Over the last decade, some 20 titles have sprung up from Singapore, riding the wave of its cultural renaissance and defying the fact the city-state was once known for its tight media censorship (Singapore still ranks 154 out of 180 in the 2016 World Press Freedom Index). Over the decade or so though, the Singaporean government has pumped in millions of bucks to grow its creative sector and nurture creativity among its citizens—and an independent magazine scene has flourished from this intersection.
What do you hear when a song plays, the instruments or the lyrics? Just as sound and word come together to give music, graphic design can be broken down into a composition of image and word.
The works of Theseus Chan, however, challenge this neat separation of elements. In his print designs, words behave like images, and images are to be read like words. Letters amass to give texture or stand out to aunt their forms. Pictures sit side by side in conversation or are cropped to o er questions. We are confronted with a visual language that defies a straightforward line of communication.
➜ Read the rest in The Design Society’s Paper N°0: Theseus Chan WORK
I was invited to speak on the topic of local publishing at Allscript x Comman Man Coffee Roaster’s “50 Titles” event last weekend. Yanda of Do Not Design selected for this event 50 examples of contemporary local books and magazines. Below is my response, a presentation on some of the titles and what we can learn about designers expanding their role in Singapore’s publishing scene.
I recently moved back to Singapore from New York. One of the things my girlfriend noticed was how difficult it was to pack my collection of architecture and design books into shipping boxes. Anyone who buys them knows how this genre of books come in all shapes and sizes, and seldom fit neatly into a box. In a sense, design books tend to emphasise a quality of difference, and I hope to explore this element in my presentation on contemporary architecture and design publishing from Singapore.
A few years ago, I fully immersed into the subject of Singapore design when I was commissioned to retrace the history of graphic design in this country. This resulted in my book, Independence: The history of graphic design in Singapore since the 1960s, which chronicles the evolution of the profession over the last five decades.
As a journalism graduate, one thread that attracted me while researching for this book was the rise of independent publishing in Singapore. From the mid to late 2000s, designers were putting out a trickle of local books and magazines, including Underscore, Brckt, The Design Society Journal, and kult. The periodical Singapore Architect had also just undergone a revamp under Kelley Cheng of The Press Room. Incidentally, this issue (#287) is her last as there is a new team coming on.
Designers who traditionally came at the end to give form to a publication are now creating the content, either by themselves or commissioning writers. It isn’t entire new nor unique to Singapore, but there is certainly a new generation of local designers who are putting together niche books and magazines all by themselves instead of trying to convince big name publishers to do them. With designers expanding their roles, what differences have they brought to publishing in Singapore?