New York-based Taiwanese graphic designer and artist Weiyun Chen explores Chinese and Taiwanese culture through print, self-publishing and bilingual typography. Drawing from food, games, packaging, language and everyday visual detail, she makes printed objects that connect personal cultural memory with contemporary design.
Weiyun Chen grew up in Taiwan surrounded by objects, images and traditions that felt entirely ordinary. Moving to the United States changed that. Seen from a distance, the familiar became interesting: the visual language of everyday Taiwanese life, its lucky objects and packaging graphics, the texture of bilingual typography, the particular iconography of food and games. Print became the way to bring those observations back into material form.
Her practice spans graphic design, publishing, branding, packaging and exhibition design, developed across eight years of living between Taiwan and the US. The independent work runs in parallel: self-publishing projects and printed objects made in collaboration with Lucky Risograph in New York, where risograph printing is the primary process. The technique suits the work. Risograph’s limited colour separations and slightly imperfect registration sit well alongside imagery rooted in the texture of everyday life rather than the precision of digital production.
What holds it together is a consistent interest in what print can do that a screen cannot. “I particularly am drawn to making things that can still be held, shared, and kept,” Chen says. The familiarity of the source material is part of the point: objects and references that feel completely ordinary to her can become a way for someone else to discover and connect with a different culture. The printed form is what makes that encounter possible. It gives the work a physical presence that allows it to travel, to be passed on, to sit on a shelf.
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