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Very grateful to share that Grab Community type family has received a Certificate of Typographic Excellence from @typedirectorsclub in the 24th Annual TDC Typeface Design Competition! Congratulations to our client!
.
Grab Community is a family of custom typefaces we designed for @grabmy , Southeast Asia’s leading superapp. Collaborating with Grab’s Creative Director, Carina Teo, we carefully tuned the typeface to reflect their brand essence. At this moment, there are six styles created in the Latin family — Inline, and Solid with five weights. The Inline style is an extension of Grab’s logotype, which is reminiscent of road surface markings that embodies both the ‘journey’ or evolution of the product, as well as ‘freedom’, the brand value.
.
Client: Grab Malaysia
Creative Direction: Carina Teo (Regional Creative Director at Grab)
Design: hrftype (@suehlili & Hsin Yin)
Engineering: @katatrad (@suppakit_ )
Vietnamese Typography Advice: Phạm Đam Ca
.
Thanks to Carina for getting us onboard and everyone from Grab that have been part of the journey 🙏

#typedirectorsclub #tdcawards #typedesign #customtype #typography #hrftypework #malaysia #grabcommunity

Very grateful to share that Grab Community type family has received a Certificate of Typographic Excellence from @typedirectorsclub in the 24th Annual TDC Typeface Design Competition! Congratulations to our client!
.
Grab Community is a family of custom typefaces we designed for @grabmy , Southeast Asia’s leading superapp. Collaborating with Grab’s Creative Director, Carina Teo, we carefully tuned the typeface to reflect their brand essence. At this moment, there are six styles created in the Latin family — Inline, and Solid with five weights. The Inline style is an extension of Grab’s logotype, which is reminiscent of road surface markings that embodies both the ‘journey’ or evolution of the product, as well as ‘freedom’, the brand value.
.
Client: Grab Malaysia
Creative Direction: Carina Teo (Regional Creative Director at Grab)
Design: hrftype (@suehlili & Hsin Yin)
Engineering: @katatrad (@suppakit_ )
Vietnamese Typography Advice: Phạm Đam Ca
.
Thanks to Carina for getting us onboard and everyone from Grab that have been part of the journey 🙏

#typedirectorsclub #tdcawards #typedesign #customtype #typography #hrftypework #malaysia #grabcommunity

Very grateful to share that Grab Community type family has received a Certificate of Typographic Excellence from @typedirectorsclub in the 24th Annual TDC Typeface Design Competition! Congratulations to our client!
.
Grab Community is a family of custom typefaces we designed for @grabmy , Southeast Asia’s leading superapp. Collaborating with Grab’s Creative Director, Carina Teo, we carefully tuned the typeface to reflect their brand essence. At this moment, there are six styles created in the Latin family — Inline, and Solid with five weights. The Inline style is an extension of Grab’s logotype, which is reminiscent of road surface markings that embodies both the ‘journey’ or evolution of the product, as well as ‘freedom’, the brand value.
.
Client: Grab Malaysia
Creative Direction: Carina Teo (Regional Creative Director at Grab)
Design: hrftype (@suehlili & Hsin Yin)
Engineering: @katatrad (@suppakit_ )
Vietnamese Typography Advice: Phạm Đam Ca
.
Thanks to Carina for getting us onboard and everyone from Grab that have been part of the journey 🙏

#typedirectorsclub #tdcawards #typedesign #customtype #typography #hrftypework #malaysia #grabcommunity

Very grateful to share that Grab Community type family has received a Certificate of Typographic Excellence from @typedirectorsclub in the 24th Annual TDC Typeface Design Competition! Congratulations to our client!
.
Grab Community is a family of custom typefaces we designed for @grabmy , Southeast Asia’s leading superapp. Collaborating with Grab’s Creative Director, Carina Teo, we carefully tuned the typeface to reflect their brand essence. At this moment, there are six styles created in the Latin family — Inline, and Solid with five weights. The Inline style is an extension of Grab’s logotype, which is reminiscent of road surface markings that embodies both the ‘journey’ or evolution of the product, as well as ‘freedom’, the brand value.
.
Client: Grab Malaysia
Creative Direction: Carina Teo (Regional Creative Director at Grab)
Design: hrftype (@suehlili & Hsin Yin)
Engineering: @katatrad (@suppakit_ )
Vietnamese Typography Advice: Phạm Đam Ca
.
Thanks to Carina for getting us onboard and everyone from Grab that have been part of the journey 🙏

#typedirectorsclub #tdcawards #typedesign #customtype #typography #hrftypework #malaysia #grabcommunity

Very grateful to share that Grab Community type family has received a Certificate of Typographic Excellence from @typedirectorsclub in the 24th Annual TDC Typeface Design Competition! Congratulations to our client!
.
Grab Community is a family of custom typefaces we designed for @grabmy , Southeast Asia’s leading superapp. Collaborating with Grab’s Creative Director, Carina Teo, we carefully tuned the typeface to reflect their brand essence. At this moment, there are six styles created in the Latin family — Inline, and Solid with five weights. The Inline style is an extension of Grab’s logotype, which is reminiscent of road surface markings that embodies both the ‘journey’ or evolution of the product, as well as ‘freedom’, the brand value.
.
Client: Grab Malaysia
Creative Direction: Carina Teo (Regional Creative Director at Grab)
Design: hrftype (@suehlili & Hsin Yin)
Engineering: @katatrad (@suppakit_ )
Vietnamese Typography Advice: Phạm Đam Ca
.
Thanks to Carina for getting us onboard and everyone from Grab that have been part of the journey 🙏

#typedirectorsclub #tdcawards #typedesign #customtype #typography #hrftypework #malaysia #grabcommunity

Very grateful to share that Grab Community type family has received a Certificate of Typographic Excellence from @typedirectorsclub in the 24th Annual TDC Typeface Design Competition! Congratulations to our client!
.
Grab Community is a family of custom typefaces we designed for @grabmy , Southeast Asia’s leading superapp. Collaborating with Grab’s Creative Director, Carina Teo, we carefully tuned the typeface to reflect their brand essence. At this moment, there are six styles created in the Latin family — Inline, and Solid with five weights. The Inline style is an extension of Grab’s logotype, which is reminiscent of road surface markings that embodies both the ‘journey’ or evolution of the product, as well as ‘freedom’, the brand value.
.
Client: Grab Malaysia
Creative Direction: Carina Teo (Regional Creative Director at Grab)
Design: hrftype (@suehlili & Hsin Yin)
Engineering: @katatrad (@suppakit_ )
Vietnamese Typography Advice: Phạm Đam Ca
.
Thanks to Carina for getting us onboard and everyone from Grab that have been part of the journey 🙏

#typedirectorsclub #tdcawards #typedesign #customtype #typography #hrftypework #malaysia #grabcommunity

Very grateful to share that Grab Community type family has received a Certificate of Typographic Excellence from @typedirectorsclub in the 24th Annual TDC Typeface Design Competition! Congratulations to our client!
.
Grab Community is a family of custom typefaces we designed for @grabmy , Southeast Asia’s leading superapp. Collaborating with Grab’s Creative Director, Carina Teo, we carefully tuned the typeface to reflect their brand essence. At this moment, there are six styles created in the Latin family — Inline, and Solid with five weights. The Inline style is an extension of Grab’s logotype, which is reminiscent of road surface markings that embodies both the ‘journey’ or evolution of the product, as well as ‘freedom’, the brand value.
.
Client: Grab Malaysia
Creative Direction: Carina Teo (Regional Creative Director at Grab)
Design: hrftype (@suehlili & Hsin Yin)
Engineering: @katatrad (@suppakit_ )
Vietnamese Typography Advice: Phạm Đam Ca
.
Thanks to Carina for getting us onboard and everyone from Grab that have been part of the journey 🙏

#typedirectorsclub #tdcawards #typedesign #customtype #typography #hrftypework #malaysia #grabcommunity

Very grateful to share that Grab Community type family has received a Certificate of Typographic Excellence from @typedirectorsclub in the 24th Annual TDC Typeface Design Competition! Congratulations to our client!
.
Grab Community is a family of custom typefaces we designed for @grabmy , Southeast Asia’s leading superapp. Collaborating with Grab’s Creative Director, Carina Teo, we carefully tuned the typeface to reflect their brand essence. At this moment, there are six styles created in the Latin family — Inline, and Solid with five weights. The Inline style is an extension of Grab’s logotype, which is reminiscent of road surface markings that embodies both the ‘journey’ or evolution of the product, as well as ‘freedom’, the brand value.
.
Client: Grab Malaysia
Creative Direction: Carina Teo (Regional Creative Director at Grab)
Design: hrftype (@suehlili & Hsin Yin)
Engineering: @katatrad (@suppakit_ )
Vietnamese Typography Advice: Phạm Đam Ca
.
Thanks to Carina for getting us onboard and everyone from Grab that have been part of the journey 🙏

#typedirectorsclub #tdcawards #typedesign #customtype #typography #hrftypework #malaysia #grabcommunity

[Custom type] A collaboration with @studiokekfeng
.
Ceria is a custom typeface designed for BAS.MY, a national public bus service introduced by Malaysia’s Ministry of Transport. The brief called for a functional yet warm typeface, created with mobility and connectivity in mind.

The design draws from the neo-grotesque tradition of Akzidenz-Grotesk and Helvetica, reinterpreted through subtle local nuances and a restrained humanistic sensibility. The family includes Regular and Bold, designed primarily for wayfinding signage and route maps.

.
Creative Direction: @studiokekfeng
Type Design: @suehlili & @louieleewy
Motion: @j.hlim

#customtype #malaysia #publicbus #typedesign #typography #bas.my #hrftypework #transport

[Custom type] A collaboration with @studiokekfeng
.
Ceria is a custom typeface designed for BAS.MY, a national public bus service introduced by Malaysia’s Ministry of Transport. The brief called for a functional yet warm typeface, created with mobility and connectivity in mind.

The design draws from the neo-grotesque tradition of Akzidenz-Grotesk and Helvetica, reinterpreted through subtle local nuances and a restrained humanistic sensibility. The family includes Regular and Bold, designed primarily for wayfinding signage and route maps.

.
Creative Direction: @studiokekfeng
Type Design: @suehlili & @louieleewy
Motion: @j.hlim

#customtype #malaysia #publicbus #typedesign #typography #bas.my #hrftypework #transport

[Custom type] A collaboration with @studiokekfeng
.
Ceria is a custom typeface designed for BAS.MY, a national public bus service introduced by Malaysia’s Ministry of Transport. The brief called for a functional yet warm typeface, created with mobility and connectivity in mind.

The design draws from the neo-grotesque tradition of Akzidenz-Grotesk and Helvetica, reinterpreted through subtle local nuances and a restrained humanistic sensibility. The family includes Regular and Bold, designed primarily for wayfinding signage and route maps.

.
Creative Direction: @studiokekfeng
Type Design: @suehlili & @louieleewy
Motion: @j.hlim

#customtype #malaysia #publicbus #typedesign #typography #bas.my #hrftypework #transport

[Custom type] A collaboration with @studiokekfeng
.
Ceria is a custom typeface designed for BAS.MY, a national public bus service introduced by Malaysia’s Ministry of Transport. The brief called for a functional yet warm typeface, created with mobility and connectivity in mind.

The design draws from the neo-grotesque tradition of Akzidenz-Grotesk and Helvetica, reinterpreted through subtle local nuances and a restrained humanistic sensibility. The family includes Regular and Bold, designed primarily for wayfinding signage and route maps.

.
Creative Direction: @studiokekfeng
Type Design: @suehlili & @louieleewy
Motion: @j.hlim

#customtype #malaysia #publicbus #typedesign #typography #bas.my #hrftypework #transport

[Custom type] A collaboration with @studiokekfeng
.
Ceria is a custom typeface designed for BAS.MY, a national public bus service introduced by Malaysia’s Ministry of Transport. The brief called for a functional yet warm typeface, created with mobility and connectivity in mind.

The design draws from the neo-grotesque tradition of Akzidenz-Grotesk and Helvetica, reinterpreted through subtle local nuances and a restrained humanistic sensibility. The family includes Regular and Bold, designed primarily for wayfinding signage and route maps.

.
Creative Direction: @studiokekfeng
Type Design: @suehlili & @louieleewy
Motion: @j.hlim

#customtype #malaysia #publicbus #typedesign #typography #bas.my #hrftypework #transport

[Custom type] A collaboration with @studiokekfeng
.
Ceria is a custom typeface designed for BAS.MY, a national public bus service introduced by Malaysia’s Ministry of Transport. The brief called for a functional yet warm typeface, created with mobility and connectivity in mind.

The design draws from the neo-grotesque tradition of Akzidenz-Grotesk and Helvetica, reinterpreted through subtle local nuances and a restrained humanistic sensibility. The family includes Regular and Bold, designed primarily for wayfinding signage and route maps.

.
Creative Direction: @studiokekfeng
Type Design: @suehlili & @louieleewy
Motion: @j.hlim

#customtype #malaysia #publicbus #typedesign #typography #bas.my #hrftypework #transport

BAS.MY – Typography System

Meet “Ceria” — our customised humanist sans-serif typeface.

Typography plays a central role in making information accessible to the public. For BAS.MY, we use a custom humanist sans-serif typeface named Ceria, by HRF typefoundry @hrftype , derived from the Malay word for cheerful.

“Ceria” was designed with soft rounded corners and used in regular and bold weights. It acts as a functional layer of the identity, designed to be read across different viewing distances whether up close, from across the street or on a moving bus, while providing a reliable hierarchy across buses, route maps, and printed materials.

Friendly in tone, practical in use.

BAS.MY is a national public bus service introduced by the Ministry of Transport (MOT) Malaysia to strengthen connectivity across regional cities. The service expands public transport access by connecting both developed and emerging areas, while offering free rides to senior citizens, students, and people with disabilities.

It’s an honour to work with you all
@hrftype
@wan.loong.sia
@whosdavidho
@louieleewy
@sengkit

BAS.MY – Typography System

Meet “Ceria” — our customised humanist sans-serif typeface.

Typography plays a central role in making information accessible to the public. For BAS.MY, we use a custom humanist sans-serif typeface named Ceria, by HRF typefoundry @hrftype , derived from the Malay word for cheerful.

“Ceria” was designed with soft rounded corners and used in regular and bold weights. It acts as a functional layer of the identity, designed to be read across different viewing distances whether up close, from across the street or on a moving bus, while providing a reliable hierarchy across buses, route maps, and printed materials.

Friendly in tone, practical in use.

BAS.MY is a national public bus service introduced by the Ministry of Transport (MOT) Malaysia to strengthen connectivity across regional cities. The service expands public transport access by connecting both developed and emerging areas, while offering free rides to senior citizens, students, and people with disabilities.

It’s an honour to work with you all
@hrftype
@wan.loong.sia
@whosdavidho
@louieleewy
@sengkit

BAS.MY – Typography System

Meet “Ceria” — our customised humanist sans-serif typeface.

Typography plays a central role in making information accessible to the public. For BAS.MY, we use a custom humanist sans-serif typeface named Ceria, by HRF typefoundry @hrftype , derived from the Malay word for cheerful.

“Ceria” was designed with soft rounded corners and used in regular and bold weights. It acts as a functional layer of the identity, designed to be read across different viewing distances whether up close, from across the street or on a moving bus, while providing a reliable hierarchy across buses, route maps, and printed materials.

Friendly in tone, practical in use.

BAS.MY is a national public bus service introduced by the Ministry of Transport (MOT) Malaysia to strengthen connectivity across regional cities. The service expands public transport access by connecting both developed and emerging areas, while offering free rides to senior citizens, students, and people with disabilities.

It’s an honour to work with you all
@hrftype
@wan.loong.sia
@whosdavidho
@louieleewy
@sengkit

BAS.MY – Typography System

Meet “Ceria” — our customised humanist sans-serif typeface.

Typography plays a central role in making information accessible to the public. For BAS.MY, we use a custom humanist sans-serif typeface named Ceria, by HRF typefoundry @hrftype , derived from the Malay word for cheerful.

“Ceria” was designed with soft rounded corners and used in regular and bold weights. It acts as a functional layer of the identity, designed to be read across different viewing distances whether up close, from across the street or on a moving bus, while providing a reliable hierarchy across buses, route maps, and printed materials.

Friendly in tone, practical in use.

BAS.MY is a national public bus service introduced by the Ministry of Transport (MOT) Malaysia to strengthen connectivity across regional cities. The service expands public transport access by connecting both developed and emerging areas, while offering free rides to senior citizens, students, and people with disabilities.

It’s an honour to work with you all
@hrftype
@wan.loong.sia
@whosdavidho
@louieleewy
@sengkit

BAS.MY – Typography System

Meet “Ceria” — our customised humanist sans-serif typeface.

Typography plays a central role in making information accessible to the public. For BAS.MY, we use a custom humanist sans-serif typeface named Ceria, by HRF typefoundry @hrftype , derived from the Malay word for cheerful.

“Ceria” was designed with soft rounded corners and used in regular and bold weights. It acts as a functional layer of the identity, designed to be read across different viewing distances whether up close, from across the street or on a moving bus, while providing a reliable hierarchy across buses, route maps, and printed materials.

Friendly in tone, practical in use.

BAS.MY is a national public bus service introduced by the Ministry of Transport (MOT) Malaysia to strengthen connectivity across regional cities. The service expands public transport access by connecting both developed and emerging areas, while offering free rides to senior citizens, students, and people with disabilities.

It’s an honour to work with you all
@hrftype
@wan.loong.sia
@whosdavidho
@louieleewy
@sengkit

BAS.MY – Typography System

Meet “Ceria” — our customised humanist sans-serif typeface.

Typography plays a central role in making information accessible to the public. For BAS.MY, we use a custom humanist sans-serif typeface named Ceria, by HRF typefoundry @hrftype , derived from the Malay word for cheerful.

“Ceria” was designed with soft rounded corners and used in regular and bold weights. It acts as a functional layer of the identity, designed to be read across different viewing distances whether up close, from across the street or on a moving bus, while providing a reliable hierarchy across buses, route maps, and printed materials.

Friendly in tone, practical in use.

BAS.MY is a national public bus service introduced by the Ministry of Transport (MOT) Malaysia to strengthen connectivity across regional cities. The service expands public transport access by connecting both developed and emerging areas, while offering free rides to senior citizens, students, and people with disabilities.

It’s an honour to work with you all
@hrftype
@wan.loong.sia
@whosdavidho
@louieleewy
@sengkit

BAS.MY – Typography System

Meet “Ceria” — our customised humanist sans-serif typeface.

Typography plays a central role in making information accessible to the public. For BAS.MY, we use a custom humanist sans-serif typeface named Ceria, by HRF typefoundry @hrftype , derived from the Malay word for cheerful.

“Ceria” was designed with soft rounded corners and used in regular and bold weights. It acts as a functional layer of the identity, designed to be read across different viewing distances whether up close, from across the street or on a moving bus, while providing a reliable hierarchy across buses, route maps, and printed materials.

Friendly in tone, practical in use.

BAS.MY is a national public bus service introduced by the Ministry of Transport (MOT) Malaysia to strengthen connectivity across regional cities. The service expands public transport access by connecting both developed and emerging areas, while offering free rides to senior citizens, students, and people with disabilities.

It’s an honour to work with you all
@hrftype
@wan.loong.sia
@whosdavidho
@louieleewy
@sengkit

BAS.MY – Typography System

Meet “Ceria” — our customised humanist sans-serif typeface.

Typography plays a central role in making information accessible to the public. For BAS.MY, we use a custom humanist sans-serif typeface named Ceria, by HRF typefoundry @hrftype , derived from the Malay word for cheerful.

“Ceria” was designed with soft rounded corners and used in regular and bold weights. It acts as a functional layer of the identity, designed to be read across different viewing distances whether up close, from across the street or on a moving bus, while providing a reliable hierarchy across buses, route maps, and printed materials.

Friendly in tone, practical in use.

BAS.MY is a national public bus service introduced by the Ministry of Transport (MOT) Malaysia to strengthen connectivity across regional cities. The service expands public transport access by connecting both developed and emerging areas, while offering free rides to senior citizens, students, and people with disabilities.

It’s an honour to work with you all
@hrftype
@wan.loong.sia
@whosdavidho
@louieleewy
@sengkit

Grateful that Grab Community was featured in last year’s Brand X Type exhibition at @adgidesignweek 2025, curated by @gumpita —showcasing custom and retail typefaces from across Indonesia and Southeast Asia.
–
Grab Community is a bespoke type family for Grab, Southeast Asia’s leading superapp. The design captures the brand’s spirited, human, and ever-moving character. The Latin family includes seven styles—Inline and Solid across six weights. The Inline extends from Grab’s logotype, echoing road markings as a nod to movement and freedom. Discretionary ligatures and contextual alternates enhance flow and connectivity, capturing the rhythm of everyday journeys. The Inline is designed for expressive headlines, while the Solid styles provide clarity for subheadlines and secondary marks.
.
Client: Grab Malaysia
Creative Direction: Carina Teo (Head of Creative at Grab)
Type Design: @suehlili & @l_hsin_y
Font Engineering: @katatrad
Vietnamese Typography Advice: Phạm Đam Ca

.
Exhibition photos by ADGI team

Terima kasih @gumpita & @adgi.pusat !🙏🏼

#typedesign #customtype #adgidesignweek2025

Grateful that Grab Community was featured in last year’s Brand X Type exhibition at @adgidesignweek 2025, curated by @gumpita —showcasing custom and retail typefaces from across Indonesia and Southeast Asia.
–
Grab Community is a bespoke type family for Grab, Southeast Asia’s leading superapp. The design captures the brand’s spirited, human, and ever-moving character. The Latin family includes seven styles—Inline and Solid across six weights. The Inline extends from Grab’s logotype, echoing road markings as a nod to movement and freedom. Discretionary ligatures and contextual alternates enhance flow and connectivity, capturing the rhythm of everyday journeys. The Inline is designed for expressive headlines, while the Solid styles provide clarity for subheadlines and secondary marks.
.
Client: Grab Malaysia
Creative Direction: Carina Teo (Head of Creative at Grab)
Type Design: @suehlili & @l_hsin_y
Font Engineering: @katatrad
Vietnamese Typography Advice: Phạm Đam Ca

.
Exhibition photos by ADGI team

Terima kasih @gumpita & @adgi.pusat !🙏🏼

#typedesign #customtype #adgidesignweek2025

Grateful that Grab Community was featured in last year’s Brand X Type exhibition at @adgidesignweek 2025, curated by @gumpita —showcasing custom and retail typefaces from across Indonesia and Southeast Asia.
–
Grab Community is a bespoke type family for Grab, Southeast Asia’s leading superapp. The design captures the brand’s spirited, human, and ever-moving character. The Latin family includes seven styles—Inline and Solid across six weights. The Inline extends from Grab’s logotype, echoing road markings as a nod to movement and freedom. Discretionary ligatures and contextual alternates enhance flow and connectivity, capturing the rhythm of everyday journeys. The Inline is designed for expressive headlines, while the Solid styles provide clarity for subheadlines and secondary marks.
.
Client: Grab Malaysia
Creative Direction: Carina Teo (Head of Creative at Grab)
Type Design: @suehlili & @l_hsin_y
Font Engineering: @katatrad
Vietnamese Typography Advice: Phạm Đam Ca

.
Exhibition photos by ADGI team

Terima kasih @gumpita & @adgi.pusat !🙏🏼

#typedesign #customtype #adgidesignweek2025

Grateful that Grab Community was featured in last year’s Brand X Type exhibition at @adgidesignweek 2025, curated by @gumpita —showcasing custom and retail typefaces from across Indonesia and Southeast Asia.
–
Grab Community is a bespoke type family for Grab, Southeast Asia’s leading superapp. The design captures the brand’s spirited, human, and ever-moving character. The Latin family includes seven styles—Inline and Solid across six weights. The Inline extends from Grab’s logotype, echoing road markings as a nod to movement and freedom. Discretionary ligatures and contextual alternates enhance flow and connectivity, capturing the rhythm of everyday journeys. The Inline is designed for expressive headlines, while the Solid styles provide clarity for subheadlines and secondary marks.
.
Client: Grab Malaysia
Creative Direction: Carina Teo (Head of Creative at Grab)
Type Design: @suehlili & @l_hsin_y
Font Engineering: @katatrad
Vietnamese Typography Advice: Phạm Đam Ca

.
Exhibition photos by ADGI team

Terima kasih @gumpita & @adgi.pusat !🙏🏼

#typedesign #customtype #adgidesignweek2025

Grateful that Grab Community was featured in last year’s Brand X Type exhibition at @adgidesignweek 2025, curated by @gumpita —showcasing custom and retail typefaces from across Indonesia and Southeast Asia.
–
Grab Community is a bespoke type family for Grab, Southeast Asia’s leading superapp. The design captures the brand’s spirited, human, and ever-moving character. The Latin family includes seven styles—Inline and Solid across six weights. The Inline extends from Grab’s logotype, echoing road markings as a nod to movement and freedom. Discretionary ligatures and contextual alternates enhance flow and connectivity, capturing the rhythm of everyday journeys. The Inline is designed for expressive headlines, while the Solid styles provide clarity for subheadlines and secondary marks.
.
Client: Grab Malaysia
Creative Direction: Carina Teo (Head of Creative at Grab)
Type Design: @suehlili & @l_hsin_y
Font Engineering: @katatrad
Vietnamese Typography Advice: Phạm Đam Ca

.
Exhibition photos by ADGI team

Terima kasih @gumpita & @adgi.pusat !🙏🏼

#typedesign #customtype #adgidesignweek2025

Grateful that Grab Community was featured in last year’s Brand X Type exhibition at @adgidesignweek 2025, curated by @gumpita —showcasing custom and retail typefaces from across Indonesia and Southeast Asia.
–
Grab Community is a bespoke type family for Grab, Southeast Asia’s leading superapp. The design captures the brand’s spirited, human, and ever-moving character. The Latin family includes seven styles—Inline and Solid across six weights. The Inline extends from Grab’s logotype, echoing road markings as a nod to movement and freedom. Discretionary ligatures and contextual alternates enhance flow and connectivity, capturing the rhythm of everyday journeys. The Inline is designed for expressive headlines, while the Solid styles provide clarity for subheadlines and secondary marks.
.
Client: Grab Malaysia
Creative Direction: Carina Teo (Head of Creative at Grab)
Type Design: @suehlili & @l_hsin_y
Font Engineering: @katatrad
Vietnamese Typography Advice: Phạm Đam Ca

.
Exhibition photos by ADGI team

Terima kasih @gumpita & @adgi.pusat !🙏🏼

#typedesign #customtype #adgidesignweek2025

Grateful that Grab Community was featured in last year’s Brand X Type exhibition at @adgidesignweek 2025, curated by @gumpita —showcasing custom and retail typefaces from across Indonesia and Southeast Asia.
–
Grab Community is a bespoke type family for Grab, Southeast Asia’s leading superapp. The design captures the brand’s spirited, human, and ever-moving character. The Latin family includes seven styles—Inline and Solid across six weights. The Inline extends from Grab’s logotype, echoing road markings as a nod to movement and freedom. Discretionary ligatures and contextual alternates enhance flow and connectivity, capturing the rhythm of everyday journeys. The Inline is designed for expressive headlines, while the Solid styles provide clarity for subheadlines and secondary marks.
.
Client: Grab Malaysia
Creative Direction: Carina Teo (Head of Creative at Grab)
Type Design: @suehlili & @l_hsin_y
Font Engineering: @katatrad
Vietnamese Typography Advice: Phạm Đam Ca

.
Exhibition photos by ADGI team

Terima kasih @gumpita & @adgi.pusat !🙏🏼

#typedesign #customtype #adgidesignweek2025

Grateful that Grab Community was featured in last year’s Brand X Type exhibition at @adgidesignweek 2025, curated by @gumpita —showcasing custom and retail typefaces from across Indonesia and Southeast Asia.
–
Grab Community is a bespoke type family for Grab, Southeast Asia’s leading superapp. The design captures the brand’s spirited, human, and ever-moving character. The Latin family includes seven styles—Inline and Solid across six weights. The Inline extends from Grab’s logotype, echoing road markings as a nod to movement and freedom. Discretionary ligatures and contextual alternates enhance flow and connectivity, capturing the rhythm of everyday journeys. The Inline is designed for expressive headlines, while the Solid styles provide clarity for subheadlines and secondary marks.
.
Client: Grab Malaysia
Creative Direction: Carina Teo (Head of Creative at Grab)
Type Design: @suehlili & @l_hsin_y
Font Engineering: @katatrad
Vietnamese Typography Advice: Phạm Đam Ca

.
Exhibition photos by ADGI team

Terima kasih @gumpita & @adgi.pusat !🙏🏼

#typedesign #customtype #adgidesignweek2025

Grateful that Grab Community was featured in last year’s Brand X Type exhibition at @adgidesignweek 2025, curated by @gumpita —showcasing custom and retail typefaces from across Indonesia and Southeast Asia.
–
Grab Community is a bespoke type family for Grab, Southeast Asia’s leading superapp. The design captures the brand’s spirited, human, and ever-moving character. The Latin family includes seven styles—Inline and Solid across six weights. The Inline extends from Grab’s logotype, echoing road markings as a nod to movement and freedom. Discretionary ligatures and contextual alternates enhance flow and connectivity, capturing the rhythm of everyday journeys. The Inline is designed for expressive headlines, while the Solid styles provide clarity for subheadlines and secondary marks.
.
Client: Grab Malaysia
Creative Direction: Carina Teo (Head of Creative at Grab)
Type Design: @suehlili & @l_hsin_y
Font Engineering: @katatrad
Vietnamese Typography Advice: Phạm Đam Ca

.
Exhibition photos by ADGI team

Terima kasih @gumpita & @adgi.pusat !🙏🏼

#typedesign #customtype #adgidesignweek2025

Grateful that Grab Community was featured in last year’s Brand X Type exhibition at @adgidesignweek 2025, curated by @gumpita —showcasing custom and retail typefaces from across Indonesia and Southeast Asia.
–
Grab Community is a bespoke type family for Grab, Southeast Asia’s leading superapp. The design captures the brand’s spirited, human, and ever-moving character. The Latin family includes seven styles—Inline and Solid across six weights. The Inline extends from Grab’s logotype, echoing road markings as a nod to movement and freedom. Discretionary ligatures and contextual alternates enhance flow and connectivity, capturing the rhythm of everyday journeys. The Inline is designed for expressive headlines, while the Solid styles provide clarity for subheadlines and secondary marks.
.
Client: Grab Malaysia
Creative Direction: Carina Teo (Head of Creative at Grab)
Type Design: @suehlili & @l_hsin_y
Font Engineering: @katatrad
Vietnamese Typography Advice: Phạm Đam Ca

.
Exhibition photos by ADGI team

Terima kasih @gumpita & @adgi.pusat !🙏🏼

#typedesign #customtype #adgidesignweek2025

In 2023, Grab commissioned us to design a set of Chinese characters derived from Grab Community Inline for festive red packet applications. The process involved translating the distinctive characteristics of the Latin letterforms—such as rounded shapes and discretionary ligatures—into the structural logic of Hanzi.

We interpreted the Latin’s rounded forms by softening corners of open counters in Chinese components such as ‘冂’ ‘勹’, while the geometric forms and straight terminals subtly echo the movement and freedom suggested by road markings in Latin.

Where radicals could connect, we introduced ligature-like joins to foster fluidity. Short strokes and dots (礻) were extended for better clarity, and elements like ‘又’ in ‘爱’ were drawn as a more continuous, flowing stroke — reinforcing a sense of rhythm and cohesion across scripts.

–
Client: Grab
Type Design: @suehlili & @louieleewy
Typographic Consultant: Joe Chang
Motion: @j.hlim

#chinesetype #typedesign #biscript #bilingual #matchmaking #hanzi #inline #hrftypework #customtype #angpao

In 2023, Grab commissioned us to design a set of Chinese characters derived from Grab Community Inline for festive red packet applications. The process involved translating the distinctive characteristics of the Latin letterforms—such as rounded shapes and discretionary ligatures—into the structural logic of Hanzi.

We interpreted the Latin’s rounded forms by softening corners of open counters in Chinese components such as ‘冂’ ‘勹’, while the geometric forms and straight terminals subtly echo the movement and freedom suggested by road markings in Latin.

Where radicals could connect, we introduced ligature-like joins to foster fluidity. Short strokes and dots (礻) were extended for better clarity, and elements like ‘又’ in ‘爱’ were drawn as a more continuous, flowing stroke — reinforcing a sense of rhythm and cohesion across scripts.

–
Client: Grab
Type Design: @suehlili & @louieleewy
Typographic Consultant: Joe Chang
Motion: @j.hlim

#chinesetype #typedesign #biscript #bilingual #matchmaking #hanzi #inline #hrftypework #customtype #angpao

In 2023, Grab commissioned us to design a set of Chinese characters derived from Grab Community Inline for festive red packet applications. The process involved translating the distinctive characteristics of the Latin letterforms—such as rounded shapes and discretionary ligatures—into the structural logic of Hanzi.

We interpreted the Latin’s rounded forms by softening corners of open counters in Chinese components such as ‘冂’ ‘勹’, while the geometric forms and straight terminals subtly echo the movement and freedom suggested by road markings in Latin.

Where radicals could connect, we introduced ligature-like joins to foster fluidity. Short strokes and dots (礻) were extended for better clarity, and elements like ‘又’ in ‘爱’ were drawn as a more continuous, flowing stroke — reinforcing a sense of rhythm and cohesion across scripts.

–
Client: Grab
Type Design: @suehlili & @louieleewy
Typographic Consultant: Joe Chang
Motion: @j.hlim

#chinesetype #typedesign #biscript #bilingual #matchmaking #hanzi #inline #hrftypework #customtype #angpao

In 2023, Grab commissioned us to design a set of Chinese characters derived from Grab Community Inline for festive red packet applications. The process involved translating the distinctive characteristics of the Latin letterforms—such as rounded shapes and discretionary ligatures—into the structural logic of Hanzi.

We interpreted the Latin’s rounded forms by softening corners of open counters in Chinese components such as ‘冂’ ‘勹’, while the geometric forms and straight terminals subtly echo the movement and freedom suggested by road markings in Latin.

Where radicals could connect, we introduced ligature-like joins to foster fluidity. Short strokes and dots (礻) were extended for better clarity, and elements like ‘又’ in ‘爱’ were drawn as a more continuous, flowing stroke — reinforcing a sense of rhythm and cohesion across scripts.

–
Client: Grab
Type Design: @suehlili & @louieleewy
Typographic Consultant: Joe Chang
Motion: @j.hlim

#chinesetype #typedesign #biscript #bilingual #matchmaking #hanzi #inline #hrftypework #customtype #angpao

In 2023, Grab commissioned us to design a set of Chinese characters derived from Grab Community Inline for festive red packet applications. The process involved translating the distinctive characteristics of the Latin letterforms—such as rounded shapes and discretionary ligatures—into the structural logic of Hanzi.

We interpreted the Latin’s rounded forms by softening corners of open counters in Chinese components such as ‘冂’ ‘勹’, while the geometric forms and straight terminals subtly echo the movement and freedom suggested by road markings in Latin.

Where radicals could connect, we introduced ligature-like joins to foster fluidity. Short strokes and dots (礻) were extended for better clarity, and elements like ‘又’ in ‘爱’ were drawn as a more continuous, flowing stroke — reinforcing a sense of rhythm and cohesion across scripts.

–
Client: Grab
Type Design: @suehlili & @louieleewy
Typographic Consultant: Joe Chang
Motion: @j.hlim

#chinesetype #typedesign #biscript #bilingual #matchmaking #hanzi #inline #hrftypework #customtype #angpao

In 2023, Grab commissioned us to design a set of Chinese characters derived from Grab Community Inline for festive red packet applications. The process involved translating the distinctive characteristics of the Latin letterforms—such as rounded shapes and discretionary ligatures—into the structural logic of Hanzi.

We interpreted the Latin’s rounded forms by softening corners of open counters in Chinese components such as ‘冂’ ‘勹’, while the geometric forms and straight terminals subtly echo the movement and freedom suggested by road markings in Latin.

Where radicals could connect, we introduced ligature-like joins to foster fluidity. Short strokes and dots (礻) were extended for better clarity, and elements like ‘又’ in ‘爱’ were drawn as a more continuous, flowing stroke — reinforcing a sense of rhythm and cohesion across scripts.

–
Client: Grab
Type Design: @suehlili & @louieleewy
Typographic Consultant: Joe Chang
Motion: @j.hlim

#chinesetype #typedesign #biscript #bilingual #matchmaking #hanzi #inline #hrftypework #customtype #angpao

In 2023, Grab commissioned us to design a set of Chinese characters derived from Grab Community Inline for festive red packet applications. The process involved translating the distinctive characteristics of the Latin letterforms—such as rounded shapes and discretionary ligatures—into the structural logic of Hanzi.

We interpreted the Latin’s rounded forms by softening corners of open counters in Chinese components such as ‘冂’ ‘勹’, while the geometric forms and straight terminals subtly echo the movement and freedom suggested by road markings in Latin.

Where radicals could connect, we introduced ligature-like joins to foster fluidity. Short strokes and dots (礻) were extended for better clarity, and elements like ‘又’ in ‘爱’ were drawn as a more continuous, flowing stroke — reinforcing a sense of rhythm and cohesion across scripts.

–
Client: Grab
Type Design: @suehlili & @louieleewy
Typographic Consultant: Joe Chang
Motion: @j.hlim

#chinesetype #typedesign #biscript #bilingual #matchmaking #hanzi #inline #hrftypework #customtype #angpao

In 2023, Grab commissioned us to design a set of Chinese characters derived from Grab Community Inline for festive red packet applications. The process involved translating the distinctive characteristics of the Latin letterforms—such as rounded shapes and discretionary ligatures—into the structural logic of Hanzi.

We interpreted the Latin’s rounded forms by softening corners of open counters in Chinese components such as ‘冂’ ‘勹’, while the geometric forms and straight terminals subtly echo the movement and freedom suggested by road markings in Latin.

Where radicals could connect, we introduced ligature-like joins to foster fluidity. Short strokes and dots (礻) were extended for better clarity, and elements like ‘又’ in ‘爱’ were drawn as a more continuous, flowing stroke — reinforcing a sense of rhythm and cohesion across scripts.

–
Client: Grab
Type Design: @suehlili & @louieleewy
Typographic Consultant: Joe Chang
Motion: @j.hlim

#chinesetype #typedesign #biscript #bilingual #matchmaking #hanzi #inline #hrftypework #customtype #angpao

In 2023, Grab commissioned us to design a set of Chinese characters derived from Grab Community Inline for festive red packet applications. The process involved translating the distinctive characteristics of the Latin letterforms—such as rounded shapes and discretionary ligatures—into the structural logic of Hanzi.

We interpreted the Latin’s rounded forms by softening corners of open counters in Chinese components such as ‘冂’ ‘勹’, while the geometric forms and straight terminals subtly echo the movement and freedom suggested by road markings in Latin.

Where radicals could connect, we introduced ligature-like joins to foster fluidity. Short strokes and dots (礻) were extended for better clarity, and elements like ‘又’ in ‘爱’ were drawn as a more continuous, flowing stroke — reinforcing a sense of rhythm and cohesion across scripts.

–
Client: Grab
Type Design: @suehlili & @louieleewy
Typographic Consultant: Joe Chang
Motion: @j.hlim

#chinesetype #typedesign #biscript #bilingual #matchmaking #hanzi #inline #hrftypework #customtype #angpao

In 2023, Grab commissioned us to design a set of Chinese characters derived from Grab Community Inline for festive red packet applications. The process involved translating the distinctive characteristics of the Latin letterforms—such as rounded shapes and discretionary ligatures—into the structural logic of Hanzi.

We interpreted the Latin’s rounded forms by softening corners of open counters in Chinese components such as ‘冂’ ‘勹’, while the geometric forms and straight terminals subtly echo the movement and freedom suggested by road markings in Latin.

Where radicals could connect, we introduced ligature-like joins to foster fluidity. Short strokes and dots (礻) were extended for better clarity, and elements like ‘又’ in ‘爱’ were drawn as a more continuous, flowing stroke — reinforcing a sense of rhythm and cohesion across scripts.

–
Client: Grab
Type Design: @suehlili & @louieleewy
Typographic Consultant: Joe Chang
Motion: @j.hlim

#chinesetype #typedesign #biscript #bilingual #matchmaking #hanzi #inline #hrftypework #customtype #angpao

[Fish 3/3]

As a tribute to the source of inspiration, the series of posters was then applied in selected local wet markets and Chinese restaurants that were established in the 80s. We collaborated with photographer @alvinlaukb to reimagine the juxtaposition of this contemporary interpretation of Chinese rainbow calligraphy within the existing visual aesthetic of everyday social spaces through conceptual photography.

-
Photography by @alvinlaukb

[Fish 3/3]

As a tribute to the source of inspiration, the series of posters was then applied in selected local wet markets and Chinese restaurants that were established in the 80s. We collaborated with photographer @alvinlaukb to reimagine the juxtaposition of this contemporary interpretation of Chinese rainbow calligraphy within the existing visual aesthetic of everyday social spaces through conceptual photography.

-
Photography by @alvinlaukb

[Fish 3/3]

As a tribute to the source of inspiration, the series of posters was then applied in selected local wet markets and Chinese restaurants that were established in the 80s. We collaborated with photographer @alvinlaukb to reimagine the juxtaposition of this contemporary interpretation of Chinese rainbow calligraphy within the existing visual aesthetic of everyday social spaces through conceptual photography.

-
Photography by @alvinlaukb

[Fish 3/3]

As a tribute to the source of inspiration, the series of posters was then applied in selected local wet markets and Chinese restaurants that were established in the 80s. We collaborated with photographer @alvinlaukb to reimagine the juxtaposition of this contemporary interpretation of Chinese rainbow calligraphy within the existing visual aesthetic of everyday social spaces through conceptual photography.

-
Photography by @alvinlaukb

[Fish 3/3]

As a tribute to the source of inspiration, the series of posters was then applied in selected local wet markets and Chinese restaurants that were established in the 80s. We collaborated with photographer @alvinlaukb to reimagine the juxtaposition of this contemporary interpretation of Chinese rainbow calligraphy within the existing visual aesthetic of everyday social spaces through conceptual photography.

-
Photography by @alvinlaukb

[Fish 3/3]

As a tribute to the source of inspiration, the series of posters was then applied in selected local wet markets and Chinese restaurants that were established in the 80s. We collaborated with photographer @alvinlaukb to reimagine the juxtaposition of this contemporary interpretation of Chinese rainbow calligraphy within the existing visual aesthetic of everyday social spaces through conceptual photography.

-
Photography by @alvinlaukb

[Fish 3/3]

As a tribute to the source of inspiration, the series of posters was then applied in selected local wet markets and Chinese restaurants that were established in the 80s. We collaborated with photographer @alvinlaukb to reimagine the juxtaposition of this contemporary interpretation of Chinese rainbow calligraphy within the existing visual aesthetic of everyday social spaces through conceptual photography.

-
Photography by @alvinlaukb

[Fish 3/3]

As a tribute to the source of inspiration, the series of posters was then applied in selected local wet markets and Chinese restaurants that were established in the 80s. We collaborated with photographer @alvinlaukb to reimagine the juxtaposition of this contemporary interpretation of Chinese rainbow calligraphy within the existing visual aesthetic of everyday social spaces through conceptual photography.

-
Photography by @alvinlaukb

[Fish 2/3]

Reimagining Chinese rainbow calligraphy evolved into a process-driven exploration of unconventional writing tools connected to fish.

We built a glossary of typographic strokes based on the fundamental strokes of Chinese characters and the stroke modularity of Latin alphabets — systemizing the stroke expression that shaped by unconventional writing tools.

@louieleewy experimented with parts of fish* as writing tools, such as fins, tails, scales, bones — while @l_hsin_y explore using vegetables and herbs commonly found in fish cuisine, such as dried mushrooms, limes, lemongrass, etc. Beyond gestural mark-making, we also explored stamping and printmaking techniques to generate repetitive patterns.

From this stroke library, the Chinese lettering was composed following principles of Chinese calligraphy, while the Malay lettering utilised the same elements arranged into patterns inspired by local weaving traditions.

* No fishes or vegetables were harmed during the design process. All ingredients were responsibly sourced from the local wet market.

-
Creative Direction: @eyeballmassage
Ideation & Lettering Design: @suehlili , @l_hsin_y & @louieleewy
Silkscreen Printing: @studio_bogus

#lettering #bilingual #typography #chineserainbowcalligraphy

[Fish 2/3]

Reimagining Chinese rainbow calligraphy evolved into a process-driven exploration of unconventional writing tools connected to fish.

We built a glossary of typographic strokes based on the fundamental strokes of Chinese characters and the stroke modularity of Latin alphabets — systemizing the stroke expression that shaped by unconventional writing tools.

@louieleewy experimented with parts of fish* as writing tools, such as fins, tails, scales, bones — while @l_hsin_y explore using vegetables and herbs commonly found in fish cuisine, such as dried mushrooms, limes, lemongrass, etc. Beyond gestural mark-making, we also explored stamping and printmaking techniques to generate repetitive patterns.

From this stroke library, the Chinese lettering was composed following principles of Chinese calligraphy, while the Malay lettering utilised the same elements arranged into patterns inspired by local weaving traditions.

* No fishes or vegetables were harmed during the design process. All ingredients were responsibly sourced from the local wet market.

-
Creative Direction: @eyeballmassage
Ideation & Lettering Design: @suehlili , @l_hsin_y & @louieleewy
Silkscreen Printing: @studio_bogus

#lettering #bilingual #typography #chineserainbowcalligraphy

[Fish 2/3]

Reimagining Chinese rainbow calligraphy evolved into a process-driven exploration of unconventional writing tools connected to fish.

We built a glossary of typographic strokes based on the fundamental strokes of Chinese characters and the stroke modularity of Latin alphabets — systemizing the stroke expression that shaped by unconventional writing tools.

@louieleewy experimented with parts of fish* as writing tools, such as fins, tails, scales, bones — while @l_hsin_y explore using vegetables and herbs commonly found in fish cuisine, such as dried mushrooms, limes, lemongrass, etc. Beyond gestural mark-making, we also explored stamping and printmaking techniques to generate repetitive patterns.

From this stroke library, the Chinese lettering was composed following principles of Chinese calligraphy, while the Malay lettering utilised the same elements arranged into patterns inspired by local weaving traditions.

* No fishes or vegetables were harmed during the design process. All ingredients were responsibly sourced from the local wet market.

-
Creative Direction: @eyeballmassage
Ideation & Lettering Design: @suehlili , @l_hsin_y & @louieleewy
Silkscreen Printing: @studio_bogus

#lettering #bilingual #typography #chineserainbowcalligraphy

[Fish 2/3]

Reimagining Chinese rainbow calligraphy evolved into a process-driven exploration of unconventional writing tools connected to fish.

We built a glossary of typographic strokes based on the fundamental strokes of Chinese characters and the stroke modularity of Latin alphabets — systemizing the stroke expression that shaped by unconventional writing tools.

@louieleewy experimented with parts of fish* as writing tools, such as fins, tails, scales, bones — while @l_hsin_y explore using vegetables and herbs commonly found in fish cuisine, such as dried mushrooms, limes, lemongrass, etc. Beyond gestural mark-making, we also explored stamping and printmaking techniques to generate repetitive patterns.

From this stroke library, the Chinese lettering was composed following principles of Chinese calligraphy, while the Malay lettering utilised the same elements arranged into patterns inspired by local weaving traditions.

* No fishes or vegetables were harmed during the design process. All ingredients were responsibly sourced from the local wet market.

-
Creative Direction: @eyeballmassage
Ideation & Lettering Design: @suehlili , @l_hsin_y & @louieleewy
Silkscreen Printing: @studio_bogus

#lettering #bilingual #typography #chineserainbowcalligraphy

[Fish 2/3]

Reimagining Chinese rainbow calligraphy evolved into a process-driven exploration of unconventional writing tools connected to fish.

We built a glossary of typographic strokes based on the fundamental strokes of Chinese characters and the stroke modularity of Latin alphabets — systemizing the stroke expression that shaped by unconventional writing tools.

@louieleewy experimented with parts of fish* as writing tools, such as fins, tails, scales, bones — while @l_hsin_y explore using vegetables and herbs commonly found in fish cuisine, such as dried mushrooms, limes, lemongrass, etc. Beyond gestural mark-making, we also explored stamping and printmaking techniques to generate repetitive patterns.

From this stroke library, the Chinese lettering was composed following principles of Chinese calligraphy, while the Malay lettering utilised the same elements arranged into patterns inspired by local weaving traditions.

* No fishes or vegetables were harmed during the design process. All ingredients were responsibly sourced from the local wet market.

-
Creative Direction: @eyeballmassage
Ideation & Lettering Design: @suehlili , @l_hsin_y & @louieleewy
Silkscreen Printing: @studio_bogus

#lettering #bilingual #typography #chineserainbowcalligraphy

[Fish 2/3]

Reimagining Chinese rainbow calligraphy evolved into a process-driven exploration of unconventional writing tools connected to fish.

We built a glossary of typographic strokes based on the fundamental strokes of Chinese characters and the stroke modularity of Latin alphabets — systemizing the stroke expression that shaped by unconventional writing tools.

@louieleewy experimented with parts of fish* as writing tools, such as fins, tails, scales, bones — while @l_hsin_y explore using vegetables and herbs commonly found in fish cuisine, such as dried mushrooms, limes, lemongrass, etc. Beyond gestural mark-making, we also explored stamping and printmaking techniques to generate repetitive patterns.

From this stroke library, the Chinese lettering was composed following principles of Chinese calligraphy, while the Malay lettering utilised the same elements arranged into patterns inspired by local weaving traditions.

* No fishes or vegetables were harmed during the design process. All ingredients were responsibly sourced from the local wet market.

-
Creative Direction: @eyeballmassage
Ideation & Lettering Design: @suehlili , @l_hsin_y & @louieleewy
Silkscreen Printing: @studio_bogus

#lettering #bilingual #typography #chineserainbowcalligraphy

[Fish 2/3]

Reimagining Chinese rainbow calligraphy evolved into a process-driven exploration of unconventional writing tools connected to fish.

We built a glossary of typographic strokes based on the fundamental strokes of Chinese characters and the stroke modularity of Latin alphabets — systemizing the stroke expression that shaped by unconventional writing tools.

@louieleewy experimented with parts of fish* as writing tools, such as fins, tails, scales, bones — while @l_hsin_y explore using vegetables and herbs commonly found in fish cuisine, such as dried mushrooms, limes, lemongrass, etc. Beyond gestural mark-making, we also explored stamping and printmaking techniques to generate repetitive patterns.

From this stroke library, the Chinese lettering was composed following principles of Chinese calligraphy, while the Malay lettering utilised the same elements arranged into patterns inspired by local weaving traditions.

* No fishes or vegetables were harmed during the design process. All ingredients were responsibly sourced from the local wet market.

-
Creative Direction: @eyeballmassage
Ideation & Lettering Design: @suehlili , @l_hsin_y & @louieleewy
Silkscreen Printing: @studio_bogus

#lettering #bilingual #typography #chineserainbowcalligraphy

[Fish 2/3]

Reimagining Chinese rainbow calligraphy evolved into a process-driven exploration of unconventional writing tools connected to fish.

We built a glossary of typographic strokes based on the fundamental strokes of Chinese characters and the stroke modularity of Latin alphabets — systemizing the stroke expression that shaped by unconventional writing tools.

@louieleewy experimented with parts of fish* as writing tools, such as fins, tails, scales, bones — while @l_hsin_y explore using vegetables and herbs commonly found in fish cuisine, such as dried mushrooms, limes, lemongrass, etc. Beyond gestural mark-making, we also explored stamping and printmaking techniques to generate repetitive patterns.

From this stroke library, the Chinese lettering was composed following principles of Chinese calligraphy, while the Malay lettering utilised the same elements arranged into patterns inspired by local weaving traditions.

* No fishes or vegetables were harmed during the design process. All ingredients were responsibly sourced from the local wet market.

-
Creative Direction: @eyeballmassage
Ideation & Lettering Design: @suehlili , @l_hsin_y & @louieleewy
Silkscreen Printing: @studio_bogus

#lettering #bilingual #typography #chineserainbowcalligraphy

[Fish 2/3]

Reimagining Chinese rainbow calligraphy evolved into a process-driven exploration of unconventional writing tools connected to fish.

We built a glossary of typographic strokes based on the fundamental strokes of Chinese characters and the stroke modularity of Latin alphabets — systemizing the stroke expression that shaped by unconventional writing tools.

@louieleewy experimented with parts of fish* as writing tools, such as fins, tails, scales, bones — while @l_hsin_y explore using vegetables and herbs commonly found in fish cuisine, such as dried mushrooms, limes, lemongrass, etc. Beyond gestural mark-making, we also explored stamping and printmaking techniques to generate repetitive patterns.

From this stroke library, the Chinese lettering was composed following principles of Chinese calligraphy, while the Malay lettering utilised the same elements arranged into patterns inspired by local weaving traditions.

* No fishes or vegetables were harmed during the design process. All ingredients were responsibly sourced from the local wet market.

-
Creative Direction: @eyeballmassage
Ideation & Lettering Design: @suehlili , @l_hsin_y & @louieleewy
Silkscreen Printing: @studio_bogus

#lettering #bilingual #typography #chineserainbowcalligraphy

[Fish 1/3]

‘There Will Always Be Fish 年年有魚 Tahun-tahun Ada Ikan’ is a collaboration with visual artist @eyeballmassage in conjunction with his solo exhibition ‘The World is Your Restaurant 世界大酒樓’ (2021), which drew from the visual culture of 1970s–80s Malaysian Chinese restaurants and his youth memories of banquet dining — where food, especially fish subtly reflected social status and local dining culture.

The brief invited us to reimagine Chinese rainbow calligraphy (花鳥字) through the names of ten prized restaurant fishes, presented in Chinese and Malay. We explored its contemporary application within the visual aesthetics of local Chinese restaurants while nodding to the itinerant rainbow calligraphers of the 90s.

Chinese rainbow calligraphy is a writing system that typically features floral, fauna, and mythological symbols applied in gradient brush strokes to form Chinese characters. Traditionally, it is used for auspicious phrases, motivational idioms, or personal names.

The outcome is a series of bilingual silkscreen posters featuring the ten fishes.

–
More info about the exhibition at @thebackroomkl :-
https://www.thebackroomkl.com/2021/hoofanchonworldrestaurant

–
There Will Always Be Fish 年年有魚 Tahun-tahun Ada Ikan
Silkscreen posters: 297 x 420mm

–
Creative Direction: @eyeballmassage
Lettering Design: @suehlili , @l_hsin_y & @louieleewy
Silkscreen Printing: @studio_bogus

#lettering #bilingual #typography #chineserainbowcalligraphy

[Fish 1/3]

‘There Will Always Be Fish 年年有魚 Tahun-tahun Ada Ikan’ is a collaboration with visual artist @eyeballmassage in conjunction with his solo exhibition ‘The World is Your Restaurant 世界大酒樓’ (2021), which drew from the visual culture of 1970s–80s Malaysian Chinese restaurants and his youth memories of banquet dining — where food, especially fish subtly reflected social status and local dining culture.

The brief invited us to reimagine Chinese rainbow calligraphy (花鳥字) through the names of ten prized restaurant fishes, presented in Chinese and Malay. We explored its contemporary application within the visual aesthetics of local Chinese restaurants while nodding to the itinerant rainbow calligraphers of the 90s.

Chinese rainbow calligraphy is a writing system that typically features floral, fauna, and mythological symbols applied in gradient brush strokes to form Chinese characters. Traditionally, it is used for auspicious phrases, motivational idioms, or personal names.

The outcome is a series of bilingual silkscreen posters featuring the ten fishes.

–
More info about the exhibition at @thebackroomkl :-
https://www.thebackroomkl.com/2021/hoofanchonworldrestaurant

–
There Will Always Be Fish 年年有魚 Tahun-tahun Ada Ikan
Silkscreen posters: 297 x 420mm

–
Creative Direction: @eyeballmassage
Lettering Design: @suehlili , @l_hsin_y & @louieleewy
Silkscreen Printing: @studio_bogus

#lettering #bilingual #typography #chineserainbowcalligraphy

[Fish 1/3]

‘There Will Always Be Fish 年年有魚 Tahun-tahun Ada Ikan’ is a collaboration with visual artist @eyeballmassage in conjunction with his solo exhibition ‘The World is Your Restaurant 世界大酒樓’ (2021), which drew from the visual culture of 1970s–80s Malaysian Chinese restaurants and his youth memories of banquet dining — where food, especially fish subtly reflected social status and local dining culture.

The brief invited us to reimagine Chinese rainbow calligraphy (花鳥字) through the names of ten prized restaurant fishes, presented in Chinese and Malay. We explored its contemporary application within the visual aesthetics of local Chinese restaurants while nodding to the itinerant rainbow calligraphers of the 90s.

Chinese rainbow calligraphy is a writing system that typically features floral, fauna, and mythological symbols applied in gradient brush strokes to form Chinese characters. Traditionally, it is used for auspicious phrases, motivational idioms, or personal names.

The outcome is a series of bilingual silkscreen posters featuring the ten fishes.

–
More info about the exhibition at @thebackroomkl :-
https://www.thebackroomkl.com/2021/hoofanchonworldrestaurant

–
There Will Always Be Fish 年年有魚 Tahun-tahun Ada Ikan
Silkscreen posters: 297 x 420mm

–
Creative Direction: @eyeballmassage
Lettering Design: @suehlili , @l_hsin_y & @louieleewy
Silkscreen Printing: @studio_bogus

#lettering #bilingual #typography #chineserainbowcalligraphy

[Fish 1/3]

‘There Will Always Be Fish 年年有魚 Tahun-tahun Ada Ikan’ is a collaboration with visual artist @eyeballmassage in conjunction with his solo exhibition ‘The World is Your Restaurant 世界大酒樓’ (2021), which drew from the visual culture of 1970s–80s Malaysian Chinese restaurants and his youth memories of banquet dining — where food, especially fish subtly reflected social status and local dining culture.

The brief invited us to reimagine Chinese rainbow calligraphy (花鳥字) through the names of ten prized restaurant fishes, presented in Chinese and Malay. We explored its contemporary application within the visual aesthetics of local Chinese restaurants while nodding to the itinerant rainbow calligraphers of the 90s.

Chinese rainbow calligraphy is a writing system that typically features floral, fauna, and mythological symbols applied in gradient brush strokes to form Chinese characters. Traditionally, it is used for auspicious phrases, motivational idioms, or personal names.

The outcome is a series of bilingual silkscreen posters featuring the ten fishes.

–
More info about the exhibition at @thebackroomkl :-
https://www.thebackroomkl.com/2021/hoofanchonworldrestaurant

–
There Will Always Be Fish 年年有魚 Tahun-tahun Ada Ikan
Silkscreen posters: 297 x 420mm

–
Creative Direction: @eyeballmassage
Lettering Design: @suehlili , @l_hsin_y & @louieleewy
Silkscreen Printing: @studio_bogus

#lettering #bilingual #typography #chineserainbowcalligraphy

[Fish 1/3]

‘There Will Always Be Fish 年年有魚 Tahun-tahun Ada Ikan’ is a collaboration with visual artist @eyeballmassage in conjunction with his solo exhibition ‘The World is Your Restaurant 世界大酒樓’ (2021), which drew from the visual culture of 1970s–80s Malaysian Chinese restaurants and his youth memories of banquet dining — where food, especially fish subtly reflected social status and local dining culture.

The brief invited us to reimagine Chinese rainbow calligraphy (花鳥字) through the names of ten prized restaurant fishes, presented in Chinese and Malay. We explored its contemporary application within the visual aesthetics of local Chinese restaurants while nodding to the itinerant rainbow calligraphers of the 90s.

Chinese rainbow calligraphy is a writing system that typically features floral, fauna, and mythological symbols applied in gradient brush strokes to form Chinese characters. Traditionally, it is used for auspicious phrases, motivational idioms, or personal names.

The outcome is a series of bilingual silkscreen posters featuring the ten fishes.

–
More info about the exhibition at @thebackroomkl :-
https://www.thebackroomkl.com/2021/hoofanchonworldrestaurant

–
There Will Always Be Fish 年年有魚 Tahun-tahun Ada Ikan
Silkscreen posters: 297 x 420mm

–
Creative Direction: @eyeballmassage
Lettering Design: @suehlili , @l_hsin_y & @louieleewy
Silkscreen Printing: @studio_bogus

#lettering #bilingual #typography #chineserainbowcalligraphy

[Fish 1/3]

‘There Will Always Be Fish 年年有魚 Tahun-tahun Ada Ikan’ is a collaboration with visual artist @eyeballmassage in conjunction with his solo exhibition ‘The World is Your Restaurant 世界大酒樓’ (2021), which drew from the visual culture of 1970s–80s Malaysian Chinese restaurants and his youth memories of banquet dining — where food, especially fish subtly reflected social status and local dining culture.

The brief invited us to reimagine Chinese rainbow calligraphy (花鳥字) through the names of ten prized restaurant fishes, presented in Chinese and Malay. We explored its contemporary application within the visual aesthetics of local Chinese restaurants while nodding to the itinerant rainbow calligraphers of the 90s.

Chinese rainbow calligraphy is a writing system that typically features floral, fauna, and mythological symbols applied in gradient brush strokes to form Chinese characters. Traditionally, it is used for auspicious phrases, motivational idioms, or personal names.

The outcome is a series of bilingual silkscreen posters featuring the ten fishes.

–
More info about the exhibition at @thebackroomkl :-
https://www.thebackroomkl.com/2021/hoofanchonworldrestaurant

–
There Will Always Be Fish 年年有魚 Tahun-tahun Ada Ikan
Silkscreen posters: 297 x 420mm

–
Creative Direction: @eyeballmassage
Lettering Design: @suehlili , @l_hsin_y & @louieleewy
Silkscreen Printing: @studio_bogus

#lettering #bilingual #typography #chineserainbowcalligraphy

[Fish 1/3]

‘There Will Always Be Fish 年年有魚 Tahun-tahun Ada Ikan’ is a collaboration with visual artist @eyeballmassage in conjunction with his solo exhibition ‘The World is Your Restaurant 世界大酒樓’ (2021), which drew from the visual culture of 1970s–80s Malaysian Chinese restaurants and his youth memories of banquet dining — where food, especially fish subtly reflected social status and local dining culture.

The brief invited us to reimagine Chinese rainbow calligraphy (花鳥字) through the names of ten prized restaurant fishes, presented in Chinese and Malay. We explored its contemporary application within the visual aesthetics of local Chinese restaurants while nodding to the itinerant rainbow calligraphers of the 90s.

Chinese rainbow calligraphy is a writing system that typically features floral, fauna, and mythological symbols applied in gradient brush strokes to form Chinese characters. Traditionally, it is used for auspicious phrases, motivational idioms, or personal names.

The outcome is a series of bilingual silkscreen posters featuring the ten fishes.

–
More info about the exhibition at @thebackroomkl :-
https://www.thebackroomkl.com/2021/hoofanchonworldrestaurant

–
There Will Always Be Fish 年年有魚 Tahun-tahun Ada Ikan
Silkscreen posters: 297 x 420mm

–
Creative Direction: @eyeballmassage
Lettering Design: @suehlili , @l_hsin_y & @louieleewy
Silkscreen Printing: @studio_bogus

#lettering #bilingual #typography #chineserainbowcalligraphy

[Fish 1/3]

‘There Will Always Be Fish 年年有魚 Tahun-tahun Ada Ikan’ is a collaboration with visual artist @eyeballmassage in conjunction with his solo exhibition ‘The World is Your Restaurant 世界大酒樓’ (2021), which drew from the visual culture of 1970s–80s Malaysian Chinese restaurants and his youth memories of banquet dining — where food, especially fish subtly reflected social status and local dining culture.

The brief invited us to reimagine Chinese rainbow calligraphy (花鳥字) through the names of ten prized restaurant fishes, presented in Chinese and Malay. We explored its contemporary application within the visual aesthetics of local Chinese restaurants while nodding to the itinerant rainbow calligraphers of the 90s.

Chinese rainbow calligraphy is a writing system that typically features floral, fauna, and mythological symbols applied in gradient brush strokes to form Chinese characters. Traditionally, it is used for auspicious phrases, motivational idioms, or personal names.

The outcome is a series of bilingual silkscreen posters featuring the ten fishes.

–
More info about the exhibition at @thebackroomkl :-
https://www.thebackroomkl.com/2021/hoofanchonworldrestaurant

–
There Will Always Be Fish 年年有魚 Tahun-tahun Ada Ikan
Silkscreen posters: 297 x 420mm

–
Creative Direction: @eyeballmassage
Lettering Design: @suehlili , @l_hsin_y & @louieleewy
Silkscreen Printing: @studio_bogus

#lettering #bilingual #typography #chineserainbowcalligraphy

[Fish 1/3]

‘There Will Always Be Fish 年年有魚 Tahun-tahun Ada Ikan’ is a collaboration with visual artist @eyeballmassage in conjunction with his solo exhibition ‘The World is Your Restaurant 世界大酒樓’ (2021), which drew from the visual culture of 1970s–80s Malaysian Chinese restaurants and his youth memories of banquet dining — where food, especially fish subtly reflected social status and local dining culture.

The brief invited us to reimagine Chinese rainbow calligraphy (花鳥字) through the names of ten prized restaurant fishes, presented in Chinese and Malay. We explored its contemporary application within the visual aesthetics of local Chinese restaurants while nodding to the itinerant rainbow calligraphers of the 90s.

Chinese rainbow calligraphy is a writing system that typically features floral, fauna, and mythological symbols applied in gradient brush strokes to form Chinese characters. Traditionally, it is used for auspicious phrases, motivational idioms, or personal names.

The outcome is a series of bilingual silkscreen posters featuring the ten fishes.

–
More info about the exhibition at @thebackroomkl :-
https://www.thebackroomkl.com/2021/hoofanchonworldrestaurant

–
There Will Always Be Fish 年年有魚 Tahun-tahun Ada Ikan
Silkscreen posters: 297 x 420mm

–
Creative Direction: @eyeballmassage
Lettering Design: @suehlili , @l_hsin_y & @louieleewy
Silkscreen Printing: @studio_bogus

#lettering #bilingual #typography #chineserainbowcalligraphy

[Fish 1/3]

‘There Will Always Be Fish 年年有魚 Tahun-tahun Ada Ikan’ is a collaboration with visual artist @eyeballmassage in conjunction with his solo exhibition ‘The World is Your Restaurant 世界大酒樓’ (2021), which drew from the visual culture of 1970s–80s Malaysian Chinese restaurants and his youth memories of banquet dining — where food, especially fish subtly reflected social status and local dining culture.

The brief invited us to reimagine Chinese rainbow calligraphy (花鳥字) through the names of ten prized restaurant fishes, presented in Chinese and Malay. We explored its contemporary application within the visual aesthetics of local Chinese restaurants while nodding to the itinerant rainbow calligraphers of the 90s.

Chinese rainbow calligraphy is a writing system that typically features floral, fauna, and mythological symbols applied in gradient brush strokes to form Chinese characters. Traditionally, it is used for auspicious phrases, motivational idioms, or personal names.

The outcome is a series of bilingual silkscreen posters featuring the ten fishes.

–
More info about the exhibition at @thebackroomkl :-
https://www.thebackroomkl.com/2021/hoofanchonworldrestaurant

–
There Will Always Be Fish 年年有魚 Tahun-tahun Ada Ikan
Silkscreen posters: 297 x 420mm

–
Creative Direction: @eyeballmassage
Lettering Design: @suehlili , @l_hsin_y & @louieleewy
Silkscreen Printing: @studio_bogus

#lettering #bilingual #typography #chineserainbowcalligraphy

[Fish 1/3]

‘There Will Always Be Fish 年年有魚 Tahun-tahun Ada Ikan’ is a collaboration with visual artist @eyeballmassage in conjunction with his solo exhibition ‘The World is Your Restaurant 世界大酒樓’ (2021), which drew from the visual culture of 1970s–80s Malaysian Chinese restaurants and his youth memories of banquet dining — where food, especially fish subtly reflected social status and local dining culture.

The brief invited us to reimagine Chinese rainbow calligraphy (花鳥字) through the names of ten prized restaurant fishes, presented in Chinese and Malay. We explored its contemporary application within the visual aesthetics of local Chinese restaurants while nodding to the itinerant rainbow calligraphers of the 90s.

Chinese rainbow calligraphy is a writing system that typically features floral, fauna, and mythological symbols applied in gradient brush strokes to form Chinese characters. Traditionally, it is used for auspicious phrases, motivational idioms, or personal names.

The outcome is a series of bilingual silkscreen posters featuring the ten fishes.

–
More info about the exhibition at @thebackroomkl :-
https://www.thebackroomkl.com/2021/hoofanchonworldrestaurant

–
There Will Always Be Fish 年年有魚 Tahun-tahun Ada Ikan
Silkscreen posters: 297 x 420mm

–
Creative Direction: @eyeballmassage
Lettering Design: @suehlili , @l_hsin_y & @louieleewy
Silkscreen Printing: @studio_bogus

#lettering #bilingual #typography #chineserainbowcalligraphy

[Fish 1/3]

‘There Will Always Be Fish 年年有魚 Tahun-tahun Ada Ikan’ is a collaboration with visual artist @eyeballmassage in conjunction with his solo exhibition ‘The World is Your Restaurant 世界大酒樓’ (2021), which drew from the visual culture of 1970s–80s Malaysian Chinese restaurants and his youth memories of banquet dining — where food, especially fish subtly reflected social status and local dining culture.

The brief invited us to reimagine Chinese rainbow calligraphy (花鳥字) through the names of ten prized restaurant fishes, presented in Chinese and Malay. We explored its contemporary application within the visual aesthetics of local Chinese restaurants while nodding to the itinerant rainbow calligraphers of the 90s.

Chinese rainbow calligraphy is a writing system that typically features floral, fauna, and mythological symbols applied in gradient brush strokes to form Chinese characters. Traditionally, it is used for auspicious phrases, motivational idioms, or personal names.

The outcome is a series of bilingual silkscreen posters featuring the ten fishes.

–
More info about the exhibition at @thebackroomkl :-
https://www.thebackroomkl.com/2021/hoofanchonworldrestaurant

–
There Will Always Be Fish 年年有魚 Tahun-tahun Ada Ikan
Silkscreen posters: 297 x 420mm

–
Creative Direction: @eyeballmassage
Lettering Design: @suehlili , @l_hsin_y & @louieleewy
Silkscreen Printing: @studio_bogus

#lettering #bilingual #typography #chineserainbowcalligraphy

[Fish 1/3]

‘There Will Always Be Fish 年年有魚 Tahun-tahun Ada Ikan’ is a collaboration with visual artist @eyeballmassage in conjunction with his solo exhibition ‘The World is Your Restaurant 世界大酒樓’ (2021), which drew from the visual culture of 1970s–80s Malaysian Chinese restaurants and his youth memories of banquet dining — where food, especially fish subtly reflected social status and local dining culture.

The brief invited us to reimagine Chinese rainbow calligraphy (花鳥字) through the names of ten prized restaurant fishes, presented in Chinese and Malay. We explored its contemporary application within the visual aesthetics of local Chinese restaurants while nodding to the itinerant rainbow calligraphers of the 90s.

Chinese rainbow calligraphy is a writing system that typically features floral, fauna, and mythological symbols applied in gradient brush strokes to form Chinese characters. Traditionally, it is used for auspicious phrases, motivational idioms, or personal names.

The outcome is a series of bilingual silkscreen posters featuring the ten fishes.

–
More info about the exhibition at @thebackroomkl :-
https://www.thebackroomkl.com/2021/hoofanchonworldrestaurant

–
There Will Always Be Fish 年年有魚 Tahun-tahun Ada Ikan
Silkscreen posters: 297 x 420mm

–
Creative Direction: @eyeballmassage
Lettering Design: @suehlili , @l_hsin_y & @louieleewy
Silkscreen Printing: @studio_bogus

#lettering #bilingual #typography #chineserainbowcalligraphy

[Fish 1/3]

‘There Will Always Be Fish 年年有魚 Tahun-tahun Ada Ikan’ is a collaboration with visual artist @eyeballmassage in conjunction with his solo exhibition ‘The World is Your Restaurant 世界大酒樓’ (2021), which drew from the visual culture of 1970s–80s Malaysian Chinese restaurants and his youth memories of banquet dining — where food, especially fish subtly reflected social status and local dining culture.

The brief invited us to reimagine Chinese rainbow calligraphy (花鳥字) through the names of ten prized restaurant fishes, presented in Chinese and Malay. We explored its contemporary application within the visual aesthetics of local Chinese restaurants while nodding to the itinerant rainbow calligraphers of the 90s.

Chinese rainbow calligraphy is a writing system that typically features floral, fauna, and mythological symbols applied in gradient brush strokes to form Chinese characters. Traditionally, it is used for auspicious phrases, motivational idioms, or personal names.

The outcome is a series of bilingual silkscreen posters featuring the ten fishes.

–
More info about the exhibition at @thebackroomkl :-
https://www.thebackroomkl.com/2021/hoofanchonworldrestaurant

–
There Will Always Be Fish 年年有魚 Tahun-tahun Ada Ikan
Silkscreen posters: 297 x 420mm

–
Creative Direction: @eyeballmassage
Lettering Design: @suehlili , @l_hsin_y & @louieleewy
Silkscreen Printing: @studio_bogus

#lettering #bilingual #typography #chineserainbowcalligraphy

[Fish 1/3]

‘There Will Always Be Fish 年年有魚 Tahun-tahun Ada Ikan’ is a collaboration with visual artist @eyeballmassage in conjunction with his solo exhibition ‘The World is Your Restaurant 世界大酒樓’ (2021), which drew from the visual culture of 1970s–80s Malaysian Chinese restaurants and his youth memories of banquet dining — where food, especially fish subtly reflected social status and local dining culture.

The brief invited us to reimagine Chinese rainbow calligraphy (花鳥字) through the names of ten prized restaurant fishes, presented in Chinese and Malay. We explored its contemporary application within the visual aesthetics of local Chinese restaurants while nodding to the itinerant rainbow calligraphers of the 90s.

Chinese rainbow calligraphy is a writing system that typically features floral, fauna, and mythological symbols applied in gradient brush strokes to form Chinese characters. Traditionally, it is used for auspicious phrases, motivational idioms, or personal names.

The outcome is a series of bilingual silkscreen posters featuring the ten fishes.

–
More info about the exhibition at @thebackroomkl :-
https://www.thebackroomkl.com/2021/hoofanchonworldrestaurant

–
There Will Always Be Fish 年年有魚 Tahun-tahun Ada Ikan
Silkscreen posters: 297 x 420mm

–
Creative Direction: @eyeballmassage
Lettering Design: @suehlili , @l_hsin_y & @louieleewy
Silkscreen Printing: @studio_bogus

#lettering #bilingual #typography #chineserainbowcalligraphy

[Fish 1/3]

‘There Will Always Be Fish 年年有魚 Tahun-tahun Ada Ikan’ is a collaboration with visual artist @eyeballmassage in conjunction with his solo exhibition ‘The World is Your Restaurant 世界大酒樓’ (2021), which drew from the visual culture of 1970s–80s Malaysian Chinese restaurants and his youth memories of banquet dining — where food, especially fish subtly reflected social status and local dining culture.

The brief invited us to reimagine Chinese rainbow calligraphy (花鳥字) through the names of ten prized restaurant fishes, presented in Chinese and Malay. We explored its contemporary application within the visual aesthetics of local Chinese restaurants while nodding to the itinerant rainbow calligraphers of the 90s.

Chinese rainbow calligraphy is a writing system that typically features floral, fauna, and mythological symbols applied in gradient brush strokes to form Chinese characters. Traditionally, it is used for auspicious phrases, motivational idioms, or personal names.

The outcome is a series of bilingual silkscreen posters featuring the ten fishes.

–
More info about the exhibition at @thebackroomkl :-
https://www.thebackroomkl.com/2021/hoofanchonworldrestaurant

–
There Will Always Be Fish 年年有魚 Tahun-tahun Ada Ikan
Silkscreen posters: 297 x 420mm

–
Creative Direction: @eyeballmassage
Lettering Design: @suehlili , @l_hsin_y & @louieleewy
Silkscreen Printing: @studio_bogus

#lettering #bilingual #typography #chineserainbowcalligraphy

[Fish 1/3]

‘There Will Always Be Fish 年年有魚 Tahun-tahun Ada Ikan’ is a collaboration with visual artist @eyeballmassage in conjunction with his solo exhibition ‘The World is Your Restaurant 世界大酒樓’ (2021), which drew from the visual culture of 1970s–80s Malaysian Chinese restaurants and his youth memories of banquet dining — where food, especially fish subtly reflected social status and local dining culture.

The brief invited us to reimagine Chinese rainbow calligraphy (花鳥字) through the names of ten prized restaurant fishes, presented in Chinese and Malay. We explored its contemporary application within the visual aesthetics of local Chinese restaurants while nodding to the itinerant rainbow calligraphers of the 90s.

Chinese rainbow calligraphy is a writing system that typically features floral, fauna, and mythological symbols applied in gradient brush strokes to form Chinese characters. Traditionally, it is used for auspicious phrases, motivational idioms, or personal names.

The outcome is a series of bilingual silkscreen posters featuring the ten fishes.

–
More info about the exhibition at @thebackroomkl :-
https://www.thebackroomkl.com/2021/hoofanchonworldrestaurant

–
There Will Always Be Fish 年年有魚 Tahun-tahun Ada Ikan
Silkscreen posters: 297 x 420mm

–
Creative Direction: @eyeballmassage
Lettering Design: @suehlili , @l_hsin_y & @louieleewy
Silkscreen Printing: @studio_bogus

#lettering #bilingual #typography #chineserainbowcalligraphy

[Fish 1/3]

‘There Will Always Be Fish 年年有魚 Tahun-tahun Ada Ikan’ is a collaboration with visual artist @eyeballmassage in conjunction with his solo exhibition ‘The World is Your Restaurant 世界大酒樓’ (2021), which drew from the visual culture of 1970s–80s Malaysian Chinese restaurants and his youth memories of banquet dining — where food, especially fish subtly reflected social status and local dining culture.

The brief invited us to reimagine Chinese rainbow calligraphy (花鳥字) through the names of ten prized restaurant fishes, presented in Chinese and Malay. We explored its contemporary application within the visual aesthetics of local Chinese restaurants while nodding to the itinerant rainbow calligraphers of the 90s.

Chinese rainbow calligraphy is a writing system that typically features floral, fauna, and mythological symbols applied in gradient brush strokes to form Chinese characters. Traditionally, it is used for auspicious phrases, motivational idioms, or personal names.

The outcome is a series of bilingual silkscreen posters featuring the ten fishes.

–
More info about the exhibition at @thebackroomkl :-
https://www.thebackroomkl.com/2021/hoofanchonworldrestaurant

–
There Will Always Be Fish 年年有魚 Tahun-tahun Ada Ikan
Silkscreen posters: 297 x 420mm

–
Creative Direction: @eyeballmassage
Lettering Design: @suehlili , @l_hsin_y & @louieleewy
Silkscreen Printing: @studio_bogus

#lettering #bilingual #typography #chineserainbowcalligraphy

Wishing everyone a Year of the Horse filled with freedom, joy, and strength. 🐎
.
Borrowed the character ‘馬’ from Sebarau fish (水馬騮) in the past project ‘There Will Always Be Fish 年年有魚 Tahun-tahun Ada Ikan’ — a collaboration with visual artist @eyeballmassage for his solo exhibition ‘The World Is Your Restaurant 世界大酒樓’ at @thebackroomkl , 20 November – 12 December 2021.
.
In this project, we reimagine Chinese rainbow calligraphy (花鳥字) with unconventional writing tools. More on the design process soon. Stay tuned 🐠

-
Creative Direction: @eyeballmassage
Lettering Design: @suehlili , @l_hsin_y & @louieleewy
Silkscreen Poster: @studio_bogus
Photography: @alvinlaukb

#horseyear2026 #lettering #typography #bilingual #hrftypework #2021

Wishing everyone a Year of the Horse filled with freedom, joy, and strength. 🐎
.
Borrowed the character ‘馬’ from Sebarau fish (水馬騮) in the past project ‘There Will Always Be Fish 年年有魚 Tahun-tahun Ada Ikan’ — a collaboration with visual artist @eyeballmassage for his solo exhibition ‘The World Is Your Restaurant 世界大酒樓’ at @thebackroomkl , 20 November – 12 December 2021.
.
In this project, we reimagine Chinese rainbow calligraphy (花鳥字) with unconventional writing tools. More on the design process soon. Stay tuned 🐠

-
Creative Direction: @eyeballmassage
Lettering Design: @suehlili , @l_hsin_y & @louieleewy
Silkscreen Poster: @studio_bogus
Photography: @alvinlaukb

#horseyear2026 #lettering #typography #bilingual #hrftypework #2021

Wishing everyone a Year of the Horse filled with freedom, joy, and strength. 🐎
.
Borrowed the character ‘馬’ from Sebarau fish (水馬騮) in the past project ‘There Will Always Be Fish 年年有魚 Tahun-tahun Ada Ikan’ — a collaboration with visual artist @eyeballmassage for his solo exhibition ‘The World Is Your Restaurant 世界大酒樓’ at @thebackroomkl , 20 November – 12 December 2021.
.
In this project, we reimagine Chinese rainbow calligraphy (花鳥字) with unconventional writing tools. More on the design process soon. Stay tuned 🐠

-
Creative Direction: @eyeballmassage
Lettering Design: @suehlili , @l_hsin_y & @louieleewy
Silkscreen Poster: @studio_bogus
Photography: @alvinlaukb

#horseyear2026 #lettering #typography #bilingual #hrftypework #2021

Wishing everyone a Year of the Horse filled with freedom, joy, and strength. 🐎
.
Borrowed the character ‘馬’ from Sebarau fish (水馬騮) in the past project ‘There Will Always Be Fish 年年有魚 Tahun-tahun Ada Ikan’ — a collaboration with visual artist @eyeballmassage for his solo exhibition ‘The World Is Your Restaurant 世界大酒樓’ at @thebackroomkl , 20 November – 12 December 2021.
.
In this project, we reimagine Chinese rainbow calligraphy (花鳥字) with unconventional writing tools. More on the design process soon. Stay tuned 🐠

-
Creative Direction: @eyeballmassage
Lettering Design: @suehlili , @l_hsin_y & @louieleewy
Silkscreen Poster: @studio_bogus
Photography: @alvinlaukb

#horseyear2026 #lettering #typography #bilingual #hrftypework #2021

Truly honoured to share that I’ll be part of the Type Design & Lettering jury for the @d_and_ad Awards 2026, celebrating creative excellence. This year’s theme is “Creativity is Alive?”

I still remember back in 2024, being deeply fascinated by @kotoko_koya ‘s presentation on D&AD’s trend report on type design entries at @adgidesignweek . It feels almost surreal to see these remarkable works up close and gathering with fellow judges in London this May.

Be part of the community keeping creativity alive; enter D&AD Awards now: dandad.org/awards

#dandad26 #typedesign #lettering

Continuing from the previous post—

We collaborated with @studiokekfeng on custom Chinese and Tamil lettering for the @i_want_festival 2024 visual identity. The brief pushed for extreme width and weight in both complex scripts to match ABC Gravity by @abcdinamo .

The 2024 theme, “Blend,” reflects Malaysia’s cultural mix and spirit of exchange. Typographically, Blend appears in 參參 (Chinese), கலைவ (Tamil), Cham (Malay)—echoing Malaysia multilingual landscape. 🇲🇾

Visual Identity by @studiokekfeng
Chinese & Tamil lettering by @suehlili & @louieleewy

Motion and photography in courtesy of @studiokekfeng

#multiscript #multilingual #typedesign #customlettering #tamil #chinese #hanzi #malaysia #typography #variablefont #variablelettering #hrftypework #iwantfestival2024

Continuing from the previous post—

We collaborated with @studiokekfeng on custom Chinese and Tamil lettering for the @i_want_festival 2024 visual identity. The brief pushed for extreme width and weight in both complex scripts to match ABC Gravity by @abcdinamo .

The 2024 theme, “Blend,” reflects Malaysia’s cultural mix and spirit of exchange. Typographically, Blend appears in 參參 (Chinese), கலைவ (Tamil), Cham (Malay)—echoing Malaysia multilingual landscape. 🇲🇾

Visual Identity by @studiokekfeng
Chinese & Tamil lettering by @suehlili & @louieleewy

Motion and photography in courtesy of @studiokekfeng

#multiscript #multilingual #typedesign #customlettering #tamil #chinese #hanzi #malaysia #typography #variablefont #variablelettering #hrftypework #iwantfestival2024

Continuing from the previous post—

We collaborated with @studiokekfeng on custom Chinese and Tamil lettering for the @i_want_festival 2024 visual identity. The brief pushed for extreme width and weight in both complex scripts to match ABC Gravity by @abcdinamo .

The 2024 theme, “Blend,” reflects Malaysia’s cultural mix and spirit of exchange. Typographically, Blend appears in 參參 (Chinese), கலைவ (Tamil), Cham (Malay)—echoing Malaysia multilingual landscape. 🇲🇾

Visual Identity by @studiokekfeng
Chinese & Tamil lettering by @suehlili & @louieleewy

Motion and photography in courtesy of @studiokekfeng

#multiscript #multilingual #typedesign #customlettering #tamil #chinese #hanzi #malaysia #typography #variablefont #variablelettering #hrftypework #iwantfestival2024

Continuing from the previous post—

We collaborated with @studiokekfeng on custom Chinese and Tamil lettering for the @i_want_festival 2024 visual identity. The brief pushed for extreme width and weight in both complex scripts to match ABC Gravity by @abcdinamo .

The 2024 theme, “Blend,” reflects Malaysia’s cultural mix and spirit of exchange. Typographically, Blend appears in 參參 (Chinese), கலைவ (Tamil), Cham (Malay)—echoing Malaysia multilingual landscape. 🇲🇾

Visual Identity by @studiokekfeng
Chinese & Tamil lettering by @suehlili & @louieleewy

Motion and photography in courtesy of @studiokekfeng

#multiscript #multilingual #typedesign #customlettering #tamil #chinese #hanzi #malaysia #typography #variablefont #variablelettering #hrftypework #iwantfestival2024

Continuing from the previous post—

We collaborated with @studiokekfeng on custom Chinese and Tamil lettering for the @i_want_festival 2024 visual identity. The brief pushed for extreme width and weight in both complex scripts to match ABC Gravity by @abcdinamo .

The 2024 theme, “Blend,” reflects Malaysia’s cultural mix and spirit of exchange. Typographically, Blend appears in 參參 (Chinese), கலைவ (Tamil), Cham (Malay)—echoing Malaysia multilingual landscape. 🇲🇾

Visual Identity by @studiokekfeng
Chinese & Tamil lettering by @suehlili & @louieleewy

Motion and photography in courtesy of @studiokekfeng

#multiscript #multilingual #typedesign #customlettering #tamil #chinese #hanzi #malaysia #typography #variablefont #variablelettering #hrftypework #iwantfestival2024

Continuing from the previous post—

We collaborated with @studiokekfeng on custom Chinese and Tamil lettering for the @i_want_festival 2024 visual identity. The brief pushed for extreme width and weight in both complex scripts to match ABC Gravity by @abcdinamo .

The 2024 theme, “Blend,” reflects Malaysia’s cultural mix and spirit of exchange. Typographically, Blend appears in 參參 (Chinese), கலைவ (Tamil), Cham (Malay)—echoing Malaysia multilingual landscape. 🇲🇾

Visual Identity by @studiokekfeng
Chinese & Tamil lettering by @suehlili & @louieleewy

Motion and photography in courtesy of @studiokekfeng

#multiscript #multilingual #typedesign #customlettering #tamil #chinese #hanzi #malaysia #typography #variablefont #variablelettering #hrftypework #iwantfestival2024

Continuing from the previous post—

We collaborated with @studiokekfeng on custom Chinese and Tamil lettering for the @i_want_festival 2024 visual identity. The brief pushed for extreme width and weight in both complex scripts to match ABC Gravity by @abcdinamo .

The 2024 theme, “Blend,” reflects Malaysia’s cultural mix and spirit of exchange. Typographically, Blend appears in 參參 (Chinese), கலைவ (Tamil), Cham (Malay)—echoing Malaysia multilingual landscape. 🇲🇾

Visual Identity by @studiokekfeng
Chinese & Tamil lettering by @suehlili & @louieleewy

Motion and photography in courtesy of @studiokekfeng

#multiscript #multilingual #typedesign #customlettering #tamil #chinese #hanzi #malaysia #typography #variablefont #variablelettering #hrftypework #iwantfestival2024

Poster by @intl.international + @studiokekfeng @hrftype
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« ‘I Want Festival 2024’ by STUDIO KEKFENG and E hrftype foundry was selected for the 2025
International Poster Exhibition and received a jury commendation from by Maximage and Kristýna Kulíková,
« I WANT FESTIVAL is a multi-day festival that aims to encourage Malaysians to actively participate in society... The theme for 2024 is ‘Blend
representing the melting pot that is Malaysia and a call for intercultural interactions... The event will feature forums, concerts, markets, workshops, and night bazaars... the poster was designed with smile-shaped windows that could be punched out
— allowing the poster to interact with the background. Typographically, the word Blend representingthe melting pot that is Malaysia and a call for intercultural interactions... The event will feature forums, concerts, markets, workshops, and night bazaars... the poster was designed with smile-shaped windows that could be punched out
— allowing the poster to interact with the background... Typographically, the word ‘Blend’ is
presented in สเอด (Tamil), Cham (Malay), and
a reflection of the Malaysian multilingual society... »
@studiokekfeng @hrftype »
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Tag @poster.index #posterindex to get featured
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