Interviews met Shaoyang Chen

Before my design career, I briefly worked at NBC Missouri affiliate as a digital producer. Afte that, I started my design career as an editorial designer at Missourian newspaper (Columbia,MO), Avenue magazine (New York,NY). After graduating from School of Visual Arts with a design master, I worked at San Francisco Film Festival as a branding designer. During this time, I also worked on some freelance projects with film directors, Land Rover, artists and art museums.Currently I am working at Wieden Kennedy and worked on art direction projects for HP and Vacation.

I have always been a "magazine junkie" and it was so natural that I got myself interested in graphic design while collecting infinite indie magazines.

I learn "300% rule" at Wieden Kennedy. I always bring in 300% creativity when I first started a project. Even there might be any restraints from clients and brands, since we have 300% creativity on the table, clients and I can have more freedom to pick and choose what we want. The final design solution can be as close to as 100% creativity.

My journalism background trained my perspective and helps me bring in more storytelling into my design.

During my partnership with different clients, I came to realize that design is a service-focused art form. Communication is very important. I would love to hop on more film and music projects for the coming year.

Hardworking, perseverance and resilience will take you to your dream project.

One difficulty I came across most when I first started is that designers are usually active in a very tight, inner circle. I wish my peers can build a more open-source community for future designers.

I start my day with a 30 minute work-out. And when I arrived at my office, I try to make a list of things that I should finish by the end of day. After that, I will grab a coffee and be ready to work.

Personally, I don't care much about design trends. Everyone is able to start the next trend as we are living in the internet era. But I do check out art magazines as I am constantly curious about what's happening with the new generation.

If you can get the idea at the first glance, then that design is a good one. Good designs always send out clear and crystal messages.

A design can never be ready as most designers are just perfectionist by nature. Realistically, there's always a deadline waiting for the designers. And designers should bring 300% creativity force until they hit the finish line.

Always the next one.

Recently I really like Richard Turley. His design is a perfect combination of humor, storytelling and fine taste.

I had lived in many cities. I was brought up in China and lived in Tokyo for half a year. And after that I lived in Missouri, New York City, Chicago, Las Vegas, the bay and currently live in Portland, Oregon.The cultural influences from all the places I have ever lived really help shapes my unique perspective of things, which I constantly feel grateful for.

As I taking more clients and projects, I realize strategy is part of design as well. A good design combines a strong concept, a fine execution and a smart strategy. A good design presentation requires designers to have a visual fluency to complete the performance of explaining a design idea.

I always try my best to help young creatives in the industry. Part of the reason that I started the company is to help young and indepdent film directors by making design resources more accessible.

It's my first time participating in this award and I feel lucky to win this award. I am very grateful of being the designer of the day. I hope my experience can encourage more designers.

I had a journalism bachelors degree. Before my design career, I briefly worked at NBC Missouri affiliate as a digital producer. After that, I started my design career as an editorial designer at Missourian newspaper (Columbia,MO), Avenue magazine (New York,NY). After graduating from School of Visual Arts with a design master, I worked at San Francisco Film Festival as a branding designer. During this time, I also worked on some freelance projects with film directors, Land Rover, artists and art museums.Currently I am working at Wieden Kennedy and worked on art direction projects for HP and Vacation.

I have always been a "magazine junkie" and it was so natural that I got myself interested in graphic design while collecting infinite indie magazines.

Yes I am very determined to become a designer as I feel a sense of freedom when I design.

I currently working on some art direction projects. In the future, I would love to hop on more films and music project.

Hardworking, perseverance and resilience will take them further and higher than where I am now.

A good designer can finishes the task and delivers beautiful visual assets. A great designer can come up with a strong idea that people can get it with the first glance.

I really focuses on whether a design touches a person's heart. That's the most valuable thing Stefan Sagmeister taught me at grad school.

A good design connects people together. Good design makes people feel they are seen and heard.

I would start a poster series of my favorite film works.

I really want to hop on a branding project for a fashion brand.

I learn "300% rule" at Wieden Kennedy. I always bring in 300% creativity when I first started a project. Even there might be any restraints from clients and brands, since we have 300% creativity on the table, clients and I can have more freedom to pick and choose what we want. The final design solution can be as close to as 100% creativity.

I recently like Tibor Kalman. He's so cool and his concept is so strong.

I really like the newspaper Civilization by Richard Turley. I found this fun newspaper during the pandemic lockdown when I was living in New York City. It gave me so much joy and the graphics are sick.

I really like the title sequence I did for Alam Virk's movie Boxed. It has a strong visual concept and completes the fullness of the story as well.

Just practice. Endless practice.

Probably a streamer for Tik Tok live-stream shopping. It looks like a fun job.

Design is the communication bridge to connect people.

My parents, my professors at SVA and my mentors at Wieden Kennedy.

Constant practices.

Imposter syndrome was and still is my biggest enemy.

Designers with visual fluency will make better communication to their audience.

I want to start a poster series of all my favorite film works.

Being able to create a community that fosters the next generation of designers.

They probably will look for stronger concept or ideas.

Design as a communication bridge can connect people together.

I am currently working on a TV bible that can also be a possible ad campaign for camera brands.

I really like my title sequence design for Alam Virk's movie Box. I think the visual helps complete the fullness of the story.

More young blood and more renovation.

Nowadays design fields basically covers everything related with graphics, typography and design thinking. The future of design might be similar to the music we hear nowadays. As different culture influences one another, the new wave of creativity will be pushed to the peak.

Sometimes couple days, sometimes a quarter. It really depends on the subject and clients I work with.

The first conversation with my client always builds a solid base for me to understand their design aesthetic and value. And I will come up with a strategic plan for the next meeting to move the project forward.

Always aim for 300%.

They both influence each other.

Secondary. Technology is just a tool to help me to bring ideas to life. But ideas always come first.

Adobe, my pen and sketch paper.

Color is very important. It can be part of the design concept. Materials and ambient can helps me land on a better visual presentation.

The idea about my project.

I would try to analyze how the designer ties the concept with the subject together.

I believe in co-design. My ideal design partner is someone who is open to any ideas.

Lots of people I met have influences on my works. Some taught me how to think, some taught me how to execute and some taught me how to present.

I grew up reading magazines so editorial design has a big influence on me.

I took any chance to practice my design skill. No matter how small a project is, I am willing to be invested into it.

I would love to meet either Saul Bass or Virgil Abloh.

I feel lucky to get those awards and I feel grateful for it.

My favourite color is white, and I dont know if white counts more as a shade or color. My favourite place is home; favourite food is spicy Chinese hot pot; favourite season is srping; and favourite thing is puppy, if puppy can be counted as thing. My favourite brand right now is Martine Rose.

I once designed a pizza air couch as a project for Stefan Sagmeister's class. That was hilarious.

I motive myself by reading other designer's article and listening to their talk.

Not at all. I was dreamt to be a journalist or magazine editor.

I can't see what's going to happen in thousand years from now. But I think we will have a more vibrant and unique culture from all the culture cross pollination.

I don't feel there's anything particularly interesting about me as a person. But I would love more design lovers to know about the 300% rule that I mentioned earlier. There are so many occasions designers don't have full control of the project. The only thing designer can control is their work output.

I have always been a "magazine junkie" and it was so natural that I got myself interested in graphic design while collecting infinite indie magazines.

I found my company Aydada after graduating from school of visual arts. The design practice was focused on branding and campaign for film. I saw how indepdent film directors were struggling to get designers onto their film projects and I wanted to help by putting more resources into the community. Thus I started to develop relationship with film directors and found a way to enhance their story telling by the use of graphic design.

Design is for purpose and for service.

Films, of course. I am such a hopeless film fan.

Recently I really like Richard Turley. His design is a perfect combination of humor, storytelling and fine taste.

I started my career as an editorial designer at Missourian, a local newspaper in Columbia, Missouri. So newspaper was the first thing I designed for a company.

I really enjoy are.na.

It's like practicing shooting basketball. Once after couple hours of warm up design riff, I will be in the most efficient and creative design rhythm.

Concept really matters.

Relaxed, energetic and free.

The full happiness.

If a design tells a story or a full concept, then it's successful.

I really focuses on whether a design touches a person's heart. That's the most valuable thing Stefan Sagmeister taught me at grad school.

Designers should be aware of the messages they put out there. Be countable for your art works and don't hurt people with your arts.

Nowadays design fields basically covers everything related with graphics, typography and design thinking. The future of design might be similar to the music we hear nowadays. As different culture influences one another, the new wave of creativity will be pushed to the peak.

My last exhibition was in New York back in 2022. I am planning to put out more exhibitions in NYC in 2024 as well.

My design inspiration usually comes from conversations with people. Talking to people is very important as graphic design can be a lone-wolf job. I constantly remind myself to open to other people's perspectives to gain a broader view of the world.

I would describe my design style as service focused as I really value if design can help my clients to form a stronger concept or generate a bigger commercial profit.

I currently live in Portland Oregon, USA as I am working at the headquarter of Wieden+Kennedy. I was brought up in China and lived in Tokyo for half a year. The cultural influences from all the places I have ever lived really help shapes my unique perspective of things, which I constantly feel grateful for.

The first conversation with my client always builds a solid base for me to understand their design aesthetic and value. And I will come up with a strategic plan for the next meeting to move the project forward.

Be open to designer's suggestions and trust your design partner's instinct. Most of the time a healthy client relationship comes from trust.

After choosing a concept to move on, I will start a design riff. In this session, I give myself completely creative freedom to break down the concept into different visual solutions, from the wildest to the mildest. From there, I will narrow down to one solution that is the most practical for the subject I am working on.

Pen, Sketch paper, earphones, a big computer screen and a youtube video of 4-hour ambient sound playlist.

I start my day with a 30 minute work-out. And when I arrived at my office, I try to make a list of things that I should finish by the end of day. After that, I will grab a coffee and be ready to work.

Hustling is part of the business of the design.

Being a designer can always work with fun people or fun clients. But most designers have back ache issue. Working out is also very important for designer to build a sustainable lifestyle.

300%. Always bring 300% creativity to the table. Even sometimes your clients are conservative, you may still be able to get a 100% design as a result.

Perseverance.

Adobe creative suite. And I love go through magazines for ideas as well.

Make a to-do list and finish your tasks according to their priorities.

It very depends. Sometimes one day, sometimes one quarter.

Why i choose design

I really like my current job at Wieden + Kennedy portland office. I met some of the best art directors, copywriters, and designer in our current time. I got so much mentorship that fostered my design practice and creativity.

I previously worked on projects for Chinese artist Chen Yujun, Land Rover, Long Museum, and film director Alam Virk, Sarab Sahani. I recently also worked on HP as associate art director and Vacation Inc. as art director.

I enjoy the ones with strong story telling.

I want to get more gigs as an art director and i would love to hop on more films and music project.

I enjoy both.

Currently I have no project going on.

I am always reachable by email that is listed on my personal website.

It's been a great pleasure to be invited for this interview. Thank you for having me.

I've always tried to make design an active part of the storytelling. Boxed examines the emptiness beneath modern consumer culture and the invisible systems that can trap people. While developing the film's visual identity, Director Alam Virk and I explored many different directions to find the most effective way to communicate that idea. We also had practical considerations. The title card needed to be clearly readable on screen, so the composition had to work both conceptually and functionally. The final solution struck that balance. It supported the narrative, strengthened the theme of confinement, and helped pull audiences deeper into the world of the film.

Once we established the core concept, it became relatively easy to scale it across different touchpoints.For the premiere badges, we wanted to create a visual play on the film's central theme. The theater itself is a box, and in many ways, so are the invisible systems that shape our daily lives. By extending the concept to the audience badges, we invited viewers to become part of the narrative and reflect on how consumerism can quietly confine us all.

Boxed is about feeling trapped by the systems we create around ourselves. I wanted that idea to be reflected in every detail of the identity.For the ending credits, even the punctuation marks were designed as box shapes. It's a subtle choice, but it helps reinforce the film's theme of confinement and creates a more cohesive visual world.

To create the strongest emotional response, choosing the right frame was critical. We selected one of the film's most dramatic shot, where the protagonist's face is twisted with excitement and anticipation.The title Boxed itself carries a sense of restriction and negativity. By pairing it with an image of apparent joy, we created a visual contradiction. That tension invites curiosity and reflects the film's central theme: the pursuit of happiness through consumerism can often mask a deeper sense of confinement and emptiness.

My journalism background taught me to pay attention to details and look for clues within a story.When I first watched Boxed, I noticed how nostalgic the world felt. The warm color palette, along with details like the Dracula and AC/DC posters, created a very specific atmosphere. I wanted the title design to feel like it belonged in that world.That's when I discovered Herold Reklameschrift. Its vintage character matched the tone of the film perfectly and helped make the title feel like a natural part of the story rather than just a graphic element.

The film is about invisible forms of confinement, so I looked for ways to make that idea tangible at the premiere. Wristbands are something every guest expects to receive, and I realized they could become part of the narrative instead of just serving a practical purpose. By designing them to resemble handcuffs, we transformed a familiar event object into a visual metaphor for the film's themes. It was a small intervention, but it immediately placed the audience inside the world of Boxed and reinforced the feeling of being trapped by invisible systems.

I think Boxed is part of a broader shift in independent film marketing, where the goal is no longer just to advertise a story, but to expand its world beyond the screen.Rather than treating design as a separate marketing tool, we used it as part of the narrative itself. The visual identity, typography, and premiere experience all reinforced the film's themes.I am sure more independent films will use design not just as promotion, but as an opportunity to deepen audience engagement. A strong idea can often create a lasting impact, regardless of budget.

I think the film already contained that balance. Its world is warm, nostalgic, and visually inviting, yet the story is ultimately about confinement and emptiness. I embraced the vintage aesthetic through typography and color, while introducing box-like structures throughout the identity to create a sense of restriction. The contrast between comfort and confinement became the key design principle. Viewers are initially attracted by the nostalgic visuals, but gradually begin to feel the tension underneath, much like the protagonist's experience in the film.

It started with finding a shared understanding of the film's core idea. Through conversations with Director Alam Virk, we aligned on the theme of confinement and the hidden emptiness beneath consumer culture.From there, my role was to translate that idea into a visual system. Every design decision—from the typography to the premiere experience—was measured against the film's narrative and emotional tone.The goal wasn't to add a separate creative layer, but to extend the director's vision and make it more tangible for the audience.

The key was having a strong central idea. From the beginning, we defined Boxed as a story about confinement and the invisible systems that shape our lives.Every element, whether it was the VFX sequence, typography, posters, or premiere materials—was designed to support that idea. The executions varied, but the concept never changed.By staying focused on the same emotional message across every touchpoint, we were able to create a cohesive experience rather than a collection of separate design pieces.