istd 2016 presentation
TRANSCRIPT
ISTD2016PROJECT2
A GUIDE TO CHINESE FUNERALS IN SINGAPORE
PRESENTATION DECK18 MARCH 2016BY ELSA NG HUI SHAN
DESIGNSTRATEGY
DESIGNSTRATEGY
Concept
In response to the ISTD brief “The Undiscovered Country”, the proposed typographic solution is driven by the notion of death as a mystery that we often try to figure. It seeks to engage readers in exploring the unfamiliar dimension that is out of reach by presenting the possibility of deciphering meanings in reflections.
The 88-page publication centers on a Chinese idiom “三长两短”/san-chang lyang-dwan/ (translates into “three long, two short”), which forms the book title. The phrase originally referred to a traditional wooden casket and presently refers to death.
Like birth, death is intimate, raw and undisguised, but much less discussed amongst Chinese. Fitted in an unpolished wooden “casket” box, the six-chapter publication challenges the undiscovered realm by baring information about Chinese funerals—what we can expect and should do upon death. To retain the mystery surrounding death, even numbers are omitted like how they are avoided in the funerals; each chapter is odd-numbered.
The approach is visually driven by a contemporary Asian theme to target young design-savvy readers who are keen in Asian culture. It comprises the juxtaposition of reworked Chinese characters and figurative illustrations, sensitive choice of colours and typefaces and treatment of text matter.
DESIGNSTRATEGY
cont’dTarget audienceThe proposed solution caters primarily to design-savvy readers who are keen in Asian culture, especially Chinese rituals and customs, aged 25 to 40:- Discerning, intellectual, literary and design-aware- Western-influenced/ intrigued by Asian culture- May be non-conformists who seek to challenge traditions
DESIGNSTRATEGY
cont’d
Inspiration board one Inspiration board two
DESIGNSTRATEGY
cont’d
Inspiration board three
DESIGNSTRATEGY
Design
The casket imagery is the basis for key visual and typographic elements. The meaning of “san-chang lyang-dwan” is visualised through the alchemy of the casket structure and the strokes in the Chinese characters “三” (“three”) and “二” (“two”). An important recurring element is the stylised casket icon, which also acts as a customised end mark.
The infinity symbol gradually revealed through mirror pages at the end of each chapter underscores death as belonging to a separate dimension and also, represents ancestral eternity after death.
As a typographic solution, the choice of fonts is exercised with maximum care and sensitivity. One feature textual treatment lies in the Chinese chapter titles (track foward to “Typographic Specifications” below).
/322 words/
cont’d
RESEARCH+DEVELOPMENT
RESEARCH+DEVELOPMENT
Idea generation (selected journal pages)Conception of main concept centered on a Chinese idiom “三长两短”/san-chang lyang-dwan/ through mindmap, research, notes and sketches
RESEARCH+DEVELOPMENT
cont’dDesign development (selected journal pages)Crafting visual elements and layout, and planning form and binding specifications, through sketches and rough notes.
WEBSOURCES
Newspaper
Soong, P.J. (2011) Traditional coffin industry struggles to survive. My Sinchew [online]. 9 November. Available from http://www.mysinchew.com/node/66155 [Accessed 4 November 2015].
Presentation
Lin, Y. (1995). Crossing the Gate of Death in Chinese Buddhist Culture [lecture as part of a programme presented by SHAPS Buddhist Studies Programme and Summer Session], Tan Wah Temple. 17 June.
Videos
Teo, N. (2015). Singapore Funeral Documentary 新加坡殡葬业纪录片. YouTube [video]. 2 March. Available from: https://www.youtube.com/watch?v=SkUMpC1UZ48 [Accessed 25 October 2015].
Articles
Funerals.SG. (2014). Singapore Funerals Taoism Condolence Practices. Funerals.SG. 27 June. Available from: http://www.funerals.sg/#!Singapore-Funeral-Practices/c4l7/69AF41DD-A5E5-4BC3-BBBB-1166BC182630 [Accessed 23 October 2015].
Gerber, C. (nd). Chinese Death Rituals. LoveToKnow. nd. Available from: http://dying.lovetoknow.com/Chinese_Death_Rituals [Accessed 3 November 2015].
Singapore Federation of Chinese Clan Associations. (nd). Funeral Rituals. Singapore Federation of Chinese Clan Associations (SFCCA). nd. Available from: http://www.sfcca.sg/en/node/62 [Accessed 23 October 2015].
Tiong, C. (2011). An Introduction To a Chinese Funeral. Taoism Singapore Forum. 11 June. Available from: http://z14.
WEBSOURCES
invisionfree.com/taoism_singapore/ar/t499.htm [Accessed 3 November 2015].
TraditionsCustoms.com. (nd). Chinese Funeral. TraditionsCustoms.com. nd. Available from: http://traditionscustoms.com/death-rites/chinese-funeral [Accessed 23 October 2015].
Wu, A. (2015). A Grave Day–the Culture of Death!. China Highlights. 31 March. Available from: http://www.chinahighlights.com/travelguide/article/death-culture.htm [Accessed 3 November 2015].
Yeo, H.E. (nd). My Grandma’s Funeral. Singapore Memory. nd. Available from: http://www.singaporememory.sg/contents/SMA-18929960-4c68-4b50-850c-e0350b11fce7 [Accessed 23 October 2015].
cont’d
TYPOGRAPHICSPECIFICATIONS
TYPOGRAPHICSPECIFICATIONS
The document size was set in a similar proportion as that of a Chinese casket—90 by 240mm.
1 Top margin 15mm 2 Outside margin 12mm 3 Inside margin 12mm 4 Gutter 3mm 5 Top contents margin 35mm
1
5
2 34
7
TYPOGRAPHICSPECIFICATIONS
cont’d
6 6 Bottom margin 15mm
7 Bottom contents margin 45mm
A six-vertical-column grid was applied for flexibility and fluidity. It easily divided into columns of one, two, three and six for the tall publication, presenting a good number of layout possibilities.
TYPOGRAPHICSPECIFICATIONS
cont’d
Heading 1, English14pt Lucida Sans Typewriter BoldColour: C=0 M=60 Y=100 K=013° vertical shear
Running headline 2, Chinese5.5pt Songti SC RegularColour: 100% black
Running headline 1, Chinese5.5pt Songti SC BoldColour: 100% black
Folio5pt Lucida Fax RegularColour: 100% black
Heading 1, Chinese17/22pt Songti SC BlackColour: 100% black13° vertical shear
Body text7/10pt Lucida Sans Typewriter* RegularLeft aligned66mm measureColour: 100% black or C=0 M=60 Y=100 K=0
*All body text in Lucida Sans Typewriter were optically kerned and manually tracked at -1/100em for better readability.
TYPOGRAPHICSPECIFICATIONS
cont’d
Chapter title, Chinese30/36pt Songti SC BlackReflected horizontallyColour: 100% black
Note, phonetics6/9pt Lucida Grande RegularColour: 100% black
TYPOGRAPHICSPECIFICATIONS
cont’d
Chapter number, Chinese160pt Songti TC BoldLeft alignedColour: C=0 M=60 Y=100 K=013° vertical shear
Chapter number, phonetics6pt Lucida Grande BoldColour: C=0 M=60 Y=100 K=013° vertical shear
Standfirst9/12pt Lucida Grande RegularColour: 100% black or C=0 M=60 Y=100 K=0
Heading 214/18pt Lucida Sans Typewriter BoldColour: 100% black or C=0 M=60 Y=100 K=0
TYPOGRAPHICSPECIFICATIONS
cont’d
Body text7/10pt Lucida Sans Typewriter RegularLeft alignedVaried column measure*Colour: C=0 M=60 Y=100 K=0 or 100% black
Subtitle7/10pt Lucida Sans Typewriter BoldLeft alignedVaried column measure*Colour: C=0 M=60 Y=100 K=0 or 100% black
Running headline, English5pt Lucida Fax RegularColour: 100% black
*Subtitles and body text were fixed the stated font characteristics, unless otherwise stated, but occupied four different column widths—three, four, five and six.
TYPOGRAPHICSPECIFICATIONS
cont’d
Call-out 177pt Lucida Sans Typewriter BoldTracking: -1/100emCenter alignedSix column measureColour: C=0 M=0 Y=0 K=0
Body text7/10pt Lucida Sans Typewriter RegularTracking: -1/100emCenter alignedColour: 100% black or C=0 M=60 Y=100 K=0
TYPOGRAPHICSPECIFICATIONS
cont’d
Call-out 219pt Lucida Fax DemiboldFive column measureColour: C=0 M=60 Y=100 K=0 or 100% black
Pull-quote24/29pt Lucida Fax DemiboldFour column measureColour: C=0 M=60 Y=100 K=0 or 100% black
Pull-quote, quotation mark180pt HeadLineA RegularColour: C=0 M=60 Y=100 K=0
Note6/9pt Lucida Sans Typewriter ObliqueColour: 100% black or C=0 M=60 Y=100 K=0
TYPOGRAPHICSPECIFICATIONS
cont’d
Lucida Sans Typewriter
Lucida Font Family
To complement the contemporary Asian theme, the Lucida family is the primary type applied throughout the publication. It includes Lucida Sans Typewriter (headings and body text), Lucida
Grande (standfirsts and Chinese phonetics) and Lucida Fax (sub headings, folios). The Lucida family appears premeditated, solemn and authentic, befitting the sacred and somber nature of the contents—death rituals and practices and their significance.
1 Regular ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
1234567890
2 Oblique ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
1234567890
TYPOGRAPHICSPECIFICATIONS
cont’d
Lucida Grande
2 Bold
1 Regular
ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz1234567890
ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz1234567890
Lucida Sans Typewriter cont’d
3 Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
1234567890
TYPOGRAPHICSPECIFICATIONS
cont’d
Lucida Fax
2 Demibold
1 Regular
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
1234567890
ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz1234567890
TYPOGRAPHICSPECIFICATIONS
cont’d
Songti SC
2 Bold
Songti Font Family
The primary Chinese typeface used for the publication is 宋体 Songti. It is generally used for headings and running headers. Each chapter title
in Chinese is in the same typeface, deconstructed and married with contrasting illustrative contents to assist in understanding the meaning of the title, so that non-Chinese can be engaged too.
1 Regular
TYPOGRAPHICSPECIFICATIONS
cont’d
Songti SC cont’d
Songti TC 1 Bold
3 Black
TYPOGRAPHICSPECIFICATIONS
cont’d
Deciphering Text in Mirror Pages
Chapter titles are reverse-printed and can only be deciphered when they are reflected in the mirror page opposite. The process reflects how people try to make sense of the unfamiliar dimension of death, which may not be the reality.
Sheared Text
Each set of Chinese and English title before the main chapters, and all Chinese chapter numbers are sheared and oriented in a way to suggest a separate dimension within the book from which they emerge, mirroring the concept of revelation.
COLOURSPECIFICATIONS
COLOURSPECIFICATIONS
Sacred Orange #ef7c00
The natural texture and colour offered by the choice of paper stocks (track forward to “Production Specifications” below for details) delivers a somber visual appearance to match the solemnity of the topic. The primary colour sacred orange (#ef7c00) demonstrates Asian traditions and valued qualities of respect and filial piety. It is also a colour that is closely associated with Chinese funeral processions and wakes.
Orange also offers emotional strength in difficult times and assists in the recovery from grief. A warm and inviting colour, it stimulates and gets people to talk and think about a topic worth uncovering.
COLOURSPECIFICATIONS
Mysterious Black #000000
The second primary colour is mysterious black, for some text matter and illustrations, to underscore the taboo nature of the subject.
cont’d
VECTORILLUSTRATIONS
VECTOR ILLUSTRATIONS
To facilitate quick navigation of the contents, illustrative vector content drawn with reference to photographs is included in a subtle and sensitive manner. They are generally figurative and non-naturalistic to deliver information quickly and clearly.
VECTOR ILLUSTRATIONS
1
2
1 An example of vector illustration: an ancestral tablet based on photograph
2 An example of a reworked Chinese character “ancestor” and its development
cont’d
PRODUCTIONSPECIFICATIONS
PRODUCTIONSPECIFICATIONS
Packaging
To get audience to “visit death” and uncover its rituals, the packaging is an interpretation of a wooden casket; it measures 276 x 120 x 48mm (A x B x C) and finishes with steel hinges and snap closure. It is hand crafted with 5mm Balsa wood planks and sticks^ to fit. The publication is identified with a steel label plate on the lid.
Unlike a typical contemporary casket in the market, the packaging is unpolished to suggest the qualities of death—raw and undisguised, and is reminiscent of simple, intimate times when the family would prepare the deceased for burial. Traditionally, chinese caskets were also made from unfinished wood.
A B C
PRODUCTIONSPECIFICATIONS
cont’d
dimension”. Two pieces of the paper stock is joined to produce the double sided reflective page.
The publication is wholly trimmed and bound by hand.
*Paper stocks are purchased from RJ Paper Pte Ltd in Singapore. ^Wood materials are purchased from Daiso Singapore.
Publication
The publication, in a size ratio similar to that of a chinese casket, is made up of seven signatures (standard pages in 100gsm St. Cotton Plain White*), end papers (115gsm Aspire Text*) and two hard cases (1.5mm grey board from calligraphy paper pad wrapped with 120gsm Maple Stucco*), put together using coptic stich binding with a matching orange yarn thread. It can open flat and when closed, it measures 94 x 244mm. The inside pages each measures 90 x 240mm (D x E).
The next highlight of the book is the use of single side 150gsm Strike Silver* to engage readers in the experience of “exploring the unfamiliar
PRODUCTIONSPECIFICATIONS
cont’d
D E
PRODUCTIONSPECIFICATIONS
cont’d
Standard page100gsm St. Cotton Plain White
PRODUCTIONSPECIFICATIONS
cont’d
Mirror page150gsm Strike Silver, manually joined
PRODUCTIONSPECIFICATIONS
cont’d
Hard case cover1.5mm grey board wrapped with 120gsm Maple Stucco
FINALOUTCOME
Chapter dividersThe infinity symbol which represents ancestral eternity is gradually revealed through mirror pages which mark the end of each chapter.
Deciphering text in mirror pagesThe chapter titles in Chinese are reverse-printed and can only be deciphered when they are reflected in the mirror page opposite—an unfamiliar dimension.
ISTD2016PROJECT2
THANK YOUBY ELSA NG HUI SHAN