Yameng Wang, a graphic designer from China, works between Beijing and Richmond. She specializes in brand and packaging design and directs experimental animations. Her film “One Begat Two” has earned acclaim at international film festivals in the US, Spain, Italy, and more, showcasing her diverse creative skills.<\/p>\n\n\n\n
Q1. Please give us a brief bio of yourself and your design background.<\/strong><\/p>\n\n\n\n Hey there! My name is Yameng Wang, a graphic designer born and raised in China. Currently, I am based and working between Beijing and Richmond. I specialize in brand and packaging design and I posses a passion for experimental animation directing.<\/p>\n\n\n\n My film “One Begat Two” has garnered recognition in various international film festivals across the United States, Spain, Italy, and more, showcasing my diverse creative talents.<\/p>\n\n\n\n Q2. What made you become\/why did you choose to become a designer\/artist?<\/strong><\/p>\n\n\n\n Going back to my childhood, I actually aspired to be a painter. My initial fascination with the concept of art stemmed from visiting art galleries during my youth. At that time, there was significant cultural exchange between China and the outside world. Beautiful works by renowned artists like Van Gogh and Picasso sporadically appearing in various galleries.<\/p>\n\n\n\n I vividly recall the moment when I first saw the enormous painting “The Roses of Heliogabalus,” and I was deeply struck by the mountainous, opulent, almost suffocatingly rich pink roses. So, at that point, I picked up my drawing pencil and began creating my art. However, it soon became apparent that I lacked some talent and concentration in this field. Consequently, when applying for university, I compromised and chose graphic design.<\/p>\n\n\n\n Fortunately, though I’ve made some “fruitless” choices in my life so far, it seems that I indeed selected the most suitable discipline for me. Today, based in the United States and China, I work as a freelance designer, striving to be an engaging creator.<\/p>\n\n\n\n Q3. What does ‘design’ mean to you?<\/strong><\/p>\n\n\n\n For me, design is fundamentally about problem-solving. As a designer, I strive to minimize personal influence and prioritize meeting the needs of the client. While art is a medium for self-expression, design serves a functional purpose. When a designer’s personal expression overshadows the client’s requirements, the design risks becoming self-indulgent.<\/p>\n\n\n\n However, it’s essential to recognize that some clients may not articulate their needs clearly. In such cases, it falls on the designer to identify the problem and propose effective solutions. This doesn’t mean design should lack personality or self-expression entirely. On the contrary, I believe there’s room for exploration, particularly in personal projects or non-commercial endeavors.<\/p>\n\n\n\n One such project I cherish revolves around the concept of “slowness,” specifically themed around “slow reading.” The project featured a pitch-black website, with the user’s cursor acting as the sole source of light. As users moved the mouse, hidden text emerged from the darkness, reminiscent of ancient times when exploration occurred slowly by the flicker of a torch or candle.<\/p>\n\n\n\n Additionally, two insects crawled across the interface, continuously chasing the cursor’s movement. This project aimed to challenge conventional graphic design practices that prioritize grabbing user attention through bold text and bright colors. It invited users to read slowly, and use dim light and hidden text to evoke our curiosity and common memory: using candles and torches to slowly understand and explore the world in the dark ages.<\/p>\n\n\n\n Q4. What’s your favorite kind of design and why?<\/strong><\/p>\n\n\n\n Though preferences can vary, I find myself currently drawn to the work of Nod Young. His designs possess an intuitive, classic quality that effectively communicates information. A standout example is his recent brand identity overhaul for SONG SHAN Cotton Store, a prominent clothing chain specializing in cotton apparel.<\/p>\n\n\n\n The refreshed logo for SONG SHAN Cotton Store features an organic, irregular polygon reminiscent of pine tree crowns or irregular mountain rocks. Complementing this, lush green pine forest imagery adorns the product packaging. The cohesive packaging and visual identity system evoke a serene connection to nature and an expansive Eastern aesthetic. Young’s work beautifully captures the essence of the brand, infusing it with a sense of tranquility and authenticity.<\/p>\n\n\n\n Q5<\/strong>. Tell us about your design process.<\/strong><\/p>\n\n\n\n In commercial projects, my first step always involves understanding my client’s needs. The initial communication phase is pivotal because many clients may have a vague idea or blurred image of what they want, requiring guidance to clarify their needs. Thus, I often assist clients in analyzing their requirements to establish a shared understanding of the problem the design should solve.<\/p>\n\n\n\n Once the client’s objectives are clarified, I proceed to the creative phase. Typically, this involves researching competitors and analyzing the core users of the product based on the client’s needs. I then tailor the design to either the user profile or a prominent feature of the project itself.<\/p>\n\n\n\n For example, in a city branding project for the Qiaokou district of Wuhan city, the area was undergoing a transition to become an eco-friendly commercial hub, surrounded by the Yangtze River. The local government sought a new area logo that reflected its rich commercial history while exuding modern freshness. To meet this objective, I developed a vibrant urban brand color called “Qiaokou Green,” inspired by the local hydrological features.<\/p>\n\n\n\n Additionally, I incorporated a circular shape reminiscent of ancient Qing dynasty coins to highlight the district’s 600-year-old commercial heritage. Supporting graphics included highly abstracted water ripples, evoking a sense of modernity, vibrancy, and freshness.<\/p>\n\n\n\n <\/p>\n\n\n\n Winning Entry<\/p>\n\n\n\n Advertisers face frustration with time-consuming campaign processes and estimated bidding, spending an average of 6.5 \u2026
(Read more at MUSE Design Awards<\/a>)<\/p>\n\n\n\n