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
What happens when a classical musician meets a punk rock star? The result, in graphic design terms, is the latest release of WERK magazine.
Bundled inside a handmade wrapper resembling a courier package plastered with stamps, customs forms, and white shipping tape, is a pristine hardcover book—a surprisingly conventional design for a cult publication better known for its experimental printing and production. Previous issues came in spray-painted covers, cloth pages, and frayed edges, but for its 23rd edition magazine founder Theseus Chan made the unusual move of making a book as German master printer Gerhard Steidl would.