the Melting Pot

THE

MELTING POT Spring 2016

CULTURE / ART / LIFE

Where typography meets album covers Australia

Indonesia

Japan

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Korea

2

THE

MELTING POT Where typography meets album covers

3

AUSTRALIa - 08

12 - Indonesia

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JAPAN - 16 20 - korea

CONTRIBUTORs - 24 5

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Australian music differs from traditional music to pop culture music that is basicaly western culture influenced. In this section some examples will be reviewed.

Gurrumul Yunupingu is a world music marvel. A visually impaired Native vocalist musician from the remote Arnhem Arrive, he sings in the lingos of the Gumatj family, utilizes basic acoustic support and has sold more than 500,000 collections on account of his longing, heartfelt voice and pitiful edged tunes. His verses may manage his country, nature and thought, however his delicately epic tunes have echoes of western people, gospel, soul and reggae.

His second collection takes after an indistinguishable approach from the to begin with, however was recorded in New York with Gurrumul now playing acoustic guitar, as well as piano and drums. It’s stuffed with his acclaimed moderate, melodic songs of praise, including the uncommon Mala Rrakala and Warwu. Be that as it may, an excessive number of take after a similar style, in spite of the expansion of a female soul chorale and reggae guitar. It’s opportunity he started to show what else he can do.

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The primary new studio collection in almost four years from the enormously success, dazzle Australian native artist lyricist Gurrumul demonstrates that he is still in flawless, particular voice, yet playing safe. The new set is a “rethinking” of the congregation melodies he gained from his mom and aunties while experiencing childhood in the remote domain of Arnhem Land, and at the end of the day he sings in the Gumatj tongue. He begins with Jesu, a cool, floating psalm of acclaim that shows off his high, unwinding however enthusiastic and profound voice, and exhibits why he got such rich acclaim from Quincy Jones amid his late US visit. He proceeds in a similar style, with ease back to medium-paced psalms and songs of devotion that are exclusively eminent however in the end start to sound tedious, in spite of the endeavors by the deferential sponsorship band to give assortment. Still, the finale of Amazing Grace is painfully passionate.

Not just could Lee sing the blues with quality and reverberation, she was celebrated internationally as a jazz vocalist of ‘eminent, unmistakable quality’. In doing as such, Lee drew on the convention of harmonies, Negro jazz and blues structures, sung ‘a cappella’ and tended to the topic of race relations. In 1949, Lee acquainted the tune Bizarre Organic product with white groups of onlookers in Sydney.

The tune censured the bigot murder of African American men in the United States.

Georgia Lee (1922–2010) began her singing vocation as Dulcie Pitt, one of the Pitt sisters – Dulcie, Sophie and Heather – who visited Queensland as The Amicability Sisters in the 1930s and made it to radio. In the 1940s, the Amicability Sisters performed in the Red Cross Jazz Unit and the John Wayne unit, engaging US troops. The excitement for jazz and blues rubbed off, and they consolidated their harmonies with the jazz and blue sounds. What’s more, Dulcie Pitt had her unique hula move band which appreciated an effective season in Sydney.

After the war, Dulcie Pitt began a performance vocation as Georgia Lee. Lee moved south and got to be conspicuous with long engagements at the Tivoli theater, with ABC Jazz Preparations, and Gleneagles dance club and in addition the Colgate Palmolive Indicate assortment spectacles on radio, headed by the incredibly amusing Australian comic Mo (Roy Rene). Georgia Lee was a standout amongst the most proficient, energizing and flexible vocalist of her era, similarly at home with Torres Strait Islander tunes, blues, famous anthems, jazz and show tunes.

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In this spread australian pop culture will be reviewed , iggy and sia are chosen to represesnt contempory pop culture that is making the landscape of australian music

In any case, in the wake of sending Adele a more cleaned track, she concluded that it wasn’t fit for her. So all things being equal, it was considered to send it to Rihanna however once Sia put her vocal on the touchy track, it was clear it was intended to be the lead single for her up and coming collection This Is Acting.

The idea of Sia’s new collection, This Is Acting, feels like a watershed in the general population’s developing ­awareness of the way pop hotdog gets made today: The thought is that each melody (spare one) was initially implied for another craftsman, who passed. This trick depends on audience members staying alert that Sia, 40, is without a moment’s delay the Australian artist who covers her face under a shaggy wig and had a worldwide crush with “Crystal fixture” and the off camera lyricist Sia Furler, whose productive yield started hits for Rihanna, Kelly Clarkson, Beyoncé, Ne-Yo, and so on.

Sia has finally been making it in the Unified States with hits, for example, “Chandelier” and “Elastic Heart.” Released on Sept. 26, Sia discharged “Alive,” a fresh out of the box new single that was initially composed with and for Adele for her up and coming third studio collection.

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“Alive” just started as a piano track that maker Jesse Shatkin completed off.

Shatkin had been working with Adele and towards the end of the sessions, the new track happened when he was far from the studio. Sia sent over the track to Shatkin and requesting that he work his enchantment. The melody now emerges as one of Sia’s best works discharged to radio to date.

With taking off vocals and a substantial beat generation, Sia sings an anecdote about Adele’s life. The track plays on a

Autralia additionally has various celebrated world class craftsman that leap forward the hollowood and america boundary and turn into a world class artist, This page will indicate 2 of them which are “IGGY AZALEA” and “SIA”.

Iggy Azalea is the primary artist to place his, her or their first Hot 100 singles at Nos. 1 and 2 at the same time since the damn Beatles. I come to educate you that, similar to the damn Beatles, she’s set up together a damn decent collection, engaging front to back. I come to demand that like all the solidest hitmakers, be it the Beatles and the Stones or my lady Pink and Iggy’s supporter Beyoncé, Azalea’s persona proposes a man worth becoming acquainted with for more than three-and-a-half minutes on end. Genuine, the collection would be significantly additionally captivating on the off chance that one of those record-tying singles - “Issue,” with its crude sax test wasn’t on Ariana Grande’s CD. What’s more, at this crossroads in pop free enterprise it is senseless to expect a level out pop offer like The New Classic to be profound - or, it would be ideal if you “credible.” But it is unpredictable. What’s more, it doesn’t have a bum track on it.

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The Story of Indonesia’s Pop Music Industry

album (2)

album (1)

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album (3)

The music industry in Indonesia is pretty much wide now, from traditional to the contemporary one. The genre differences in traditional music of Indonesia is usually based on the instrument used so they pretty much perform it live instead of recording it like today’s generation. Contemporary music in Indonesia is growing now with the influence of American music style such as foxtrots, tangos, rumbas, blues even Hawaiian guitar. As the result, various genres were developed like Pop; which is the most popular one now, rock, jazz, and even hip-hop.

Through looking at the music album for several musicians, there are distinctive elements that represent the type of music they sing, play or even the whole concept they are going to for the music. The most prominent one would be the 90s album cover. There is one musician legend in Indonesia called Chrisye, he was a progressive pop singer and songwriter. Rolling Stone Indonesia even declared him the third greatest Indonesian musician all the time. As you

album (4)

album (6)

can see in album (2) indicated above, the album is still in the form of the cassette so it is not a perfect square. The cartoonish yet real effect on the photo was famous back then, with the addition of the script typography. Another older album (1) is clearly seen with the clothing used and the color used between Chrisye and the other model. After he died in 2007, the producer released a memorial album (3) filled with his songs, and the album is more minimalized, thus it looks modern.

album (5)

For a group musician called Project Pop, they were really popular in the late 90s with their funky and tacky style yet they produced an ear-catching song. Their entire album designed with bright colors and huge font that is very prominent and attracts the viewers. When you see their album, it did not really reflect the songs inside but it reflects more of group’s characteristic and uniqueness. They even used a pun in one of their album (4) ‘six-a-six’ it means cool or fun. The album (5) also designed like a monopoly game where the main title song is “batal kawin” (canceled wedding) which doesn’t make sense but cute at the same time. The rest of the album examples are more to show the development of design industry in music album or cover art. It is getting more and more simple yet it still represents the type of music each musician or group characteristic

TOP 5 CHART 1. Tanda Mata

by Glen Fredly

2. RUANG SENDIRI

by Tulus

3. Usai di sini

by Raisa

4. forever u will be mine

by The Groove

5. coba katakan dengan cinta

by D’Essentials of Groove

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As time goes by, pop music in Indonesia is more and more growing, it becomes one of the most distinctive voice and cultures in Indonesia. The pop music industry is influenced by western culture until now; even the songs have started to use English word as a title or in some part of the songs.

“If you feel heart broken, instead of crying inside your room, isn’t it better if you create an artwork for your own nation?”

One of the most famous female singers now is named Raisa Andriana, a beautiful and lady-like singer that is loved both by the male and female audience. She produces mostly heartbreak type of song, which is really memorable and has a deeper meaning. She just had a concert in Sydney on 14th of October 2016 for a music festival held by IndoIf you are heart broken, instead of crying inside your room, isn’t it better if you create an artwork for your own nation?” nesian community in Sydney by Macquarie University. She said “If you are heart broken, instead of crying inside your room, isn’t it better if you create an artwork for your own nation?” that is what makes her keep being inspired and she could produce good song.

She always uses her signature script letter with pink color combined with her close up photo in every album of hers, to show her femininity and style. Three songs that are very famous are “Kali Kedua” (the Second time), “Mantan Terindah” (Precious ex), also “Jatuh Hati” (Falling in Love).

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While Raisa is famous for female singer, Tulus is the lead in male singer category.

Tulus started his debut in 2011 and directly his album was in top chart of Indonesia’s best album. He even awarded as Rookie of The Year in 2013. He has unique and distinctive voice in his songs, he writes pop and pop jazz music that is easy to listen.

The audience likes the differences in his songs compared to other musicians. He always puts poetic, metaphor lyric that shows different perspective in every aspect of human’s love life. A good example is his song titled “Sepatu” (shoes). The first sentence of his lyric says, “We are just like a pair of shoes, always together but cannot be united” which makes the audience wonder what does it means. Another song titled “Gajah” (elephant) is created because of his past experience being called as an elephant, but he did not get depressed yet he created something beautiful with his past experience. His album always designed with dark color and smoky vibe that created a mysterious feeling and vibe. The design is more modernized and minimalizes with his name always on top of his portrait.

“The worst thing happened in the past, could be something good in the future”

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Japan has experienced a Typographic hype in the past few years - with their complex writing system consisting of three different character types, designers like to play and take advantage of the variety.

Right: Typography in recent Japanese album cover design combines characteristics of writing systems and character type - Ero / Twenty nine, thirty (2014)

by CreepHyp

Japanese writing system consists of three types of characters: Kanji, Hiragana and Katakana. Kanji is based on Chinese characters, and there are 2136 of them (as seen in the vertical text on the album cover of CreepHyp’s Ero (2014) - “二十九、三十”).

Hiragana is the most basic of the three, a simplified form of and based on Kanji and there are 48 of them. Katakana is an angular version of Hiragana, and are usually used for words of foreign origin, for example the title ero comes from the English word erotic, thus it is in Katakana (“エロ”). In addition to this, English alphabets are used occasionally for names and symbols. Each of these character types has their unique connotation in the cultural context and the roots of the language, and they play a key role in typography in Japan.

Kanji is the most traditional of all the characters and it requires years of effort and patience to learn the two thousand different alphabets. It is not only visually 16

complex but also individual parts of a single character has its own meaning, and there are specific orders for individual strokes - thus, Kanji visually and metaphorically gives a traditional, imposing, academic and solemn impression. On the other hand, Hiragana is the most basic character type which is learnt at the start of primary education. There are less strokes, aesthetically smoother and relaxed, and has a welcoming, casual feel to it.

Katakana is very unique for its purposes; they are usually used to express foreign words or ideology, and thus perceived as condescending, scholarly and detached.

They are visually geometric, minimalistic and angular also.

Another cultural aspect used in Japanese typography is the horizontal and vertical script writing. Vertical writing is the traditional method introduced from China, compared to horizontal writing which was first introduced in Japan in the late 18th century. To accommodate the Western type technology in both horizontal and vertical writing with all the character types, Japanese types finally evolved to be what is called “fullwidth” - each character fitted within a perfect square - thus traditionally, “kerning” in Western type does not exist.

Broadly speaking, Japanese typefaces can be divided into serif typefaces and sans serif typefaces, similar to latin alphabets.

However, Japanese serif is based on the characteristics of the elements of the brushstrokes of the traditional calligraphy.

Traditionally, Chinese characters were written using brushes in contrast to writing in Western civilization utilising pencils and pens. Since writing in Japan was first introduced by China, Japanese writing

Japanese indie bands’ and singers’ album covers attempting to create their vibe: (clockwise from top left) Zettai Zetzumei (2011)- Radwimps; Kagero (2009) - Chihiro Onitsuka; Yuuki mo Ai mo Nai Nante (2016) - Nico touches the wall; Shintakarajima (2015)Sakanaction

was also done by brush and ink. Japanese sans serif typeface was inspired by that of English alphabets, thus gives a modern impression.

In the early days just after the Western typography was introduced, these characteristics were used blantly in a straightforward manner in the typographic design context - for a jazz music album cover, they would typically use Katakana in a serif typeface, horizontally written simply because it is a foreign music genre.

However especially in the past few years with the amalgamation of cultures, such connotations of characters, writing systems and methods have been taken into account

of design elements, playfully articulated in similarly culturally and historically complex scenes such as music and film.

Designers communicate musicians’ and bands’ philosophy through meaningful application of typefaces and character types mentioned above.

Radwimps is a Rock band successful from their indie period with their rebellious style of sound and lyrics. The album cover of Zettai Zetsumei (2011) (“絶体絶命” meaning “Desperate Situation”) was minimalistic yet an audacious design. The album cover hard copy is in actual fact, transparent - what seems to be the album cover design is overlapping pages of liner notes and

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lyrics, printed in black on transparent plastic sheets. The designer used a classic serif typeface in vivid red, standing out in the chaotic overlapping lyrics in the background. The horizontal writing makes it contemporary, alluding to their somewhat radical, Western rock influence. They have written them all in Kanji with wide letter spacing, which gives a sense of desperation and adds seriousness, almost like a political manifesto with its stoic and minimalistic colour palette of red, black and white. This reflects the concept of their songs; life and death, the chaotic and messy human endeavor in search of the “truth�. It is presented to the listener in a transparent and straightforward manner, rid of any Clockwise from top left: Utabaka (2005) - Ken Hirai; Ero / Twenty nine, thirty (2014) , Oyasumi Nakigoe, Sayonara Utahime (2012) and Hitostuninarenainara Semetefutatsudakedeiyo (2014) - CreepHyp

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decorative elements.

Attempt on combining classic serif (or oldschool sans serif) typeface and expressive, bold visual statement has been a common trend in recent album cover design. Ken Hirai’s Utabaka (2005), his first greatest hits album, is an interesting combination of traditional japanese calligraphy (which is likely to be classified as serif typeface) and a portrait of himself. He is one of the most popular singers in Japan and his music is a contemporary mix of jazz and Japanese soul. The image of him singing out loud emotionally combined with the calligraphic types with powerful strokes fits well with his image and passion about his career as a Japanese singer, as the

Combination of classic serif typeface with vivid, west-influenced photography (Left): Wtashi igai Watashijanaino (2016) - Gesu no Kiwami Otome

title “Utabaka” (“歌バカ”) also suggests - translated to “singing-fool” or “singingextreme”. Using Katakana for the word Baka (“バカ” meaning “fool”) instead of Kanji or Hiragana and vertical writing adds a sense of expressiveness and genuine personality.

The traditional calligraphic typography is a popular technique among designers in the recent years, as it connotes authenticity of Japanese culture and recent hype with cultural dignity.

Album covers of CreepHyp, an emerging indie band from Tokyo, are examples of similar and more contemporary take on the technique. Their music features often taboo topics in Japan, such as sex and money, gaining hippie cult fans. Their 2012 release, Oyasumi Nakigoe, Sayonara Utahime (“お やすみ鳴き声、さよなら歌姫” meaning “Good night cries, good bye diva”) reflects a subtle yet bold narrative of a singer and her sex life. The long title is a sentence in traditional sans-serif, bleeding off the edge of the album cover. Although the sentence is aligned perfectly and orderly in vertical writing, chipped sentence at the left corner of the cover adds a radical and rebellious feel to their band branding. The colour palette is minimal and reserved yet there is a strong contrast between the close up of the lead singer and the title, giving an edgy vibe. On the left bottom sits the logo of the band in Katakana, in a old-school Showaperiod style font. This contrast of old and modern visuals, neatly put together into a composition, play together to depict their

rebellious yet familiar “world” of music.

Such attempts on album cover design illustrates the revival of the “old” aesthetics, as it happens at some point in all cultures.

As seen in the examples, Japanese typography combines three character types as well as typefaces and writing systems to perform an integrated, new aesthetic.

Much of the designs are often inspired by Western typography and especially with increasing English speakers in Japan, song titles and band names are mostly English today. However, with more potent designers emerging and an increasing interest in design in Japan, good old aesthetic of traditional Japan are brought back and remixed, articulating ideologies and cultural metaphors in music scenes.

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analysing trends of

korean music typography Jongshin Yoon, Monthly Project 2015 May I don’t mind if you’re a vampire Typography shown in English, Korean, and Chinese

Music industry in South Korea, usually referred to as ‘K-Pop’, is really popular especially around Asia and South America. In the first half of 2012, according to Billboard, the Korean music industry grossed nearly US$3.4 billion- a 27.8% increase on the previous year. Time magazine even recognised K-Pop as South Korea’s greatest export.

Album covers of K-pop is as diverse as its music spectrum.

What is really interesting about K-pop album covers, however, is how designers manipulate letters on their designs. Koreans use their own alphabet called Hangeul, which is very distinct 20

from roman alphabets and Chinese characters, and this results into distinct features in music typography that cannot be found in other countries.

3 Languages Combined as One The first distinct feature of Korean album covers is that you can easily spot the combination of Korean+English+Chinese letters. Designers usually pay close attention to choosing right typefaces for each languages, so that all three languages harmonise. A singer-songwriter

윤종신(Yoon, Jong-shin)’s

monthly project named <월간윤

종신> is a great example.

When you see it, the first two lines of Chinese characters(月刊 尹鍾信: Monthly Yoon Jongshin) is the title of his album, the last two lines of Korean Hangeul(뱀 파이어라도 좋아: I don’t mind if you’re a vampire) is the song title, and the 3 lines of English in the middle is just a brief information of the song.

What I could see from this album cover is that the designer took a lot of effort in typography, although it might not be graphical. Firstly, the spaces

between each lines are very well adjusted(leading), making it easier for us to recognise the information. Also, the chunk of letters form a symmetrical shape which brings some fun into the design as a whole. While English and Chinese typefaces are quite neutral san-serifs, the Korean typeface the designer chose is serif and have worn-out texture on it, giving more emphasis on the song title. Grotesque graphics of vampires on the background goes very well with the Korean typeface.

Playing Geometrical Thanks to the geometrical features of Hangeul, there are album covers with fun typography that is more like an illustration, rather then typography. When you look at the shapes of Hangeul consonants(ㄱㄴㄷㄹㅁㅂㅅㅇㅈ ㅊㅋㅌㅍㅎ), you can see they are really geometrical with lots of horizontal and vertical lines, and some even resemble basic shapes like circle, triangle, and square.

른's debut album <길티 플레저

(Guilty Pleasure)>. The name of the band 전기흐른 is pronounced as ‘johngi-hooroon’, and can be translated as ‘electric flow’.

While keeping the touch of brush, some people add some changes in the caligraphical letters, by digitalizing and adding colors to it. Alternative band 장기하와 얼굴들(Kiha Jang and Faces)’s album <새해복(New Year’s Luck)> is an example of using caligraphy in a playful way.

JohngiHooron, Guilty Pleasure

This is another good example of using geometry in the design in a clever way. Both the name of the band 전기흐른 and the name of the album 길티플레저 can be found, although they are in the form of electric flow.

Use of Traditional Caligraphy Caligraphy is a traditional way of writing letters in an artistic way, and was considered to be out of date until recently.

However, some young graphic designers have rediscovered the value of Korean caligraphy, and have exploited in their design. Kyuhyun’s <광화문에서 At Gwanghwamoon> is a typical example of the caligraphy used in album typography.

Kiha Jang and Faces, New Year’s Luck Example of Modern Playful Caligraphy

So, we took a look at the 3 distinct features of Korean music typography. It would be very interesting to keep an eye on the trends of Korean music typography, since there are so many emerging designers and artists full of creativity and enthusiasm.

OksangDalbit, RE:TAG Geometrical shapes of Korean consonants

Female singer duo 옥상달빛 (Oksangdalbit) used this feature of Hangeul to their album cover by removing all other elements of their band name except for the four consonants ㅇㅅㄷㅂ.

The elements each resemble circle, triangle, so that people who don’t speak Korean can view it as a simple geometrical illustration.

Another example of the use of geometry is a band 전기흐

Kyuhyun, At Gwanghwamoon Use of caligraphy in album title

In the past, caligraphy was mostly used in Ballad generes, to express sentimental mood of the song. But nowadays it has been changing a lot, designers started to play with the old tradition.

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EXO Special: History of Changes in

EXO’s Logo Changes in EXO’s Logo 엑소, or EXO, is probably one of the most

2012

popular boy groups in South Korea. EXO has a huge fandom all around the world, and known to be especially popular in China. Since their debut with the song ‘MAMA’, the band has been using their own logo for each albums, but with some fun variations with each.

It was really simple in the beginning, with a hexagon divided with negative lines which can be read ‘EXO’. There is not much decorations, only a few triangles and lines are visible. The logo is quite simple and geometric.

2013

2014

2015

2016

2016

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EXO made a great comeback with their legendary song ‘으르렁(Roar)’, which was a tremendous hit in 2013 not only in Korea, but all over Asia. The theme of the album was high school, with the members of EXO singing and dancing in high school uniforms. The album was consisted with stuffs you can find at high school, like ruled notebooks and hand-drawn doodles. The logo chanced along with the change of their theme of the album, into a playfully hand-drawn EXO logo. Keeping the basic idea of the original logo, the shape of the logo changed into a heart shape and a circle.

Releasing new album almost every year, EXO has never stopped giving variations to their own logo. Sometimes they were in a form of keeping the same shape with different logics, and sometimes it was vice versa. But after ‘으르렁(Roar)’ there were no more changes in the shape as a whole, and it seems like they decided to stick to the original shape of hexagon.

In the most recent album titled <Monster>, the change is quite distinct. Unlike the previous three logos which gave well-organized, digital impression, the logo of album <Monster> is made of the images of bones. This is the first time EXO used the real photo in their logo, which is quite rare but let us think about what the boundary of typography is.

There are lots of bands or artists who use logos as their identity. But not many of them give variations according to the theme of the album. This can be good and bad at the same time, in that it brings more fun and excitement to the fans but can be quite difficult to keep their identity. However, it seems like EXO has

found a great solution between the two, by giving variations to their logo while keeping the same logic inside.

Some other Korean bands are following this trend of making slight changes to their logo, instead of making new ones from scratch every single time they release new songs. EXO has set some kind of trend in K-pop design market, and brought in the concept of ‘identity’ of each bands. Before EXO has set this trend, most bands just changed their logo very often, or in most cases did not have anything distinctive of their own. But most of the bands are not so successful in this, not many people can recognize the band only with its logo. But in case of EXO, a lot of people can tell only by looking at the logo since the band kept the same style since its debut in 2012. In fact, EXO might be the only band successful in setting their own identity and letting the public recognize it.

EXO fans are waiting for their next album, expecting to listen to the new great songs and check out the changes that will be made in their logo. A lot of EXO’s fans think the change in logo gives them more fun, and most of them are positive about the new changes they bring each year.

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피 땀 눈물 방탄소년단(BTS) <WINGS>

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내 사람 박보검(Bogum Park) 구르미 그린 달빛

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어떻게 지내 크러쉬(Crush) Wonderlust

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우주를 줄게 볼빨간 사춘기 RED Planet

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1 of 1 샤이니(SHINee) 1 of 1

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숨 박효신 I Am a Dreamer

Who’s Jong-shin Yoon?

Yoon Jong-shin (Hangul: 윤종신; born 15 October 1969 in Seoul) is a South Korean singer and songwriter.

Yoon Jong Shin entered Yonsei University after graduating from Daewon Highschool, joining a music club named Sochangsa and nurturing his dream of becoming a singer. In 1990 he made his debut as a guest singer for 015B. 23

I was born in Tokyo, Japan in 1996. In 2006, when I was 10 years old, I moved to Brisbane with my mum. There I begun learning English in a local primary school and graduated after three years.

Since then I lived in Japan and then in Sydney, going back and forth. I was inspired by an art summer course I participated in University of the Arts London in 2013. In 2015 I moved to Sydney to pursue my dream of learning graphic design in an English speaking environment. Now I am doing Bachelor of Design in University of New South Wales, majoring in Graphics Media and Interactive Media. In my spare time I like to go to the mountains, indulge in watching movies and experiment with food.

Kaoru Kishida (Japan), Felicia Tanjayaa (Indonesia), James Sulaiman (Australia), Soo Yeong Song (South Korea)

Japan Kaoru Kishida

Hi! Felicia here, Iâ&#x20AC;&#x2122;m an Indonesian student that likes to go travel and explore new places.

My education journey started when I had graduated from High school and moved to Singapore for my Graphic Communication diploma. I gladly accepted the opportunity to continue my bachelor degree in Design at Sydney since I like to explore and experience cultural differences. This magazine exists because we realized the importance of music in everyday life, and also differences in language and culture would not be a problem with good music, because music is a universal language that will connect people. hi there, im james, i have quite a multicultural

Indonesia Felicia Tanjayaa

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background in my blood, my grandparents came from china and more of that, my great great grandparents from my father side are indigenous indonesian. currently i am doing my honor years as an industrial design in UNSW. As my fellow contributors said that this publication exists because we found out that music is very important in our social life these days, it is one of those things that can breakthrough the barrier of culture differences, that is why we named this publication “meltingpot”, we hope that this magazine will serve those of you who are interested in music genres across the world

Australia James Sulaiman Hi, my name is Sooyeong Song and I was born and raised in Seoul, South Korea. I am studying graphic design and business management at Seoul National University. I love travelling around the world, but haven’t studied abroad until last summer when I got a chance to study in Beijing for 2 months. And last July, I came to UNSW as an exchange student. I was really interested in motion graphics and application design in my freshman year, but now I’m more into book design, typeface design and printed matters. I get fascinated when I feel the textured paper with my fingertips and see the black ink soaked into the paper. I used to take photos while traveling, and make my own photobooks from scratch, from choosing the right paper and method of printing to binding them with thread with my own hands.

South Korea Soo Yeong Song

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REFERENCES CreepHyp, (2012). Oyasumi Nakigoe, Sayonara Utahime. [image] Available at: https://www.amazon. co.jp/dp/B008O80R8A/.

CreepHyp, (2014). Ero. [image] Available at: https://www.amazon.co.jp/dp/B00KLZC9US/.

CreepHyp, (2014). Ero / Twenty nine, thirty. [image] Available at: https://www.amazon.co.jp/dp/ B00KLZB2N8/.

CreepHyp, (2014). Hitostuninarenainara Semetefutatsudakedeiyo. [image] Available at: https://www. amazon.co.jp/dp/B00O5GU51E/.

Gesu no Kiwami Otome, (2016). Wtashi igai Watashijanaino. [image] Available at: https://www.amazon.co.jp/dp/B00TNBO2OW/.

Hirai, K. (2005). 10th Anniversary Complete Single Collection ‘95–’05 “Utabaka”. [image] Available at: http://okmusic.jp/#!/i/collections/2828297.

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