This article explores the emergence and significance of Vernacular Typographic through the changes in Malaysian typography in graphic design. How is it being used nowadays?

Conclusion：

1.Each font has its own meaning and story.

2. Causes：

1) Influenced by socio-historical factors

2) Influenced by geographical developments

3. changed the traditional design thinking of designers who have preconceived ideas about type design and typography;

4. to a certain extent, it has brought multiple perspectives to informal design;

5. design inspiration as a social context

Key word：City Psoriasis

The authors illustrate the theoretical and practical work on graphic communications in recent years. The relative legibility of fonts and images and the audience's understanding of icons are explored.

Conclusion：

1. targeting different audience groups - and different abilities to understand pictorial symbols (think about how to persuade the viewer)

2. The language of images has its own rhetorical devices

3. signs and symbols become a medium for transmitting information without the need for language at all times, and have the property of cross-linguistic communication.

4.designers must consider the effectiveness of logos and symbols in the overall visual layout.

Layout design focuses on mastering design with the eyes rather than the intellect through personal charisma, aiming for an impact on the senses.

Conclusion：

1. people ensure publicity through a lot of advertisements, but the investment is very high;

2. novel designs are pursued, but they are short-lived;（nothing stays new for long）

3. simple and clear typography and distribution, clearly highlighting the characteristics of the design object（The eye is guided to a place when the composition must lead them to hover over the details）

Postmodernism is a hot topic in Chinese design, this paper explores what are the influences of postmodernism as an international modern movement on Chinese design? How has China embraced such movements?

Conclusion：

1.History

1). China is more influenced by political factors (before 1970, the main focus was on propaganda to rectify the image)

2). Uniform design forms are more homogeneous.

(e.g. *. Political billboards were seen as a means to educate people)

*. predominantly hand-painted and very low cost

2. modern

1). triggered many designers to design for nostalgia (nostalgia became a common experience in consumer culture)

Reflections: is this a real movement or an immature foreign imitation?

1. Indigenous fonts can be used as a cultural heritage of visual symbols

2. Bringing a certain value to a city or a place and a space (can clearly position itself)

3. Text in the environment is a history lesson in type design and production

To explore what are the concepts that influence us to define this type of design as ‘vernacular’?

Reflections: how to modernise the ‘vernacular’ while retaining its own characteristics.

Bonus topic: decolonising design

Words not only convey language but also embody visual narratives rooted in history and culture.

https://www.jstor.org/stable/24053510?searchText=art+and+cultural+hong+kong+or+the+creation+of+a&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3Dart%2Band%2Bcultural%2Bhong%2Bkong%2Bor%2Bthe%2Bcreation%2Bof%2Ba%26so%3Drel&ab_segments=0%2Fbasic_search_gsv2%2Fcontrol&refreqid=fastly-default%3A6c118e31d7d6fbd489071e0f8c3a9b74

Conclusion：

1.‘International Postmodernism’ with a Chinese Flavour

2.Early retro design

3.The common denominator: the narrative of Chinese history

Each of the three groups featured designers in a hands-on discussion of vernacular languages and typographic cultures in India and the Philippines. As well as molly's presentation of her own collection of vernacular design elements and her visual analysis of these dying vernacular typographies.

Additional Extension Topic: Cultural Heritage

Individualised aesthetics/Bottom-up

The main focus of my RP was to discuss contemporary grassroots vernacular graphic design in China. These designs possess their own unique styles, but such styles are still much questioned and discussed in terms of traditional aesthetics. What is the significance of this non-aesthetic form of design? What are the reasons for its emergence? What impact has it had on the field of graphic design? These are all questions worth thinking about

I will be discussing and analysing:

Fonts Language, Visual Signs And Symbols, Typography, Historical And Contemporary Graphic Design, and Vernacular Typography.

Reflections：

1. do vernacular designs such as RP have the nature of visual cultural heritage?

2. why should the aesthetics of such designs be categorised separately and defined as informal designs?

3.This typeface is being phased out little by little due to ‘unprofessionalism’ and ‘aesthetic inconsistency’, will it become a visual cultural heritage?

4. In terms of visualisation, can the formal typography of the designs described in RP be presented through a 2D to 3D transformation? Can this type of non-aesthetic design style be visualised in a more intuitive way?

Reflections:

1. How can typefaces be integrated with modern design while ensuring the development of their specific culture?

2. There are so many dialects and cultures in China, how should we go about categorising them and choosing which form to study?

3. For non-local customers, how to help them visually recognise the dialect through what type of design form?

Reflections:

1. Can my RP of Chinese vernacular design mentioned in the RP become a visual symbol?

2. If it is a symbol for cross-language communication, what kind of characteristics should it have? How to communicate with the audience efficiently?

At the same time there are many brands nowadays pursuing personalised aesthetics, and some designers are also using vernacular for their designs, but are only pursuing novelty without considering the audience's long-lasting attention to it. (You can survey and collect the audience's opinion on novelty and what they think the novelty is related to).

Reflections:

How do the stallholders in the night market understand the word novelty? And is the typography of their own signboards novel?

Reflections:

1. Is the vernacular design form in RP also a nostalgic design? What are their similarities? What are the differences?

2. are they nostalgic designs recognised by the audience?