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Lee Qiu Wen
TYPOGRAPHY
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PROCESS JOURNAL
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LEE QIU WEN
PROJECT
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Lee Qiu Wen
Research
History of Beijing Opera Tropes Costume, Make-up and Accessories
AA TYPOGRAPHY
Concept
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Ideation Intended Audience
CON TENT
Proposal
Inspiration
Chinese opera face masks Chinese character strokes Didone Typeface
Process
Calligraphic Exploration Initial drafts Refinement Numbers & Punctuations
PROJECT
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~ Research~
Lee Qiu Wen
Research /
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/ Story of Opera
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Lee Qiu Wen
CHINESE OPERA Origins
Rise in Popularity
Cultural Revolution
After Reformation
/ 17th/18th Century /
/ 18th Century /
/ 1960s /
/ 20th-21st Century/
The Peking Opera was brought into the Anhui Province in the late 17th/18th century during the Qing Dynasty. During Emperor Qianlong’s birthday celebration, the ‘4 Great Anhui Troupes’ performed in court and Peking Opera was slowly formed thereafter by a combination of styles from Anhui and Hubei troupes.
While Opera used to be an entertainment only for the Court, it later became available to the public and they were enjoyed in teahouses then theatres. The Empress Dowager was a renowed lover of the art and has 2 stages built in the palace. This led to increased populartiy and the uplifting of opera to a more prestigious status.
During the Cultural Revolution of the 1960s, Peking Opera was branded as non-communist and only the Revolutionary Operas were allowed to play. Unlike the colourful narratives of Peking opera, Revolutionary Operas focused on victories against foreign power and are very much propoganda.
In the 20th century, Peking Opera is no longer as popular due to the change in times and it being a refletion of tradition Chinese culture and lives. Its influence on Chinese culture however, is indisputable and is known as one of the four Quintessence of Chinese Culture.
PROJECT
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~ Research~
Lee Qiu Wen
Research /
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/ Opera Tropes
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U U U Z 01
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// Leads
OPERA TROPES
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Lee Qiu Wen
/ Males
/ Females
SHENG
DAN
The ‘Sheng’ is any male character in Peking opera. It is a prestigious role and is split into different sub roles: Lao Sheng, Hong Sheng, Xiao Sheng and Wu Sheng. It is typically a role accredited with honor and prestige and represents not only the musculine side of men but also an effeminate side (Xiao Sheng).
The ‘Dan’ is the female character of the Opera. There are primarily 6 Dans: Qing yi, Lao Dan, Dao Ma Dan, Wu Dan, Hua Shan Dan and Hua Dan who portrays various tropes of women ranging from the promiscuous one (Hua) to the virtuous one (Qing Yi) and one that is a mix of both (Hua Shan).
PROJECT
~ Research~
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Lee Qiu Wen
SHENG Lao Sheng / Honorable /
Lao Sheng is a middle-aged, and honorable character A type of Lao Sheng is Hong Sheng and there are only 2 characters: Guan Gong and Zhao Guang Yin.
Xiao Sheng
Wu Sheng
Xiao Sheng depict younger males and have high voices to emphasise on their immaturity. They have more feminine qualities.
Wu Sheng characters are well-versed in acrobatic performaces as they are characters with military or martial arts background.
/ Feminine /
/ Martial /
PROJECT
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Lee Qiu Wen
DAN Qing Yi
Lao Dan
Dao Ma Dan
Hua Dan
Wu Dan
Hua Shan Dan
Qing Yi are virtuous and ideal models of Chinese woman. They are of high status and highly praised characters.
Lao Dan are portrayals of older women. She is dignified, elegant and mature.
Dao Ma Dan are female warriors well versed in martial arts.
Hua Dan are known to be more flirtatious and coy. They are unmarried
Wu Dan characters are wellversed in acrobatic performaces. They have a martial arts or military background.
This is a character that is not part of the original 5 Dans and is a mixture of the virtuous Qing Yi and the coy Hua Dan.
/ Virtuous /
/ Honorable /
/Warriorl /
/ Coy /
/ Martial /
/Mixture /
PROJECT
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/ Painted Faces
OPERA TROPES
~ Research~
Lee Qiu Wen
/ Painted Face
/ Clown
JING
CHOU
Jing are male roles with painted face. They are aggressive roles and are robust and energetic. There are many variations of face painting but the common colours are red denoting a good-natured and upright character, white for an evil character and black for a chararacter of logic. They play secondary roles.
Chou are male characters with a distinct ‘Xiao Hua Lian’ face paint. They are comedic characters and usually well-liked by the audience.
PROJECT
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Lee Qiu Wen
JING Dong Cui / Honorable /
Jia Zi
/ Complex /
Wu Jing
General with black face paint
Character of a complex nature
Character well versed in acrobatics and martial arts.
/ Martial /
PROJECT
~ Research~
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Lee Qiu Wen
CHOU Wen Chou
Wu Chou
Wen Chou are more of a literary figure (Civil servants, scholars etc.) who are of a refined nature as compared to Wu Chou.
Wu Chou are well-versed in martial arts and combat and is commonly a part of the military.
/ Literary /
/ Martial /
PROJECT
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~ Research~
Lee Qiu Wen
Research /
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/ Costumes, Make-up and Accessories
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U U U Z 01
PROJECT
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~ Research~
Lee Qiu Wen
Mang
/ Royals’ Robes/ ‘Mang’ are robes that signify a high status typically worn by Emperors or Generals on official occassions. Pythons and Phoenixes are common motifs embroidered onto the robes.
Kao
/Marital Armour/
/ Painted Faces
COSTUMES & MAKE-UP
‘Kao’ is a clothing that resembles an armour and is worn by characteres of military status. It signifies their role in battles.
Chezi
/ Commoners’ Robes/ ‘Chezi’ are robes worn by the common folks.
PROJECT
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Lee Qiu Wen
COSTUMES & MAKE-UP Mang
Kao
Chezi
/ Royals’ Robes/
/Marital Armour/
/ Commoners’ Robes/
‘Mang’ are robes that signify a high status typically worn by Emperors or Generals on official occassions. Pythons and Phoenixes are common motifs embroidered onto the robes.
‘Kao’ is a clothing that resembles an armour and is worn by characteres of military status. It signifies their role in battles.
‘Chezi’ are robes worn by the common folks.
PROJECT
~ Research~
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Lee Qiu Wen
ACCESSORIES Water Sleeves / Elegance/
Boots / Simple /
Headdresses / Elaborate/
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Lee Qiu Wen
/ Cultural Revival
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01
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An ode to Opera
The Roots of Our Culture
A Reintroduction
/Concept/
/Concept/
/ Concept /
Chinese opera, though widely considered as one of the ‘Four Quintessence of Chinese Culture’ is now greatly threatened as new forms of entertainment has replaced it. But that is not only for chinese Opera, opera in itself, once a popular form of art is facing a decline in populariy as people turn to pop music and modern entertainment. Arias is an acknowledgement of the advancement of times but also a recognition of the need to preserve and educate the younger generation on where their forms of entertainment are derived from. Thus, Arias is an ode to and pays tribute to not only Chinese opera, but opera itself.
Despite many Singaporean Chinese being bilingual, Chinese is not a commonly spoken language in Singaporean society. It takes a backseat next to the more preferred English language. Arias is a reminder of our cultural heritage, the roots of our ancestry and a proof that cross cultural exchange can be both visually and meaningful exciting.
The visuals of Chinese culture itself and Chinese opera are set and have made impressions on all of us. However, there are always fun ways to reinvent and reimagine such visuals and to put them into a Latin typeface is a reintroduction to the Chinese culture and Chinese aesthetics. Arias seeks to call forth more interest and appreciation to such aesthetics and the broadened perspective that they can be incorporated into other styles.
PROJECT
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A English Speaking Audience PRIMARY As this typeface is a latin typeface, its primary audience would naturally be an English speaking audience. Arias’ primary audeince would be an English speaking audience who are not bilingual in Chinese so as to increase the effectiveness of creating a latin typeface inspired by Chinese culture to further promote and spread the culture to people of other heritage and backgrounds. Hence, although a purpose of this typeface is to remind one of our Chinese roots, the primary audience remains one that is not of the Chinese culture.
TARGET AUDIENCE
Lee Qiu Wen
B Bilingual Audience SECONDARY As mentioned, another purpose of Arias is to raise awareness and connection to our Chinese roots. As bilingual people, we often neglect one language over another. Arias serves as a proof that we can have best of both ways and invites people to continue reinventing ways to merge both cultures and languages.
PROJECT
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~ Concept ~
Lee Qiu Wen
Font: 10-12 pt (Digital media) For: Screen Classification: Didone Intended Audience (Users and Readers): The intended audience for this font would be an international western/English speaking audience who is not deeply aquainted with Chinese culture or Chinese Opera as a whole. Because Chinese Opera are performed primarily in Chinese, it may be hard for western cultures to appreciate them. However, Chinese Opera that are performed in languages apart from Chinese are happening across the world. To further promote this act, an English type inspired by the Chinese art may be effective in breaching the differences between language and cultures.
What need does it serve? What problem does it solve? Although Mei Lan Fang, a popular actor has brought the Opera to the United States with a tour that was extended due to its popularity, Peking Opera remained popular mostly in Asian regions and to no surprise, countries with Chinese speaking communities like Taiwan and Hong Kong. Besides from mere entertainment, the Opera carries numerous elements (costumes, animal motifs, tropes etc.) that stem from deeply rooted Chinese beliefs and virtues (e.g. stories told of bravery, motifs of dragon representing the Emperor shows respect for royalty etc.). Although the Chinese Opera is such an important element to Chinse culture, there is rarely a font inspired by it. By creating an English font based on Peking Opera, we can promote Peking Opera and Chinese culture to an international audience. If language is a barrier, all the more we should start from words and hence, a type inspired by Opera would be vital in promoting this art to a foreign country.
What makes it unique? Which character specifically? It is unique as it is an English font inspired by another culture (Chinese). There will be accents included for easy romanisation of Chinese Hanyu Pinyin.
PROJECT
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Lee Qiu Wen
Describe the general look and feel and emotional impact using keywords: Exaggered, Elaborate, Elegant
In a few sentences. describe the origins/story of the design: The origin of the design comes from Peking Opera, one of the Four Major Cultural Quintessences of China. The Peking Opera originated in the Qing Dynasty and has lived on to become the most popular Opera form in China. From its character tropes, to its costume and face painting to its musical instruments, the Opera is a coalesence of traditional cultural elements of China. Hence, it is an effective, enduring and enetertaining form to promote Chinese culture.
Possible Names: Operatics, Bei-Pek, Jing
Plans for future expansion: Apart from Peking Opera, there are many other different types of Chinese Opera e.g. Hui Ju, Yue Ju etc. and other styles that are about to be extinct (e.g. Sichuan). The font created can be twerked with elements from these different opera types, particularly the ones on verge of extinction, so that even if they do not survive the test of time, something inspired by it continues to live on and carry with it the spirit and virtues it once conveyed.
PROJECT
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~ Inspiration ~
Lee Qiu Wen
Inspiration /
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/ Masks
U U
U U U Z 03
PROJECT
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~ Inspiration ~
Painted Face Masks / Chosen Aesthetics/
Lee Qiu Wen
PROJECT
~ Inspiration ~
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Lee Qiu Wen
Painted Face Masks / Chosen Aesthetics/
Extended Curves 01/ Trait
The extended curves of the painted face masks gives it a distintive look that is reminiscent of Chinese calligraphic strokes and gives a nod to the elegance of Opera as a whole. They remind one of the water sleeves worn on stage that emphasises on the fludity of a performer’s movements.
Thick & Thins
Symmetry
The bold contrast between the thick and thin strokes of the mask enables this form of art to have many variations and to bring life, character and vitality to the faces that they seek to represent.
The masks are known for their symmetry of strokes and dots. This emphasises on the anatomy of one’s face and the beauty of the golden ratio in facial anatomy.
02/ Trait
03/ Trait
PROJECT
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~ Inspiration ~
Lee Qiu Wen
Inspiration /
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/ Calligraphy
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~ Inspiration ~
Lee Qiu Wen
Chinese Strokes / Chinese Characters /
Horizontal Strokes
Vertical Strokes
Right Slanting Strokes
Left Slanting Strokes
Squarish Strokes
Dots
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~ Inspiration ~
Lee Qiu Wen
Inspiration /
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/ Didone Typeface
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~ Inspiration ~
Lee Qiu Wen
WHY DIDONE? / Chosen Aesthetics/
For its high contrast between thin and thick strokes that gives an overall elegant look + its vertical stress
Ball Terminals Vertical Stress
HIgh Contrast Minimal Bracketing
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~ Inspiration ~
Other References / Didone Typefaces /
Lee Qiu Wen
PROJECT
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~ Process ~
Lee Qiu Wen
/Sketches & Drafts
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Process /
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PROJECT
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Lee Qiu Wen
/ Referencing Chinese strokes
/ Referencing Opera masks/
Flowy curves
Opera mask curve-ins
Vertical stress
Chinese horizontal stroke Chinese vertical stroke
Chinese ‘Na’ stroke
Chinese dot
PROJECT
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/ Referencing Opera masks/
~ Process ~
/ Referencing Chinese strokes
Lee Qiu Wen
PROJECT
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~ Process ~
Lee Qiu Wen
/Calligraphic Exploration
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Process /
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PROJECT
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~ Process ~
Lee Qiu Wen
Calligraphic Practice / Back to Basics /
To increase understanding of Chinese character strokes and the philosophy and spirituality behind the art of Chinese calligraphy
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After Calligraphic Practice / Back to Basics /
After understanding Chinese calligraphy, I tried to incorporate the strokes into the serifs and some of the curves that follows the Chinese diagonal strokes. As my first draft looked very sttong, I decreased the thickness overall so that it does not look too heavy.
~ Process ~
Lee Qiu Wen
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~ Process ~
Flipped vertically
Taking only top half
Taking only half side
Lee Qiu Wen
PROJECT
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~ Process ~
Lee Qiu Wen
/Refinement & Final
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Process /
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PROJECT
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~ Process ~
Lee Qiu Wen
CHANGE #1 Tone down curvatures
CHANGE #2 Open areas to mimic masks’ negative space
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Lee Qiu Wen
Pushing contrast between thick and thin
Open areas to mimic opera mask’s play with negative space
Thin stems no longer end off awkwardly with serif but flows out instead
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Further Refinements /Pushing contrast of the thick and thins, emphasising on elegance/
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Lee Qiu Wen
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~ Process ~
Other Experimentations /Playing with gestalt and dingbats/
Lee Qiu Wen
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FINAL
ABCDEFGHI JKLMNOPQ RSTUVWXYZ abcdefghijklm nopqrstuvwxyz
Lee Qiu Wen
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~ Process ~
Lee Qiu Wen
/ Numbers
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U U
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PROJECT
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Attempt #1: Unlined capital numbers Areas of contrast makes the colour rather uneven
Attempt #2: Lining numbers but the numbers look squashed and colours are still uneven
Attempt #3: Changed the zero to differentiate from the O, accentuated curves to combat the thick and thins
~ Process ~
Lee Qiu Wen
PROJECT
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~ Process ~
Lee Qiu Wen
/ Punctuations
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Process /
U U
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PROJECT
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Dots of Chinese characters
Lee Qiu Wen
Curves of masks
. , ! ? *ij Vertical stroke of Chinese characters
Astrid made up of the tittle of ‘i’ and ‘j’ that is taken from the Ti/Pie of Chinese character strokes
PROJECT
~ Process ~
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Lee Qiu Wen
^+= Attempt #1:
Attempt #2:
Attempt #3:
Trying to incorporate Chinese strokes but they look too rough
Following the thinnest strokes of the letters but they ended up being too thin and invisible at smaller points
Increasing thickness and decreasing width to make it more compact and the overall text more evenly coloured
PROJECT
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~ Process ~
FINAL
0123456789 ~!@#$%^&*()- – —+=[]{}|\/<>,.?:;’”
Lee Qiu Wen
PROJECT
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TYPOGRAPHY
Lee Qiu Wen
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T H E
E N D T H AN K
YO U
A
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LEE QIU WEN