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My design portfolio
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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.
778.323 .9105sharonhsiao.com
hel lo@sharonhsiao.com
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