Intro
Mnemon is a device that can record humans’ life and feelings. Invented by the MIT media lab, Mnemon's goal is to help people to slow down and embrace the present. Reports showed users become more aware of the small beautiful moments in their life, after wearing this device.
"Being aware of the small beautiful moments in life." This project uses bright punchy colors to show the positive energy that Mnemon can bring to users.
Credit
Design: Coco Huang
Intro
Mnemon is a device that can record humans’ life and feelings. Invented by the MIT media lab, Mnemon's goal is to help people to slow down and embrace the present. Reports showed users become more aware of the small beautiful moments in their life, after wearing this device.
"Being aware of the small beautiful moments in life." This project uses bright punchy colors to show the positive energy that Mnemon can bring to users.
Credit
Design: Coco Huang
HBO | House of the Dragon S2 (2023)
Studio: yU+co
Role: 3D Design | Credit Typography Animation
Art Director: Mulan Leong-Suzuki, James Robertson
Worked on the style frames and 8 episodes of main-on-end credit animation for House of the Dragon. Details can be found here.
Concept 1: Golden Manuscript
This is a concept rooted in the idea that Fire & Blood is a pseudo-historical retelling filtered through a single, subjective narrator rather than objective truth. Drawing from medieval illuminated manuscripts, we approached the book not as a living historical record: monumental and authoritative in form, yet inherently biased in content. Gold was chosen deliberately as a symbol of permanence and institutional power, while the manuscript's ornamentation served as a narrative system rather than mere decoration.
Credit Typography Design & Animation
Across eight episodes, I was responsible for delivering all end credit typography within an established visual system—gold lettering, cinematic lighting, and material consistency carried over from Season One.
The key challenge was twofold: managing scale across 36+ name groupings per episode, and maintaining legibility against Season Two's new tapestry backdrop, which was lighter and visually more complex than the dark stone surfaces of the previous season.
My approach centered on building a repeatable SOP—typesetting in Illustrator, 3D modeling and lighting in Cinema 4D, and compositing in After Effects using True Comp Duplicator for efficient versioning—while running each credit through three rounds of typographic refinement to account for the differences between flat, 3D, and composited space. By treating the credits as a modular system rather than individual shots, I was able to deliver consistently at scale without compromising quality.
