YY (Yue Yang Atelier YY）
InfoYue Yang (YY) is a research and practice base creative, whose practice moves between waking reality and lucid dream-states. Based in Melbourne, Australia with a floating root. Through fieldtrips, and research on dreams, YY constructs visual systems that translate drifting consciousness into images, objects, type and multi-lingual fragments.
Table of Content
Graphic Base
2D graphic design works ranging from publication designs, exhibition identities, anything in the commercial settings.
Illustration
Using illustration as a form of graphic narrations
Research
Research-base creative practices
Research On Dream
Work in Progress
Atelier YY, 2026
Selection of Works
RISOGRAPH PUBLICATION: Pseudo Dream
Experimental publication with 3D arfetact
A part of NGV Melbourne Artbook fair.
Currently SOLDOUT.
Publication, Printed Matter, Illustration2025 - 2026
Pseudo Dreams an experimental publication exploring the dynamic landscape and extension of paper-base publication, through graphic storytelling and 3D object-making collapse into one reading experience through Risograph as a form of methodological agency.
Rather than treating print as a fixed medium, Pseudo Dreams uses Risograph as both production method and narrative device.
The book was originally formed from 10 minute meditative-journal-ish illustrations and gradually evolved with riso tests. Typography, illustration and layout are the experimental elements, paper and Riso are the playgrounds. Elements were repeatedly reworked through the constraints of ink drying time, colour limitation and overprinting, turning technical restrictions into narrative structure and mark making that subsequently formed an illustration style.
Through layered duotone printing, dream-like-sequencing and mark-making experiments, each spread experiments simultaneously as illustrative-image-making, text and radical layout experiments that tend to challenge the traditional idea of ‘sequential art’. Just like the fragmented dreams, they forms stories but often times through a non-linear and inlogical ways. Pseudo Dreams pursue the possibilities of reading experiences through freeform and asymmetrical layout within a symmetrical system and questions, what can possibly happened inside a standard spread.
Working collaboratively with Shuai Shao. The publication extends beyond paper through a series of 3D-printed “dream guardians” — toy-like creatures functioning as protectors, fasteners and sculptural extensions of the publication itself. Emerging partially from YY’s experience working with children during COVID, these objects introduce playfulness into otherwise dense subject matter: dreams, perception, urban interiority and fragmented memory. Partially inspired by the symbolic representation of the mythical elements hidden beneath the dream-triggered society. The myths are not be read directly but requires a certain action of revelation.
Ultimately, Pseudo Dreams investigates how print can move beyond the pages and cultivate a tactile, speculative and spatial experience while retaining the intimacy of hand-made publication culture.《伪梦志》是一本实验性出版物。该项目试图通过将视觉叙事（graphic storytelling）与三维立体创作（3D object-making）融合为一体的阅读体验，并以Risograph作为一种方法论的媒介，探索纸质出版物的动态格局及其外延延伸。《伪梦志》并未将印刷品视为一种固定的媒介，而是将 Risograph 既作为生产方式，又作为叙事手段。
本书最初源于一系列每篇 10 分钟、带有冥想与日记性质的插画，随后在不断的 Risograph 印刷测试中逐渐演变而成。字体设计、插画和排版是其中的实验性元素，而纸张与 Risograph 则是自由创作的游乐场。各类视觉元素在油墨干燥时间、色彩限制和叠印（overprinting）等技术约束下被反复重构，从而将技术局限转化为叙事结构与痕迹创作（mark making），并最终塑造出一种独特的插画风格。
通过双色重叠印刷、梦境般的时间序列以及痕迹创作实验，每一个跨页（spread）都在同时进行着插画图像创作、文本排版与激进布局的试验，试图打破传统的“连续艺术”（sequential art，如漫划/连环画）概念。正如碎片化的梦境一样，它们构成了故事，却往往以非线性、非逻辑的方式呈现。《伪梦志》在对称的系统框架内，通过自由形态与不对称的布局，探索阅读体验的更多可能，并追问：在一个标准的书本跨页空间内，究竟还能发生什么？
该项目与 Shuai Shao 合作完成。出版物的概念通过一系列 3D 打印的“梦境守护者”（dream guardians）延伸到了纸张之外——这些类似玩具的造物既是出版物本身的保护者、固定扣，也是其雕塑化的延伸。这些物件的部分灵感源自 YY 在疫情期间作为幼儿园教师，和孩子们共享学习、生活的一段经历，它们为原本严肃且看似无逻辑的主题（梦境、知觉、城市内在性与碎片化记忆）注入了趣味性。此外，它们的灵感也部分来自于梦境触发型社会下潜藏的神话元素的象征性表达。这些神话无法被直接阅读，而是需要通过特定的“揭示动作”才能被解密。
《伪梦志》试图探讨印刷品如何超越页面本身，在保留手工出版文化亲密感的同时，塑造出一种感官为上、具有推测性（speculative）且具空间感的丰富体验。
Notes on (Briefly) There
Publication Collection:
2 × A4 posters — printed in colour on transparent tracing paper.
1 × A3/A2 poster — monochrome print on Chinese rice paper；
1 × A5 saddle-stitch booklet;
Postcards (A6/A5, mixed papers); Bookmarks; unused films (proposed)
Publication, Printed Matter, Illustration 2025
Notes on (briefly) There is a four-part bilingual publication project that collects perceptual fragments from travel (06–08/2025) and reassembles them through drawing, photography, and prose.
Rather than chase narrative closure, the work treats paper and small printed matter as sites for interruption, delay, and return — privileging presence over legibility.
Section A — Note on Being Briefly There
Poster as summarised knowledge
2 × A4 posters — printed in colour on transparent tracing paper.
1 × A3/A2 poster — monochrome print on Chinese rice paper.
Section B — Appendix of Misread Places and Minds
Experimental illustration with concrete poetry
1 × A5 saddle-stitch booklet; interior 120–160 gsm uncoated; cover 250–300 gsm.
Display: Open copies on shelf; select spreads pinned.
Section C — Unsolicited Travel Guide
Printed matter that ponders the blending of cultures through geographical shifts
1 × A4 saddle-stitch publication; interior 120–150 gsm uncoated; cover 250–300 gsm.
Special editions may include gatefolds/inserts
Section D — Scattered Matters
An undeniable niche through small merchandise
Postcards (A6/A5, mixed papers); Bookmarks; unused films (proposed); footages (00:20–01:30 min);
process photos and reusable fragments.
Read More
一个由四个章节组成的双语项目，采集 2025 年 6–8 月旅途中的感知碎片，并以绘画、摄影与文字重新编织。作品不追求叙事闭合，而是将纸张与小型印刷物作为“中断—延迟—回返”的发生场，让“在场”先于“可读”。
Section A — 项目概要 / 材质研究
以海报作为“知识的摘要”
A4 海报 ×2（描图纸、彩印）；A3/A2 海报 ×1（宣纸、单色）。
Section B — 误读之地与心之附录
以实验性插画结合实验体诗的形式，测试绘画与文字如何通过视觉节奏重新拼合碎片化意识。
A5 骑马钉小册子 ×1；内页 120–160 gsm 无涂；封面 250–300 gsm
Section C — 非请自荐旅行指南
印刷品必修课：一本通过地理位移反思文化交融的印刷物——既是地图，也是镜像，提出“归属”与“他者”的双向追问。
A4 骑马钉刊物 ×1；内页 120–150 gsm 无涂；封面 250–300 gsm；特装含折页或插页。
Section D — 零散之物关键词： 碎片、余生、再利用的实践
以小物件与周边形成独特的小众语域——让“微小之物”成为信息的载体，在流通、使用与再生中延展叙事。
明信片（A6/A5，多纸张）；短片循环（00:20–01:30 分钟）；过程照片与“可复用碎片”。
Art direction at Somage Fine Foods
Art Direction, Packaging, Website, Social Media2023 - 2025
The rebranding of Somage Fine Foods redefines how philosophy-driven, human-centred, and functionally-oriented design can operate within a commercial landscape. Rooted in the idea of modern nature, the new art direction translates ecological awareness into a refined visual system—where packaging becomes a sculptural publication on the shelf, and the website unfolds as a designed narrative.
Every touchpoint bridges sensory purity with strategic clarity, forming a visual language that turns daily consumption into a mindful experience—where beauty and business quietly coexist in the same soil.
The transformation also resolves a long-standing challenge: unifying well-known sub-brands under one cohesive identity while elevating their voice from black themes into a lifestyle-infused, contemporary philosophical driven designs. The result is a brand that feels both grounded and aspirational—clarifying its market position, amplifying recognisability, and setting the foundation for long-term growth.
Read More
Somage Fine Foods 的品牌重塑重新定义了以哲学为核心、人本为导向、兼具功能与美学的设计如何在商业语境中生长。以「现代自然」为理念根基，艺术指导将生态意识转化为精炼的视觉系统——包装如雕塑般立于货架，亦如出版物般可读；
网站以叙事节奏展开。每一个触点都在感官纯粹与策略清晰之间建立桥梁，使日常的消费转化为冥想般的体验——让美与商业在同一片土壤中并生。
Hyper Sensitive Club, A Riso Zine
A6 zine, Saddle Stitch
Zine, Risograph2025
A hypersensitive cheat sheet for surviving modern life with strange joy and soft defiance.
It’s stitched together from drawings, to-do lists, emotional rituals, domestic surrealism, and absurd wisdom. A place where anxious tea mugs speak, plants reflect your emotional state, and self-worth spirals beautifully on lined paper.
Rooted in personal coping mechanisms, it transforms everyday overstimulation into small visual poems:
A grin mistaken for love, a solo party with candles and judgmental cats, the space between pillow and the pillow case became the medium of podcast, a vase that carries le coup de foudre that’s yet to be born.
It presents a therapeutic visual language for those who feel too much, think too hard, and still want to make it beautiful. Not self-help.
Just self-reflection with a sharpie a touch of tea-fueled clarity.
Read More
这是一本为高敏感人群打造的“生存小抄”，以柔软却顽强的姿态应对现代生活的失控节奏。
它由手绘图像、日常待办、情绪仪式、居家超现实场景与怪诞式哲理拼贴而成。一个可以让焦虑茶杯发言、植物映照你精神状态、纸飞机承载午夜思想的空间。
将日常过载转化为视觉疗愈语言：
把咖啡师的微笑误认为是爱情，与猫和蜡烛共享的独角派对，枕芯和枕套之中的空间变成深夜树洞，花瓶里尚未结出果实的心动。
绝非自助指南，而是自我观察日志——
一杯茶，一根笔，描绘出的共鸣的图像。
Riso Posters
Risograph printed with Sandwich Press
1 x Monotone A3 poster
1 x 4 colours A 3 poster
Risograph Poster2025
Presented at the 2025 NGV Art Book Fair, these Riso posters transform sketchbook fragments into poetic experiments in colour and tone. In collaboration with Sandwich Press, the works capture fleeting intervals of solitude and hypersensitivity, evoking both nostalgia and imagination. Through deep blues and layered hues, the prints reframe daydreaming as a generative act, where melancholy and boredom dissolve into a dreamlike architecture that blurs the line between reality and reverie.
Read More在2025年NGV艺术书展展出的这组Riso海报，将速写片段转化为色彩与调性的诗意实验。通过与Sandwich Press合作，作品捕捉了孤独与敏感的瞬间，唤起怀旧与想象。深蓝与层叠的色彩重构了白日梦的生成性，使忧郁与无聊化为梦境般的建筑，模糊了现实与幻境的界限。
The Upcycled Museum of Curiosities
Adjustable forms not limited to: Printed matter/publication, newspaper, large format poster prints. Research2023
The Upcycled Museum of Curiosities turns waste into wonder. Part speculative picture‑book, part surreal museum, it reimagines discarded materials as characters, textiles, and architectures. In this world, receipts become fabric, cookware sprout limbs, and packaging is re‑stitched into costumes.
Rooted in early childhood education and material literacy as huge parts of personal experiences, the project aimed to transform upcycling into more than an environmental gesture through creative and upcycle play. It becomes a storytelling method, a visual language, a ‘provocation’1. By combining play, sustainability, and creative pedagogy, the museum offers a model for rethinking design, adaptable to industries and institutions seeking imaginative responses to ecological urgency.
1. Note: In education, a provocation is a deliberate prompt, stimulus, or experience designed to spark curiosity, wonder, and inquiry in learners. It comes from the idea of “provoking” thought rather than directly instructing.
Read More“二次利用”奇物博物馆是以收集不可回收包装物作为手工材料的在艺术与实践交叉地带的探索—— 将废弃物化为珍宝放置在珍奇柜中。它既是一本带有推测性的图像书，也是一个超现实的博物馆，在这里，废弃材料被重新想象为角色、织物与建筑。发票化作布料，厨具生出四肢，包装被重新缝制成服装。
植根于儿童早期教育的亲身经验和作为设计师与材料对话的日常，这一项目让“升级再造”超越了单纯的环保姿态，转化为一种叙事方法、一种视觉语言、一种激发（provocation）想象力的提问。通过将游戏、可持续性与创造性教育法结合起来，这座博物馆提供了一种重新思考设计的模型，希望能够被各类致力于儿童创新与环保双向并行的机构合作并拓展材料包，用以回应当下生态紧迫性的想象性需求。
在教育中，“provocation”（激发/引发）指的是一种有意设置的提示、刺激或体验，旨在激发学习者的好奇心、惊奇感和探究欲望。它源自于“激发思考”这一理念，而不是直接进行灌输式教学。
Take Hold of the Clouds
A5 exhibition booklet, Perfect Bind
Poster as book cover
Exhibition Identity, Publication Design, Websites2022
Take Hold of the Clouds is a collaborative design ecology that blurs distinctions between identity, publication, and performance. It transforms typography into atmosphere, the catalogue into an interface, and accessibility into an aesthetic experience. Through the convergence of architecture, art, and design, the project reflects a contemporary condition — where the act of holding a cloud is both impossible and necessary, a metaphor for how we build meaning in transient times.
Read More
《Take Hold of the Clouds》是一个协作性的设计生态系统，模糊了视觉识别、出版与表演之间的界限。它让字体成为氛围，让出版物成为界面，让“可及性”转化为一种美学体验。
通过建筑、艺术与设计的交汇，项目揭示了当代的诗性状态——在短暂与流动的世界中，“攫取云端”既是不可能的，也是必要的；它象征着我们如何在不确定中，继续构筑意义与共感的空间。
Who’s Afraid of Public Spaces
Exhibition Identity2022
Who’s Afraid of Public Spaces is a collaborative project born during the pandemic, where I led a group of designers to reflect on fear, tenderness, and vulnerability in shared environments. Through an online workshop, each participant designed a letter of “Public Spaces” based on personal emotions, forming an alphabet that embodies collective anxieties and attachments. The work transforms typography into a living diary and an architecture of unease, probing surveillance, the gaze, and the paradox of belonging and exposure in public life. Ultimately, it asks whether design can become a language of empathy that reveals both what we fear and what we long for in the spaces we share.
Read More
《Who’s Afraid of Public Spaces》诞生于疫情期间，我带领一群设计师同行，探讨公共空间中交织的恐惧、脆弱与归属感。通过线上工作坊，每位参与者依据自身情绪设计出“Public Spaces”的一个字母，这些字母汇聚成一套颤动的字体系统，既像群体的情绪日记，又像焦虑的建筑图纸。作品转化了凝视、监控与人群匿名性的矛盾，把公共空间作为既温柔又不安的舞台与见证者。它最终发问：设计能否成为一种同理的语言，既揭示我们在公共中所畏惧的，也触及我们最渴望归属的部分？
To:
Publication，A5 Perfect Bind
Book Design2022, ABDA Longisted
To: is an experimental publication that turns typography itself into both subject and medium. Conceived as a collective essay, it gathers designer-peers to write and typeset reflections on typesetting, creating a layered dialogue where intuition meets structure. Using colour-coded threads that blur into gradients, the book transforms technical traces into poetic gestures of error and touch. By alternating small and large typefaces, it also challenges legibility, questioning how rhythm and scale shape reading. Ultimately, it is both a reading experiment and a visual essay — a printed artefact where typography speaks as language’s most articulate conversation.
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《To:》是一部将排版本身化为主题与媒介的实验出版物。它以集体论文的形式呈现，聚集设计师同伴共同书写、排版并反思排版，使直觉与结构交织出层叠的对话。书中利用颜色编码的线索在扫描中渐变模糊，将技术痕迹转化为温度与诗意的触感。通过大小字体的交替并置，它质疑阅读的合法性，探问节奏与尺度如何重塑感知。最终，它既是一场阅读实验，也是一篇视觉论文——让排版成为语言最具表现力的自我对话。