Typography is not merely form—it is meaning, memory, and message. In my type design work, such as “中国新设计” (New Chinese Design), “世界外” (Beyond the World), and “雨水”, I am curious about how visual language becomes a vessel for cultural interpretation. Typography, to me, is not merely to be read—it is to be felt.

In “雨水”, inspired by one of the 24 solar terms in the traditional Chinese calendar, I attempted to transcribe seasonal sensation into visual expression. The term marks the moment when rain begins to nourish the earth, signaling a subtle change in atmosphere and tempo. To express it, I incorporated wave-like distortions into the shape of every character, evoking the image of water rippling on a wet surface. The reflection-like undulation not only suggests physical wetness but also echoes inner serenity and poetic tension—still but transformative.

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In other projects like New Chinese Design and Beyond the World, I also examined how typography can be a bridge between innovation and tradition. Through proportion adjustments, balance, and stroke thickness, I allow the ancient characters to convey a new language of design—one that is based on heritage yet also open to re-interpretation.

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Other than type, silk screen printing offered me a return to tactility. Ink pressed layer upon layer onto paper, imperfections and all, was a reminder that design is also process, patience, and texture—things easily forgotten in digital design.

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Together, these projects illustrate my ongoing fascination with form as identity. Through printed surfaces or letterforms, I ask: in what ways can design inhabit the shifting relationship between self and culture?

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Design is a dialogue—and I would rather speak in form.