Type Tuesday Pop-up Card featured in Issue 12 of Uppercase

February 18, 2012

With an abiding love of paper, Uppercase profiles artists, businesses and processes that utilize the material in some way, shape or form. Self-professed as “a magazine for the creative and curious,” Uppercase boasts beautifully printed photographs, thoughtful articles and a host of art resources any artistic mind is sure appreciate.

The journal is available in North American Anthropologie stores and in their webshop!

Type Tuesday by Bryant Yee

“Bryant recently graduated from the University of Michigan with concentrations in graphic design and paper engineering. These passions have allowed him to explore and create innovative packaging designs. Today, like many other recent college graduates, Bryant spends the majority of his day seeking full-time employment with competitive compensation and benefits in a dynamic environment. Outside of chasing the dream, he creates pop-up cards fusing his affection for graphic design and curiosity in paper engineering. The Type Tuesday pop-up card is created from a single sheet of paper without the use of any glue, and solely utilizes strategically placed cuts and scores.”


[Paper Study] ‘Breaking the Plane’

January 10, 2012

This study was created from a single sheet of paper without the use of any glue. It follows the spirit of origamic architecture.


Type Tuesday [Origamic Typography / Pop-up Card]

December 6, 2011

Lately, I’ve been studying origamic architecture. I was initially curious how the two-dimensional forms could break the plane of the paper and occupy space. Below is an origamic typography study created for Type Tuesday!


Happy Thanksgiving! Pop-up Card

November 24, 2011


Bryant Yee Design: Movable Business Card

October 16, 2011

Recently, I decided that I need a new business card since the existing one is a bit outdated. Helvetica light and glossy finish weren’t doing it for me. I began by reanalyzing the contact information I wanted available and realized that the majority of the content is redundant. BryantYeeDesign appears in almost everything of mine and I felt it was silly to keep repeating it. (ie BryantYeeDesign.com, BryantYeeDesign[at]gmail[dot]com, Twitter, LinkedIn, etc.) Below are some new concepts I’ve been working on, as well as, different paper stocks I ordered from Neenah Paper. Their Environment line is amazing and I had left over scraps from my senior thesis project.


Paper Bird’s Nest

April 17, 2011

This piece was created from 160 eighth-inch strips of interwoven paper. For the project, we were restricted to a 20 by 20 inch sheet of paper and were required to “present” 2 eggs. I was curious to learn how birds made nests in nature so I researched their process to recreate one myself.

 


Mighty Putty Pop-up Card

February 19, 2011


Concentric-Circles: Curved Folding

February 6, 2011

In the 1920s and 1930s, Josef Albers, the Bauhaus artist, taught a series of design workshops where students were given the exercise of forming 3D objects entirely by paper folding. When I was researching the topic for my thesis, I came across an image that showed an uncut disk of paper with concentric mountain-valley folds. The folded shape didn’t lay flat, but rather had undergone an extreme contortion and had formed into a saddle shape much like the one I recreated below. The other images follow the same concentric-circle concept, however, the middle has been punched out allowing the form to flow freely through the center and twist naturally. Many of these concentric-circle sculptures are visually clean and mysterious, simultaneously geometric and unexpected.

The 'Albers Effect'


Pop-up Star Trek Card

January 28, 2011

This winter, I am fortunate enough to be taking one of the only two paper engineering courses offered in the nation. The course focuses on exploring the medium of paper through movable works of art. Currently, we are using pop-up books as a starting point to learn the elements of paper mechanics so that later, we can apply them to book arts, collapsible structures, interactive kinetic sculptures, and wearable design. So far, the course has challenged us because we have to visualize these three-dimensional forms in our head and recreate them on paper. Like other design courses I have taken, this one also gives us the opportunity to develop our design thinking, research process and manifestation of our ideas. By the end of this course, I hope to have gained a perceptive understanding of paper manipulation and be able to relate it to other mediums and disciplines such as deployable architecture, industrial design, and package design.

Below is our first assignment—design a pop-up card that celebrates a fictional holiday. I chose Star Trek, because I’ve been a fan of the series ever since I can remember. From this project, I developed two new techniques for myself—aligning the laser cutter to a print and laser cutting without leaving any burn marks. If you’re unfamiliar with the laser cutter, those 2 techniques become quite tricky to achieve. Luckily, I’ve been using the laser cutter for about 3 years now, so it was about time I figured something new out.

Cover: A textured grey paper exposes a metallic yellow paper through die-cut type and Star Trek emblem

Upon opening the card, the Borg cube pops up. This structure is called an “angle fold box with crossing planes.” It’s intended for a 180º spread and has 8 crossing planes with slots. I created this structure by aligning the laser cutter to a printed page so that I could get perfect cuts on all the pieces. This design is extremely unforgiving and a wrong cut could cause the structure to  fold incorrectly. Thank goodness for the laser cutter. I intend to post a tutorial on aligning the laser cutter to a printed page when I get a chance.

Also on the initial spread is a structure called a “tube post armature.” It reads “Resistance is futile,” which is a phrase the Borg use. HA trust me, it gets way nerdier… just wait. Within the tube post armature is a second layer of yellow paper so the type really pops from the black background. The 2 flaps on the side are also die-cut and expose the underlying black layer. It’s hard to tell from the picture, but the black paper is also textured.

Once you open the 2 grey flaps, 6 starships from the Federation Alliance surround the Borg vessel! The top left ship is a Romulan Warbird sitting on a “congruent angled fold” so that opening the card gives the ship a flying motion. Across the spread is the USS Defiant sitting on the same fold, but mirrored. Moving down to the middle ships is an Akira class starship to the left and a Romulan Bird of Prey on the right. Both of which are sitting on “parallel strut folds.” The Enterprise D in the bottom right also rests on a parallel strut fold. The bottom left starship is a Klingon Bird of Prey and is unique because it sits on a different type of parallel strut fold. Much like the actual ship, the wings replicate a rising motion as the flap opens further. This mechanism is achieved through inverted angular strut folds under each wing.

This is the design file of the entire card mapped out. Click to make it larger.


Repeating Waterbomb Bases

January 22, 2011

This design is composed of a series of waterbomb bases, one of the most widely recognizable folds in origami. The canvas, however, does not begin with a square, but a piece of paper with a 2:1 ratio. As far as the material and weight of the paper go, it all depends on the folder’s preference. A lighter paper won’t retain memory as well and a heavier paper might offer too much rigidity, making the paper very difficult to fold. These repeating waterbomb bases allows the overall form of the structure to curl around in to a sphere shape and also morph in to a cylindrical shape when equal pressure is applied to the sides. When equal pressure is applied to the top and bottom, the structure begins to collapse on itself, creating a donut shape.

Below is a diagram of the folding pattern. The red line indicates a valley fold, the blue line indicates a mountain fold, and the black line indicates a cut line. Although it’s extremely difficult to see in the diagram, each red X square is 1 waterbomb base. Every even row is offset by every odd row by half of a waterbomb base. For instance, if the canvas size is 20 inches by 10 inches, then the top row has 20 waterbomb bases adjacent to each other. This makes every water bomb base in the pattern 1 inch by 1 inch. The second row is shifted horizontally by 0.5 inches. This cascading pattern repeats itself. While folding this structure, it’s best to start in 1 corner and work your way diagonally to the opposite corner since each waterbomb base affects its immediate neighbor.


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