Interviews with YiJun Jiang

I am a graphic designer and visual artist based in the United States and originally from Taiwan. I graduated from Savannah College of Art and Design, where I received her MFA in Graphic Design and Visual Experience. With 10 years of experience in both design and creative education, I was allowed to work and collaborate in professions from different disciplines and adapted myself to digital marketing and technology.

My passion lies in breaking down conventional barriers with innovative ideas and melding the worlds of design and art across a variety of mediums. I strive to create solutions that are not only visually compelling, but also engage audiences in a meaningful way. My philosophy centers on crafting distinct, culturally-informed, and unforgettable designs that make a true impact.

With a background in various industries, from corporations to education organizations and creative agencies, I have the flexibility and adaptability to tackle any challenge that comes my way.

I have always believed that I possess a free spirit, driven by a desire for personal growth and to experience different things. At the age of 15, I independently applied to an art school, spending my teenage years immersed in paints and charcoal. My parents were often unaware of my pursuits. During my university years, I participated in the Ministry of Education’s study abroad program, competing among the top 30 students nationwide. In the end, I only secured the thirtieth place in the animation category. After graduation, I made a decisive switch from animation to design. Before coming to the United States, I was a media art teacher at a school where I worked on animation promotion projects aligned with government and educational policies. Prior to that, I served as a visual designer at a PR company, often engaging in interdisciplinary design-related tasks.

1. Focus on the right problems.

2. Explore viable solutions.

3. Transform learned knowledge into feasible designs.

"Design isn’t finished until somebody is using it." — Brenda Laurel

Design is meant to solve problems. The most strategic designers understand that before arriving at conclusions, they must thoroughly grasp the issues. When I join a new project, I will establish a pattern of communication processes, allowing the company to familiarize itself with design methods and procedures first. For instance, through sketches or visual presentations, I will collaborate with project managers to define the project's vision. I will deeply engage the company in the design development process, starting from the company's goals and design problems, and executing work that satisfies both parties.

The main emotion when I design is curiosity. Additionally, I project into the internal emotions of the users experiencing the design theme. Projection often involves a deeply emotional process, considering the audience's life experiences, aesthetic preferences, and more. I love brainstorming ideas the most. There's no standard answer, and there are always endless possibilities. Because once the idea is conceived, the process of bringing it to life from scratch and the sense of accomplishment that comes with it are very important and also the most wonderful part.

Regarding my career journey, I attribute my current abilities to past experiences. During high school, where I pursued Art Gifted Class, I honed my sensitivity to color and light through oil painting, watercolor, and sketching. While studying at the Taiwan University of Art and living independently in Taipei, I seized every opportunity to earn money and gain valuable work experience. I worked as a photography assistant for cosmetic products, enhancing my skills in photo editing based on real-time client feedback. I also created animated components for the publishing industry using Flash animation software, gaining insights into animation production. Additionally, I video editing and do title cards for variety tv shows at a television company. I worked in school office designed posters for events. I taught children to draw in art studios. I worked for art auditions and send out press releases and media pass to journalists. As a certified teacher with 3 years’ experience in school, I developed teaching materials, designed lesson plans, and crafted educational content.

My career path has not been typical for a designer. Initially, I was a fine art student, then I transitioned to animator and visual designer before shifting to become an instructor. Now, I have settled into a role as a designer.

My future plan is to build my own personal brand and embark on a journey of influence and fulfillment! I aspire to make a positive impact on more people. My next plan is to create many excellent works, signature works, and advance my career to the 'Advanced' stage, achieving significant influence.

I wish to design projects that intersect with popular culture and involves interdisciplinary collaboration. Besides my design expertise, I have a passion for illustrating and a background in fine arts with professional training. I indulge in entertainment, enjoying various trends in fashion, movies, drama, and music. Being able to contribute to mainstream design as an advocate of artistic expression, whether in album covers, digital marketing, or thematic concepts, and collaborating with individuals from dance, literature, music, and theater, is what I find most fulfilling. I love engaging in creative exchanges with other like-minded individuals.

I have listed the skills and qualities that I believe beginning designers need to develop in order to succeed in today’s highly competitive industry:

1. In addition to honing technical skills and software proficiency, it is essential to prioritize in-depth research and analysis: Devoting time to researching topics and experiencing life in various contexts allows us to explore and leverage our personal perspectives. This helps create designs that strongly resonate with the theme and address the pain points within design problems, rather than just focusing on aesthetics.

2. After learning the rules of design, one must develop critical thinking: Many people say, “Art is created for oneself, while design is created for others.” Through my training in graduate school and scholarly pursuits, I’ve begun to question further: Why has this aesthetic or style become the design standard? Who defines what is beautiful and ugly? Is there truly only one standard for design? While training to be a designer and scholar in grad school, I also reconsider whether Modernism, expressed through the simplicity of form in “international” design that seeks to conform all the world to the same building norms, is truly the best approach or if it stifles the potential for diverse design possibilities.

3. Belief and determination are crucial: Practicing in the creative industry requires the belief to persevere and awareness that the medium is changing, and skills need to be updated over time. Therefore, choosing to be a designer must stem from genuine passion and not merely for employment or income. Proposals and outputs may not always succeed, but without trying, one cannot ascertain their potential. When you choose to keep going, every setback is merely a part of the journey, and young designers should focus on finding ways to reach their destination.

First to be a better communicator: Expressiveness not only involves conveying the message you genuinely intend but also ensuring the accuracy of the tone, particularly as English is not my native language. I often provide examples and include visual aids when seeking clarification. Utilizing language, body language, and visual aids, along with endless learning to build my own repository of knowledge, all contribute to effective communication. Additionally, being mindful of inadvertently expressing incorrect thoughts, which may lead to misunderstanding or hurt feelings, is crucial. For instance, instead of negatively expressing myself and dampening team morale, I prefer to adopt a tone that emphasizes collaborative goal achievement, fostering a positive communication atmosphere. Overly subjective perspectives can often hinder communication; therefore, approaching issues from the other person’s standpoint and considering the value I can offer them often leads to new insights.

Second to have representative work: Often during self-introductions, stating, “Hi, everyone, I’m YiJun, a designer,” lacks memorability. Having a signature piece, creating one’s own work, underscores the deeper meaning of learning to create one’s own value and leveling up one’s worth. More importantly, learning how to articulate and convey one’s value succinctly is key.

This is the challenging point that I am currently defining. At each stage of life, my representative work at teenage will inevitably differ from that at twenties, and as a 31-year-old, I am still defining and creating my defining piece in my early thirties.

In this era, designers must prove themselves through their work, but I aspire to possess real skills rather than merely flaunting words. I ask myself how I can work faster or better than other designers. Currently, I have two methods: 1. Learning to seek help. Asking peers or those more skilled for shortcuts or ways to avoid pitfalls. 2. Continuously trial and error. Some fear making mistakes, progressing slowly, procrastinating, and postponing changes until reminded by others. I believe my greatest strength lies in my fearlessness of failure. Even if I fail, I analyze why, optimize, and improve. Embracing rejection or failure is okay because failing and getting back up may still be faster or learnt more than remaining stagnant, as I may have already made several attempts.

At 9 AM, I brew a cup of coffee and start creating and working from home. Simultaneously, I check for new messages, faxes, and meeting materials. Of course, a busy day wouldn't be complete without delicious meals. This includes progress presentations and team discussions, sometimes recorded through hand-drawn sketches to capture ideas. I also make time to visit exhibitions. In the evening, I prepare a delicious dinner for myself and either go to the gym for a workout or go for a night run. Before bed, I light some candles to enjoy the night.

A designer's daily life actually involves constantly doing homework to gather inspiration. They snap photos of interesting typography on signs while walking down the street, visit exhibitions to see how materials are used to present entire spatial scenes, and save design images seen on social media that catch their eye. Additionally, I believe inspiration comes from life experiences. By experiencing different lifestyles and stepping out of comfort zones, enriching one's life experiences naturally leads to the inspiration for creating excellent works.

I use platforms like Pinterest, Dribbble, and Behance to view others' works, while following contemporary designers on LinkedIn or Instagram can provide insights into current trends in business. I learn to "see" and cultivate a sense of design aesthetics. AIGA and Graphis offer insights into the context of designer associations. Additionally, visiting libraries to browse books or simply reading text can sometimes yield unexpected insights. However, I believe the most important thing for a creator is to experience and feel life deeply.I use platforms like Pinterest, Dribbble, and Behance to view others' works, while following contemporary designers on LinkedIn or Instagram can provide insights into current trends in business. I learn to "see" and cultivate a sense of design aesthetics. AIGA and Graphis offer insights into the context of designer associations. Additionally, visiting libraries to browse books or simply reading text can sometimes yield unexpected insights. However, I believe the most important thing for a creator is to experience and feel life deeply.

Graphic Design is a pan-discipline and a bridge of communication. For me, a good design has influenced many aspects such as communication, psychology, social sciences, history, scientific and technological literacy, moral ethics, rational demonstration and so on. A good design can be concretely tangible or very abstract and invisible. Those forms are all intermingled with the design. Design can be emotional, but at the same time, it could be so logical and rational. What the most is that rationality should be used to support the strong relevance behind and the support and counter-evidence of mutual influence.

Firstly, I will assess whether the style portrayed in the work is correct, whether the design effectively conveys the brand's intended style, and whether it fits the needs of its target audience. Next, does the design communicate seamlessly? Here, 'seamlessly' refers to whether people encounter any discomfort while reading or using something. Is it visually appealing? Does it feature harmonious composition, elegant layout, precise alignment, and pleasing color combinations? After a series of thoughtful considerations and judgments, I will conclude whether my design is ready for public review.

"Uncover the Imagined Community" is my MFA thesis project, a series of works designed to explore how viewers perceive different aspects of values, using design as a manifestation of cultural expression. My work investigates the intersection of my personal experiences with culture and humanity. Throughout history, definitions of beauty, ugliness, good, and evil have often been dictated by those in power.

A key element in my creations is the concept of "value shift." In cultural contexts, "value" gradually evolves over time as each work becomes integrated into the historical framework. In "Imagined Community: Taiwanese Faith in Values," a nation is portrayed as an imagined political community, inherently limited and sovereign. In recent decades, the value of currency has been determined by the public, rendering paper money itself essentially worthless. This is evident in the history of Taiwanese currency, closely tied to shifts in political power. For instance, during the post-war hyperinflation period, people lost faith in both currency and government credibility, turning to materialism in their religious beliefs. My experimental currency showcases the gods most worshipped by Taiwanese believers on the front and the virtues most esteemed by contemporary Taiwanese citizens on the reverse side. When these images resonate and are translated into the language of money, the concept of "mutual belief" seamlessly integrates into people’s lives.

In my works, "Life in Objects Taiwan Daily Postage" portrays everyday objects as cultural symbols, evoking nostalgia through imagery featured on postage stamps. The images crafted in my work are dynamic, metaphorical, and intricate, exemplified in "Transitional Reality: A Journey of the Taiwan Nationality," which examines how perceptions of nationality and identity can evolve over time. The transition between political parties during Taiwan’s White Terror period is depicted through a gradient on experimental passports transitioning from white and blue to green.

For me, the function of graphic design is to translate ideas into visually comprehensible forms that influence people’s perceptions of specific issues. In an era dominated by technology and social media, this ability is amplified. Ultimately, designers often do not control the dissemination of information. As design becomes increasingly visible, it is worthwhile to explore how designers perceive their value and the challenges they face.

My favorite designer currently is Stefan Sagmeister. I particularly admire his works, such as the feature-length documentary called "Happy Film" and its associated project "The Happy Show." These exhibitions toured ten museums worldwide and ultimately became the most attended video exhibition in history. Stefan Sagmeister's designs increasingly focus on human emotions such as beauty, happiness, social phenomena, and contemplations on the broader world. "Emotion" is a central concept in Sagmeister's designs, evoking strong feelings. I deeply resonate with the idea that art and design should be human and emotional, which highlights the distinction between humans and machines, including AI.

I am originally from Taiwan. Taiwan is a multicultural immigrant society. Once, during my graduate studies, I discussed with American classmates the phenomenon of the fusion of Buddhism and Taoism in temples. It was astounding for my Christian classmates to see Buddhist bodhisattvas and Taoist deities coexisting in the same temple. Additionally, in Taiwan, banks and registered mail still require a name seal or corporate seal to verify identity; signatures are not accepted. However, procedures can be completed directly through ATMs and online platforms. Taiwan is a blend of old and new, considered one of the most progressive places in Asia yet deeply traditional. I believe this background allows my design style to be diverse and incorporate a mixture of elements.

I currently work at a digital marketing company with teams across different departments. In the future, with my own studio, I envision clients who share core values, advocate consistent value propositions, and are willing to invest in their brands, understanding the impact of branding. I believe that designing to create value for both parties requires integrating brand thinking, helping clients understand why design matters and what problems it solves.

I think that even the most beautiful design is useless if it doesn't solve clients' problems. Design needs to have a soul, focused on solving problems for clients; thus, 'useful design' is my business philosophy. An ideal work environment for me is vibrant, adaptable, and tolerant, fostering creativity and innovation.

Regarding expectations for future partners, I believe everyone can be a leader in their own ways. Growth happens naturally when we embrace it. Learning to think logically with strategies, a good designer constantly gathers ideas, refines them, and applies them.

As a designer, I feel a sense of social responsibility. I hope to serve society and express views on social issues through my work alongside other designers and artists. Nowadays, when media mentions design, it often overlooks its role in society. Graphic design, as a medium, can voice opinions to society. In today's era of design, works can spread more quickly and widely, amplifying the impact of designers' spontaneous exploration and creation in sociological, cultural, and commercial realms. Artists must be more vigilant about visual imagery and cultural symbols.

Winning a A’ Design Award is an effective way to expand one's network, establish recognition, and open up other opportunities. For designers, it is crucial to ensure that their work resonates with contemporary audiences to avoid becoming self-contained. Therefore, receiving such an award can be incredibly exhilarating.

The main principle behind the Saia 100 Year Museum Truck design is to celebrate and educate the public about Saia’s century-long legacy in the trucking industry. The idea is to create a mobile exhibition that effectively communicates Saia's evolution and milestones through an engaging and interactive experience.

The inspiration for the design stems from the rich history of the automotive and trucking industries in the United States. The truck draws from Saia’s transformation from a modest produce-selling business to a prominent logistics company, reflecting key historical events such as the Great Depression and the Motor Carrier Act of 1980. This historical journey is presented through a series of immersive exhibits and interactive elements that connect Saia’s past to its present and future, while also highlighting its impact on American trucking history.

The main focus in designing the Saia 100 Year Museum Truck was to create a compelling and interactive mobile exhibition that effectively conveys Saia's rich history and its significant role in the trucking industry. The key goals were:

Immersive Storytelling: To transport visitors through Saia’s century-long journey, showcasing pivotal moments in its history and the broader context of the trucking industry. The design aims to engage visitors with a narrative that reflects Saia’s growth, achievements, and contributions.

Interactive Engagement: To incorporate interactive elements that enhance the visitor experience, making history tangible and engaging. Features such as simulators, interactive signs, and hands-on exhibits are designed to capture attention and educate visitors in an engaging way.

Educational Impact: To provide a comprehensive educational experience about Saia and the history of trucking. This includes displaying brand artifacts, historical advertisements, and interactive exhibits that offer insights into Saia’s evolution and the logistics industry.

Nationwide Outreach: To travel across the country and reach a broad audience, engaging communities in various cities with the mobile museum. The design facilitates easy setup and operation at multiple locations, ensuring that the exhibition can effectively communicate its message wherever it goes.

The Saia 100 Year Museum Truck aims to travel across the country and reach a broad audience, engaging communities in various cities with the mobile museum to sustain its relevance and broaden its educational impact. By visiting multiple locations, the truck ensures that the exhibition can effectively communicate its message wherever it goes. This ongoing journey not only highlights Saia’s rich history but also fosters a deeper appreciation for the evolution of the trucking industry, continuously inspiring and educating diverse audiences throughout its tour.

Designing the Saia 100 Year Museum Truck took approximately 5 months from conceptualization to final design. This timeline included extensive research, historical fact-checking, and collaboration with experts to curate the exhibits. The design process also involved creating detailed plans for the truck's layout, interactive elements, and technological features, as well as coordinating with production teams to ensure the successful realization of the mobile museum.

The design was commissioned by Saia to commemorate their centennial anniversary and to celebrate their significant contributions to the trucking industry. Beyond the commission, the concept was inspired by the dynamic landscape of the American automotive and trucking industries. The design aimed to reflect Saia’s journey from a modest start to becoming a major logistics player, incorporating historical milestones and the broader context of trucking history. The inspiration also came from the desire to create an immersive and interactive experience that would make Saia’s legacy accessible and engaging to a wide audience.

The Saia 100 Year Museum Truck is a custom-designed project created specifically for Saia, and it is currently being used exclusively by them. The design is not being produced or used by any other company.

Designing the Saia 100 Year Museum Truck was driven by several key factors:

The primary motivation was to commemorate Saia’s centennial anniversary. The desire to educate the public about Saia's evolution and the broader trucking industry inspired the creation of a mobile museum. A mobile museum was chosen to reach a wide and diverse audience across various locations. The design aimed to preserve and showcase Saia’s history in a way that is both engaging and informative.

The design of the Saia 100 Year Museum Truck was influenced by a variety of sources and design principles. The truck features versatile layouts that maximize the use of limited space. Additionally, inspiration was drawn from trends in interactive and immersive exhibit design, incorporating elements such as simulations, multimedia displays, and hands-on activities to enhance visitor engagement.

The target audience for the Saia 100 Year Museum Truck primarily includes:

General Public: The mobile museum aims to engage a broad audience across various cities, including individuals interested in learning about trucking history and Saia’s contributions to the industry.

Saia Customers and Partners: The design also targets Saia’s existing customers, partners, and stakeholders, offering them a deeper connection with the company and its history.

Local Communities: The truck brings the museum experience directly to local communities, making it accessible to those who might not visit a stationary museum.

The museum is deeply intertwined with Saia's own 100-year history, reflecting the broader narrative of American trucking. It combines Saia's evolution with key moments in U.S. transportation history, offering a rich, contextual experience. Unlike typical static exhibits, this museum includes interactive elements such as a truck simulator with a live-streamed perspective, interactive signs, and a child-friendly pegboard. These features engage visitors in a dynamic and participatory manner. The design transforms a trailer into a fully functional museum with features like a 70-inch screen resembling a billboard, ambient sound systems, and detailed exhibits, all within the confines of a mobile unit.

​​The name "Saia 100 Year Museum Truck" was chosen to succinctly capture the essence and purpose of the mobile museum.

SketchUp is used for detailed design and layout planning of the truck’s interior and exterior. Adobe Illustrator and Photoshop are used for designing the visual elements. For the physical construction of the truck, tools like CNC machines, laser cutters, and other fabrication equipment are used to create custom parts and features.

Transforming a truck into a fully functional museum on wheels is an innovative approach, allowing the exhibition to travel across the country and reach diverse audiences. This mobility extends the museum's reach far beyond a fixed location.

We work as a team. Graphic Designers, writers, 3D Modelers and Animators, Project Managers, and Fabricators and Construction Teams all contribute their expertise to ensure that every aspect of the Saia 100 Year Museum Truck is meticulously crafted and executed. This collaborative effort brings together diverse skills and perspectives.

Technology is central to the Saia 100 Year Museum Truck, driving its interactive exhibits, immersive simulations, and dynamic visual and audio experiences. It enhances visitor engagement through digital displays, interactive signage, and a sophisticated audio-visual system, while also ensuring operational efficiency with environmental controls and reliable backup systems.

Yes, the design of the Saia 100 Year Museum Truck is influenced by data and analytical research. We conducted extensive research into Saia’s history and the broader context of American trucking, analyzing audience demographics and interests to ensure the museum's content and interactive elements were engaging and educational. This data-driven approach informed the design and content, ensuring that the museum meets both educational goals and audience engagement needs.

During the design and realization of the Saia 100 Year Museum Truck, we faced several challenges, including the need to reconstruct and present historical content with limited original materials, ensuring accurate and engaging representation of Saia’s legacy. Additionally, integrating advanced interactive technologies into a confined mobile space required careful planning and adaptation. Balancing historical accuracy with interactive elements and managing the logistics of a nationwide tour presented further complexities that required innovative solutions and meticulous coordination.

We decided to submit our design to an international design competition to showcase the innovative aspects of the Saia 100 Year Museum Truck and gain broader recognition for our work. The competition provided an opportunity to highlight our unique approach to mobile exhibition design, engage with a global audience, and receive feedback from industry experts. Submitting the design allowed us to celebrate the project's success, demonstrate our commitment to excellence, and connect with other professionals in the field.

I gained insights into managing the complexities of designing within a constrained mobile space, balancing functionality with engaging aesthetics. Additionally, I improved my skills in coordinating multidisciplinary teams, and leveraging research to inform design decisions, all of which contributed to enhancing both my design expertise.

Beyond its innovative design and interactive features, the museum truck plays a crucial role in engaging diverse audiences across the country. By traveling to 34 cities and covering over 11,000 miles annually, it not only educates the public about Saia’s rich history but also raises awareness of the broader trucking industry and its evolution.

I am a graphic designer and visual artist based in the United States and originally from Taiwan. I graduated from Savannah College of Art and Design, where I received her MFA in Graphic Design and Visual Experience. With 10 years of experience in both design and creative education, I was allowed to work and collaborate in professions from different disciplines and adapted myself to digital marketing and technology.

My passion lies in breaking down conventional barriers with innovative ideas and melding the worlds of design and art across a variety of mediums. I strive to create solutions that are not only visually compelling, but also engage audiences in a meaningful way. My philosophy centers on crafting distinct, culturally-informed, and unforgettable designs that make a true impact.

With a background in various industries, from corporations to education organizations and creative agencies, I have the flexibility and adaptability to tackle any challenge that comes my way.

As a youngster, I was enamored with drawing and contemplated three career paths: artist, art teacher, and designer. Initially, I aspired to be an artist, but concerns about economic instability led me to briefly consider teaching. However, my innate desire for creativity persisted. After navigating through various challenges, I ultimately chose to pursue a career as a designer.

Being a designer has never been a forced decision for me. There are three major reasons why I chose to step into the creative industry. Firstly, being a designer is a process of self-discovery. Just like enjoying and supporting design, it's a wonderful experience that signifies our need for life. Secondly, it allows me to be highly focused and creative. This is a very fortunate thing for me. Thirdly, the career path of graphic design is unpredictable. Seeing your own work in the spotlight reshapes the way you view things.

I love brainstorming ideas the most. There's no standard answer, and there are always endless possibilities. Because once the idea is conceived, the process of bringing it to life from scratch and the sense of accomplishment that comes with it are very important and also the most wonderful part.

Learn to "see" and cultivate a sense of design aesthetics. Platforms like Pinterest, Dribbble, and Behance allow you to view others' works, while following contemporary designers on LinkedIn or Instagram can provide insights into current trends in business. AIGA and Graphis offer insights into the context of designer associations. Additionally, visiting libraries to browse books or simply reading text can sometimes yield unexpected insights. However, I believe the most important thing for a creator is to experience and feel life deeply.

I enjoy learning about various trivia and folk stories. If I had to categorize my work, I think it would heavily utilize cultural symbols. I first understand them with my emotional heart and then design with rationality. For me, artworks can carry memories, emotions, and lifestyle habits.

Design is an attitude and design is a spirit. Whomever a graphic designer serves, in order to complete a good design. The designer has to prepare all kinds of investigation and elements and do his or her job from the moment he or she takes over the design. This process may not be easy and sometimes frustrating. A Designer should realize that this process is necessary and must not be ignored. This extremely attentive and careful attitude can be learned and practiced through design. When we, designers, constantly pursue the meaning of design, we will eventually realize that it can be embodied almost anywhere. If we introduce the concepts and logic of design, we will find that everything will be smarter and more convenient. It is this “not satisfied with the status” spirit that can keep us moving forward or think about and revalue the circumstance. When we encounter problems, we always find better ways to solve them, which can also improve the lives of people around us.

Graphic Design is a pan-discipline and a bridge of communication. For me, a good design has influenced many aspects such as communication, psychology, social sciences, history, scientific and technological literacy, moral ethics, rational demonstration and so on. A good design can be concretely tangible or very abstract and invisible. Those forms are all intermingled with the design. Design can be emotional, but at the same time, it could be so logical and rational. What the most is that rationality should be used to support the strong relevance behind and the support and counter-evidence of mutual influence.

I enjoy learning about various trivia and folk stories. If I had to categorize my work, I think it would heavily utilize cultural symbols. I first understand them with my emotional heart and then design with rationality. For me, artworks can carry memories, emotions, and lifestyle habits.

I enjoy design that intersects with popular culture and involves interdisciplinary collaboration. Besides my design expertise, I have a passion for illustrating and a background in fine arts with professional training. I indulge in entertainment, enjoying various trends in fashion, movies, drama, and music. Being able to contribute to mainstream design as an advocate of artistic expression, whether in album covers, digital marketing, or thematic concepts, and collaborating with individuals from dance, literature, music, and theater, is what I find most fulfilling. I love engaging in creative exchanges with other like-minded individuals.

It is important to have the ability to think independently, learn independently, and make independent judgments. Try to have extensive exposure to various industries and communities, gathering diverse and fresh information. For me, it means perseverance - persisting for one more second when others give up, and taking responsibility for my own work.

I have a deep appreciation for innovative and expressive approaches in design. I enjoy Giorgia Lupi's visual narratives, which maintain the complexity of data in a humanistic way, using personal timelines and trackers that break stereotypes about what data should look like. I love David Carson’s approach to embracing typography as an expressive medium. Carson’s pioneering work in typography breaks conventional rules, using type as a powerful medium for expression. I look forward to Jessica Walsh’s bold, emotional, and provocatively playful style. I am inspired by a design philosophy that values complexity, expressiveness, and emotional engagement.

My favorite design work comes from Stefan Sagmeister, particularly his feature-length documentary called "Happy Film" and its associated project "The Happy Show." The exhibitions toured ten museums worldwide and ultimately became the most attended video exhibition in history. Stefan Sagmeister's designs increasingly focus on human emotions such as beauty, happiness, social phenomena, and contemplations on the broader world. "Emotion" is a concept in Sagmeister's designs that evokes strong feelings. I deeply resonate with the idea that art and design should be human and emotional, which underscores the distinction between humans and machines, including AI.

"Uncover the Imagined Community" is my MFA thesis project, a series of works designed to explore how viewers perceive different aspects of values, using design as a manifestation of cultural expression. My work investigates the intersection of my personal experiences with culture and humanity. Throughout history, definitions of beauty, ugliness, good, and evil have often been dictated by those in power.

A key element in my creations is the concept of "value shift." In cultural contexts, "value" gradually evolves over time as each work becomes integrated into the historical framework. In "Imagined Community: Taiwanese Faith in Values," a nation is portrayed as an imagined political community, inherently limited and sovereign. In recent decades, the value of currency has been determined by the public, rendering paper money itself essentially worthless. This is evident in the history of Taiwanese currency, closely tied to shifts in political power. For instance, during the post-war hyperinflation period, people lost faith in both currency and government credibility, turning to materialism in their religious beliefs. My experimental currency showcases the gods most worshiped by Taiwanese believers on the front and the virtues most esteemed by contemporary Taiwanese citizens on the reverse side. When these images resonate and are translated into the language of money, the concept of "mutual belief" seamlessly integrates into people’s lives.

In my works, "Life in Objects Taiwan Daily Postage" portrays everyday objects as cultural symbols, evoking nostalgia through imagery featured on postage stamps. The images crafted in my work are dynamic, metaphorical, and intricate, exemplified in "Transitional Reality: A Journey of the Taiwan Nationality," which examines how perceptions of nationality and identity can evolve over time. The transition between political parties during Taiwan’s White Terror period is depicted through a gradient on experimental passports transitioning from white and blue to green.

For me, the function of graphic design is to translate ideas into visually comprehensible forms that influence people’s perceptions of specific issues. In an era dominated by technology and social media, this ability is amplified. Ultimately, designers often do not control the dissemination of information. As design becomes increasingly visible, it is worthwhile to explore how designers perceive their value and the challenges they face.

For me, trying to become a better designer means striving to be a better person. Yes, it sounds clichéd. Every designer, whether in advertising or product design, deals with a variety of issues related to daily life and ultimately addresses human needs, regardless of the scale of the problem.

The day I realized I was becoming a better designer was the day I began exploring industries outside of design. I started reading books and listening to podcasts about philosophy, psychology, art, history, and even science and finance. From that day on, I no longer confined myself to interactions with a narrow circle but enjoyed making friends with people from diverse fields and backgrounds.

As Walt Whitman said: stay curious, not judgmental. Endless curiosity and an open mind are among the most important qualities of a great designer.

I was an art teacher and might end up being a professor. I was an animator and an illustrator. I could be a researcher, a writer, an influencer, a photographer, or an artist. There are so many possibilities. Even now, as a designer, I believe I can still embrace other roles and career opportunities.

Design itself is the process of turning creativity and ideas into something feasible and visible to the world. A designer possesses the ability to capture the essence and insight of things. For me, inspiration comes from life. Sometimes, what others overlook in daily life can become excellent design ideas.

Family and friends are my greatest support. In particular, my parents and younger brother are there for me during my moments of sadness, offering support and encouragement in times of difficulty, and sharing in my joy when I achieve something. Of course, there are times when we experience friction, conflicts, or differing opinions, but they ultimately respect my decisions after careful consideration. I also hope to provide them with the same support and encouragement.

For me, "attitude" is key to becoming a great designer. The outstanding designers I’ve collaborated with were proactive in communication, patient, and calm, making it very comfortable to work with them. As a result, projects ran smoothly, and overall work efficiency was greatly enhanced. Of course, having a good attitude doesn't mean simply yielding to clients' demands, but rather patiently listening to their concerns and actively proposing more suitable improvements from a professional perspective. For unreasonable requests, it’s important to address them with a gentle yet firm attitude. So now, I see design as a role that combines consultation, execution, and coordination. I hold myself to the same standard.

Time is always the biggest issue. In a comedy show, a young comedian jestingly remarked, “It’s so sad that a person can be both broke and busy, lacking not only money and career but also time.” Though humorous, this concept of being “poor and busy” reflects the reality for many. What benefits can time truly bring me? This is currently my utmost concern and what I strive to optimize. With work being demanding, I also spend my evenings and weekends registering for design competitions, and attending various interviews. Sometimes, I feel like a spinning wheel, constantly rotating until I reach my destination or encounter an obstacle. As a creator, achieving work-life balance is challenging because your life is partially your creation.

Designers must fully convey their creative ideas in their work. The images and descriptions of the work should clearly express the design intent. Conceptual and clear design thinking are essential. The presentation of the work is equally important; whether the rendered images, contextual images, videos, or interactive media are engaging enough matters greatly. The form of the work should align with the theme. I believe modern designers are more courageous in expressing their views and perspectives on phenomena, and they skillfully integrate these into their work.

I will continue to create great and insightful works. I believe designers need to move the upstream of industries and participate in brand/organization planning to bring about some transformation! Through design thinking, I have developed a new perspective: 'It seems that there is always a chance to find a better way to do things.' I hope to bring value to society and culture as a design leader.

People often have high expectations of me and other exceptional designers regarding our output or delivery. For instance, our work should push boundaries, help clients think outside the box, and provide innovative solutions that are not only functional but also visually appealing. We should also be capable of leading a team and clearly communicating design concepts and decisions to clients, stakeholders, and team members. Additionally, I believe that, beyond these qualities, a respected designer typically contributes to setting trends and influencing the design industry.

Designers can encourage civic engagement and address social issues. Design can be used to tackle pressing social issues such as public health, poverty, and inequality by creating solutions that address specific needs and challenges. For example, co-design in civic meetings is a more open, equitable approach that incorporates professional opinions and fosters collaborative participation. On the other hand, while interactive design is intended to be interactive, the issues are often predetermined by the designer, with users providing feedback within this framework. This approach may not be sufficient for understanding complex social problems.

I enjoy design that intersects with popular culture and involves interdisciplinary collaboration. Besides my design expertise, I have a passion for illustrating and a background in fine arts with professional training. I indulge in entertainment, enjoying various trends in fashion, movies, drama, and music. Being able to contribute to mainstream design as an advocate of artistic expression, whether in album covers, digital marketing, or thematic concepts, and collaborating with individuals from dance, literature, music, and theater, is what I find most fulfilling. I love engaging in creative exchanges with other like-minded individuals.

Generative art is an inevitable direction for the future, where creations are based on data or sometimes generated randomly. If designers can repurpose these concepts and frameworks to create new visual effects or challenge the boundaries between "technology" and "art," I am very much looking forward to seeing that.

With the assistance of AI, comprehensive designers can leverage it to generate initial collaborative works such as proposals, blueprints, marketing strategies, and legal document drafts. This enables them to communicate more accurately with other departments and even lead and influence them using these initiatives and ideas, thereby transforming into more powerful leaders. Generalist designers will have a greater advantage. Designers will transition into roles as promoters and initiators.

Each project is unique, and depending on its complexity and scope, some pieces may be completed in a matter of hours, while corporate projects involving different departments and divisions could take weeks or even months.

First step, "empathy", standing in the other's shoes to understand what the user is thinking. People don't approach everything with functionality or a detached perspective; they view things emotionally. Second is analysis and research, hoping the elements in the visuals can tell a story. Each project is customized and unique, with different goals and issues.

My life motto as a designer is "Be True to Your Work, and Your Work Will Be True to You" because I have always taken my work and every project I undertake very seriously. For me, creating great work not only fulfills myself but also honors my clients and those who appreciate my creations. By giving my all each time, my work has a better chance of being noticed. These small accumulations often lead to more opportunities and chances in life.

This is a reciprocal relationship. Design can lead new trends, while existing trends can shape the direction of new designs. Both influence each other in a continuous cycle of innovation and adaptation.

Technology has provided new mediums and tools that enable design to transcend traditional limits, creating unprecedented experiences and products. For example, powerful computing models and high-speed networks have shifted communication from being primarily text-based to becoming mainstream with videos and images. Videos have evolved from 3:4 to 16:9 aspect ratios and now to vertical short videos optimized for mobile devices. Similarly, printing has transitioned to digital production, among countless other examples.

Adobe Suite

MacBook

iPad

Canon camera

Figma

Color can enhance the atmosphere of an environment, express emotions, and reflect the history and culture of a region. The arrangement of colors or textures can also alter people's perception of a space. As an expressive tool, color can combine with materials and ambient to create endless possibilities.

I enjoy it when people ask, “Why did you make this design decision?” because I always have reasons behind every approach and solution I provide. By sharing my thoughts, I can gain more insights from others.

I feel inspired when I receive feedback. It prompts me to rethink my own designs and creativity, identifying areas for improvement. I feel happy for the designer who created something great and hope that I can produce equally good or even better designs and products.

I currently work at a digital marketing company with teams across different departments. Regarding expectations for design partners, I believe everyone can be a leader in their own ways. Growth happens naturally when we embrace it. Learning to think logically with strategies, a good designer constantly gathers ideas, refines them, and applies them.

Yes, I believe in co-design. When designers get closer to future users, they can provide their perspectives and experiences of reality. By using co-design, designers become more attuned to the end users. The role of researchers or designers shifts from being translators to facilitators.

Change by Design: How Design Thinking Transforms Organizations and Inspires Innovation

Human nature is the starting point of design thinking, focusing on "human-centered design"; culture is the source of design thinking, pursuing "cultural creativity." Therefore, modern designers must integrate "empathic technology" with "human-centered design" to create a culturally creative and humanized organization and living environment. In today’s "experience economy," people have shifted from passive consumers to active participants. Design thinking is centered around people, using empathy and understanding to design experiences that create opportunities for active involvement and engagement. One of the most striking points in the book is the idea that "the sooner you fail, the sooner you succeed." The book emphasizes the importance of taking action, suggesting that the ability to take the first step courageously, regardless of success or failure, means that time becomes a valuable asset. Combining ideas with action is everything.

I believe that becoming a master designer requires prioritizing "action-oriented" approaches and "courageous advice." As a master designer, there are many eyes watching: how will you perform? How will you impact and bring about change for the team? Furthermore, if you want to pursue specific goals, you need to voice your interests directly to your supervisor and express your eagerness to participate in projects that excite you. Additionally, it’s important to create your own continuous learning mechanism. While exploring various avenues is beneficial, the focus should be on the cumulative effect of your work and gaining a deeper understanding of yourself and clarifying your direction through practical experience and learning.

Winning awards is an effective way to expand one's network, establish recognition, and open up other opportunities. For designers, it is crucial to ensure that their work resonates with contemporary audiences to avoid becoming self-contained. Therefore, receiving such an award can be incredibly exhilarating. Yes, being famous can be quite challenging and often involves a combination of talent, timing, persistence, and sometimes a bit of luck. The path to fame usually requires significant effort and dedication.

For me, finding solutions to design challenges or overcoming creative blocks can be highly satisfying. To motivate myself, I break down large projects into smaller, manageable tasks and set specific, achievable goals to stay focused and motivated.

I have always believed that I possess a free spirit, driven by a desire for personal growth and to experience different things. At the age of 15, I independently applied to an art school, spending my teenage years immersed in paints and charcoal. My parents were often unaware of my pursuits.

As a teenager, I was enamored with drawing and contemplated three career paths: artist, art teacher, and designer. Initially, I aspired to be an artist, but concerns about economic instability led me to briefly consider teaching. However, my innate desire for creativity persisted. After navigating various challenges, I finally chose to pursue a career as a designer.

I envision that future design will create systems and products that are in perfect harmony with the environment. As Earth's limited resources become scarcer, future designs will undoubtedly be based on regenerative and waste-free materials and processes. Additionally, the distinction between physical and digital will become even more blurred. Design will be created in virtual spaces, leading to new forms of artistic expression and interaction. Finally, interdisciplinary integration is bound to happen and is already occurring: design will increasingly blend with fields such as neuroscience, bioengineering, and computing, leading to new design methods and tools that go beyond our current imagination.

My Contact Info:

Website: https://jyijun.com/

Instagram: https://www.instagram.com/yijunjiang0820/

Linkedin: https://www.linkedin.com/in/yijunjiang/

I am a graphic designer and visual artist based in the United States and originally from Taiwan. I graduated from Savannah College of Art and Design, where I received her MFA in Graphic Design and Visual Experience. With 10 years of experience in both design and creative education, I was allowed to work and collaborate in professions from different disciplines and adapted myself to digital marketing and technology.

My passion lies in breaking down conventional barriers with innovative ideas and melding the worlds of design and art across a variety of mediums. I strive to create solutions that are not only visually compelling, but also engage audiences in a meaningful way. My philosophy centers on crafting distinct, culturally-informed, and unforgettable designs that make a true impact.

With a background in various industries, from corporations to education organizations and creative agencies, I have the flexibility and adaptability to tackle any challenge that comes my way.

The company I currently work for is Bridgenext, a global digital consultancy. Bridgenext helps clients innovate with intention and realize their digital aspirations by creating digital products, experiences, and solutions tailored to real people's needs. With consulting and delivery teams across the U.S., Canada, and India, Bridgenext facilitates highly strategic digital initiatives on a global scale. As a graphic designer, my responsibilities include creating engaging work across various mediums such as Brand Identity, Website, Online Display, Print, Out-Of-Home, Social, Experiential, and Video. I am involved in the entire design process, from conceptualization to final product.

Graphic Design is a pan-discipline and a bridge of communication. For me, a good design has influenced many aspects such as communication, psychology, social sciences, history, scientific and technological literacy, moral ethics, rational demonstration and so on. A good design can be concretely tangible or very abstract and invisible. Those forms are all intermingled with the design. Design can be emotional, but at the same time, it could be so logical and rational. What the most is that rationality should be used to support the strong relevance behind and the support and counter-evidence of mutual influence.

I enjoy designing themes that span across life, culture, humanization, and humor. I am open to different possibilities in terms of media and materials. Often, the most effective designs start with a purpose; the medium is merely a means to an end.

My favorite design work comes from Stefan Sagmeister, particularly his feature-length documentary called "Happy Film" and its associated project "The Happy Show." The exhibitions toured ten museums worldwide and ultimately became the most attended video exhibition in history. Stefan Sagmeister's designs increasingly focus on human emotions such as beauty, happiness, social phenomena, and contemplations on the broader world. "Emotion" is a concept in Sagmeister's designs that evokes strong feelings. I deeply resonate with the idea that art and design should be human and emotional, which underscores the distinction between humans and machines, including AI.

I remember the first thing I designed for my company was a series of brochures for Siemens Energy.

As a visual thinker and designer, my favorite platform is Instagram. Before Instagram's rise, the primary social media were blogs and Facebook. Through the evolution of these platforms, I've witnessed shifts in how messages are conveyed—from long articles to short text messages, and now to Instagram, where photos take center stage. I find the visual-centric communication style intuitive and an excellent channel for self-expression.

I love brainstorming ideas the most. There's no standard answer, and there are always endless possibilities. Because once the idea is conceived, the process of bringing it to life from scratch and the sense of accomplishment that comes with it are very important and also the most wonderful part.

Balancing functionality (usability) and form (aesthetics) is of utmost importance to me. To quote Muriel Cooper, "Information is only useful when it can be understood." Graphic design involves manipulating visual presentation and problem-solving through elements such as typography, photography, iconography, and illustration. Concepts like creating visually appealing designs that evoke user emotions and storytelling through design have existed since ancient times.

The main emotion when I design is curiosity. Additionally, I project into the internal emotions of the users experiencing the design theme. Projection often involves a deeply emotional process, considering the audience's life experiences, aesthetic preferences, and more.

When my designs are realized, I feel happy because I find my audience and have the opportunity to understand those who "like" my works on the other end. This helps me determine which words and visuals are effective and how I can improve my expression to connect and achieve mutual understanding with them.

Design is an attitude and design is a spirit. Whomever a graphic designer serves, in order to complete a good design. The designer has to prepare all kinds of investigation and elements and do his or her job from the moment he or she takes over the design. This process may not be easy and sometimes frustrating. A Designer should realize that this process is necessary and must not be ignored. This extremely attentive and careful attitude can be learned and practiced through design. When we, designers, constantly pursue the meaning of design, we will eventually realize that it can be embodied almost anywhere. If we introduce the concepts and logic of design, we will find that everything will be smarter and more convenient. It is this “not satisfied with the status” spirit that can keep us moving forward or think about and revalue the circumstance. When we encounter problems, we always find better ways to solve them, which can also improve the lives of people around us.

Graphic Design is a pan-discipline and a bridge of communication. For me, a good design has influenced many aspects such as communication, psychology, social sciences, history, scientific and technological literacy, moral ethics, rational demonstration and so on. A good design can be concretely tangible or very abstract and invisible. Those forms are all intermingled with the design. Design can be emotional, but at the same time, it could be so logical and rational. What the most is that rationality should be used to support the strong relevance behind and the support and counter-evidence of mutual influence.

For me, the function of graphic design is to translate ideas into visual representations that others can comprehend, influencing people's perceptions of specific issues. In an era dominated by technology and social media, this ability is amplified. After all, designers often control the dissemination of messages, and therefore bear a certain social responsibility for the content they communicate. Throughout history, definitions of beauty, ugliness, goodness, and evil have been determined by the powerful. As George Orwell wrote in his renowned novel "1984," "Who controls the past controls the future; who controls the present controls the past." Characters from Greek mythology, like the nature god Pan, have been transformed into embodiments of evil. Modernism has sought utopia in all aspects of life, establishing global standards and universal truths that often overlook other cultures or different norms. People worldwide use the same stock image libraries to create similar content visible on various corporate websites. As designers, we should be more conscious of our own values and design choices.

With the assistance of AI, comprehensive designers can leverage it to generate initial collaborative works such as proposals, blueprints, marketing strategies, and legal document drafts. This enables them to communicate more accurately with other departments and even lead and influence them using these initiatives and ideas, thereby transforming into more powerful leaders. Generalist designers will have a greater advantage. Designers will transition into roles as promoters and initiators.

A designer's daily life actually involves constantly doing homework to gather inspiration. They snap photos of interesting typography on signs while walking down the street, visit exhibitions to see how materials are used to present entire spatial scenes, and save design images seen on social media that catch their eye. Additionally, I believe inspiration comes from life experiences. By experiencing different lifestyles and stepping out of comfort zones, enriching one's life experiences naturally leads to the inspiration for creating excellent works.

I enjoy learning about various trivia and folk stories. If I had to categorize my work, I think it would heavily utilize cultural symbols. I first understand them with my emotional heart and then design with rationality. For me, artworks can carry memories, emotions, and lifestyle habits.

I currently live in Duluth, GA. Taiwan is a multicultural immigrant society. Once, during my graduate studies, I discussed with American classmates the phenomenon of the fusion of Buddhism and Taoism in temples. It was astounding for my Christian classmates to see Buddhist bodhisattvas and Taoist deities coexisting in the same temple. Additionally, in Taiwan, banks and registered mail still require a name seal or corporate seal to verify identity; signatures are not accepted. However, procedures can be completed directly through ATMs and online platforms. Taiwan is a blend of old and new, considered one of the most progressive places in Asia yet deeply traditional. I believe this background allows my design style to be diverse and incorporate a mixture of elements.

I build a communication process pattern, allowing the company to become accustomed to the design methods and procedures first. For example, through sketching or visualizing processes via presentations, I will define the vision together with project managers. I will deeply involve the company in the design development process, starting from the company's goals and design problems, and executing work that satisfies both parties.

During the interview process, companies should focus on the overall potential of designers. During the interview, do you immediately resonate with them? Do your values align? Observing the details in the designer’s work is crucial because details often determine success or failure; details are the cornerstone of quality.

First step, "empathy", standing in the other's shoes to understand what the user is thinking. People don't approach everything with functionality or a detached perspective; they view things emotionally. Second is analysis and research, hoping the elements in the visuals can tell a story. Each project is customized and unique, with different goals and issues.

iPad, cutting mat with grid, pens, notebook, and MacBook

At 9 AM, I brew a cup of coffee and start creating and working from home. Simultaneously, I check for new messages, faxes, and meeting materials. Of course, a busy day wouldn't be complete without delicious meals. This includes progress presentations and team discussions, sometimes recorded through hand-drawn sketches to capture ideas. I also make time to visit exhibitions. In the evening, I prepare a delicious dinner for myself and either go to the gym for a workout or go for a night run. Before bed, I light some candles to enjoy the night.

Clear thinking is essential, and the images and descriptions of the work should clearly express the design intent. Package your work; whether the rendered images and contextual images or videos are captivating enough. Is the presentation of the work clear?

Positives of being a designer: Firstly, being a designer is a journey of self-discovery. Just like appreciating and supporting design, it's a wonderful expression of our zest for life. Secondly, it allows me to be highly focused and creative, which I find very rewarding. Thirdly, the career path in graphic design is unpredictable. Seeing your own work in the spotlight can reshape your perspective on things.

Negatives of being a designer: First, the entry barrier may seem low or effortless, but becoming a successful designer requires tremendous effort. Second, starting salaries tend to be low, and achieving career advancement benchmarks can be challenging. Third, it's easy to tie personal worth to one's work, leading to a loss of balance between work and leisure.

Focus and balance are what I consider most important. In graphic design, focus refers to the visual center or point of emphasis created by the distribution of visual elements within a work. It is not only the physical center but also a crucial reference point in visual perception. Finding balance between form and function, achieving visual harmony, and establishing visual hierarchy strategically influence the overall layout.

In addition to honing technical skills and software proficiency, it is essential to prioritize in-depth research and analysis: Devoting time to researching topics and experiencing life in various contexts allows us to explore and leverage our personal perspectives. This helps create designs that strongly resonate with the theme and address the pain points within design problems, rather than just focusing on aesthetics.

I use platforms like Pinterest, Dribbble, and Behance to view others' works, while following contemporary designers on LinkedIn or Instagram can provide insights into current trends in business. I learn to "see" and cultivate a sense of design aesthetics. AIGA and Graphis offer insights into the context of designer associations. Additionally, visiting libraries to browse books or simply reading text can sometimes yield unexpected insights. However, I believe the most important thing for a creator is to experience and feel life deeply.

I hope to achieve more of my goals in the shortest possible time. I will observe when I am most efficient—this varies for everyone; some may be before 10 AM, others after lunch, or even late at night. I will reserve those periods for "deep work" that requires my full concentration. I will set reminders to prioritize "important but not urgent" tasks and consciously work on them in segments.

Each project is unique, and depending on its complexity and scope, some pieces may be completed in a matter of hours, while corporate projects involving different departments and divisions could take weeks or even months.

What made you choose to become a designer?

Every experience has brought me to who I am now. I think back to 10 years ago when I got my first job as a visual designer soon after graduation. I began applying design disciplines and theory to commercial projects and realized that I could make a living through my talent.

2018-2023: American Heart Association, Cisco, The Home Depot, Claire’s ,Trustile Door, Acosta Group, Saia LTL Freight, Siemens, LL Flooring, Oprah Winfrey Network, Alterspace - Harvard Library Innovation Lab.

2014-2018: Harley-Davidson in Taiwan, CTBC Bank Union Bank of Taiwan, American Express in Taiwan, Vietnam Airlines, Taiwan Ministry of Education.

I enjoy design that intersects with popular culture and involves interdisciplinary collaboration. Besides my design expertise, I have a passion for illustrating and a background in fine arts with professional training. I indulge in entertainment, enjoying various trends in fashion, movies, drama, and music. Being able to contribute to mainstream design as an advocate of artistic expression, whether in album covers, digital marketing, or thematic concepts, and collaborating with individuals from dance, literature, music, and theater, is what I find most fulfilling. I love engaging in creative exchanges with other like-minded individuals.

I hope to build my own personal brand and embark on a journey of influence and fulfillment! I aspire to make a positive impact on more people. My next plan is to create many excellent works, signature works, and advance my career to the 'Advanced' stage, achieving significant influence.

I work both ways, depending on the project's complexity and the areas it covers; some projects involve multiple disciplines. Life is about balance. I enjoy varying my mood by participating in different types of projects.

My Contact Info:

Website: https://jyijun.com/

Instagram: https://www.instagram.com/yijunjiang0820/

Linkedin: https://www.linkedin.com/in/yijunjiang/

My goal was to turn the truck itself into part of the story. Since transportation defines Saia's identity, using a trailer as a traveling museum felt more meaningful than creating a traditional exhibition. It allows the experience to reach communities across the country while reflecting the company's own journey. Instead of asking people to visit a museum, we brought the museum directly to them. That idea shaped every design decision throughout the project.

I wanted visitors to actively experience the exhibition rather than simply read about it. The driving simulator helps people appreciate a truck driver's perspective, while historical artifacts create a stronger emotional connection to Saia's 100-year history. I also wanted visitors of different ages to discover the exhibition in their own way. Some engage through hands-on activities, while others connect with the historical artifacts and stories.

Because many historical materials had been lost over time, I combined company archives, employee submissions, and American trucking history to build a complete narrative. Every piece of information was carefully verified to ensure historical accuracy. The research process became an important part of the design itself. It helped us connect Saia's milestones with the broader history of the American trucking industry.

I designed the environment to feel immersive without overwhelming visitors. Lighting, audio, and projection work together to guide the experience while remaining practical and reliable for a traveling exhibition.

Since the museum would travel thousands of miles each year, durability was a major consideration. I focused on sturdy materials, secure installations, and modular components that would be easy to maintain throughout the tour.

I wanted technology to support the storytelling rather than distract from it. Interactive experiences help visitors engage with the history while authentic artifacts remain the heart of the exhibition.

I wanted families to enjoy the exhibition together. Interactive elements like The Life of a Shipment simplify logistics concepts so children can learn through play while adults explore the deeper historical content.

Receiving the A' Design Award was encouraging because it recognized the value of combining exhibition design, storytelling, and brand experience. It also reinforced my interest in designing experiences that connect with people beyond traditional museum spaces. The research process became an important part of the design itself. It helped us connect Saia's milestones with the broader history of the American trucking industry.

One of the biggest surprises was how much employees contributed to the project. Their stories and personal memorabilia made the exhibition feel much more authentic and helped shape the final experience.

I believe mobile museums will continue evolving through digital and interactive technologies, but the goal will remain the same: making history more engaging, accessible, and meaningful for diverse audiences.