We are an outfit based in Singapore, offering art direction and graphic design services to commercial and cultural fields. Working at the intersection of print and digital, we believe in an inquisitive approach for each and every project. Contact us at firstname.lastname@example.org.
89plus, Asian Film Archive, Bureau Mirko Borsche, Community Justice Centre, Development Bank of Singapore (DBS), Image Comics, Institute of Contemporary Arts Singapore, Nanyang Technological University (ADM), National University of Singapore Enterprise, NTU Centre of Contemporary Art Singapore (NTU CCA), Singapore Polytechnic, The Substation, University of Sussex (England)
89plus is a long-term, international, multi-platform research project co-founded by Simon Castets and Hans Ulrich Obrist, investigating the generation of innovators born in or after 1989. Without forecasting artistic trends or predicting future creation, 89plus manifests itself through panels, books, periodicals and exhibitions, bringing together individuals from a generation whose voices are only starting to be heard, yet which accounts for almost half of the world’s population.
Held on 12 & 13 July 2014, 89plus was part of Singapore international Festival of Arts (SIFA). Invited to the workshop conducted by Simon Castets, Hans Ulrich Obrist, and SIFA, these posters were created as part of Autotypography x 89plus collaboration and used as the workshop poster.
The world after 1989 was heavily influenced by the advent of technology - an unprecedented time which saw the exponential increase in the number of people who gained access to personal computers. This meant higher accessibility to digital content creation and inevitably, stylistic manipulation of that content by 'non-professionals' - as distinguished by Clive Dilnot in The State
of Design History, Part II as 'vernacular design'. Coupled with the shift towards digital format printing, stretching and manipulating text/letters to fit the canvas became rampant, and is still happening in present day. This digital poster, using vertically-stretched Arial, explores how the aesthetics of the stretched text, a signifier of the digital manipulation, is being romanticised as a subversion of the canon.