The Journey of Arita Phau Ntawv Tsim los ntawm Sunghoon Kim

Qhov qauv tsim The Journey of Arita Phau Ntawv Tsim los ntawm Sunghoon Kim yog tus yeej muaj nqis heev ntawm qhov khoom plig 2021 A' Design Award Nyiaj hauv Pawg Sib Tw Tsim Xov Xwm Luam Tawm thiab Xov Xwm Tshaj Tawm.

NyiajLuam Tawm· 2021

The Journey of Arita Phau Ntawv Tsim

los ntawm Sunghoon Kim

Tus Neeg Siv: Amorepacific

Tus Yeej A' Design Award Nyiaj hauv Pawg Luam Tawm

41,612

Tus Yeej Khoom Plig Tau Txheeb Xyuas

Txheeb Xyuas Qhov Xwm Txheej Khoom Plig rau #115944

Mus Saib Lub Vev Xaib Saib ntawm A' Design Award Tsab Xov Xwm Daim Phiaj Khoom Plig

Xim

Qhov Tsim

Txog The Journey of Arita Phau Ntawv Tsim

Ib phau ntawv tsim qauv ntawv sau uas muaj ntau zaj dab neeg suav nrog qhov tseem ceeb hauv kev txhim kho cov lus Kauslim thiab kev koom tes ntawm cov neeg tsim qauv. Phau ntawv Txoj Kev Taug Ntawm Arita npog txhua yam uas cuam tshuam txog tus qauv ntawv Arita, uas tau muab zais ntev, suav nrog yuav ua li cas cov qauv ntawv koom haum tau yug los, zaj dab neeg tom qab tus qauv ntawv tsim, cov xwm txheej uas cov qauv ntawv no tau siv, kev xam phaj nrog 14 tus neeg tsim qauv uas koom nrog hauv kev tsim rau ib tus qauv ntawv, cov duab sau cia qhia txog cov txheej txheem ntawm kev tsim cov qauv ntawv, thiab cov khoom lag luam thiab phau ntawv uas siv tus qauv ntawv Arita.

Qhov Lees Paub

Txog A' Design Award Nyiaj

The Journey of Arita Phau Ntawv Tsim yog tus yeej ntawm A' Design Award Nyiaj, ib qho kev lees paub muaj meej mom heev tshaj li qub uas muab rau cov qauv tsim qib siab, zoo nkauj thiab ua rau neeg xav tsis thoob. Cov neeg yeej Nyiaj yog cov haujlwm ci ntsa iab heev thiab tsim tshiab heev uas qhia txog kev paub, kev txawj ntse thiab kev ntse ntawm cov kws tsim qauv. The Journey of Arita Phau Ntawv Tsim xav tias yuav yog ib qho haujlwm zoo kawg nkaus uas tsim rau qhia, tshaj lij heev thiab tsim tshiab tob. Cov qauv tsim yeej A' Design Award Nyiaj no yog ib qho khoom tsim uas pom tseeb heev thiab neeg qhuas uas pab tau thiab nthuav dav ciam teb ntawm kev kos duab, kev tshawb fawb, kev tsim qauv thiab thev naus laus zis. The Journey of Arita Phau Ntawv Tsim yog ib qho khoom tsim uas neeg coob xav tau, uas ua rau xav, coj kev xav zoo thiab ua rau xav tsis thoob thiab xav paub.

Tom Qab Qhov Tsim

Pob Xov Xwm

Cov credit, cov neeg pab thiab cov ntsiab lus kev txawj ntse muab los ntawm tus tsim.

Yam Tshwj Xeeb: The book The Journey of Arita covers everything related to the Arita font, which has long been veiled, encompassing how the corporate typefaces were born, the story behind the font design, cases where these typefaces were used, interviews with 14 of the designers involved in the design per font, documentary photographs showing the process of creating typefaces, and products and books that use the Arita font.
Qhov Loj & Ntim: 185 x 250 mm, 280 page, hardback, hot foil stamping processing on cover, the page format allowed the calculation of a multi-level grid for the composition of individual elements
Cov Ntsiab Lus: graphic, graphic design, design, editorial, typography, book, book design, brand design, branding, font, type design, arita
Thev Naus Laus Zis Tsim Khoom: The work was offset printing and a hardback, paper binding, thermo-gluing was used. The cover has been coated with skin texture. There is a ribbon bookmark with Arita in Korean, English, and Chinese characters. From Giyeok to hieut 14 Korean consonants were expressed on paper as embossing. A sketch and test process of the font are printed on a small piece of 125 x 170 mm paper and inserted into the book. The text was printed on matte paper and the photo was printed on glossy paper.
Kev Sib Tw Tsim Qauv: The book The Journey of Arita also covers a story that makes us reflect on a unique facet, along with stories about typographic design. That is the importance in developing Korean terminology. Noticeably, the names of Arita typefaces stem from the Korean language, such as buri and chuim. In fact, it is not easy to develop Korean terms for each font in the typographic design industry where foreign words have usually been adopted to coin terms. In that sense, Arita project designers’ efforts to develop and use Korean terms for a better understanding of users should not be neglected. Furthermore, the book introduces an interesting story of how domestic designers worked collaboratively with designers from foreign countries, including China and the Netherlands, in an attempt to create the Roman alphabet and Chinese character typefaces. The Arita font truly contains many stories on a long journey towards the completion of its creation. If you follow the long journey of Arita from sowing seeds to growing magnificent trees with the book The Journey of Arita, you will come to understand how the Arita typefaces could be created to be used effortlessly in everyday life.
Kev Tshawb Fawb: For the creation of a corporate font, it is generally common to entrust a typographic designer with a design of only the required typefaces within a short time. Even in an interview with a designer in the book, the designer says that it is uncommon to take 16 years to complete the development of a font in the typographic design industry where designers commissioned to create a font in only one month are commonplace. The Arita font is the product of much hard work of Amorepacific, which steadily oversaw the project without having any complaints and gave it consistent support for 16 years. Moreover, the designers developed the typeface focusing on usability so that their client as well as other designers and even the general public could use it effortlessly, and extended the typeface to branch out into a complete typeface family. The Arita font was developed as the company’s exclusive font, but all of its typefaces are available to anyone free of charge only if the copyright information is displayed. This reflects the company’s aspiration to emphasize the value of cultural sharing through the free distribution.
Kev Txhawb Siab: The design development for the Arita font was carried out with the motif of healthy beauty, femininity, and modernity while being inspired by an elegant lady emerging in the classic poetry of Confucius, the ancient Chinese philosopher. The graceful and sophisticated impression of an elegant lady was beautifully embodied in soft curves, gentle strokes, and curvaceous forms, fully reflecting the movement of handwriting.
Lub Sij Hawm Ua Hauj Lwm: The project started in January 2019 in Paju and finished in August 2020 in Seoul, Korea
Txheej Txheem Ua Hauj Lwm: Since the entire text of this book used the Arita font, readers can actually assess the usability of Arita while reading. For the overseas readers interested in Korean typography, this book was written in English alongside Korean. In addition, an understandable description of technical details on typefaces is enough to appeal to not only typographic designers but readers who have paid attention to the Arita font.
Cov Tswv Cuab Pab: Design Firm: ahn graphics
Creative Director: Sunghoon Kim, Art Director: Mano An, Designer: Sunghoon Kim, Mano An, Yuseon Park, Hyojung Yang
Kev Qhuas Duab: ahn graphics