Three things for the Malaysian Media Awards
June 13th, 2008
Tonight at the One World Hotel, the Media Specialist Association celebrates the Malaysian Media Awards. Which also means, I’m celebrating the fact that one job is done.
Primary typefaces used are Gill Sans and Times New Roman for the booklet (design by Lilian). But as for the Invitation card, only uppercase Gill Sans was used.
Thinking of fusing the two makes sense as to the working relationship that Eric Gill and Stanley Morison had. Eventhough they didn’t work together on Gill Sans or Times New Roman, they still have much in common*. I do agree that our eyes get familiar with the shape of Times New Roman and it has been overly used. But the other side of the world holds interesting applications of the typefaces and also a very historical and appreciative approach to the application of the typeface side by side on a piece of paper.
The overlapping of the curved device at the corner of the ID was inspired by Art Deco movements. Yeah. Toned down into a more clean and minimal design, catered towards todays love for simplicity. Refer below to see what I mean.
The certificates uses the same look with the exception of the typefaces and the introduction of a more crisp and energetic typeface, Carter & Cone’s ITC Galliard designed by Matthew Carter. It felt right when Galliard’s Mannerist background stands side by side with Art Deco’s vibrant, abstract and striking visual nature.
The certificate identifies itself not only through the use of colors but also the overlapping of the colors manifesting categories of which each certificate represents. Gold winners over Silver & Bronze, etc. Clearly, the overlapping effect’s source of influence can be clearly seen below on Hermann Keimel’s Muenchner Plaket Kunst poster from 1931, Germany.
Above is an image of a book cover by Man Ray, Le Surrealisme et la Peinture by Andre Breton, 1928, France. See the influence of the rounded strokes at the upper right and lower left corners of each item?
To conclude, I don’t really embrace the whole Art Deco movement but there are times I do believe, historical references are important and can be useful in adding value and also to solve design problems. Also either as tributes or appreciations.
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*Historically, Gill Sans was designed much earlier than Times, 1928-1930. Taking also into consideration that Morison was actually one of Gill’s clients and that Gill Sans has actually drawn lots of influence from Edward Johnston’s sans serif for London Underground back in about 1916. We’re talking about absolute British here.
@ FiFFteen in Goa, 2006 
