YY (Yue Yang, Atelier YY）

Instagram | Vonixix@gmail.com

Info

Yue Yang (YY) is a multidisciplinary designer and art director born in China and raised across Singapore, Sydney, and Melbourne. Her work bridges design strategy, cultural translation, and visual storytelling, blending East-Asian sensitivity and philosophy with a French-inflected aesthetic.
YY creates design systems that connect conceptual clarity with emotional depth, crafting identities, publications, and visual worlds that move between structure and story. Based mainly in Narrm/Melbourne, she also works between Beijing, Shanghai, Paris, and Bourges.

Education

2021 - 2022
Master of Design
RMIT, Melbourne, Australia

2019 - 2020
Graduate Diploma of Early Childhood Education
RMIT, Melbourne, Australia

2014 - 2018
Bachelor of Design (Textile & Graphic)
UNSW, Sydney, Australia

Experiences

2016 - Current
Freelance Designer & Illustrator
I’ve worked with:
Alliance Française de Sydney
Australia Centre for Contemporary Art (ACCA)
Musuem of Chinese Australian History
Open House Melbourne
Committee for Melbourne
M33
Liminal Magazine
Bowen Street Press

2023 - 2025
Head of Creatives & In-house Designer
Somage Fine Foods Australia

2019 - 2022
Early Childhood Teacher while freelancing and studying

Table of Content

Graphic Design

Notes on (briefly) There

Somage Find Foods

Take Hold of the Clouds

Who’s Afraid of Public Spaces
To:

printed matter
art direction
Visual Identity
Visual Identity
Book Design

2025
2023 - 2025
2022
2022
2022

Illustrations

Riso Zine: Hyper Sensitive Club

Risograph from Sketch
Mememorbillia
Melbourne International Student Week

2025
2025
2022
2022

Research

Upcycling Provocation

005 → To:

Book Design

Longlisted ABDA Best Student Book 2022

To: is a typographic experiment disguised as a publication (physically printed and published to test as an actual experimental artefact) — a collective essay in form and thought. Conceived as an exploration into the poetics of typesetting, it brings together a group of designer-peers who each write, design, and reflect upon the act of typesetting itself. The result is a layered conversation where structure and intuition, precision and accident, cohabit the same printed field.

The book employs a system of colour-coding to distinguish overlapping dialogues within one collective discourse — threads of thought that meander, intersect, and sometimes dissolve. These colour bands, when scanned, bleed into one another to form gradients along the spine — visual traces of both error and intent. What might first appear as a technical artefact becomes instead a meditation on touch, repetition, and the tension between the mechanical and the human.
At its core, To: also questions legibility as a condition of leisure. By interlacing small and large typefaces within a single reading experience, it tests how rhythm, scale, and visual weight influence the reader’s pace and perception. It is both a reading experiment and a visual essay — an artefact that treats typography not merely as language’s vessel, but as its most articulate conversation.

《To:》是一场伪装成出版物的文字实验（同时作为一个实验实体进行了打印制作并出版）——一场关于排版的集体思考。它由一群设计师共同发起，每个人都以文字与版面回应“排版”这一行为本身：思考、设计、再反思。于是，书籍成为一个层层叠叠的语境场，在其中，结构与直觉、精准与偶然并置共生。

书中采用了颜色编码的系统，以区分同一场对话中不断交织的思绪——那些在群体交流中彼此穿插、分歧又重叠的文本线索。当这些颜色在扫描中被拉伸成书脊上的渐变时，它们仿佛是一次“技术性错误”的幻影，又像是一种人为的温度在与机械完美进行微妙的抗衡。

从更深处看，《To:》亦在探问“阅读”的合法性——当大小不一的字体在同一本书中并置，阅读的节奏与感知将如何被重新塑造？这不仅是一场排版实验，更是一篇视觉论文：它让排版不再只是语言的容器，而成为语言自身最具表现力的对话。