JANE ZHANG


ABOUT ME

I’m a Communication Design major at Washington University in St. Louis who is also pursuing minors in Human-Computer Interaction and Computer Science. In my work, I strive to explore a diverse range of narratives, perspectives, and approaches. My favorite part of the design process is the iteration stage, especially the moment where I finally arrive at the version that addresses everything I’ve been trying to communicate.

Recently, I’ve been interested in the nuances of multilingual typography and how the characteristics of different languages’ letterforms can be leveraged to enhance a concept across multiple linguistic demographics. Outside of my work, I love stories in any form, whether that means books, movies, or music. Lately, I’ve been watching Summertime Rendering and listening to Jack Stauber. 

Feel free to reach out for work or friendship, and check out more of my work below!

HOME / CLIENT WORK / ARCHIVE


   

VATNAJÖKULL NATIONAL PARK


The objective of this project was to design a wordmark for a UNESCO World Heritage Site of our choosing and extend that wordmark across a business card and poster. I chose Vatnajökull National Park for an opportunity to research and analyze the geological phenomena of Iceland’s natural landscape, and I designed postcards in addition to the rest of my collateral.





RESEARCH


I started with both site research and contextual research to get a sense of the available themes to work with. I collected photos and maps of the park, but I also gathered visual research on Icelandic runes, traditional dress, typography, and architecture. I also looked into folklore like the hidden people and Viking maps. Based on all this, I parsed out three main themes to explore in my drafts. The first was the conflict between fire and ice, as Vatnajökull National Park consists of an ice cap on top of sub-glacial volcanoes, where occasional eruptions will gradually change the landscape. The second touched on the idea of using diagonals and fragmentation to reference the tectonic plates and fissures that shape the park’s geography. The third emphasized rigidity and verticality to mimic Icelandic runes and architecture, which are both an important part of Iceland’s historical visual identity. Thus, in my initial sketches, I tried to explore ways to leverage contrast and alignment for these three potential themes.




DEVELOPMENT


Based on my sketches, I found that my most memorable drafts worked with contrast and reflection. I mocked up three potential wordmarks, using these ideas in each concept.



I found that the first version conveyed the concepts I articulated in my initial research most succesfully, with the fragmentation and alignment of tectonic plates pushing against each other and textual characteristics that allude to both the rigid glaciers above and flowing magma below. However, it was missing the reflective move that referenced verticality and the forces above and below. Thus, I decided to design a monogram that touched on those concepts to accompany the wordmark. Using the typefaces in my wordmark, Serenity and The Seasons, I inverted one “V” to reference the volcanoes and icebergs that extend above and below the sea. Ultimately, I decided to nest the Vs within each other to show the tension between two interlocking forces. I also pointed the caps for the inverted V to show how these two forces are still interconnected depsite how they push against each other.


REFINEMENT


Now that the wordmark and monogram were designed, it was time to apply them to a business card and poster. I chose a deep purple in reference to the volcanic rock present throughout the park and an icy blue to represent the glaciers. For the front, I split and staggered the wordmark against the edges of the card to reference tectonic plates and fissures, and created some tension by placing each half close to the left and right margins. Similarly on the back, I situated the monogram and typography near the margins and included ample negative space in the middle to reinforce the verticality and vastness of the park.



As for the poster, I drafted three possible directions. The first option explored the possibility of letting the monogram and imagery speak for itself to evoke the same sense of otherworldliness as the park. The second explored friction and fragmentation by mimicking how the two halves of the wordmark pushed against each other and creating conflict through contact. The third explored verticality, depth, and contrast through layering and separation of each half of the park.



I felt that the first draft would work better as a set of postcards, so I designed some postcards with that layout and set the type on the back with tight margins, just like the business card, and chose to refine the third draft as my final poster.