Pakalimu

Taiwanese Aborigines' Millet Wine

Tai­wanese abo­rig­ines are fac­ing the same sit­u­a­tion as Native Amer­i­cans in USA. Their land and rights were tak­en from them long time ago and they are rais­ing their voice to fight back now. I was think­ing, “how can I use design to raise aware­ness?” Non-prof­it orga­ni­za­tions often times can only reach cer­tain peo­ple who already care about the top­ic. By incor­po­rat­ing abo­rig­i­nal ele­ments into the prod­uct design, I hope to make peo­ple who orig­i­nal­ly only care about the liquor itself curi­ous about the sto­ry and ori­gin of the prod­uct. This way, it opens up oppor­tu­ni­ties to reach out to audi­ences who wouldn’t be aware otherwise. 

Client: 2017 PRINT RDA winner
Website: printmag.com
Services: Identity / Motion / Packaging
AWARD 2017 PRINT Magazine Regional Design Awards
Winner of 2017 PRINT Design Regional Award
Edition Editors: Debbie Millman &  Zachary Petit
Judges: Aaron Draplin, Jessica Hische, Pum Lefebure, Ellen Lupton, Eddie Opara, and Paula Scher
Visit 2017 PRINT RDA winner gallery

00. Logotype

The diamond shape symbolizes the eyes of Atayal’s ancestral spirits protecting the Atayal.

The logo­type came from the geo­met­ric pat­terns that appear in many tribes’ cloth­ing. The dia­mond shape sym­bol­izes the eyes of Atay­al’s ances­tral spir­its pro­tect­ing the Atay­al through­out their whole life. The styl­ized A rep­re­sents the moun­tains most abo­rig­i­nals live in. The tag line is made entire­ly with dia­mond shapes which also resem­bles the tra­di­tion­al Atay­al weav­ing patterns.

01. Atayal

The Atayal is one tribe of Taiwanese aborigines. The meaning of Atayal is “genuine person” or “brave person”. The Atayal people are known as great warriors.

The Atay­al peo­ple are good weavers as well. Sym­bol­ic pat­terns and design, main­ly geo­met­ric, can be found on Atay­al tra­di­tion­al dress­es. Black, red, and white are the main col­ors. Most of the designs are argyles and hor­i­zon­tal lines. In Atay­al Cul­ture, the hor­i­zon­tal lines rep­re­sent the rain­bow bridge which leads the dead to where the ances­tors’ spir­its live. Argyles, on the oth­er hand, rep­re­sent the ances­tors’ eyes pro­tect­ing the Atayal.

The tat­too cos­tume was banned in the 1880s and only three Atay­als are still alive with facial tat­toos. Tra­di­tion­al­ly, a girl would learn to weave when she was between ten to twelve, and she had to mas­ter the skill in order to earn her tat­too. Only those with tat­toos could mar­ry and after death, only those with tat­toos could cross the Hongu Utux, the spir­it bridge, to the thereafter.

Once a male had come of age, he would have his fore­head tat­tooed. As soon as he fathered a child, his bot­tom chin was tat­tooed. For the female, tat­too­ing was done on the cheek typ­i­cal­ly from the ears across both cheeks to the lips form­ing a V‑shape. A female tat­too would take up to ten hours to make.

Photo credit: taipics.com/
paka_pattern_730px

Pattern

This pat­tern is derived from tra­di­tion­al Atay­al cloth­ing. The hor­i­zon­tal lines rep­re­sent the rain­bow bridge which leads the dead to where the ances­tors’ spir­its live. Argyles, on the oth­er hand, rep­re­sent ances­tors’ eyes pro­tect­ing the Atayal.

The tra­di­tion­al Atay­al pat­tern on a dark back­ground is used as the paper wrap­per for pack­ag­ing and is intro­duced with a motion piece.

02. Millet Wine

Millet wine is the oldest wine in Taiwan and a traditional beverage of Taiwanese aborigines.

It is often used in Har­vest Fes­ti­vals, as a sig­nal of har­vest, as well as at any impor­tant mile­stone in some­one’s life, such as the birth of a new baby and wed­dings. Mil­let wine is a cul­tur­al sym­bol, a key part of abo­rig­i­nal rit­u­als. Tra­di­tion­al­ly, peo­ple drink mil­let wine in a cir­cle as an offer­ing to one’s ances­tors and to ward off evil spir­its. Con­sum­ing it brings good for­tune to the community.

Mil­let wine tastes like Japan­ese sake but warmer, sweet­er, and stickier.


BOX & PAPER WRAPPER DISPLAY

THE DELUXE EDITION

THE REGULAR EDITION

03. Design Document

04. Applications

other projects

Pakalimu

Tai­wanese abo­rig­ines are fac­ing the same sit­u­a­tion as Native Amer­i­cans in USA. Their land and rights were tak­en from them long time ago and they are rais­ing their voice to fight back now. I was think­ing, “how can I use design to raise aware­ness?” Non-prof­it orga­ni­za­tions often times can only reach cer­tain peo­ple who already care about the top­ic. By incor­po­rat­ing abo­rig­i­nal ele­ments into the prod­uct design, I hope to make peo­ple who orig­i­nal­ly only care about the liquor itself curi­ous about the sto­ry and ori­gin of the prod­uct. This way, it opens up oppor­tu­ni­ties to reach out to audi­ences who wouldn’t be aware otherwise. 

Client: 2017 PRINT RDA winner 
Web­site: printmag.com
Ser­vices: Iden­ti­ty / Motion / Packaging
AWARD 2017 PRINT Mag­a­zine Region­al Design Awards

Multigon

This is a project I made out of paper for a 3D Design class. I adore the sim­plic­ity of geo­met­ric sculp­tures. The ele­gant lines and clean shapes com­bine to form a del­i­cate sophis­ti­ca­tion. The process of mak­ing this sculp­ture was a bit con­fus­ing since there were many dif­fer­ent ways of con­nect­ing each side. Even after mark­ing every­thing, there is still a great chance that things can go wrong. Details as small as tap­ing one side to the right or left, on top or at the bot­tom could change the whole plan.

I used two tex­tures in this project. One of them was to cut the paper with a dull knife from inside to cre­ate a rip­ping effect. The oth­er was to tape tis­sues to the sur­face and then tear them off so that only a few thin lay­ers remain on the sculpture.

KETWORD Plane, Tex­ture & Level

Line

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Client: Mis­ter Donut
Date: Jan­u­ary 8, 2016
Ser­vices: CD pack­ag­ing / Mer­chan­dise design 

Alfred Hitchcock Film Festival
Client: Rochester Insti­tute of Technology
Date: March 6, 2016
Ser­vices: Poster / Motion Graphics

MAZ

From the orig­i­nal brand­ing to the lat­est devel­op­ment includ­ing plan­ning stages, the work-in-progress, and the final designs and ren­ders. All rights reserved. 

Web­site: mazsystems.com
Date: 2019
Ser­vices: Prod­uct design, Design for Marketing 

Study Abroad
Client: Uni­ver­si­ty of Rochester
Web­site: rochester.edu
Date: Sep­tem­ber 20, 2016
Ser­vices: Motion Graphics

Subwich
Client: Subwich
Date: May 10, 2016
Ser­vices: App Design

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