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Task 1, 2, and 3 with research and readings

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Task 1, 2, and 3 with research and readings

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Visual surveys for Jawi/Arabic signages in Kampong Gelam, Singapore

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Visual surveys for Jawi/Arabic signages in Kampong Gelam, Singapore

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Explored on differences between Jawi and Arabic styles/basic of Jawi and Arabic ligatures
Researched Rumi and English scripts in signages

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When you visit any website, it may store or retrieve information on your browser, mostly in the form of cookies. This information might be about you, your preferences or your device and is mostly used to make the site work as you expect it to. The information does not usually directly identify you,…

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Provided Jawi, English, Malay, Chinese and Tamil
Used pointed stroke for the Jawi
Sans serif style
Malay: bold weight
English: regular weight
Tamil: bold weight
Chinese: bold weight
Jawi: bold weight

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Photographs in Gimhae market, Bosu-dong Book Street and Gukje Market, Busan, South Korea

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Visual surveys in Gimhae market, Bosu-dong Book Street, and Gukje Market, Busan, South Korea

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Visual surveys in Gimhae market, Bosu-dong Book Street, and Gukje Market, Busan, South Korea

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The purpose of visual surveys were analyzing old Korean signages for typography styles and materials. (Mostly they used rounded, Gothic (sans serif style) and brush (Gung-suh-che cursive) style)

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Notes for old signages in bosudong bookstore, Gukje Market and Gimhae (royal king suro)

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multilingual sign in Gukje (International) market

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Provided Hangul, English, Russian and Japanese
Wrong translation for the English (Keunot means "big cloth" in Korean/they just provided Korean phonetic sound)
Used sans serif style
Hangul: sans serif style/Gothic font/bold and extra bold weights
English, Russian and Japanese: sans serif style/regular weight

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Using soy sauce, chili sauce, ketchup and wasabi for creating a Hangul and Jawi letters

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Using soy sauce, chili sauce, ketchup and wasabi for creating a Hangul and Jawi letters

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Chili sauce was easy to use for writing Hangul and Jawi letters
Limitations: it was hard to use soy sauce for creating Hangul letters (some letters got dot shapes)
some Jawi letters got loose curved strokes

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Workshop: Learning of Korean calligraphy style with brush (Part 1)

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Workshop: Learning of Korean calligraphy style with brush (Part 1)

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Communication of emotions through calligraphy is the aim of calligraphy. The art of calligraphy is both a commercial and artistic way of communicating with the other person. A calligrapher's handwriting is imperative to making their handwriting, but they have to learn how to communicate with another person before drawing their handwriting. Without empathizing with the other person, insisting on only one's handwriting is a misunderstanding that fails to use calligraphy effectively as "emotional communication".

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제목 없는 디자인

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Practiced on hand lettering (cursive Korean calligraphy style) for Korean poetry through using Korean calligraphy pen

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Workshop: Learning of Korean calligraphy style with brush (Part 2)

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Workshop: Learning of Korean calligraphy style with brush (Part 2)

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1. Finding phrases

Before writing calligraphy, create a list of phrases you usually think of, phrases you would like to write, or phrases you have been tasked with writing.

2. Get a concept.

The phrase you have prepared needs to be matched with a concept. A concept that feels strong and intense should be applied to a phrase that is masculine and intense. When choosing a concept for a feminine phrase, thin and soft are better choices.

3. Planning

Thinking about how to divide and align lines is the first step. You should consider whether to write a phrase on one line or arrange it in several lines. In addition, you should think about various ways to align the phrase, such as center alignment and diagonal alignment.

4. Adjusting the size

If you want to emphasize the point of the phrase itself or express more messages from the phrase, adjusting the size of the letter is one way.

5. Transforming and emphasizing the shape of letters

An important word can be shaped in a particular way by changing its shape to fit the feeling of the phrase.

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Spring, Summer and Autumn haiku Korean calligraphy by Ji-Young calligrapher

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Korean calligraphy exhibition in Daegu, South Korea

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Korean calligraphy exhibition in Daegu, South Korea

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Ji-Young calligrapher wrote different topics of Spring, Summer and Autumn with 50 haiku. Her hand lettering style is sans serif and serif styles with cursive strokes.

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어떤 운동화를 구매해야 좋을까요

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Hangul letters were fine (because of modular letters), however, Jawi letters were hard to read out and loose curved strokes

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Limitation: same with pixel Jawi letter problem
For center image, it's hard to read Jawi letters (needed to improve on curved strokes)

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Package design and stickers (for brand design)

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Package design and stickers (for brand design)

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Limitations: Package design --> too cute style and hard to read rounded stroke for the Jawi letters
Sticker design --> different weight for Jawi and Hangul (traditional Korean folk art style sticker) --> needed to improve on scale and weight

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Studied on history of Hangul script
-This is a space that sheds new light on the achievements of Hangul scholars Lee Yoon-jae and Heo Ung, who left great footprints in the study of Hangul, and the culture and history of Hangul after the invention of Hangul in 1443.
-Yong-bi-cheon-ga by King Sejong

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Gimhae folk museum and Royal Tomb of King Suro

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Gimhae folk museum and Royal Tomb of King Suro

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Through the artifacts used from the late Joseon Dynasty to the modern and present age, and they examine the transformation of socio-cultural and have consisted on the exhibition it to help understand folk cultures related to the life.
-Studied on history of Korean folk art

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Gimhae folk museum and Royal Tomb of King Suro

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Traditional Malay woman poster (for Korean calligraphy and rounded style)

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Traditional Malay woman poster (for Korean calligraphy and rounded style)

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For the Hangul letters, I did Korean calligraphy style first, and then edited in an illustrator program. (Hangul letters are stranger, culture shock, thinking, style, table manners, etc.)

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제목 없는 디자인

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Practiced on how to use Korean calligraphy brush

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Practice on traditional Korean calligraphy with Gung-suh-che cursive style (Part 1)

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Practice on traditional Korean calligraphy with Gung-suh-che cursive style (Part 1)

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This calligraphy style is Gung-suh-che cursive style.
Firstly, I was practice traditional Korean calligraphy brush with ink. This book is about traditional Korean calligraphy book and fill the Hangul characters. The beginning and end are both sharp and pointed. Strokes cannot be made properly without controlling the shaking of the brush. Writing should be done with your elbow on the desk while holding the brush. As the elbow is attached, it becomes easier to control the shaking of the brush, while the movement of the arm is restricted, making it easy to cut off the flow of letters throughout the work and limiting the dynamics of handwriting.

Cheon, Sang Hyeon. Basics of Calligraphy textbook. Maeil Publishing company, 2021. Accessed 15 December. 2022. (천상현. 기초 서예교본. 매일출판사, 2021.)

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Practice on traditional Korean calligraphy with Gung-suh-che cursive style (Part 2)

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Practice on traditional Korean calligraphy with Gung-suh-che cursive style (Part 2)

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Practiced on how to draw Hangul letters through using Korean calligraphy brush

Cheon, Sang Hyeon. Basics of Calligraphy textbook. Maeil Publishing company, 2021. Accessed 15 December. 2022. (천상현. 기초 서예교본. 매일출판사, 2021.)

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Experiment for dissertation (traditional Korean calligraphy brush with Gung-suh-che cursive style)

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Experiment for dissertation (traditional Korean calligraphy brush with Gung-suh-che cursive style)

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The Korean calligraphers used a specific tool called a brush pen to create a calligraphy design. The calligrapher uses stones to create beautiful calligraphers on the surface. Other calligraphers create beautiful letters by drawing old Korean writings with a brush. The characteristics of Hangul letters are cursive. Cursive has a great influence even in the process of Hangul typography design. Cursive flexibly changes the direction of the stroke, which plays a role in reducing the visual fatigue of the reader. Cursive also makes letters infinitely soft depending on the value, or makes them solid but not lose their softness. It is an element that gives rich expressions to each letter.

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Annotations for Gung-suh-che cursive style and Naskh calligraphy style

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Annotations for Hangul and Jawi letters (dissertation)

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Annotations for Hangul and Jawi letters (dissertation)

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Used Korean calligraphy brush for Hangul letters
Used Qalam pen (bamboo stick) for Jawi letters
-Arabic calligraphers used the qalam pen as a calligraphy tool. Arabic script is unique in that it has been used since it was established in the Middle Ages and has not been changed or transformed. It was regarded as a completely changed letter with religious and aesthetic importance. Arabic and Jawi scripts are characterized by their excellent design elements and artistic functions in the letters themselves, which are characterized by their function as decorations. Because Islam banned the painting of human faces, the mosque is dominated by calligraphy decorations using Arabic script. It is used for all kinds of decorations such as walls of buildings, ceramics, and crafts. The characteristics of Arabic and Jawi letters are connected to other letters with flat tails and curved strokes.

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Latin letters for dissertation experiment

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Latin letters for dissertation experiment

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Modified Garamond and Times New Roman and then create own Latin letters (Expressed slanted angle (Jawi calligraphy) style/Wedge serif with old serif

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제목 없는 디자인

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1. Jawi --> Naskh calligraphy (used a qalam pen)
2. Hangul --> Gung-suh-che cursive style (used a traditional Korean calligraphy brush)
3. Latin --> modified from Garamond and Times New Roman and changed to wedge serif and Jawi calligraphy styles

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Practice on traditional Korean folk calligraphy style

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Practice on traditional Korean folk calligraphy style

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This letter is "sarang" in Korean and Jawi letters
Sarang means "love" in Korean
Sarang means "bird nest" in Malay
Characteristic of Korean folk calligraphy --> always used rainbow colors (green, orange, red, yellow) with animals and plants

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스캔된 문서

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Practiced on Korean calligraphy brush with flat brush
Limitation: hard to translate Malay to Jawi letters
it's too Asian style (because everyone know Asian style --> the letters should be Jawi letters)

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Brand logo (Hangul, Jawi and English scripts)

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Brand logo (Hangul, Jawi and English scripts)

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Expressed Min-hwa (traditional Korean pop art) style on Jawi and English letters

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피자헛 copy

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Traditional Korean folk calligraphy style with three scripts (Hangul, Jawi and English)

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Traditional Korean folk calligraphy style with three scripts (Hangul, Jawi and English)

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Expressed traditional Korean folk art style on Hangul letter and combining Jawi and English letters

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-Practiced on using tape and wood materials for creating different three letters
Limitations: hard to express cursive style through using a tape and wood materials
Jawi letters were hard to read --> because loose cursive strokes and wrong translation

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Used mark making technique with acrylic paint

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This technique was using different materials for mark making, however, the problem was that it was hard to stamp material textures with letter scales.

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1. Practiced on mark making (using different materials first)
2. Overlapping three different letters (used making making for English, tape for Jawi and Korean folk calligraphy for Hangul)

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Experiment on tape and traditional Korean calligraphy brush for the street poster

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Experiment on tape and traditional Korean calligraphy brush for the street poster

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My idea was that collaborating with tape and brush techniques. However, the limitation of poster was that I didn't consider the spacing and scales (some letters got different sizes).

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Combination of tape and brush materials
-these posters are about street names in Singapore (Singapore used Malay for street names)

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Combination of Latin and Korean letters (used overlay/blue and red color)

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HANTIN Nov 2017 HANTIN is a hybrid modular typeface that combines of Hangul and Latin letter forms and writing systems. This typeface enables a reader to understand Latin phonetic sounds without needing to study English beforehand. Conversely,...

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Tested overlapping with three different letters

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Experiment on overlapping three scripts (Hangul, Jawi and English)

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Experiment on overlapping three scripts (Hangul, Jawi and English)

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https://miro.com/app/board/uXjVPksAFpc=/?share_link_id=943049506038

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I tried to use Korean brush and flat brush for hand lettering for Hangul and Jawi letters first.

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Version 1: vector is for all three letters
Version 2: brush is for Jawi and Hangul letters/modified from Helvetica for English letter
Version 3: black background and white letters (brush is for Jawi and Hangul letters/modified from Helvetica for English letter)
Version 4: Red brush is for Hangul/Blue brush is for Jawi/green (modified Helvetica) is for English
Version 5: all vector style (red is for Hangul/blue is for Jawi/green is for English)

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제목 없는 디자인

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Version 1: Tape is for Hangul/brush is for Jawi/English is modified from Helvetica
Version 2: Tape is for Hangul/brush is for Jawi/3D is for English

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I used brush style for the street name. Firstly, I tried to use “JALAN PISANG” and expressed the road with a car. First version used black with yellow and brush strokes, second version did clean version and hybrid typeface expressed road shape, and last version did black, white color with gray color for the road. I realized that the first version and second version are better, but the last version is too dark. Lastly, I also realized that the second version of the hybrid typeface shape doesn’t seem like a curved line, so I should improve and edit the curved line.

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Version 3:
I used black for English, black outline for Hangul, and blue for Jawi (with white background) Here, I tried to improve on combining and overlapping three letters. For example, last time I did a large length of B letter, but I tried to figure out a combination of b letters. Here, I used the “bi-eup” hangul letter on the top of the English b letter and pasted the “ba” letter on the bottom of the “B” letter. However, the limitation of this version is that I used three colors, so the blue will not be seen in the mono version

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Before combine three letters, I used a pen tool for creating sans serif style for English, Hangul and Jawi letters.

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제목 없는 디자인

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Version 4:
I tried to use black for English, white outline for Hangul, and white for Jawi (with blue background) for the version 4. This version 4 is more clear, and
it feels better than version 3, because this version
4 can be used in mono version, because I only used black and white color, however, the problem was that combining three letters. It’s so hard to combine three different letters, and the letters become bigger and bigger, therefore, I will improve on combining and overlapping on three different letters.

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Version 5:

-Modified from Helvetica, Sandoll Gothic and Myriad Arabic fonts

-Used full black for the English letters/3 pt outline for Korean letters/ 8 pt outline for Jawi letters

-My idea was to use all black and white for this typeface, because if I use three different colors, the mono version will not see three different colors. I improved on combining three different letters, however, the limitation of this typeface is that some letters have different scales and height/length. I should consider the size of letters when combining three different letters, and I also redo the construction of letters.

Version 6:

-Modified from Helvetica, Sandoll Gothic and Myriad Arabic fonts

-Used full black for the English letters/3 pt outline and white for Korean letters/ blue for Jawi letters

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Movie poster through using hybrid typeface

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Movie poster through using hybrid typeface

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Purpose: is this typeface can be used in movie posters?

Parasite:

For the pictogram, I expressed a knife with four people going up stairs with one person in the basement.

Train To Busan:

For the pictogram, I expressed the train with zombie hands.

Limitation:

However, the problem is the “typeface”. This typeface loses legibility and readability, and it’s hard to read and understand movie titles, so I should improve on scales and height/length of typeface, and I’m struggling with combining three letters. I will explore more on scale and height/length.

Visual research: http://viktorhertz.com/portfolio/pictogram-movie-posters/

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Exercise (drawing curved stroke and n lowercase letter):

1. Firstly, we needed to do document setup, and size should eb 120 x 120 pt.

2. After we document setup, the document should be shown in a grid (so it will be easier when drawing letters). However, the grid isn’t fit with 120 x 120 pt size, so go to general and setup again (keyboard increment: 1pt/ constrain angle: 0 degrees/ corner radius: 12pt) (Go to type → size/leading: 2 pt/ tracking: 20/ baseline shift: 2pt). Vikas also told us to turn off smart guides, so it will be easier to move the letter.

3. We did a basic lesson first: drawing rectangle shape and ellipse shape first. After drawing a rectangle and ellipse shapes, we changed the ellipse shape to a line stroke and curved stroke. I realized that I should practice more on making a perfect curved stroke. I still got a bumpy stroke.

4. Lastly, we learned how to draw a n letter. Firstly, draw a rectangle shape, and then use a pen tool for drawing an arch stroke. After using a pen tool, we used an anchor point tool and created a curved stroke. It was hard to draw without a scanning letter, however, my arch stroke was a weird shape because an arch stroke looked low and flat, so I edited a position for an arch stroke and moved it a little bit up.

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Purpose: combinations of three different letters for the typeface/ combinations of same phonetic sounds with three different letters/cross-cultural communication

Version 7:
Improved on readability and legibility (with scale)
blue for Jawi letter/black for English letter/white and 3pt outline for Korean letter

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The purpose of a hybrid typeface is to explore similar sounds with cultural exchange with three different origins and combine Korean, Jawi, and English. This Nasi poster is about a Korean word that sounds similar to a Malaysian word. Nasi means rice in Malay, and Nasi (나시) means a sleeveless shirt in Korean.

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The purpose of a hybrid typeface is to explore similar sounds with cultural exchange with three different origins and combine Korean, Jawi, and English. This Babi poster is about a Korean word that sounds similar to a Malaysian word. Babi means pig in Malay, and Bab-i (밥이) means rice in Korean.

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Black, Gray and white with black stroke version of hybrid typeface

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Black, Gray and white with black stroke version of hybrid typeface

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If I use black, gray and white for the hybrid typeface, it will be functional, however, this kind of typeface is hard to read and looks like logo. I realized that if I use different colors, this hybrid typeface will be connecting to the visual and graphic design concept.

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Yes, the rainbow striped sleeves still makes a very striking impression when displayed on children's hanbok!

The display of colors are obligatory for an infant's 돌 dol celebration attire.

Stunning, attractive, yet bold and affirmative in presence, such arrangement of colors as a distinctively Korean design motif was meant to be that way for a reason.

The obangsaek color motif is a design that is distinctively Korean and has its roots in very old shamanistic folk practices.

Growing up and seeing the colors, especially on children's hanboks, small purses, flourishes on many small emboridered items, it was always there, just as the sun and sky and land, thus I never wondered why.

When I started looking into Korean minhwa folk paintings, I read about some principles behind Korean artforms. I was taken aback and finally came to understand that there was a whole ancient theory behind the five colors: 오방색 obangsaek.

Each color has a meaning and assigned a cardinal direction plus center, making five colors of astute visual significance. The beautiful rainbow pattern on the sleeves of children's hanboks offers protection against malignant forces and the attention of the benign.

The obangsaek is a design philiosophy in Korean food, the colors used in the palace, and of course mudangs still practice shamanstic rites using the spiritual meaning of the colors.

Often, the colors are attributed to "China' origin ying-yang, but it really seems the shamanism predates anything of ethnic Chinese. The meaning of the colors differ, and Koreans emphasize four directions plus center whereas Chinese settled on four cardinal directions.

What is really impressive is that black, white, red, yellow, and blue are also five colors for design. The obangsaek primary colors blended and adjusted with black or white can make any shade of ogansaek colors.

Thus, ogansaek secondary colors also have a place in Korean culture.

Our ancient Korean ancestors embedded meaning through a special kind of spiritualism. The spiritualism is not religious in form, but expressed by observing practices involved in living life itself as Korean culture, a cultural spiritualism encompassed in Danilminjok seeking protection and fortune for everyone together as 우리. Modern Koreans hopefully will not be distracted too much by western influences, to continue rediscovering and understanding the deep Korean cultural and spiritual meanings even in something as simple as color theory.

Korean Traditional Colors
http://www.newshyu.com/news/articleView ... dxno=32143

The five colors of obangsaek represent the five elements (fire, water, tree, metal or gold, and earth) that compose the universe, and symbolize five positions (south, north, east, west, and the center).

The Five Traditional Colors and their Variants

The colors of obangsaek have each of its own significations.

Red, symbolizing creation, passion and love is conceived to be a powerful color that wards off evil spirits. This belief is the reason why Koreans eat red bean soup on the day of the winter solstice.

Black stands for wisdom, darkness, and death. Since black indicates death, the color is rarely used in palaces. However, judges wore black to embody honesty and honor.

Blue signifies new birth, brightness, and clarity. Blue is typically used in clothes of maidens and vassals in palaces. The bride's dress and thread decorations hung in marriage ceremonies are also in red and blue.

White, meaning truth, life and virginity, is the color that is loved by Koreans the most. Koreans liked to wear white clothes, and called themselves the "white-clad folk".

Finally, yellow or gold represented brightness and rays of sunlight. Gold ropes are used to mark holy sites and places that need protection, such as the house where a mother just gave birth to a child.

Ogansaek is another set of five colors that are made from the combination of each of the colors of obangsaek.

Two obangsaek colors are mixed to make ogansaek colors; green (yellow+blue), light blue (blue+white), bright red (red+white), sulphur yellow (yellow+black), and violet (red+black). Though obangsaek is more representative than ogansaek as Korea's traditional colors, they are used harmoniously in traditional Korean design.

How the Colors are Used Together

Obangsaek and ogansaek are widely employed on hanbok, a traditional Korean outfit, and on food and architecture.

Saekdong jeogori, a type of hanbok worn by children, is adorned with saekdong, stripes of many colors. Colors of obangsaek and ogansaek are used to make saekdong, which is believed to drive away bad luck and bring good fortune.

A lot of Korean foods make use of the colors as well. The most well-known of these foods is bibimbap, rice mixed with vegetables and meat, which the colors of the ingredients are beautifully arranged.

Dancheong, which are patterns such as animals, plants and geometric shapes that embellish wood structures, is painted in obangsaek and ogansaek. The colorful patterns emanate mystique and express the dignity and authority of important structures, too.

Five-Colored Ribbons(五色布)
Encylopedia of Korean Folk Culture
https://folkency.nfm.go.kr/en/topic/detail/2580

Osaekcheon, meaning five-colored fabric and comprised of the colors red, green, blue, yellow and white, is worshipped in Korean folk religion as a sacred entity or offered in rituals as sacrifice.

Five-colored ribbons are used as offerings for the village guardian deity Seonang; or as banners tied to bamboo staffs for the wind god ritual yeongdeunggosa or for worshipping the boat guardian deity Baeseonang; or for wiping the body of the patient in healing rituals (byeonggut).

Osaekcheon is offered to the village guardian deity Seonang as part of the village ritual seonangje or as part of a private ritual, by hanging or wrapping the fivecolor ribbons on or around a stone stack or a tree that is worshipped as the village guardian deity. This is called "dressing the village guardian."

In Gangwon Province, five-colored ribbons are tied to trees as part of sanmegi, or mountain-feeding ritual, to "dress the ancestor god Josang." In worship rituals for boat god Baeseonang, five-colored banners on bamboo staffs are erected on boats and five-colored ribbons are also offered on the ritual table along with the other sacrifices.

Five-colored banners are also used in the wind god ritual yeongdeunggosa, erected in a corner of the kitchen. This banner is called yeongdeungot, or dress for the wind god, and is considered a sacred entity that embodies Grandmother Yeongdeung.

In byeonggut (illness ritual), the process for washing away evil spirits involves the five-color fabric, which the sorcerer cuts with the divine knife (sinkal), and wipes the body of the patient with.

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Yes, the rainbow striped sleeves still makes a very striking impression when displayed on children's hanbok! The display of colors are obligatory for an infant's 돌 dol celebration attire. Stunning, attractive, yet bold and affirmative in presence, such arrangement of colors as a distinctively Korean design motif was meant to be that way for a reason.

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Korean Culture and Information Service (KOCIS)

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Multicolored pattern shows agelessness of Korean design : Korea.net : The official website of the Republic of Korea

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The origin of what we now know as saekdong (색동), comes from Korea in ancient Joseon (Go-Joseon), during its commercial development in the manufacture of iron, fur, dyes and silk. It was originally called Kyung-Geum, a fabric where double colored strands were woven vertically in repeating patterns an…

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Korean traditional pattern with Arabian pattern

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Limitation: lack of readability and legibility
Hard to read Jawi letters because of Arabian pattern

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Final Final Hanjalish letterform poster series

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Final Final Hanjalish letterform poster series

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The purpose of the Hanjalish hybrid letterform poster series is to combine and harmonize Hangul, Jawi, and English letters. This project also explored finding the same Korean and Malay phonetic sounds. This Hanjalish hybrid letterform is modified from Sandoll Gothic, Myriad Arabic, and Helvetica styles. A Korean saek-dong pattern is a traditional rainbow color, and the pastel spectrum rainbow color represents the Western style.

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Final Final Hanjalish hybrid letterform poster series

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Final Final Hanjalish hybrid letterform poster series

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Saek-dong pattern is for Hangul
Black is for English
Jawi is for pastel spectrum rainbow color

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Final Hanjalish hybrid letterform publication

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Final Hanjalish hybrid letterform publication

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Hanjalish hybrid letterform publication is an archive that introduces primary research, differences between Hangul, Jawi, and English typographic styles, visual surveys in Kampong Gelam and Busan, the purpose of the Hanjalish hybrid letterform, and conclusion.

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Final Hanjalish hybrid letterform publication

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Final Hanjalish hybrid letterform publication

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Introduction: primary research, Jawi VS. Hangul scripts, and multilingual typography
Problems and Challenges in multilingual typography
Charactersitics of Hangul, Jawi and English
Visual surveys in Kampong Gelam, Singapore, and Gimhae and Busan, South Korea
Introduction: Hanjalish hybrid letterforms
Sound matching with Korean, Jawi and English
Conclusion
Bibliography

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Jawi letters for traditional Korean woman poster

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Jawi letters for traditional Korean woman poster

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I randomly picked Jawi letters: makan (eat), buncit (belly), pon- tianak (Malayan language spoken in Pontianak), lapar, (hungry) Subang Jaya (City in Malaysia), Seruling (Musical instrument) and Kayu balak (Timber).

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Topic: A traditional Korean cloth poster is  about “language”. When I learned Chinese for the first time, it’s like beating my head against a wall here. I also had a “language barrier” with classmates and teachers. Here, I wrote random Jawi letters first, and then I tried to draw Jawi letters using a brush. After hand lettering for the Jawi letters, I worked in an illustrator program and expressed flat brush strokes. I also designed Western crown with traditional Korean cloth (Hanbok) and Jawi letters. For the background, I multiplied the Hanji paper texture with beige color (I wanted to express traditional Korean paper style).

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Hangul calligraphy and rounded style for traditional Malay woman poster

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Hangul calligraphy and rounded style for traditional Malay woman poster

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For the Hangul letters, I did Korean calligraphy style first, and then edited in an illustrator program. (Hangul letters are stranger, culture shock, thinking, style, table manners, etc.)

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제목 없는 디자인

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Topic: A traditional Malay cloth poster is about a “stranger” with “culture shock”. I also expressed the Asian style of crown, which is “Crowns of Silla” (crowns of Silla made by an old Korean kingdom, and the Silla era was the 5th to 7th centuries. Silla was located in Gyeong-ju, so if you are going to Gyeong-ju, there’s a lot of Silla style of crowns and clothes (Silla was capital city during the 5th to 7th centuries)) I designed “Baju Kurung” for Malay traditional woman cloth. Next step was putting Hangul letters inside of Baju Kurung cloth. I did two versions: horizontal and vertical directions for the Hangul letters.

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제목 없는 디자인

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https://www.grapheine.com/en/history-of-graphic-design/reza-abedini-father-of-iranian-contemporary-graphic-design

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This poster was designed for a Persian film with conversation of no more than five words. Events occurred in the film were overlapped not according to time. Designer tried to present the actress with a vague allusion by adding a "Chador" (Scarf) full of words and fading parts of her face in the poster. The silkscreen on art paper brings a strong Persian style on the poster.

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Award-winning poster by Reza Abedini in HKIPT2004

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This poster was designed for a Persian film with conversation of no more than five words. Events occurred in the film were overlapped not according to time. Designer tried to present the actress with a vague allusion by adding a "Chador" (Scarf) full of words and fading parts of her face in the poster.

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Lee Se Young graphic designer (folk art with calligraphy)

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Lee Se Young graphic designer (folk art with calligraphy)

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https://www.instagram.com/nabidoryoung/

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대한민국 혁필화의 대가, 이세영

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일전에 (한 1월 중순) 혁필화를 주제로 한번 포스팅을 했었는데, 상당히 많은 인기를 끌었었다. 트위터를 통해 산돌커뮤니케이션(@fontclub)이 우리 게시물을 소개해 준 것도 큰 몫이였고, TV에서 두어 번 혁필화에 대해 방송된 적이 있어서 그런지, 지금도 꾸준히 혁필화를 검색해서 올더웨이에 들어오시는 분들이 많은 것으로 안다. 그래서 모아 본 혁필화 자료들, 일전에 폰트클럽에서 소개해 주신 자료를 이렇게 올려본다. 우선 카테고리를 정하기 너무 어려웠다. 결국은 타이포그라피. 많은 이들의 물음. 그림이야, 글씨야?? 오늘 소개하…

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Christoph Niemann (The New Yorker cover design) 

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Christoph Niemann (The New Yorker cover design) 

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https://www.designboom.com/art/christoph-niemann-interview/

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https://www.instagram.com/tokiwa.calli/

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For Korean calligraphy, I used random poetries by Kim Yeong-nang. Kim Yeong-nang was a Korean writer and participated in the Korean independence movement. A Korean calligraphy style used brush and zig pen style.

Kim Yeong-nang Poems' in the early phase emphasized pure lyricism and aesthetics, while poems in the middle stage emphasized a negative or resistant recognition of reality, and poems in the later phase emphasized active social participation.

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Purpose: Exchange culture with Korean culture (a cultural exchange)

I used brush strokes on the Malay cloth and zig pen strokes on the head. I also tried to put gradation through using Korean calligraphy scripts (I put a lot of scripts on the bottom part). A crown expresses an old Korean style, which is “the crown of Silla”. Branches-like protrusions and more ornamentation became standard on Silla crowns.

Problem - My problem was clipping masks, because I just paste letters on the clothes, so this method isn't interesting (the letters look like patterns), and I should paste one by one for the letter (need to follow the shape).

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Visual survey: Ancient Artifact Review 99 : Antique Malay Poems Jawi Plate / Pinggan Pantun (1819-1864 CE)

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Visual survey: Ancient Artifact Review 99 : Antique Malay Poems Jawi Plate / Pinggan Pantun (1819-1864 CE)

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This is a priceless antique English plate decorated with Malay / Jawi motif & pantun (poems). This plate was manufactured by Williams Adams & Sons company sometime between 1819 CE to 1864 CE. This company was established in the early nineteenth century and great supplier of wares to India & the Far East. The trademark can be seen at the bottom of this plate, written W. Adams And Son under a medallion inside which is inscribed the name of the motif viz MALAY.
"The plate was printed using the process of transfer-printing, which was first used in England around 1750. The design is engraved on a metal plate, then impressed on a thin piece of paper, and transferred to the surface of the pottery or porcelain."

The pantun inscribed on the rims written :
" Yang membuat namanya Adam,
wakilnya Tolson di Betawi,
Syair dan pantun banyaklah ragam,
Janganlah tuan kikir membeli"

Anderson Tolson is probably a retailing firm in Batavia.
The pantun inscribed 4 lines in the centre written :

There is an interesting research & article written by Henri Chambert-Loir from Almanac Indonesia & The Malay World in regards to the this type of plate. It was quite extensive research and dug further to its origin and its design. The handwriting print on this plate belongs to Khatib Muharis. Even though his name is not printed on this plate, there are others with the same handwriting bearing his name. Diameter of this plate is 27cm

See below link to see what else Dr Henri said about this plate writing tradition :
Dr Henri talk on pinggan pantun

Similar plate was seen in Muzium Warisan Melayu UPM, check below link about this plate :
Pinggan Pantun in Muzium Warisan Melayu

See below my other Malay Plate
Pinggan Pantun

Reference :
Eating the text : English plates decorated with Malay poems, by Henri Chambert-Loir ( published in Indonesia & The Malay World 1994)

Crescent Moon : Islamic Art & Civilisation South East Asia, pg 78

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Ancient Artifact Review 99 : Antique Malay Poems Jawi Plate / Pinggan Pantun (1819-1864 CE)

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This is a priceless antique English plate decorated with Malay / Jawi motif & pantun (poems). This plate was manufactured by Williams Adams & Sons company sometime between 1819 CE to 1864 CE. This company was established in the early nineteenth century and great supplier of wares to India & the Far East.

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There was “pantun” poetry and it’s written in Jawi scripts. As an oral form of expression, the pantun originated in traditional cultures. Most of the themes are centered around love. Pantuns are composed of quatrains that use abab rhyme schemes. As a rule, pantuns are usually recited following a fixed rhythm, with each line containing eight to 12 syllables to avoid deviating from it.

http://tauhhidblog.blogspot.com/2010/12/poem-pantun.html

For the Jawi calligraphy, I used brush first, and then scanning (after scanning, I used an illustrator program).

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Purpose: Exchange culture with Malay culture (a cultural exchange)

For the Korean woman poster, I tried to find Jawi poetries.

Most Jawi calligraphy style uses sans serif style and characteristics of Jawi calligraphy is thick flat stroke (not like a pointed stroke in the end). For the hanbok cloth, I used different weights and sizes for the Jawi calligraphy and put gradation.

For the crown, I used a smooth texture with gradient, but it doesn’t seem like crown texture

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Improved on crown texture (used grain and crystallize effects)
Removed clipping mask

A Korean calligraphy style used brush and Zig pen style, and a crown expressed a old Korean style, which is “the crown of Silla”. Branches-like protrusions and more ornamentation became standard on Silla crowns. A cloth is traditional Malay dress, which is “Baju Kurung”. Bajul kurong means "concealing dress" in Malay. Clothing that covers the body and conceals the wearer's form.

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Improved on crown texture (used grain and crystallize effects)
Removed clipping mask

The Jawi calligraphy style used thick flat brush, and a crown expressed Western style. A cloth is traditional Korean dress, which is “Hanbok”. The hanbok represents a person's status within a social hierarchy.

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Used a brush calligraphy pen
English version of pantun poetries
Reference: http://tauhhidblog.blogspot.com/2010/12/poem-pantun.html

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Chinese traditional crown (feng guan) research

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Chinese traditional crown (feng guan) research

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Chinese traditional crown is for Indian woman poster
Idea: Chinese and Indian culture with English cursive (hand lettering)

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( Chinese: 鳳冠; pinyin: ), also known as phoenix coronet or phoenix hat, is a type of guan (a type of Chinese traditional headgear) for women in Hanfu. It was worn mainly by noblewomen for ceremonies or official occasions. It is also traditional headgear for brides and could be worn in set of Traditional Chinese wedding dress attire, such as the .

literally means "phoenix crown" in English language, a name that originates from its adornments: phoenixes made of inlaid kingfisher feathers, as well as gold dragons, beaded pheasants, pearls, and other gemstones. One of the earliest phoenix crowns that has been excavated belonged to Empress Xiao of the Sui dynasty. The type became most popular during the Ming dynasty, with many changes made over time.

evolved from ( Chinese: 鳳釵; pinyin: ; 'phoenix hairpin'), the Chinese hairpin worn by empresses and emperor's concubines. The wearing of was issued by Emperor Qin Shihuang (259BC-210BC). It was in Eastern Jin (317-420 AD) that the word first came up; however, it was referring to the hairpin which was imitating the comb of Chinese phoenix.

The earliest discovered was the crown of Empress Xiao of the Sui dynasty, unearthed from the Emperor Yang of Sui's tomb in 2013. The crown was made under the order of Emperor Taizong of Tang after the empress's death. The artifact was protect-repaired and studied in Shaanxi Provincial Cultural Heritage Administration; later, a replica was made based on the studies.

Kingfisher feathers were extremely rare during the Ming Dynasty and were potentially sourced from Cambodia. The numbers of phoenixes, dragons and precious gems on each crown is different. For example, the phoenix crown of Ming Empress Xiaoduanxian has 6 dragons, 3 phoenixes, 5,449 pearls, 71 rubies, and 57 sapphires.[citation needed ] Other phoenix crowns of empresses excavated from the Ming tombs have 9 phoenixes, between 12 and 9 dragons, more than 3,500 pearls, and more than 150 gemstones.[citation needed ] The pearls, gemstones and kingfisher feathers were made into ornamental flowers, leaves, clouds, and temple ornaments ( Chinese: 兩博鬢; pinyin: liǎngbóbìn ; the 'wings' at the sides and back of the crown). The weight of the entire crown can range from 2-3 kilograms (4.4-6.6 lb).

There are different varieties of fengguan . The number of dragons, phoenixes and pheasants, in addition to the presence of certain ornaments was dictated by rank.

Only the crowns of empresses and crown princesses (wife of crown prince) can have temple ornaments adorned, with the empress's crown having 6 blades of temple ornaments (3 on each side).

( Chinese: 九翟冠; 'nine-pheasants crown'), ( Chinese: 七翟冠; 'seven-pheasants crown') and ( Chinese: 五翟冠; 'five-pheasants crown'), adorned with beaded pheasants and gold phoenixes, are worn by royal concubines and princesses (includes wives of princes), with the number of pheasants representing the wearer's royal rank. The crown princess can only have 4 blades of temple ornaments (2 on each side)

All other noblewomen/wives and daughters of officials wear the pearl-and-emerald crown ( Chinese: 珍珠翡翠冠; pinyin: zhēnzhūfěicuìguān ), where the crown is just adorned with pearls and gemstones (in various ornamental shapes). Phoenix crowns worn with have no strings of pearls by the sides of the head. Noblewomen cannot have temple ornaments on their headdresses.

Coloured hats worn by commoner women on their wedding ceremony during the Ming and Qing dynasty was also called . The practice is believed to have started during Southern Song when the Emperor rewarded a girl for saving his life. Women wearing the as part of their set of wedding clothing has been a long tradition in the area of Zhejiang. The was a symbol of good fortune. However, women who were remarrying for a second times and who were to be become a man's concubine were not allowed to wear .

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( Chinese: 鳳冠; pinyin: ), also known as phoenix coronet or phoenix hat, is a type of guan (a type of Chinese traditional headgear) for women in Hanfu . It was worn mainly by noblewomen for ceremonies or official occasions.

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Related Southern Indian
Connect to the Indian + Chinese woman style poster

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The Jawi Peranakan were an elite group in the Malay community active for half a century (1870s to 1920s).The forefathers of the Jawi Peranakans were mostly As a minority group in the Malay-Muslim community, the Jawi Peranakan developed a fluid identity vis-a-vis their host society. While liberally adopting the Malay language and customs,The political awakening of the Malays at the turn of 20th century and the post-war independence movement created a political climate that favoured the Malay race, leadership and rights.1. Lian, K. F. (Ed.). (2016). ¹ They are Straits-born Muslims of mixed Indian (especially Tamil) and Malay parentage who have assimilated into the Malay society. 2 Their publication, the Jawi Peranakkan, was the first Malay language newspaper in the region. Tamil migrants from southern India who, before the trade of Singapore opened up, settled in the Malay states of Kedah, Penang and Malacca. ⁵ As most of them were single, many took Malay brides and their children became known as the Jawi Peranakan. ⁶ Jawi is an Arabic word to denote Southeast Asian Muslims and Peranakan is Malay for "born of". Loosely defined however, Indian Muslims of mixed background and born in the Straits were also referred to as Jawi Peranakan, Highly literate community
The Jawi Peranakan were the elites of the Malay society and kept a high profile, partly due to the special attention they paid to the education of their children that they combined with religious upbringing and studies. ¹¹ Apart from being successful merchants, the English-speaking Jawi Peranakan also found it easy to get government jobs and recruited as teachers to the Europeans. ¹² Highly literate and wealthy, they "ranked next to the Arabs in leadership and authority within the Malay-Muslim community" and possessed enough capital and skills to launch the first Malay Jawi newspaper in Malaya and Indonesia ¹⁵ the Jawi Peranakan remained distinct from the Malays in their preference for southern Indian cuisines ¹⁶ and for conspicuous jewellery and urban fashion. ¹⁷ Oscillating between their hybrid Malay and Tamil identities was partly the source of their communal strength. Loss of leadership ¹⁸ ¹⁹ In the 1920s, there was an intense struggle for leadership between the local Malays, and Arab and Indian Muslims. Under British patronage, the local Malays found a voice in the Legislative Council and such political representation led to a shift from a non-Malay Muslim leadership of the Malays towards a Malay leadership.Multiculturalism, Migration, and the Politics of Identity in Singapore. Singapore: Springer, p. 83. (Call no.: RSING 305.80095957 MUL)
2. Roff, W. R. (1994). The origins of Malay nationalism. Kuala Lumpur: Oxford University Press, p. 48. (Call no.: RSING 320.54 ROF)
3. Turnbull, C. M. (2009). A History of Modern Singapore, 1819-2005. Singapore: NUS Press, p. 113. (Call no.: RSING 959.57 TUR); Kennard, A. (1973, February 12). An account of early Malay press and periodicals. The Straits Times, p. 18. Retrieved from NewspaperSG.
4. Lian, K. F. (Ed.). (2016). Multiculturalism, Migration, and the Politics of Identity in Singapore. Singapore: Springer, p. 83. (Call no.: RSING 305.80095957 MUL); Pung, L. H. S. (1993, September). The Malays in Singapore: Political aspects of the "Malay Problem" [online thesis], pp. 28-29. Ontario, Canada: McMaster University. Retrieved 2016, April, from: https://macsphere.mcmaster.ca/bitstream/11375/11824/1/fulltext.pdf 28-29
5. Halimah Mohd Said & Zainab Abdul Majid. (2004). Images of the Jawi Peranakan of Penang: Assimilation of the Jawi Peranakan community into the Malay society. Tanjong Malim, Kedah: Universiti Pendidikan Sultan Idris, pp. 34-39, 43, 44. (Call no.: RSEA 305.89481105951 HA)
6. Pillai, P. (2015). Yearning to belong: Malaysia's Indian Muslims, Chitties, Portuguese Eurasians, Peranankan Chinese and Baweanese. Singapore: ISEAS, p. 23. (Call no: RSEA 305.8009595 PIL); Halimah Mohd Said & Zainab Abdul Majid. (2004). Images of the Jawi Peranakan of Penang: Assimilation of the Jawi Peranakan community into the Malay society. Tanjong Malim, Kedah: Universiti Pendidikan Sultan Idris, p. 16. (Call no.: RSEA 305.89481105951 HAL)
7. Halimah Mohd Said & Zainab Abdul Majid. (2004). Images of the Jawi Peranakan of Penang: Assimilation of the Jawi Peranakan community into the Malay society. Tanjong Malim, Kedah: Universiti Pendidikan Sultan Idris, p. 17. (Call no.: RSEA 305.89481105951 HAL)
8. Mustapha Hussain. (c2005). Memoirs of Mustapha Hussain: Malay nationalism before UMNO [trans], Kuala Lumpur: Utusan Publications & Distributors, p. 124. (Call no.: RSING 959.505092 MUS)
9. Halimah Mohd Said & Zainab Abdul Majid. (2004). Images of the Jawi Peranakan of Penang: Assimilation of the Jawi Peranakan community into the Malay society. Tanjong Malim, Kedah: Universiti Pendidikan Sultan Idris, p. 16. (Call no.: RSEA 305.89481105951 HAL)
10. Kok, S. T. (1993). A socliolinguistic description of the Peranakan Chinese of Kelantan, Malaysia [online thesis], p. 6. California: University of California Berkeley. Retrieved 2016, April, from: http://escholarship.org/uc/item/2hd9m92j#page-5; Halimah Mohd Said & Zainab Abdul Majid. (2004). Images of the Jawi Peranakan of Penang: Assimilation of the Jawi Peranakan community into the Malay society. Tanjong Malim, Kedah: Universiti Pendidikan Sultan Idris, p. 18. (Call no.: RSEA 305.89481105951 HAL)
11. Freener, R. M., & Terenjit, S. (Eds.). Islamic connections: Muslim societies in South and Southeast Asia. Singapore: ISEAS, p. 90. (Call no.: RSING 297.0954 ISL)
12. Roff, W. R. (1994). The origins of Malay nationalism. Kuala Lumpur: Oxford University Press pp. 48-49. (Call no.: RSING 320.54 ROF)
13. Turnbull, C. M. (2009). A History of Modern Singapore, 1819-2005. Singapore: NUS Press, p. 113. (Call no.: RSING 959.57 TUR); Kennard, A. (1973, February 12). An account of early Malay press and periodicals. The Straits Times, p. 18. Retrieved from NewspaperSG.
14. Education report 1876. (1877, September 1). The Straits Times, p. 6. Retrieved from NewspaperSG; Freener, R. M., & Terenjit, S. (Eds.). Islamic connections: Muslim societies in South and Southeast Asia. Singapore: ISEAS, p. 93. (Call no.: RSING 297.0954 ISL)
15. Chew, P. G-L. (2013). A s ociolinguistic history of early i dentities in Singapore: From colonialism to nationalism. New York: Palgrave Macmillan, p. 76. (Call no.: RSING 306.44095957 CHE)
16. Halimah Mohd Said & Zainab Abdul Majid. (2004). Images of the Jawi Peranakan of Penang: Assimilation of the Jawi Peranakan community into the Malay society. Tanjong Malim, Kedah: Universiti Pendidikan Sultan Idris, p. 137. (Call no.: RSEA 305.89481105951 HAL)
17. Halimah Mohd Said & Zainab Abdul Majid. (2004). Images of the Jawi Peranakan of Penang: Assimilation of the Jawi Peranakan community into the Malay society. Tanjong Malim, Kedah: Universiti Pendidikan Sultan Idris, pp. 137-134. (Call no.: RSEA 305.89481105951 HAL)
18. Freener, R. M., & Terenjit, S. (Eds.). Islamic connections: Muslim societies in South and Southeast Asia. Singapore: ISEAS, p. 94. (Call no.: RSING 297.0954 ISL)
19. Ahmad Fauzi Abdul Hamid. (2007). Malay anti-colonialism in British Malaya: A re-appraisal of independence fighters of Peninsular Malaysia. Journal of Asian and African Studies, pp. 381-382. Retrieved 2016, April, from Academia website: https://www.academia.edu/331961/Malay_AntiColonialism_in_British_Malaya_A_Re-appraisal_of_Independence_Fighters_of_Peninsular_Malaysia; Chew, P. G-L. (2013). A s ociolinguistic history of early i dentities in Singapore: From colonialism to nationalism. New York: Palgrave Macmillan, p. 78. (Call no.: RSING 306.44095957 CHE)
20. Pung, L. H. S. (1993, September). The Malays in Singapore: Political aspects of the "Malay Problem" [online thesis]. Ontario, Canada: McMaster University, pp 28-29. Retrieved 2016, April, from: https://macsphere.mcmaster.ca/bitstream/11375/11824/1/fulltext.pdf
21. Mustapha Hussain. (c2005). Memoirs of Mustapha Hussain: Malay nationalism before UMNO [trans], Kuala Lumpur: Utusan Publications & Distributors, p. 124. (Call no.: RSING 959.505092 MUS)
22. Chew, P. G-L. (2013). A s ociolinguistic history of early i dentities in Singapore: From colonialism to nationalism. New York: Palgrave Macmillan, p. 76. (Call no.: RSING 306.44095957 CHE); Lian, K. F. (Ed.). (2016). Multiculturalism, Migration, and the Politics of Identity in Singapore. Singapore: Springer, p. 84. (Call no.: RSING 305.80095957 MUL)

The information in this article is valid as at 2016 and correct as far as we are able to ascertain from our sources. It is not intended to be an exhaustive or complete history of the subject. Please contact the Library for further reading materials on the topic ²⁰ In the 1930s, the Jawi Peranakan demanded the opening up of the Malay Administrative Services as they claimed to be Malays, triggering a rebuttal from a prominent Malay journalist who clarified that the Jawi Peranakan "were not Malays in the true sense." ²¹ When the bangsa Melayu (Malay race) became the vision in the struggle for independence, projecting a Jawi Peranakan identity that was elitist and distinct from the Malays was no longer expedient. As with other Straits-born Muslim of mixed parentage, the Jawi Peranakan have registered themselves as "Malay." ²² ¹³ called the Jawi Peranakkan in late 1876. ¹⁴ ⁷ including children of Arab-Malay parentage. ⁸ Other terms that refer to people of mixed Malay-Indian ancestry are "Jawi Pekan" (mostly used in Penang) ⁹ and "Peranakan Kling" (mostly used in Malacca), the latter made popular by the great early Malay chronicler, Abdullah Munshi. 10 3 Their illustrious era came to an end when they were eclipsed by a new breed of Malay leaders who emerged after World War I. ⁴

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The Jawi Peranakan were an elite group in the Malay community active for half a century (1870s to 1920s). They are Straits-born Muslims of mixed Indian (especially Tamil) and Malay parentage who have assimilated into the Malay society. Their publication, the Jawi Peranakkan, was the first Malay language newspaper in the region.

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Indian woman with Chinese crown and English hand lettering

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Final Cross-cultural communication poster 

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Final Cross-cultural communication poster 

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Indian woman --> Chinese traditional crown with English hand lettering and cursive style

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Korean woman with Western crown and Jawi calligraphy

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Final Cross-cultural communication poster 

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Final Cross-cultural communication poster 

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Korean woman --> Jawi calligraphy with Western crown

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Malay woman with Korean crown and Korean calligraphy

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Malay woman --> Korean calligraphy with Korean crown

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Final Cross-cultural communication poster series

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Final Cross-cultural communication poster series

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The purpose of the cross-cultural communication poster series is that cultural differences can be seen in the interaction and symbolic processes between people. Singapore has a different multiculturalism from Korea. Singapore has been a mix of ethnic groups for a long time due to historical reasons. This cross-cultural communication poster series shows that the different Korean, Malay, and English languages harmonize effectively with the understanding across cultures. Korean calligraphy used brush strokes in baju kurung cloth, Jawi calligraphy used flat brush strokes in hanbok cloth, and English hand lettering used rounded brush strokes in saree cloth.

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Creative process journal publications separated by week. The creative process journal explored the journey of Hangul, Jawi, Malay and English signages, as well as experiments, a dissertation and a graduation project.