As part of the ISTD Student Brief, Design Museum is on the look for a new identity proposal upon its future move to a new home, Commonwealth Institute.
The proposed identity is fundamentally based on historical references, primarily from the aspect of architecture.
Firstly, Design Museum’s current building which is located by the River Thames. The former banana factory was converted into what is now today, Design Museum, in the 1989. Having established in the era of modernism, the current building embodies the Internationalist Style, which plays frequently on the characteristics of rectilinear and bold straight lines. In a way, rather constructivist with the rigidness visually.
The future premise, Commonwealth Institute, is a post-war architecture which is considerably a modernist creation with its dynamic hyperbolic paraboloid roof. Similarly, it contains features of lines throughout the whole building.
During the times of Internationalist Style architecture, in terms of graphic design, it led to the Internationalist Typographic Style (or Swiss Style). It is a graphic design style developed in Switzerland in the 1950s that emphasizes cleanliness, readability and objectivity, which focuses on the dogmatic ideas of lines and grids.
Lines, it seems had suddenly became a symbol that repetitively appear throughout the relationship of between the museum and spatial structure. Personally, line represents a feeling of connection, where one point travels to another point, forming a line in between. The thought of looking at line as a form of connection reflects the ultimate purpose Design Museum, connecting people with design.
As a self-initiative project, it was a personal interest to delve into typography. The concept of the typeface was to challenge the idea of contrast. Based on St. Basil Cathedral in Moscow, the architecture is used as a reference for concept and visual aesthetic.
With its flamboyant and decorative exterior, it is quite contrary to what is expected of a religious venue. This itself highlights the unorthodoxy or unconventionality of the architecture in terms of form and function, and this manifests an important element in design, which is contrast.
Basil is a graphic interpretation response towards the relationship between architectural aesthetic and contextual, in the form of a modular typeface which is structured using elements of the building and stresses the notion of contrast with a regular and bold version.
Basil Regular, emphasizes on the idea of contrast. A hybrid of type and architectural aesthetics, but in contrast of the subject's nature. It plays on the response of what the building is not. The concept of a contrast typeface is also inspired by what French semiotician Roland Barthes suggested − the meaning of something is perceived and understood by human based on what the subject does not represent.
The subject building is flamboyant and complicated. Basil Regular is subtle because it is not flamboyant, it is minimal because it is not complicated. It is an experimentation to challenge contrast between form and function.
Basil Bold, is a version created to demonstrate flexibility of the typeface. Apart from the regular version which emphasizes on the notion of contrast, the bold version is intended to incorporate elements from the subject to create sameness that reflects the architecture − in this case, the decorative elements on the distinctive onion-shaped roof.
The repetitive lines of the roof is adapted on the typeface in order to produce a version that prioritizes legibility but at the same time, have the tendency to be an abstract pattern.
Printed matter: Screenprint posters and type specimen
Infused Teacup is a synthesis of Western and Asian culture in the context of tea drinking. By conjoining parts of English and Japanese teacups with a traditional method called ‘kintsugi’, the art of mending broken potteries or ceramics. By adopting this method of combining the odds, each and every outcome is undefined and varies.
Aiming to introduce a different experience of tea drinking by intertwining essence of both cultures, and highlighting the humble teacup as a purposive graphical element that bridges companionship and foster conversations. Infused Teacup is a response towards utilizing cultural differences and infusing it into hopefully becoming a new culture itself. It invites user to explore the intimate sense of touch and movement by how the teacup is hold and ultimately, to instill the mentality of looking beyond the given and explore the unexpected.
Infused Teacup - How would you hold your cup of tea?
A quarterly internal magazine which was design from cover to layout for HSBC Malaysia. The June (2013) issue was themed with 'Be the Best that you can be.'
Employer: Figtree Design
In response to the Future Lion 2015 brief, IKEA SMARTA is a proposed reimagined packaging system that provides convenience and flexibility in unpackaging and encourage a little creativity at every household. Providing easier assemblage of furniture through the packaging as well as doing a part in reducing material waste by encouraging reusing of cardboard packagings.
The White Project
White as we know it, is a colour of neutrality. A colour that have the capability to create lighter hue and desaturate. No doubt, white is highly associated with minimalist and sophistication. It is the optimum contrast of black. White is flexible and versatile. So applicable that it manifests itself in light, by reflecting a spectrum of colours through a prism. Despite that, some might not consider white as a colour, in fact it is the absence of colour. However, I would like to think that there is more to white than just an absence of colour.
This project emphasises on the being experimental with the colour, white. Looking pass just being a colour, white reflects other perspectives such as cultural and religious views, biological factors, psychological perception, political factors, historical context and symbolism.
By understanding that white is fondly associated as a 'reflective' colour, a colour which psychologically encourages self-reflecting due to its emptiness. Taking 'reflective' as a key word, the concept of making white glow or 'reflective' was conceived. The idea was to demonstrate the quality of white being more than just a flat colour, it technically reflects other colours as well. As an outcome, a series of 3-dimensional posters was crafted by hand with folding techniques.
A self-initiated series of cards design inspired by the summer of London, where the heat drives to thirst-quenching solutions!
Notes Studio is a musical centre based in Kuala Lumpur, Malaysia. Having their annual concert, the pitched idea for the main event's poster revolves around the theme, 'When The Night Comes Alive'. The humble studio accommodates students of all ages and their annual concert was the showcase their talents. Taking that into account, the subject of illustrations was to echo the musical students from all ages and gender.
Employer: Figtree Design
Secret Market is an independent organisation teamed up by Penny Ng, Imaan Lim and Bruce Kong. The trio shares a similar passion of 'untitling the label'. Together we aim to harness the awareness of our home-grown independent creative entrepreneurs by unravelling their secret talents through our events held at obscure locations within our robust city, Kuala Lumpur.