Interviews with Yen C Chen
Designer profileDesign Interview
11 May 2020 · The Simplest Happiness Commercial Animation
With "playing" as the purpose of the video, children who are playing can best show pure happiness, and hope that the audience will have the same feeling when watching the movie. Last year the Chinese zodiac is the pig, so I designed the sliced pig, and it's a pun in "many hot movies" in Chinese. The color is made of red and gold which can best represent the traditional Chinese year but also feel modern.
It's a design job that a channel does every year, this time I set my goal for this job: to make the audience feel happy from watching. There's a highly circulated video on Youtube about a baby laughing all the time, which can induce the audience to laugh. I hope that the video in addition to the channel needs to convey the function, but also let the audience temporarily forget the reality of trouble, think of the most simple happiness as a child.
I will post it to my facebook.
From start to finish almost takes About 2 month.
Every Chinese new year ident is the important project in TV channel. This animation comes from one of the design of the movie channel package.
I created it for TV channels.
My father is a movie-loving person, I remember when I was a child, we nestled in the dark living room to watch the movies, although it was not always able to fully understand, but a lot of visual creativity and drama, I believe there is a subtle impact.
Pixar's movies always inspire me.
15 to 40-year-old moviegoers.
Each person's journey is different, and I think this work is the result of my experience.
"The Simplest Happiness". I hope the audience can remember that pure happiness feeling when they was a child.
The project was realized using adobe software and 3d softwares.
I've worked as a designer in a variety of different industries, and these experiences have allowed me to accumulate a lot of energy, and luckily they have given me a lot of creative space. I hope my work is to bring people positive, I do in the process of design also hold the same attitude.
I'm done on my own.
Use technology to help me communicate my ideas.
For this particular project I used as a reference set design in Chinese new year and character design and different animation artist. Also research the physical simulation of the moving objects.
The most challenging part in this project was let the character gratifying look and to keep adding elements and details while keeping the composition looking simple and balanced.
There's a voice in my ear that tells me to go.
Do every design carefully, from what can be brought about to change humanity as a starting point.
No, enough. Thank you for question to me.
Designer Interview
4 May 2020
Like many people, I was just a kid who liked to paint. My father is a movie-loving person, I remember when I was a child and he nestled in the dark living room to watch Hitchcock's film, although it was not always able to fully understand, but a lot of visual creativity and drama, I believe there is a subtle impact.
I've worked as a designer in a variety of different industries, and these experiences have allowed me to accumulate a lot of energy, and luckily they have given me a lot of creative space.
This question is very comprehensive. I think that design is the same as a lot of work, is not a high unattainable occupation, any behavior related to communication, there are design elements in it.
Motion Graphics is also my favorite design, because it can clearly convey the idea, the process also makes me feel happy, I think doing happy is the most important. And of course, digital works are more easily passed on.
Many of my works I love, I can introduce the "pure happiness" this work. Although it's a design job that a channel does every year, this time I set my goal for this job: to make the audience feel happy from watching. There's a highly circulated video on Youtube about a baby laughing all the time, which can induce the audience to laugh. I hope that the video in addition to the channel needs to convey the function, but also let the audience temporarily forget the reality of trouble, think of the most simple happiness as a child.
Proofreading the layout of the book.
I have no particular preference for materials, mainly to create the time you had at the time, or the technology I wanted to try.
Night. The bigger the moon, The clearer my mind is, even if I want to go to bed early for the sake of health.
During the design process, I wanted to make sure that everyone thought the same way about the direction of the design, which reduced the chance of final modifications or errors. In the process I will also keep reviewing and adjusting, hoping that when everyone see the final, get a positive idea.
I'm happy most of the time when I'm designing. Designing is like doing everything of the world, and most of them can be ruined by the urgency of time.
When the design work was finished, most of my emotions were calm. All emotions should be expressed in the course of work, after work I will organize the emotions, hope that through rest or family life, so that the mood settled calm, in order to prepare for the next job.
Observation. I think the more you will look at the details of life around you, the more precise lying the desired purpose.
I will first judge the purpose of the design, the most basic to meet the needs, and see if the environment or life can be better.
The design itself bears responsibility for environmental protection and biological survival rights. Through the message of design, the public has a more positive effect on people, plants and the environment.
As media platforms change, whether advertising or movies are changing like never before, designers must have new ideas to deal with. For the attention of environmental protection, design should also pay more attention to the concept of perpetual.
I haven't held an exhibition, maybe i'll have a chance later.
My second child has just been born, from the interaction with the child to get a lot of inspiration, children can always give you a lot of surprises. I think seriously to live, observe the life around the various things, will be a very personal unique source of inspiration.
I will not sum up my own design style, the same work will be because different audiences have different views, and will have different feelings about the work, I hope my work is to bring people positive, I do in the process of design also hold the same attitude.
I was born and raised in Taipei, Taiwan, Taiwan has a lot of world-leading technology and achievements, but in the country's positioning has been a lot of pressure, Taiwan is in a very vague position in the international community. This situation even more forces the island's designers to have a more determined attitude.
Most of them come to me through introductions, or through the company seeing my work.
Each company has different cultures and personalities, I suggest from the design works to find designers, in addition, communication or the focus of the problem.
Usually I try to get in touch with a lot of different issue, but when I start designing, I try not to look for information, I don't want any pictures to affect my design at this time. Also focus is important, a case-making process can take months to ensure that the final product continues on the way to the original idea.
ystudio_Paper Weight.
Peng Hsing-Kai_HeySong Sarsaparilla.
1000TentaclesStudio_Screaming Monster.
Ken Lo_More Hugs Figurine.
IKEA FINTORP_Magnetic knife rack.
Peng Hsing-Kai_HeySong Sarsaparilla.
1000TentaclesStudio_Screaming Monster.
Ken Lo_More Hugs Figurine.
IKEA FINTORP_Magnetic knife rack.
Every day with tired life, my child has just been born, every day can progress a little, from no words to running jump, very surprised a child's perseverance and motivation is how strong, but also prompted me every day want to compare to the progress of the day.
Continuous creation, there will always be gains. Also don't sacrifice too much family life, it is an intangible value.
Being a designer is, in some ways, something you like to do, do what you love and make money, and even use design to change people's perspectives or make the world a better place. Designers are more frustrated than the average person if they find that some of the designs around are missing or social injustices, but they can't do anything about it.
Do every design carefully, from what can be brought about to change humanity as a starting point.
Thinking and communicating, design is not pure art, need to let ideas can be passed out.
Paper and pen are always my most important tools. Plus a cell phone, I don't think there's anything I can't do.
I have procrastination, but because time is tight, the explosive power is endless.
Sometimes it takes only a few days, sometimes months.
Can you be a little faster? Can the word be a little bigger?
I think all the experiences are important, I've been exposed to film cutting, advertising, MV, channel packaging, photography, graphic design... and they make me who I am.
The person who pays me is my client. Regardless of brand awareness, from a design point of view, every brands are very challenging.
I like videos and sculptures, one is digital way of existence does not occupy space, I can collect unlimited such works of art. And sculptures have a real touch and are rare.
I hope to complete a work, can bring some thoughtful subject matter to mankind.
Most of them are self-created, and i hope to work with many excellent designers in the future.
My daughter and son, I will spend my life completing these works.
No, enough. Thank you for question to me.
Grand Interview
22 October 2025 · The Simplest Happiness Commercial Animation
The starting point for the concept came from reflecting on the meaning of the New Year. In Taiwan, the Lunar New Year is more than a traditional festival; it's a time for "reunion" and "sharing." The warm memory of a whole family gathering around to watch TV and movies is a collective experience for many. I wanted to capture this very essence of "the simplest happiness." The zodiac animal for that year was the Pig, which gave us a perfect entry point. In Mandarin Chinese, the character for "pig" (豬, zhū) is a homophone for the character for "all" or "many" (諸, zhū). This immediately sparked the connection to the phrase "諸多強片" (zhū duō qiáng piàn), which means "many blockbuster movies." This pun perfectly linked the zodiac animal with the movie channel's extensive content library. It wasn't just a play on words; it became the cornerstone of my entire creative concept, a cultural code that could be instantly understood by Mandarin-speaking audiences.With this core concept established, the challenge shifted to visual execution. How could I make a "pig" visually represent "many movies"? I went through countless brainstorming sessions. Ultimately, the "sliced ham pig" character emerged as the winning idea. This design was particularly ingenious for several reasons: first, it broke away from the traditional depiction of the zodiac pig, introducing an unexpected sense of humor and modernity. Second, the layered slices of ham visually represented the concept of "many," akin to frames of a film reel or the vast selection of exciting movies on the channel. I deliberately designed the pig to be round and adorable, with lively animations, to eliminate any negative connotations associated with "slicing" and to ensure it conveyed pure, childlike joy. In the animation, the little pig journeys through scenes inspired by various movie genres—sci-fi, action, romance. This not only showcased the channel's diversity but also symbolized that audiences can experience a wide spectrum of happiness and emotions within the world of cinema. The entire process was about fusing a cultural symbol (the zodiac pig), a linguistic pun, and a modern entertainment behavior (watching movies) to distill the core emotion I aimed to convey: that heartfelt, purest, and simplest form of happiness. This is something that, as a designer in Taiwan, I often strive to achieve in my work—to cultivate modern design blossoms from the rich soil of our culture.
In Taiwan, the red and gold of the Lunar New Year are colors rooted in our cultural memory. My goal wasn't to simply replicate tradition, but to "reinterpret" these colors, elevating them from mere festive symbols into conduits for emotion.My core inspiration was to fuse two key feelings: the "warmth of home" and the "fantasy of cinema." Therefore, I avoided flat, primary red in favor of a layered, warmer palette. A rich burgundy forms the background, creating a sense of security like a family's embrace, while the piglet protagonist is a more vibrant coral red, highlighting its innocent nature. Similarly, the gold isn't a heavy, static color but a fluid, lustrous "champagne gold," reminiscent of a projector's beam. I used it for magical elements like sparkles and stardust to symbolize dreams and hope. This color strategy was designed so the audience wouldn't just see a festival, but truly feel that genuine, pure sense of warmth and joy.
Achieving this balance was the most critical aspect of the creative process. The brand identity of Fox Movies is international, high-quality, and centered on being the "movie expert," delivering powerful cinematic experiences. My challenge was to infuse this with the warmth and playfulness of the Lunar New Year in Taiwan, without appearing childish or diluting the brand's core identity.The equilibrium was found in our core concept: the pun connecting "pig" (豬 zhū) to "many" (諸 zhū) blockbuster movies. This concept itself bridged the brand with the creative. The piglet's appearance wasn't arbitrary; its very reason for being was to "embody" the channel's vast library of films. In execution, I insisted on using cinema-grade production standards to bring this "cute" idea to life. For example, the pig's 3D model, its textural sheen, and its movements were all crafted with precision to ensure its quality matched the premium image of the Fox brand. Furthermore, the cinematic references within the animation were a direct homage to the brand. I didn't have the piglet simply parodying films; I positioned it as a "little movie fan," joyfully immersing itself in the magic of different genres. This ensured our creative elements were always serving the core theme of "cinema," striking a delicate balance: retaining festive intimacy without sacrificing the professionalism and style of a global brand.
My goal was to have the audience experience the all-encompassing nature of the Fox Movies channel in just a few seconds. When selecting the cinematic elements, I chose several of the most representative and emotionally evocative film genres: Sci-Fi, Action, Romance, and Musical. These four genres respectively represent "wonder and dreams," "excitement and adventure," "warmth and emotion," and "pure joy."The key to achieving a "seamless fusion" rested on two points. First, I used our piglet protagonist as the emotional anchor. No matter how the scene changed, the audience's perspective followed the piglet's reactions; its happiness was the unifying thread through every scene. Second, I meticulously designed the transitions. I avoided hard cuts. Instead, I utilized the "slicing" characteristic of the piglet's body, where one slice would peel away to naturally reveal the next scene. I also used visual elements from the preceding scene (like the bright light of an explosion) to fluidly blend into the beginning of the next. This required precise motion storyboarding to ensure visual fluidity, making the audience feel like they are on a journey through a whimsical dream, rather than watching four disconnected clips.
The greatest technical challenge came precisely from the character's "minimalist" design. The piglet has only two small dots for eyes, with no complex eyebrows or mouth shapes. Conveying rich, heartwarming emotions within these limitations was a significant test. Any tiny adjustment could shift its expression from "happy" to "vacant." Furthermore, its "sliced" body required a technically stable yet flexible rig to ensure the layers felt natural during dynamic movements.My key to overcoming this was to shift the expression from the face to the entirety of the body's motion. I didn't rely on facial close-ups. Instead, I conveyed emotion through subtle ear wiggles, the bounce and jiggle of its body (using the animation principle of squash and stretch), and its cheerful, trotting gait. This approach better captured "pure happiness," as a child's joy is often expressed through their whole body. To maintain the simple composition, I always ensured the piglet had a very clear and readable silhouette. By simplifying the backgrounds and making good use of negative space, the audience's focus is drawn entirely to the character's performance. This allows the nuanced body language to exert its maximum emotional impact within a clean, balanced frame.
In an extremely short format like 18 seconds, pacing is everything. I couldn't afford to waste a single frame. My strategy was to design the animation like a "visual poem" with a clear narrative structure: a beginning, a middle, and an end. The beginning quickly establishes an endearing tone with the piglet's happy entrance. The middle creates a visual climax with a fast-paced montage of movie scenes, conveying the message of "rich diversity." The end brings the piglet back to a calm, happy state as the brand logo resolves, providing an emotional landing.The secret weapon to string this all together was the music and sound design. The animation's editing points and movements were perfectly synchronized to the beat of the music. The score's progression dictated the narrative tension; every drumbeat and melodic shift corresponded to an action or transition on screen. In Taiwan's fast-paced media environment, this audio-visual synchronization is critical for instantly capturing the viewer's attention. I essentially used the musical structure as a blueprint for the visual rhythm, ensuring the entire 18 seconds felt like a compact and complete journey of joy, rather than a rushed collage of images.
My goal wasn't 100% "photorealism," but rather to create a sense of "believable fantasy." The piglet character itself is surreal, but its every movement had to make the audience feel its weight, elasticity, and vitality.I spent considerable time studying the movements of real animals, especially young ones like piglets and puppies, to understand weight transfer and body jiggle during a run. The biggest challenge, however, was its "sliced" body. I developed a custom rig for it, which allowed the entire body to squash and stretch, while also enabling each individual "slice" to have its own subtle delay and spring-back. This relied heavily on the skill doing "keyframe animation" by hand, rather than on pure computer simulation. I were pursuing a form of artistically exaggerated physics. For example, when it lands, its body produces a very satisfying, springy jiggle. It's a minor detail, but it's crucial for giving the character a sense of "life," turning a purely digital model into a tangible, living creature.
This project is indeed a microcosm of my design philosophy. My broader vision is that traditional culture is not a static set of symbols, but a living library of inspiration. For me, especially working here in Taipei—a vibrant city where old and new cultures merge—a successful project for a contemporary brand can't just superficially apply icons like lanterns or lucky clouds. True transformation lies in "distilling the core emotion of a tradition and retelling it in a contemporary design language.""The Simplest Happiness" is the perfect example of this in practice. I didn't just use a traditional zodiac pig. I distilled the "linguistic pun" associated with "pig" in Mandarin and the core holiday feeling of "shared joy and reunion." I then translated these into a lively 3D character and a cinematic journey. This process turns the traditional element from a mere decoration into a narrative driver, seamlessly aligning it with the Fox Movies brand spirit of "providing entertainment and creating happiness." My vision is to continue exploring these deeper connections, helping brands not just "celebrate" a culture, but truly "become" a part of it, creating work that has a global appeal yet resonates with local Taiwanese sentiment.
To make the piglet character resonate across cultures, I focused on universal emotional expressions. Instead of complex facial features, I relied on simple body language and lively movements to convey joy. The rounded design and vibrant colors enhance its approachability, while its enthusiastic reactions within different movie scenarios tap into the shared human desire for entertainment and imagination.
This award is a key validation of my creative philosophy and encourages a bolder approach for my future work.My method moving forward will be even more focused on "less is more." I will delve deeper into local Taiwanese culture to distill a singular, pure concept that resonates with a brand's spirit. Then, I will execute that simple, powerful idea with an obsessive focus on the details of its execution—in the character's motion, in the play of light. My goal is to fully internalize the brand's value within the narrative, making the animation itself the most compelling statement for the brand. This recognition is a starting point, inspiring me to continue down this creative path.