiet, the mark creates a strong frame without becoming a decorative backdrop. Black planes hold the title and artist information. Lighter projections open space for images, captions, and the slower pace of the publication.

White T-shirt printed with the black and grey Whitney projection graphic

A wearable version of the exhibition identity.

White tote bag with an orange handle printed with the Whitney projection graphic

The tote carries the system beyond the gallery, with orange used as the single material accent.

Vertical poster applying the Whitney projection system with the museum name

A compact application of the system for a poster and merchandise graphic.

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Typeface design, 2023

ORDER

A display typeface in two weights, built from single shapes and the shadows that swallow their counters.

Date2023

ContextMFA Communication Design, Pratt Institute

RoleType design

FormatDisplay typeface, two weights

ORDER in its final display form.

The idea

ORDER began with shadows cast by letters cut from kitchen sponges. Their counters collapsed into thin slits, leaving each letter to read through silhouette. I rebuilt that effect as a display typeface, with glyphs cut from single shapes and joined by the same rounded corners.

Process photographs: sponge letters spelling CONTROL, their shadows on a wall, and early sketches

Drawing rule

The narrow gaps between strokes became the rule for the whole alphabet. They hold the counters open just enough for each letter to remain legible while keeping the silhouette dense.

Three stages of the word CONTROL: rough draft, first digital version, final letterforms

The CONTROL test moved from a rough draft to the final letterforms.

Two weights

Regular keeps the counters as narrow channels. Bold compresses them into tighter slits and pushes the silhouette further.

Regular

Bold

In use

To test the voice of the typeface I designed OHJA Drinks, a small beverage brand. The wordmark and the labels are set entirely in ORDER. A face this loud does not need much company: one colour per flavour, and the letters do the rest.

Three OHJA Drinks bottles with labels set entirely in the ORDER typeface

OHJA Drinks, a fictional beverage brand set entirely in ORDER.

Aldo Novarese. 1971. Stop. Turin: Nebiolo.
Berton Hasebe. 2014. Druk. New York: Commercial Type.

← All projects Next: The Weight of Choice →

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Cultural probe and game design, 2022

The Weight of Choice

A cultural probe that made autonomous-vehicle dilemmas physical, personal, and open to debate.

Date2022

ContextMFA Communication Design, Pratt Institute

RoleResearch, concept, interaction and game design

Participants12 people

Blank cultural probe board beside its character, vehicle, traffic-light, direction, and barricade components

The first group began with an empty road, a set of pieces, and a question about responsibility.

Design the dilemma

The Weight of Choice was an early investigation into AI decision-making. I recruited a first group of participants and invited them to use a tabletop game system to build situations involving an autonomous vehicle on the road.

The system included a road board, vehicle cards, character tokens, traffic lights, direction arrows, barriers, and movement markers. Participants used these pieces to decide who was present, how the vehicle moved, what rules applied, and where a collision or blockage might occur. Together, the components turned a general moral question into a specific situation that could be discussed.

First participant-designed cultural probe scenario with character tokens and traffic signals

Second participant-designed cultural probe scenario with a car, crossing, and move cards

Third participant-designed cultural probe scenario with different character tokens

Fourth participant-designed cultural probe scenario with multiple decision components

Turn scenarios into a kit

I selected several scenarios created by the first group and turned them into illustrated scenario cards. Together with the board, component sheet, and response fields, the cards became a cultural-probe kit for a second group of participants.

The second group worked through each scenario, recorded the route they would choose, and explained their reasoning. This made it possible to compare how people responded to dilemmas that had first been built by other participants.

Pixel-art scenario card showing a self-driving car facing two harmful outcomes

One scenario card derived from the first group's arrangement.

Pixel-art scenario card showing a second self-driving car dilemma

Another card changes who is present and the context around the decision.

Printed cultural probe boards, scenario cards, component sheet, pen, and response fields arranged on a table

The kit combined scenario cards, a component sheet, response fields, and a physical board.

Participants using the cultural probe kit, moving pieces and writing responses

A second group worked through the scenarios, recorded a choice, and discussed their reasons.

From cultural probe to iCommand

The two stages showed that a moral decision does not sit with one person alone. It is shaped by the person who frames the scenario, the people who interpret it, and those affected by the outcome.

That observation led to iCommand, a game where players write instructions that affect one another and a non-player reads the command sheets aloud. It later became one foundation for [1,0,2,4].

A visual study for iCommand, where repetition begins to disrupt the word itself.

Colour pattern study built from repeated I COMMAND wordmarks

A repeated command becomes a graphic field of overlapping voices.

← All projects Next: Wave →

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Generative installation and creative coding, 2022

Wave

A public installation where bodies stir a current of text from Su Shi's First Rhapsody on the Red Cliffs.

Date2022

ContextMFA Communication Design, Pratt Institute

RoleConcept, visual design and creative coding

FormatInteractive installation and generative animation

Characters emerge, gather, and dissolve as a continuous Perlin noise field moves through the text.

Beginning in public space

Wave began as a proposal for a public artwork embedded in places of movement, such as railway concourses and metro stations. I wanted the work to respond without asking people to touch a screen or learn an interface. The pace, direction, and proximity of passing bodies would become inputs to the moving image.

When no one is nearby, the screen follows its own slow current. As people approach or cross in front of it, their movement disturbs that current, allowing the wave to gather, separate, or change direction. The encounter can be brief and incidental, but each passerby temporarily leaves a trace in the field.

Wave public installation proposal displayed on a freestanding digital screen in a railway concourse

Freestanding screen concept for a railway concourse.

Wave public installation proposal integrated into a vertical screen inside a metro station

Integrated vertical display concept for a metro station.

Choosing text as the material

The installation needed a visual language that could be recognised before it was fully read. I chose Chinese characters as both written language and moving form. They connect the digital surface to a longer visual and literary tradition while remaining flexible enough to behave like texture, rhythm, and water.

First Rhapsody on the Red Cliffs gave that decision a specific source. Written in 1082 during Su Shi's years in Huangzhou, the work follows a night journey on the Yangtze through wind, moonlight, reflection, and flowing water. It moves between exhilaration, grief, and acceptance while reflecting on change, continuity, and the scale of a human life.

I read its emotional movement as wave-like. Wave removes the essay from a fixed reading path, allowing its characters to surface in fragments, drift together, and dissolve back into the larger field.

“清風徐來，水波不興。”“A cool wind blew gently, without starting a ripple.”

Su Shi, The Red Cliff, Part I, 1082 · English translation published in Cyril Birch (ed.), Anthology of Chinese Literature, 1965

From literary text to moving field

The visual prototype explores the installation's autonomous state. A continuous Perlin noise field selects a character for every point in a dense grid. Because nearby noise values remain related, neighbouring cells produce broad textual currents rather than unrelated flicker.

The original sketch used characters from a wide range of Unicode. This version maps the same movement system to the traditional Chinese text and punctuation of First Rhapsody on the Red Cliffs, preserving the order of the original writing. The browser implementation recreates the original p5.js 0.8.0 noise algorithm in native JavaScript Canvas. In the proposed installation, contactless presence and motion sensing would provide an additional input through which bodies disturb the field.

“逝者如斯，而未嘗往也。”“The one streams past so swiftly yet is never gone.”

Su Shi, The Red Cliff, Part I, 1082 · English translation published in Cyril Birch (ed.), Anthology of Chinese Literature, 1965

Sources: National Palace Museum, Former Ode on the Red Cliff; Su Shi, 《前赤壁賦》; Columbia University, Excerpts from The Red Cliff, Part I.

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Exhibition guide and editorial print, 2022

Modern Underground

A newspaper-like guide and exhibition reflection inspired by E. McKnight Kauffer’s modernist poster practice.

Date2022

ContextMFA Communication Design, Pratt Institute

RoleResearch, writing and editorial design

FormatPrinted exhibition guide and newspaper

Open Modern Underground newspaper spread with text and images of E. McKnight Kauffer posters

An editorial spread brings the exhibition review together with a visual index of Kauffer’s poster work.

From exhibition visit to printed guide

Modern Underground began after visiting Cooper Hewitt’s Underground Modernist: E. McKnight Kauffer. I turned the exhibition review into a newspaper-like guide that could accompany a visit, then remain as a compact record of it. The format moves between close reading, visual comparison, and editorial summary instead of simply repeating wall text.

Close view of the Modern Underground printed cover with black rules and a red dot

The cover introduces a restrained system of rules, cropped type, and red accents.

Several folded copies of Modern Underground arranged on a white surface

The guide was designed as a tactile, folded printed object rather than a conventional catalogue.

Kauffer’s modernism in public

E. McKnight Kauffer (1890–1954) was a pioneering commercial artist whose posters brought modernist ideas into public life. His work for the London Underground, publishers, cultural institutions, and commercial clients used compressed form, bold colour, and strong directional movement to make advertising part of everyday visual culture.

The guide focuses on this poster practice. It groups works across place and period, allowing questions of war, transit, industry, and modernity to sit beside the written response. Kauffer’s visual language became both the subject of the project and a point of departure for its editorial form.

Modern Underground spread comparing international poster imagery

A comparative spread connects poster language to its historical and cultural contexts.

Folded Modern Underground print opened to a spread with large black letterforms

The fold-out structure lets text, reproductions, and large-scale typography reframe one another.

A newspaper as a way of looking

The printed form draws on Kauffer’s economy without attempting to recreate it. Cropped typography, sharp rule lines, and a red field give the guide a visual rhythm that echoes the material it examines. Reading unfolds through page turns, where commentary and reproductions continually shift one another’s meaning.

Source: Cooper Hewitt, Underground Modernist: E. McKnight Kauffer.

← All projects Next: Douyin Fresh Livestream Guides →

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Content design system, 2021

Douyin Fresh Livestream Guides
抖音电商直播指南

One fill-in template that lets any product category speak with a single, consistent voice.

Douyin is TikTok’s China-market counterpart.

Date2021

ContextBaron Design Studio, for Douyin E-commerce

RoleDesign system, template and visual design

FormatLivestream content template

A shared guide structure adapts to different categories through colour, product imagery, and content.

The brief

Douyin E-commerce needed livestream hosts across dozens of product categories to explain what they were selling and sell it well. Fresh fruit, seafood, house plants, flowers: each host, each category, a different person making the graphics. The risk was obvious. Fifty categories could mean fifty visual languages.

Rather than design one poster at a time, I built a template. A single structure any operator could fill in, so that a durian guide and an orchid guide would still read as one brand.

Reconstructed diagram of the template: skeleton, swappable colour themes, and the two-part structure

The system, reconstructed: a fixed skeleton, a swappable accent colour, and a two-part reading structure.

Full durian livestream guide, from cover through product knowledge to livestream tips

Two parts, always

Every guide splits the same way. Part 1 is what the host needs to know: when it is in season, its selling points, its varieties, how to describe the taste. Part 2 is how the host performs it: staging, live demos, on-camera tasting.

The speech-box title, the dashed dividers, the hand-drawn arrows and the collage background stay fixed. The host drops in the product photo and the copy, and the layout holds.

Full tulip livestream guide following the same structure in a different colourway

Designed for use

The shared framework gave operators a familiar reading rhythm while leaving room for each product’s particular selling points. They could update imagery and content without rebuilding the guide from a blank page.

Across the catalogue

The template rolled out across fresh fruit, seafood, and house plants. Below are nine original guides built from the system. Select any guide to view it in full.

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Event key visual and presentation design, 2021

Kuaishou Alliance Ecosystem Conference

A Blender-built visual system for a conference about developers, connection, and a shared next stage.

Date2021

ContextBaron Design Studio, for Kuaishou Alliance

Role3D visual, key visual and presentation design

FormatEvent key visual, on-site presentation deck and print collateral

Full Kuaishou Alliance Ecosystem Conference key visual with silver orbit lines and orange spheres

Key visual. The Chinese theme reads: “Born of alliance, advancing together toward new shared success.”

A visual language for an ecosystem

Kuaishou Alliance’s 2021 Ecosystem Conference brought developers and platform partners together around a shared future for short-form video commerce. I created the key visual and the on-site presentation language, giving the event one recognisable visual world across the opening screen, report deck, and supporting materials.

The conference theme, 结盟而生向新共赢, became a field of routes and orbiting elements: independent parts moving within one larger system.

Building the key visual in Blender

The central image was built in Blender from layered metallic planes, translucent orbit lines, and warm orange spheres. The forms suggest a system in motion: individual participants maintain their own paths while gathering around a shared centre. Soft blue light and reflective surfaces keep the image technical but open rather than hard-edged.

Dark Blender render of the Kuaishou Alliance visual system with orbital lines and orange lights

A dark variation of the visual field, used to give presentation screens a deeper, stage-like atmosphere.

Dark conference slide with the Kuaishou Alliance message and three-dimensional visual elements

A full-screen event message: “Together with thousands of developers, Kuaishou Alliance builds a shared-win new ecosystem for short-form video commerce.”

Dark post-event report cover for the 2021 Kuaishou Alliance Ecosystem Conference

Post-event report cover. Its Chinese title repeats the conference theme and identifies the 2021 Kuaishou Alliance Ecosystem Conference.

From key visual to event deck

The system was designed to work at presentation scale as well as in graphic materials. Dark slides use the 3D forms as a stage-like depth field behind typography, while the light key visual becomes the public-facing entry point. Orange points of light guide attention through statistics, messaging, and transitions without breaking the overall atmosphere.

Conference results slide with white and silver forms, orange spheres, and event statistics

The results slide reports 396 attendees, 162,000 cumulative livestream viewers, 10.9 million-plus social impressions, a 103% attendance rate, and 100% guest satisfaction.

One visual world, on site

The final recap connects the visual language to the event environment: the conference stage, venue graphics, installation moments, and participant gifts. The identity had to hold together across both a large physical space and information-dense presentation material.

Conference highlights showing the stage, venue graphics, installations, participants, and gifts

Conference highlights: the stage, venue graphics, event installation, and participant gifts.

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Brand rebrand, 2021

Stay Real Art / 本来计画

A complete rebrand that invites children to look closely, discover beauty, and stay curious.

Date2021

ContextBaron Design Studio, for a children’s art education institution in Tianjin, China

RoleLead designer: brand research, strategy, visual identity and applications

FormatIdentity system, custom typography, motion and environmental applications

Eye-form construction diagram for the Benlai Art Education identity

The eye’s overlapping curves establish the visual grammar for the mark and its supporting shapes.

From Bella Art to Benlai

Benlai is a children’s art education institution in Tianjin. Its earlier identity, Bella Art, used a familiar tree-and-hand symbol. The rebrand began by looking beyond an “art class” label. Through observing the institution and its learning environment, we defined a more active role: helping children open their eyes to the world, find their own visual language, and notice beauty in everyday life.

Open eyes

The core idea is simple: art education starts with learning to see. The eye became the identity’s generative motif, rather than an illustration added afterwards. It carries attention, curiosity, and the small moment when a child notices something for the first time.

Construction study of the 本 character derived from the Benlai eye motif

Construction study of the 来 character derived from the Benlai eye motif

Construction study of the 计 character derived from the Benlai eye motif

A shared set of proportions and curves gives the custom characters a repeatable visual logic.

Making the mark move

The animated mark treats the eye as an action. It opens, shifts, and re-forms, bringing the idea of looking into digital touchpoints without introducing a separate illustration style.

Animated Benlai eye motif shifting and opening

The eye motif becomes a short, repeatable motion language for the identity.

A system built to travel

The visual system turns the eye into a family of crops, curves, frames, and graphic gestures. Bright lime green, warm orange, and charcoal give the identity energy without treating children’s culture as childish. The elements shift in scale, crop, and colour while retaining the same underlying geometry.

Benlai Art Education primary colour palette in orange, charcoal, and lime green

The palette gives the system a recognisable energy across both digital and printed materials.

From identity to everyday encounters

The system was carried into educational materials, packaging, calendars, event graphics, and stationery. It needed to feel playful enough to meet children at their level, while remaining disciplined enough for a growing institution.

Benlai Art Education visual identity applied across printed materials, packaging, cards, and objects

The identity carried through the everyday materials of a children’s art education space.

Benlai stationery market installation with branded signage, displays, and printed materials

At the Benlai stationery market, signage, printed matter, fixtures, and merchandise form one physical visual experience.

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Brand creation, 2024

NAILIT

Naming, identity, packaging, and art direction for a press-on nail startup.

Date2024

ContextDesign Lead, NAILIT

RoleNaming, identity, packaging, art direction and social media

FormatBrand strategy, visual identity, packaging and launch content

A name made to stretch

NAILIT is a press-on nail brand built around doing things in your own way. As Design Lead, I named the startup and established its visual language from the ground up, across the identity, packaging, launch materials, and social content.

“Nail It” holds two meanings at once: a direct reference to the product and the familiar expression for getting something exactly right. The brand needed to feel confident but never loud, more like a personal ritual than a beauty trend.

A mark lying in space

The symbol began with a box tipped onto its side: a compact, three-dimensional form that also reads as an N at rest. It gave the mark weight and direction, linking the identity to the object that would eventually hold each set of nails.

A line that carries change

The space between NAIL and IT extends into a continuous line. It lengthens the name as it is spoken and becomes a flexible carrier for the brand: a place for nail sets, campaign images, colours, and changing collections to land without losing the identity.

Light, held in a box

Press-on nails catch light differently across finishes, colours, and textures. The primary packaging translates that changing quality into a restrained field of soft, dispersed light. We tested a range of papers, coatings, and translucent materials to find a surface treatment that could hold and diffuse light rather than simply print a gradient. A controlled band of colour travels around the box; inside, translucent printed layers reveal further shifts as the package is opened.

The extended wordmark and a shifting band of light form the primary package structure.

Primary NAILIT box photographed as a square white object with subtle iridescent colour

A quiet outer surface keeps the package object-like and tactile.

A hand holding the NAILIT primary box, opened to reveal the coloured inner layer

The colour field is revealed through the opening gesture.

NAILIT Young

NAILIT Young brings the same light-based language to a more accessible, youth-facing line. The colour becomes brighter and the typographic gesture more playful, while the extended line, package structure, and sense of material shift keep it recognisably part of the same brand. Its die-cut window takes the shape of the NAILIT symbol, making the logo a physical opening that reveals the nails inside.

NAILIT Young packaging with a die-cut NAILIT-symbol window revealing press-on nail sets

A full display of NAILIT Young boxes and press-on nail sets

From object to feed

The identity was designed to move easily between product launches and social content. The same line, light field, and open composition give every post a shared structure while leaving room for each collection to have its own mood.

NAILIT press-on nail sets displayed in branded primary packaging

The packaging system holds varied nail finishes without competing with the product.

NAILIT social media grid with product, launch, and Young-line content

The same visual system carries into launch and social content.

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Illustration and motion, 2023

La La Land: Title Sequence

A reimagined opening title sequence for La La Land, created through illustration, animation, and music.

Date2023

ContextPratt Institute

RoleIllustration, animation and title design

FormatAnimated title sequence and illustration series

An illustrated overture

This project reimagines the opening title sequence for La La Land through a set of illustrated scenes. The sequence draws on the film's music, colour, and sense of performance, translating them into a graphic world that builds with the soundtrack.

Illustrated piano keys and Ryan Gosling credit against a deep blue background

Illustrated Emma Stone figure dancing in a yellow landscape

Illustrated Justin Hurwitz composer title framed by a yellow stage light

Illustrated John Legend credit beside a golden grand piano

Illustrated J. K. Simmons credit with purple forms and a martini glass

Illustrated Emma Stone and Ryan Gosling dancing against a purple background

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Brand identity and experience, 2022

EGO Camping

A complete identity for a campsite and event programme, shaped by shelter, texture, and the quiet rhythm of being outdoors.

Date2022

ContextDesign Consultant, EGO Camping

RoleBrand strategy, visual identity and applications

FormatIdentity system, outdoor goods, event materials and sub-brand direction

EGO Camping identity in a grassy field, reflected in a mirror

A shelter, reduced

EGO Camping provides a place to stay outdoors as well as a programme of recurring gatherings. The identity needed to work across the campsite, practical equipment, and a changing calendar of activities without becoming louder than the landscape.

I built the mark from a reduced tent-like silhouette, pairing an open triangular plane with a solid counterpart. Natural, lightly textured surfaces keep the system tactile and airy, while the compact geometry stays clear at every scale.

The mark holds its shape in both light and dark settings.

A compact geometry gives the identity a calm, recognisable structure.

Equipment for the field

The identity was applied to useful objects for a day outdoors, giving each one a quiet signature that feels native to the setting.

EGO Camping branded axe and outdoor equipment

EGO Camping knit beanie with the geometric tent mark

A campsite with a calendar

Beyond the site itself, EGO Camping hosts recurring activities. The event language introduces a small set of portable signals that can shift from flags and tickets to badges and bags while staying connected to the core mark.

EGO Camping event sticker and graphic system

EGO Camping event badges and participant credentials

EGO Camping Explore Yourself event tote bags

EGO Camping Children

EGO Camping Children extends the identity into a distinct space for young campers. A brighter palette, friendly icons, and simple storytelling keep the parent brand visible while giving the programme its own sense of play.

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Installation and publication, 2022

MOSSCUBE

An installation and accompanying book that make overlooked urban moss visible as a shared, more-than-human city ecology.

Date2022

ContextInstallation exhibition and publication

RoleConcept, installation, editorial design and photography

FormatSpatial installation, object series and exhibition guide

MOSSCUBE exhibition catalogue on a city grate with transparent moss habitats

Looking down, differently

Moss is an ordinary urban companion. It gathers on concrete, stone, drains, and neglected seams, yet it is rarely treated as part of the city’s living fabric. MOSSCUBE begins from that small act of attention.

The project asks how people might notice the forms of coexistence already present around them. Rather than framing nature and technology as opposites, it places them inside the same urban scene.

Three transparent MOSSCUBE habitats containing circuit boards, soil, moss and stones

Three material studies: circuitry, hybrid urban terrain, and moss-rich ground.

Front view of three transparent installation cubes with different moss and technology environments

An exhibition that can travel

The accompanying publication introduces the installation and extends its questions beyond the gallery. It moves between materials, speculative images, and short reflections on the city as a habitat built by people, organisms, and infrastructure together.

MOSSCUBE installation introduction manual with a green cover

MOSSCUBE publication spread discussing future robotics and moss

MOSSCUBE publication spread pairing a printed circuit board with text about technology

MOSSCUBE publication spread showing the installation as an imagined future ecological device

MOSSCUBE publication spread on moss, environment and nature

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UI/UX, service concept and training kit, 2021

BrainFit

An early concept for helping people and families notice cognitive concerns, prepare for care conversations, and support everyday training through a digital service and physical kit.

Date2021

ContextDeveloped from 始智不渝, a 2020 Enactus Tiangong University team project

RoleTeam Lead, concept, research synthesis, UI/UX and kit design

FormatMobile service concept, screening support and tangible training kit

An older adult using the BrainFit mobile concept at home

Where my research began

BrainFit was my first attempt to use design to respond to questions around mild cognitive impairment, memory, and family care. The project began with a simple concern: early changes can be easy to overlook at home, while knowing what to do next can feel difficult for both individuals and families.

It was not designed as a diagnostic or treatment tool. Instead, it explored how a service might help families organise observations, approach an early conversation, and create more accessible routes into everyday support and professional care.

BrainFit early research poster describing family, clinician and caregiver perspectives

From concern to a supported routine

The early research mapped hospitals, care homes, and homes. From these observations, BrainFit connected a lightweight screening conversation with a tailored activity plan and simple records that could make changes easier to discuss over time.

BrainFit research poster showing screening and training directions

BrainFit service concept showing a mobile app and a tangible training kit in home settings

One service, two kinds of support

The concept paired a mobile interface with a tangible kit. The app brought together check-ins, activity plans, progress notes, and accessible information. The kit moved activities offscreen, allowing familiar materials, objects, and shared play to become part of a routine.

BrainFit interface system showing mobile screens for cognitive support

BrainFit user journey from an initial check-in to activity planning and progress review

Training beyond the screen

The physical kit turned abstract tasks into hands-on activities. A life book supported reminiscence, a local colour map encouraged visual recognition, plant records created a slow observational practice, and card games invited joint play and hand-eye coordination.

BrainFit tangible training kit with a life book, colour map, plant record and card game

A formative project

Looking back, BrainFit is an early exploratory project. Its clinical framing and language would need a more rigorous foundation today. But it established questions that continue through my work: how technology can support memory in everyday life, how design can involve families, and how physical and digital experiences can work together with care.

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UI/UX and service concept, 2021

Homing

An early exploration of how a digital service might make care and communication across generations feel more present, less demanding, and easier to begin.

Date2021

ContextIndependent UI/UX project

RoleResearch through design, service concept, UX/UI and visual identity

FormatTwo connected mobile app concepts for family communication

A collection of Homing mobile app screens for mood, letters and family communication

A personal question about distance

Homing began with a question that felt close to home. As I moved away for university, I found it harder to understand what my mother was going through during menopause and how to stay connected without every conversation becoming a difficult one.

The project started from menopause, then widened into a broader exploration of intergenerational communication. It asks how design might make it easier for family members to notice feelings, leave room for expression, and respond with care.

Homing early research board showing its personal starting point and questions about menopause

Listening before proposing a service

Early observation and conversations highlighted a recurring tension: family members often wanted to help, but did not know how to approach a sensitive topic. The resulting concept did not try to explain or resolve menopause. It explored a gentler communication layer around everyday emotions, distance, and support.

Homing research board with observations, interview excerpts and an early concept sketch

Letters, not alerts

Homing was imagined as two linked spaces. One supported a mother in recording moments, moods, and reflections for herself. The other allowed adult children and relatives to prepare short letters, then attach simple mood, time, or weather tags. The goal was to create a thoughtful opening for conversation rather than a system of surveillance.

Homing workflow showing two connected apps for a mother and her family members

Making emotion easier to approach

A visual tag system translated moods, weather, and time into small, shareable prompts. It allowed people to communicate indirectly when direct language felt too difficult, while keeping the interaction personal and optional.

Homing mood tag system and final mobile interface screens

An early research through design exploration

Homing is an early project, and its health framing would need deeper collaboration and more rigorous research today. Still, it was formative in showing me how a design question can grow from everyday family life, and how digital tools can support wellbeing without reducing care to data.

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Interactive installation and voice visualisation, 2021

Star Echo

A voice-responsive installation that imagines an exchange with an unfamiliar solar system.

Date2021

ContextCreative coding and interaction design exploration

RoleConcept, interaction, visual system, sound, and code

FormatVoice-responsive audiovisual installation

Listening to an impossible conversation

Star Echo began with a childhood question: if people could speak beyond Earth, and another lifeform answered from elsewhere in the solar system, what might that exchange feel like?

Ordinary sound cannot travel through the vacuum of space. The project takes this limitation as a prompt for translation. It imagines conversation as vibration, visual trace, and changing sonic material rather than speech alone.

Star Echo research board connecting childhood space imagery, planetary references, sound and interactive questions

From space data to a speculative voice

NASA's data sonification work provided the conceptual reference. It translates observations and electromagnetic or plasma-wave data into audible forms, creating a way to experience information that cannot be heard directly. Star Echo uses this logic as a creative method.

A recorded voice is processed alongside a set of pre-composed planetary sound profiles, then returned as a speculative reply. The installation does not claim to reproduce the literal sound of a planet. Instead, it stages an imagined answer grounded in the idea of sonification.

Star Echo process board showing microphone input, circular visual experiments, colour trials and a p5.js system

Voice becomes a visual field

A microphone receives a participant's voice. Its amplitude and frequency changes drive circular paths, layered lines, transparency, and colour. Speaking causes the field to swell and reorganise in real time, making the act of voicing visible as a shifting, luminous waveform.

Star Echo circular voice visualisation in blue, orange and green on black

Star Echo circular voice visualisation in overlapping blue and yellow lines on black

Star Echo circular voice visualisation in multicoloured concentric traces on black

A small cosmic reply

After a spoken prompt, the installation selects a planetary sound profile and combines it with the participant's recording. The return is not a literal answer. It is a gesture toward dialogue with something unfamiliar, where listening, seeing, and imagining become inseparable.

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Brand identity and packaging, 2022

Devil Fruit / 恶魔果实

A rebrand for a fruit-wine label. I kept the devil, and gave it a system.

Date2022

ContextDesign consultant, for a fruit-wine brand

RoleBrand identity, typeface, packaging

FormatLogo, custom type, labels, bottles

Six Devil Fruit bottles lined up in six flavour colours

The rebranded range: one mascot, one wordmark, one colour per flavour.

Visual identity

Devil Fruit is a fruit-wine brand. I came in as a design consultant to rebrand it. The old logo had a real character, a small red devil, but it read as rough and off-the-shelf. The value was in the devil, so I kept it and rebuilt everything around it: cleaner geometry, tighter construction, a mark that holds its shape at any size.

The wordmark needed a voice of its own, so I drew a custom typeface for it. Heavy, blunt, modern. Every letter shares the same width and weight, so DEVIL FRUIT reads as one solid block.

Geometric construction of the Devil Fruit eye mark on a circular grid

Custom Devil Fruit typeface with construction grid and spacing marks

The custom typeface, drawn from scratch for the wordmark.

A pair of brackets

Set the two words together and a gap opens in the middle. I filled it with a pair of brackets, and dropped the devil inside. The brackets do two things at once. They fold the mascot into the wordmark, so logo and name lock into one shape. And they stay open: whatever sits between them can change. A flavour, an icon, a campaign. The brackets are a slot for whatever comes next.

The primary lockup: the devil lives inside the brackets.

Stacked Devil Fruit lockup with the bracketed devil centred between the words

Packaging

The label puts the wordmark at full size, with the devil peeking through a soft white shape behind the eyes, and one flavour colour per SKU.

That shape is not decoration. It is a splash: the burst of foam thrown up when two bottles meet in a toast, redrawn as a flat graphic. Every flavour carries its own splash.

One label system, six flavours.

On the shelf

Wrapped on glass, the system comes together: the devil at the neck, the wordmark across the body, the flavour colour running the whole bottle.

Devil Fruit bottle, lactic flavour in blue

The wordmark carries all the way down to the cap.

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Yufeng Wu | 吴御风

“Design is so simple, that's why it is so complicated.”

Paul Rand

Hi, I'm Yufeng, a researcher and designer currently completing a PhD at the University of Technology Sydney. Before moving into Human-Computer Interaction, I completed an MFA in Communication Design at Pratt Institute and a BEng in Industrial Design at Tiangong University.

My research asks how emerging interactive technologies can support people in their everyday lives, especially in relation to memory and wellbeing. My interests include generative AI, conversational agents, digital health, tangible interaction, and augmented and virtual reality.

My design practice includes interactive experiences, interfaces, and visual identities. I have worked at design studios and technology companies.

I enjoy moving between research and making. Projects often begin with an open question or a conversation with participants. Solving the problem matters, but so does how the experience feels. I want my work to support people while leaving room for thoughtful details and moments of enjoyment.

The idea for this website came from my love of music and album design. I started buying albums and vinyl records when I was young, and their artwork and packaging first drew me to design. That history inspired the two-sided structure of this site. Side A presents my research and academic work. Side B presents my design experience and selected projects.

Contact: yufeng.wu@uts.edu.au

CV

Download my CV (PDF)

Last updated July 2026.

Side A: Research

Side B: Design

Side A: Research

2026

2025

2024

Courses

Supervision & Mentoring

Service

Review

Awards

Side B: Design

Interactive Experiences

GROUPTHINK

The Weight of Choice

Wave

Star Echo

User Experience

BrainFit

Homing

Brand

NAILIT

EGO Camping

Devil Fruit / 恶魔果实

Stay Real Art / 本来计画

Editorial, Books & Print

[1,0,2,4]

EXIT

Modern Underground

MOSSCUBE

Campaign & Communication

La La Land: Title Sequence

Whitney: Projection System

ORDER

Douyin Fresh Livestream Guides

Kuaishou Alliance Ecosystem Conference

[1,0,2,4]

The question

Research into form

From book to game

Visual language

Exhibition

Exhibition graphics

EXIT

A sign before thought

Reading as movement

The ordinary made uncertain

From page to time

Other Islands Book Fair

GROUPTHINK

The idea

The statements

The rules

Whitney: Projection System

Giving the W a body

An exhibition with its own rhythm

ORDER

The idea

Drawing rule

Two weights

In use

The Weight of Choice

Design the dilemma

Turn scenarios into a kit

From cultural probe to iCommand

Wave

Beginning in public space

Choosing text as the material

From literary text to moving field

Modern Underground

From exhibition visit to printed guide

Kauffer’s modernism in public

A newspaper as a way of looking

Douyin Fresh Livestream Guides抖音电商直播指南

The brief

Two parts, always

Designed for use

Across the catalogue

Kuaishou Alliance Ecosystem Conference

A visual language for an ecosystem

Douyin Fresh Livestream Guides
抖音电商直播指南