The Journey of Arita Nhazi Akwụkwọ nke Sunghoon Kim

Ihe emepụtara bụ The Journey of Arita Nhazi Akwụkwọ nke Sunghoon Kim bụ onye meriri a na-asọpụrụ nke ukwuu nke 2021 Ihe Nrite A' Design Award nke Ọlaọcha na Udi Asọmpi Nhazi Mbipụta na Mgbasa Ozi Ebipụtara.

ỌlaọchaMbipụta· 2021

The Journey of Arita Nhazi Akwụkwọ

nke Sunghoon Kim

Onye Ahịa: Amorepacific

Onye Meriri Ihe Nrite A' Design Award nke Ọlaọcha na Udi Mbipụta

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Gaa Saịtị Lee na A' Design Award Akụkọ Mgbasa Ozi Akara Onyinye

Agba

Nhazi a

Maka The Journey of Arita Nhazi Akwụkwọ

Akwụkwọ nhazi mkpụrụedemede nwere akụkọ dị iche iche gụnyere mkpa ọ dị na mmepe okwu Korean na imekọ ihe ọnụ n'etiti ndị na-emepụta ihe. Akwụkwọ ahụ bụ Njem nke Arita na-ekpuchi ihe niile metụtara mkpụrụedemede Arita, nke anọwo na nzuzo ogologo oge, na-agụnye otu e si mepụta ụdị mkpụrụedemede ụlọ ọrụ, akụkọ dị n'azụ nhazi mkpụrụedemede ahụ, ebe e ji ụdị mkpụrụedemede ndị a mee ihe, ajụjụ ọnụ na ndị na-emepụta ihe 14 nke tinyere aka na nhazi nke ọ bụla, foto akwụkwọ akụkọ na-egosi usoro ịmepụta ụdị mkpụrụedemede, yana ngwaahịa na akwụkwọ ndị na-eji mkpụrụedemede Arita.

Nkwanye Ugwu

Maka Ihe Nrite A' Design Award nke Ọlaọcha

The Journey of Arita Nhazi Akwụkwọ meriri A' Design Award nke Ọlaọcha, nnabata dị oke ugwu e nyere design ndị dị n'ọkwa kachasị elu, mara mma ma na-eju anya. Ndị meriri na Ọlaọcha bụ ọrụ na-egbu maramara nke ukwuu ma dị oke nzụlite nke na-egosi ọmarịcha ihe ọmụma, talent na nghọta nke ndị designer ha. A na-atụ anya na The Journey of Arita Nhazi Akwụkwọ ga-abụ ọrụ dị ịtụnanya, ihe nlereanya, nke dị oke ọrụ ma dị omimi n'ihe ọhụrụ. Design a meriri A' Design Award nke Ọlaọcha bụ ihe e mepụtara dị oke ịrịba ama, nke a na-eto nke na-erite uru ma na-ebuga oke nka, sayensị, design na teknụzụ n'ihu. The Journey of Arita Nhazi Akwụkwọ bụ ihe e kere eke ọtụtụ ndị na-ekwo ekworo ya nke na-akpali ọchịchọ, na-eweta mmetụta ọma ma na-akpali ịtụnanya.

N'azụ Nhazi a

Ngwugwu Mgbasa Ozi

Nkwurịta okwu, ndị otu na nkọwa teknụzụ nke onye nhazi nyere.

Àgwà Pụrụ Iche: 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.
Nha & Mkpuchi: 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
Mkpado: graphic, graphic design, design, editorial, typography, book, book design, brand design, branding, font, type design, arita
Teknụzụ Mmepụta: 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.
Ịma Aka Imepụta: 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.
Nchọpụta: 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.
Mkpali: 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.
Oge Ọrụ: The project started in January 2019 in Paju and finished in August 2020 in Seoul, Korea
Usoro Ọrụ: 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.
Ndị Otu: Design Firm: ahn graphics
Creative Director: Sunghoon Kim, Art Director: Mano An, Designer: Sunghoon Kim, Mano An, Yuseon Park, Hyojung Yang
Asụsụ Foto: ahn graphics