Presenting the work to the group produced some initial thoughts on the development the theme. Taking film photos on shophouses is proving to be an influential factor in dictating the publication's look and production. The film quality and the photo subject lends itself to the production of a more hand crafted or bespoke publication. This is because the intricacies of a crafted book reflect the characteristics of the shophouses, creating informed publication design. There was a general feeling that having these pictures in a modern publication that would detract from the film's quality and take the shophouses out of context.
The way the shophouses have been categorised into its respective areas are also an influential factor. Because each area is so characteristic, there is an opportunity to differentiate and stylize each section of the publication to reflect the area and to carry the culture across to the reader. Taking this concept further, the overall publication could be split into the 5 smaller ones just like Stefan Sagmeister's 'Things I have learned in my life so far'.
There is also the question of the publication's intended audience. Photographing shophouses lends itself to a broad range of readers. The subject covers areas of appeal such as culture, typography, architecture, tourism and photography. It could be made for designers as a reference guide to understand signage/type in other cultures, a city guide for an audience who is disinterested with the touristy attractions, general tourists and locals who may not be entirely familiar with the history of shophouses.
Appealing for people who are unfamiliar with Singapore is centered around the unique architecture and character of shophouses. This appeal can be created by emphasising the characteristic architecture of shophouses themselves. Forming the construction of the publication that is influenced by the shophouses recognisable traits, such as narrow height, two parallel columns on either side, 3 French windows and others. The diverse culture of Singapore could also be a driving theme that draws reader's appeal. Immersing the reader through each section reflecting those distinct cultures. Another potential appeal is to accentuate the film photography of shophouses and Singapore. To showcase the island in a perspective rarely seen. This could also be appealing to those already familiar with Singapore as shophouses are rarely celebrated.
For the locals of Singapore, shophouses are already a common sighting. To appeal to them would have to draw on the more unseen and overlooked aspects of the shophouse. For example explaining the history or capturing the shophouses in a new perspective much like how photographer Nguan showed a different side of Singapore to me through his photos.
Appealing to a younger demographic would be challenging. The younger generation prefer topics that are current and forward thinking. Creating a publication on the typefaces used on shophouses would appeal to a very specific audience. The language of the publication would have to be simplified and engaging. The photos and the layout of the publication have to make the reading experience enjoyable yet informative for this reader.
The shophouses and the film photography are aspects that the older generation would be familiar with, hence the appeal. Furthermore, commenting on a unorthodox attribute of the shophouses is an interesting subject that probably goes overlooked in Singapore. This publication could also serve as a way to demonstrate how shophouses have changed over the years.
Friday, 30 September 2016
Wednesday, 28 September 2016
Studio Brief 01 - A-Z
Prior to starting the project, there was a expectation of the kind of typefaces that would be seen on Singaporean shophouses. That being orthodox serif and sans serif typefaces that simply communicated the shops name explicitly to the reader without imparting any distinctive character. However with some of the examples, there were surprising examples of unique signage and type. The A-Z are catogorised into 5 areas where the shophouses are more commonly seen, Arab Street, Chinatown, Joo Chiat, Little India and Telok Ayer. Due to how different each area affects the shophouse's business and facade, categorising the letters to each area makes it is much easier to notice the cultural influences and makes for a more cohesive sequence of images whilst reading the publication.
Seen in the Tate Modern last year, the style of photography was inspired by the work of Bernd and Hilla Becher. Their technique of taking the subject from the same position creates a standardised way of which the reader views the content. This uniform aspect makes it easier for the reader to view each picture in a series and compliments the way on which each photo is taken from the same angle.
When taken into an editorial context, the uniformity of the photographs will create a template for which the reader views the content. This template will make the publication easier to read.
First on the list is Arab Street, this is an area known for its Arab/Malay influences.
C: The Singapura Club is a bar and restaurant located in Haji Lane. The Club combines an intricate serif font, Azuree ND, and with a clean sans serif, Gotham, to create a professional identity for the restaurant/bar. The serif font makes the club look established whilst the sans serif delivers modernity.
F: Sufi’s Corner is one of many Arabic restaurants around the Arab Street area. The restaurant’s slab serif typeface however, does not draw from the same influences. Typeface’s like Rockwell and Clarendon often evoke imagery of westerns. Despite this, the slab serif’s thick strokes imposes itself onto the reader and makes the restaurant recognisable. Furthermore, the colour of the typeface matches the interior decor, making the signage part of the overall look of the restaurant rather than stand out.
I: Little Shophouse is a small antique shop selling ornaments from Peranakan, Malay and Chinese cultures. They are most famous for their traditional Peranakan beadwork. The shop’s signage is unlike any other around Arab Street. Painted on a wooden blind, it adds character to the shops facade that draws attention from the viewer and the overall effect creates a suitable identity for the shopfront that reflects the collectibles sold inside. The blinds also allow for more information to be presented, effectively giving a summary of the shop before entering. By painting it in a subtle blue, it doesn't detract much attention from the name of the shop that stands out in bright red. This creates a visual hierarchy that dictates what order the copy is read.
O: Going Om is restaurant inspired by the Himalayan Mountains. The signage uses a typeface that could be entirely hand drawn. The informality and loose structure of the letter forms reflects the relaxed ambience the shop aimed to create. This is an example of how an objectively unsightly typeface can be effective given the correct context.
P: Pierdra Negra is a Mexican bar and restaurant. From the signage to the exterior walls, Pierdra Negra’s use of colours and art explicitly communicate this to the audience. The typeface used in their signage is a generic sans serif but it is the Mexican colours that help create their identity.
S: The Arabic influences seen in restaurants like Sufi’s Corner, also results in the type of shops seen around the Arab Street area. Samad & Sons are one of many that line the streets selling carpets. In terms of signage, Samad & Sons is inconsistent. Neither the main sign nor the promotional one have the same identity. The promotional signage looks like it has been tacked onto the shop because of its placement, material and way it has been attached. This lack of consistency highlights how some shops do not value the visual advantage of a good sign. Given the nature of the shop however, the signage may not be paramount to the shops business. The main focal and selling point of the shop are the carpets they put on display.
Looking through these collection of images so far, the pictures do not entirely reflect the technique of Bernd and Hilla Becher I intended to imitate. The shophouses are however, shot in similar angles and contain two main pictures, a view of the entire shophouse and a close up of the shop signage. This is to give the reader a better idea of how the sign is placed on the shophouse. Whilst not being visually consistent, the content and similarities in how the shophouses were photographed create some uniformity.
Despite Joo Chiat's recognisable shophouses being mainly residential, it represents a key part of Singapore's cultural heritage. Joo Chiat was an area where Singapore’s multiculturalism was at its peak. Malays, Chinese, Indians, Eurasians and expatriates living and shopping side by side. Joo Chiat bustled with activity where one can find shops, eateries, offices and residential homes around the area. Today however, it is a picture of old Singapore. The Peranakan shophouses are mainly residential and are conserved to retain Singporean culture.
Q: The Katong Antique House is a preserved two-storey shophouse, carefully restored by curator and owner Peter Wee. The house is a representation of the old the Peranakan presence, filled with traditional Peranakan furniture and other antiques and heirlooms from crockery to clothing. Despite the sign’s simple design, this allows for the Peranakan influences to stand out for the visitor. The Katong Antique House has become a place of interest in Singapore. Therefore a highly legible translation of the Chinese name allows tourists to easily find.
X: Not all shop houses around the Joo Chiat area are residential however. Pictured left is S BOX, which is a pub and KTV lounge. The brightly coloured letter forms in both English and Chinese draws attention from the reader and creates the identity their audience connect with. Interestingly, the colour composition of the signage compliments the colour of the shop house’s facade. Furthermore the strokes of the English letter forms are similar to that of the strokes of the Chinese characters.
Y: Much like the piping that is on display, the signage for Yick Hong Hardware is accessible for the customer. It offers high legibility and contact details that would be helpful for further business. This is due to its placement on the shop house’s facade. The original black signage suffers from low legibility because of the lack of light it receives from the low hanging beam. The low light also limits how well customers can find the shop from the road.
Little India is an area filled with Indian restaurants, jewellery shops, temples, a market, electronic shops and varying other businesses just like Gokulam below.
G: Gokulam’s signage reflects the vibrancy of Little India. Each colour and typeface stands out from one another without distracting from its intended message. Through their use of colour, a visual hierarchy is achieved. Being an almost complimentary colour to yellow, the blue “Gokulam” stands out the most. This establishes the name of the shop to the reader as it’s the highest in visual hierarchy. The red copy contrasts well enough to highlight the type of goods they sell and a neutral black states the details. Unlike the main signage, Gokulam’s neon lettering reduces the legibility of the other copy. The varied use of serif typefaces suits Gokulam’s character and the nature of the goods they sell.
J: Jewel Palace is one of many jewellery shops that dot Little India. Jewel Palace’s decorative typeface evoke the opulence one connects with wearing jewellery. Despite its grandeur, the signage does not give the shop a professional image. Because of the English language’s simple letter forms, the typeface style still allows for the copy to be legible. The Tamil language however, has intricate letter forms that will render it illegible. Especially since a shopfront sign has to be read quickly.
R: Connald Motor is a car parts stockist that is an example of how shophouses need not be resided to typical associations, just like Yick Hong Hardware. Connald Motor’s use of a ‘retro’ typeface effectively sums up the establishments identity. The typeface's rounded edges and counters and contrasting stroke weights is reminiscent of the typefaces that were popular in the 70s or 80s. Against a corrugated steel background, the signage and the shop itself look dated.
U: Shanthee’s Curry Tamil translation is the highlight of their signage. The emphasis on the Tamil indicates Shanthee’s Curry’s target audience. In keeping with the Indian influences, the curves of the Indian language is extended through to the typeface used for ‘Shanthee’s Curry’. However, their claim to be a fine dining restaurant is questionable from the facade and signage. The varying colours do not produce a professional identity that is often associated with fine dining restaurants. The typeface also suffers from this problem as well. Without the fine dining description, Shanthee’s Curry’s branding would be more appropriate. It is the connotations of fine dining that question the stylistic choices of the signage.
V: The Zhong Clan Association’s unique shopfront is an unlikely sight within Little India. It is one of the only few shophouses that has a bespoke road sign placed on the shop’s entry. In Singapore, an established ‘Clan’ refers to a clan within the Singapore Federation of Chinese Clan Associations (SFCCA). The Federation’s primary objectives are to promote understanding and appreciation of Chinese language, culture and values, to strengthen cooperation among the clan associations, as well as to organise and support educational, cultural and community activities. This may be the reason why they have a grandiose entrance to the shophouse. The fact a Chinese clan is inside Little India illustrates the multicultural society of Singapore.
Unlike the areas before, Telok Ayer does not necessarily represent a certain race of people but rather the audience that it attracts. Being situated next to Singapore's Central Business District, the business are catered towards the lunchtime and evening crowd of office workers. That means a varied range of restaurants and bars with a few odd shops in between.
A: Due to the Chinese heritage of Clans in Singapore, The Nanyang See’s Clan Association has a Chinese only facade. Therefore, the legibility of the English translation need not be essential. The combination of colours on the sign and the surrounding wall accentuates their consideration for Chinese culture as the red and gold are auspicious colours.
D: Despite not being in Dempsey Hill, Dempsey Hill Capital remains in an apt area for its business. Telok Ayer is situated next to Singapore’s central business district and being an investment advisory firm, it means their clientele are just nearby. Dempsey Hill Capital uses signage that is commonly seen on Chinese shop houses. The significance of the gold lettering relates to the Chinese belief of the colour symbolising neutrality and good luck.
E: The choice to ‘erase’ the English name from the shop front clearly indicates Chung Hwa Free Clinic’s intended audience. The predominantly Chinese signage would suggest it provides traditional Chinese medical care for its patients.
H: Yet again we see gold on black signage, this time with the addition of red which in Chinese culture symbolises good fortune and happiness. Ban Choon’s typeface is an ambiguous sans serif that communicates the name of the store clearly to it customers.
K: Katanashi An is a Japanese tapas restaurant. Much like the typographic choices seen on ‘S BOX’ in Joo Chiat, ‘Katanashi An’ has letter forms that resemble its Japanese translation. Unlike ‘S BOX’ however, the inconsistent weight of the strokes create readability issues for ‘Katanashi An’ from afar. Nevertheless, the black and white colour scheme and typographic choices do appropriately create the Japanese identity for the restaurant.
L: Les Bouchons effectively create their refined French identity through its facade and typographic choice. The combination of the clean cream exterior and the deep red canopy create an image of sophistication for the restaurant. This is supported by the script typeface used for ‘Les Bouchons’. The script type evokes elegance and tells the reader of a fine dining experience. By placing the restaurants name on the canopy, it further increases its authenticity of being a cafe seen in France.
M: Meat Smith’s bold slab serif typeface creates an imposing identity. Unlike Sufi’s Corner, this typeface is appropriate to Meat Smith due their western cuisine. Meat Smith’s western identity further extends into their unique 3d type. The typefaces texture resembles that of a grill, which is a desired cooking method for a steak house.
N: Similarly to Gokulam, restaurant ding dong has neon signage and by restraining the amount of information shown, it increases the sign’s overall readability. The bright red neon also makes it easier for customers to find the restaurant at night. The most unique aspect of the shophouse’s signage is their creation of a typographic logo. The circular stems of ‘d’ and ‘g’ create a playful identity for ding dong. The extension of the stems into other letter forms keep the logo compact and narrows the readers focus to the type.
T: Compared to Dempsey Hill Capital, Saga Tree’s signage looks more refined. This is due to the exposed wood, the more subtle gold and a more characteristic sans serif typeface. This typeface however does not work for ‘Capital Advisors’, the thinness of letter forms reduces
its legibility. Overall these choices are evident of Saga Tree’s effort to create a more considered public image.
W: From the roadside, Wangdaebak has the least striking sign on the list. The red copy does not contrast highly against the faded yellow background. Furthermore, the sign itself is smaller than usually seen on shop houses. Looking past the facade’s signage, the rough outlines of the typeface reflect the “Street” description of the bar. The roughness also gives the connotations that the signage was done by the shop owners themselves, as well as replicating type that would be seen on places that are ‘off the beaten track’.
Z: Zott’s is another place where the shop’s facade that does not look like its interior. The unassuming typeface and name does not indicate that it’s a fine dining restaurant. Some visual cues such as the ‘hand painted’ type promote connotations of an artisanal practice and the cows suggest food produce to the reader.
As well as photographing each shophouse, contextual photographs were taken of the surrounding areas. This informs the reader of the shops visual context, how the shophouses facade is affected by the area its in, sets the tone of each section in the publication and has the ability to become a visual break in between the series of letters. The addition of these photos also allows the publication to create a 'visual story' with the shophouses. Below are a few to give some idea.
Seen in the Tate Modern last year, the style of photography was inspired by the work of Bernd and Hilla Becher. Their technique of taking the subject from the same position creates a standardised way of which the reader views the content. This uniform aspect makes it easier for the reader to view each picture in a series and compliments the way on which each photo is taken from the same angle.
Arab Street
First on the list is Arab Street, this is an area known for its Arab/Malay influences.
C: The Singapura Club is a bar and restaurant located in Haji Lane. The Club combines an intricate serif font, Azuree ND, and with a clean sans serif, Gotham, to create a professional identity for the restaurant/bar. The serif font makes the club look established whilst the sans serif delivers modernity.
F: Sufi’s Corner is one of many Arabic restaurants around the Arab Street area. The restaurant’s slab serif typeface however, does not draw from the same influences. Typeface’s like Rockwell and Clarendon often evoke imagery of westerns. Despite this, the slab serif’s thick strokes imposes itself onto the reader and makes the restaurant recognisable. Furthermore, the colour of the typeface matches the interior decor, making the signage part of the overall look of the restaurant rather than stand out.
I: Little Shophouse is a small antique shop selling ornaments from Peranakan, Malay and Chinese cultures. They are most famous for their traditional Peranakan beadwork. The shop’s signage is unlike any other around Arab Street. Painted on a wooden blind, it adds character to the shops facade that draws attention from the viewer and the overall effect creates a suitable identity for the shopfront that reflects the collectibles sold inside. The blinds also allow for more information to be presented, effectively giving a summary of the shop before entering. By painting it in a subtle blue, it doesn't detract much attention from the name of the shop that stands out in bright red. This creates a visual hierarchy that dictates what order the copy is read.
O: Going Om is restaurant inspired by the Himalayan Mountains. The signage uses a typeface that could be entirely hand drawn. The informality and loose structure of the letter forms reflects the relaxed ambience the shop aimed to create. This is an example of how an objectively unsightly typeface can be effective given the correct context.
P: Pierdra Negra is a Mexican bar and restaurant. From the signage to the exterior walls, Pierdra Negra’s use of colours and art explicitly communicate this to the audience. The typeface used in their signage is a generic sans serif but it is the Mexican colours that help create their identity.
S: The Arabic influences seen in restaurants like Sufi’s Corner, also results in the type of shops seen around the Arab Street area. Samad & Sons are one of many that line the streets selling carpets. In terms of signage, Samad & Sons is inconsistent. Neither the main sign nor the promotional one have the same identity. The promotional signage looks like it has been tacked onto the shop because of its placement, material and way it has been attached. This lack of consistency highlights how some shops do not value the visual advantage of a good sign. Given the nature of the shop however, the signage may not be paramount to the shops business. The main focal and selling point of the shop are the carpets they put on display.
Looking through these collection of images so far, the pictures do not entirely reflect the technique of Bernd and Hilla Becher I intended to imitate. The shophouses are however, shot in similar angles and contain two main pictures, a view of the entire shophouse and a close up of the shop signage. This is to give the reader a better idea of how the sign is placed on the shophouse. Whilst not being visually consistent, the content and similarities in how the shophouses were photographed create some uniformity.
Chinatown
The next area is Chinatown. This area proved to be a difficult location to photograph in terms of finding interesting type. As mentioned earlier, there were expectations of finding generic variations of serif and sans serif typefaces going into the project and these were met whilst in the area, as shown below.
Compiling photographs of these typefaces will ultimately lead to the analysis of the shop house as a whole rather than the typeface's characteristics. Furthermore because of the way Chinatown is designed, the canopy's are fully extended, leaving narrow walk ways and obstructed signange. Therefore whilst looking for shophouses to photograph, to deliver content that's more engaging, more interesting forms of type were sought.
B: Backpackers’ Inn Chinatown bold white typeface is an important feature of this shopfront. The high contrast offers good legibility, giving backpackers an easy
way to identify their stay from the roadside. The use of a sans serif typeface appeals to their international audience, making the shop look modern and dependable.
way to identify their stay from the roadside. The use of a sans serif typeface appeals to their international audience, making the shop look modern and dependable.
Joo Chiat
Q: The Katong Antique House is a preserved two-storey shophouse, carefully restored by curator and owner Peter Wee. The house is a representation of the old the Peranakan presence, filled with traditional Peranakan furniture and other antiques and heirlooms from crockery to clothing. Despite the sign’s simple design, this allows for the Peranakan influences to stand out for the visitor. The Katong Antique House has become a place of interest in Singapore. Therefore a highly legible translation of the Chinese name allows tourists to easily find.
X: Not all shop houses around the Joo Chiat area are residential however. Pictured left is S BOX, which is a pub and KTV lounge. The brightly coloured letter forms in both English and Chinese draws attention from the reader and creates the identity their audience connect with. Interestingly, the colour composition of the signage compliments the colour of the shop house’s facade. Furthermore the strokes of the English letter forms are similar to that of the strokes of the Chinese characters.
Y: Much like the piping that is on display, the signage for Yick Hong Hardware is accessible for the customer. It offers high legibility and contact details that would be helpful for further business. This is due to its placement on the shop house’s facade. The original black signage suffers from low legibility because of the lack of light it receives from the low hanging beam. The low light also limits how well customers can find the shop from the road.
Little India
Little India is an area filled with Indian restaurants, jewellery shops, temples, a market, electronic shops and varying other businesses just like Gokulam below.
G: Gokulam’s signage reflects the vibrancy of Little India. Each colour and typeface stands out from one another without distracting from its intended message. Through their use of colour, a visual hierarchy is achieved. Being an almost complimentary colour to yellow, the blue “Gokulam” stands out the most. This establishes the name of the shop to the reader as it’s the highest in visual hierarchy. The red copy contrasts well enough to highlight the type of goods they sell and a neutral black states the details. Unlike the main signage, Gokulam’s neon lettering reduces the legibility of the other copy. The varied use of serif typefaces suits Gokulam’s character and the nature of the goods they sell.
J: Jewel Palace is one of many jewellery shops that dot Little India. Jewel Palace’s decorative typeface evoke the opulence one connects with wearing jewellery. Despite its grandeur, the signage does not give the shop a professional image. Because of the English language’s simple letter forms, the typeface style still allows for the copy to be legible. The Tamil language however, has intricate letter forms that will render it illegible. Especially since a shopfront sign has to be read quickly.
R: Connald Motor is a car parts stockist that is an example of how shophouses need not be resided to typical associations, just like Yick Hong Hardware. Connald Motor’s use of a ‘retro’ typeface effectively sums up the establishments identity. The typeface's rounded edges and counters and contrasting stroke weights is reminiscent of the typefaces that were popular in the 70s or 80s. Against a corrugated steel background, the signage and the shop itself look dated.
U: Shanthee’s Curry Tamil translation is the highlight of their signage. The emphasis on the Tamil indicates Shanthee’s Curry’s target audience. In keeping with the Indian influences, the curves of the Indian language is extended through to the typeface used for ‘Shanthee’s Curry’. However, their claim to be a fine dining restaurant is questionable from the facade and signage. The varying colours do not produce a professional identity that is often associated with fine dining restaurants. The typeface also suffers from this problem as well. Without the fine dining description, Shanthee’s Curry’s branding would be more appropriate. It is the connotations of fine dining that question the stylistic choices of the signage.
V: The Zhong Clan Association’s unique shopfront is an unlikely sight within Little India. It is one of the only few shophouses that has a bespoke road sign placed on the shop’s entry. In Singapore, an established ‘Clan’ refers to a clan within the Singapore Federation of Chinese Clan Associations (SFCCA). The Federation’s primary objectives are to promote understanding and appreciation of Chinese language, culture and values, to strengthen cooperation among the clan associations, as well as to organise and support educational, cultural and community activities. This may be the reason why they have a grandiose entrance to the shophouse. The fact a Chinese clan is inside Little India illustrates the multicultural society of Singapore.
Telok Ayer
Unlike the areas before, Telok Ayer does not necessarily represent a certain race of people but rather the audience that it attracts. Being situated next to Singapore's Central Business District, the business are catered towards the lunchtime and evening crowd of office workers. That means a varied range of restaurants and bars with a few odd shops in between.
A: Due to the Chinese heritage of Clans in Singapore, The Nanyang See’s Clan Association has a Chinese only facade. Therefore, the legibility of the English translation need not be essential. The combination of colours on the sign and the surrounding wall accentuates their consideration for Chinese culture as the red and gold are auspicious colours.
D: Despite not being in Dempsey Hill, Dempsey Hill Capital remains in an apt area for its business. Telok Ayer is situated next to Singapore’s central business district and being an investment advisory firm, it means their clientele are just nearby. Dempsey Hill Capital uses signage that is commonly seen on Chinese shop houses. The significance of the gold lettering relates to the Chinese belief of the colour symbolising neutrality and good luck.
E: The choice to ‘erase’ the English name from the shop front clearly indicates Chung Hwa Free Clinic’s intended audience. The predominantly Chinese signage would suggest it provides traditional Chinese medical care for its patients.
H: Yet again we see gold on black signage, this time with the addition of red which in Chinese culture symbolises good fortune and happiness. Ban Choon’s typeface is an ambiguous sans serif that communicates the name of the store clearly to it customers.
K: Katanashi An is a Japanese tapas restaurant. Much like the typographic choices seen on ‘S BOX’ in Joo Chiat, ‘Katanashi An’ has letter forms that resemble its Japanese translation. Unlike ‘S BOX’ however, the inconsistent weight of the strokes create readability issues for ‘Katanashi An’ from afar. Nevertheless, the black and white colour scheme and typographic choices do appropriately create the Japanese identity for the restaurant.
L: Les Bouchons effectively create their refined French identity through its facade and typographic choice. The combination of the clean cream exterior and the deep red canopy create an image of sophistication for the restaurant. This is supported by the script typeface used for ‘Les Bouchons’. The script type evokes elegance and tells the reader of a fine dining experience. By placing the restaurants name on the canopy, it further increases its authenticity of being a cafe seen in France.
M: Meat Smith’s bold slab serif typeface creates an imposing identity. Unlike Sufi’s Corner, this typeface is appropriate to Meat Smith due their western cuisine. Meat Smith’s western identity further extends into their unique 3d type. The typefaces texture resembles that of a grill, which is a desired cooking method for a steak house.
N: Similarly to Gokulam, restaurant ding dong has neon signage and by restraining the amount of information shown, it increases the sign’s overall readability. The bright red neon also makes it easier for customers to find the restaurant at night. The most unique aspect of the shophouse’s signage is their creation of a typographic logo. The circular stems of ‘d’ and ‘g’ create a playful identity for ding dong. The extension of the stems into other letter forms keep the logo compact and narrows the readers focus to the type.
T: Compared to Dempsey Hill Capital, Saga Tree’s signage looks more refined. This is due to the exposed wood, the more subtle gold and a more characteristic sans serif typeface. This typeface however does not work for ‘Capital Advisors’, the thinness of letter forms reduces
its legibility. Overall these choices are evident of Saga Tree’s effort to create a more considered public image.
W: From the roadside, Wangdaebak has the least striking sign on the list. The red copy does not contrast highly against the faded yellow background. Furthermore, the sign itself is smaller than usually seen on shop houses. Looking past the facade’s signage, the rough outlines of the typeface reflect the “Street” description of the bar. The roughness also gives the connotations that the signage was done by the shop owners themselves, as well as replicating type that would be seen on places that are ‘off the beaten track’.
Z: Zott’s is another place where the shop’s facade that does not look like its interior. The unassuming typeface and name does not indicate that it’s a fine dining restaurant. Some visual cues such as the ‘hand painted’ type promote connotations of an artisanal practice and the cows suggest food produce to the reader.
As well as photographing each shophouse, contextual photographs were taken of the surrounding areas. This informs the reader of the shops visual context, how the shophouses facade is affected by the area its in, sets the tone of each section in the publication and has the ability to become a visual break in between the series of letters. The addition of these photos also allows the publication to create a 'visual story' with the shophouses. Below are a few to give some idea.
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