HAOHOW LONG: a modern chinese typeface
Ashley Gaffney | GRDS 400 | Graphic Design Studio II Project II | Fall Quarter
original sketches
Ashley Gaffney | GRDS 400 | Graphic Design Studio II Project II | Fall Quarter
original sketches
Ashley Gaffney | GRDS 400 | Graphic Design Studio II Project II | Fall Quarter
original sketches
Ashley Gaffney | GRDS 400 | Graphic Design Studio II Project II | Fall Quarter
Digital renderings
Ashley Gaffney | GRDS 400 | Graphic Design Studio II Project II | Fall Quarter
Digital renderings-Bold style & cut style
Ashley Gaffney | GRDS 400 | Graphic Design Studio II Project II | Fall Quarter
Digital process
Chinese characters number in the tens of thousands, though most of these are minor graphic variants only encountered in historical texts. Studies carried out in China have shown that functional literacy requires a knowledge of between three and four thousand characters. In Chinese orthography, the characters are largely morphosyllabic, each corresponding to a spoken syllable with a distinct meaning, though this is not systematic. In Modern Standard Chinese words are generally not monosyllabic as they were in Classical Chinese, so most are written with more than one character. About 10% of native words have two syllables without separate meanings, but they are nonetheless written with two characters. Some characters, generally ligatures, represent polysyllabic words or even phrases, though this is the exception and is generally informal. Cognates in the various varieties of Chinese are generally written with the same character. They typically have similar meanings, but often quite different pronunciations. In other languages, most significantly today in Japanese, characters are used to represent native words, ignoring the Chinese pronunciation, to represent Chinese loanwords, and as purely phonetic elements based on their pronunciation in the historical variety of Chinese they were acquired from. These foreign adaptations of Chinese pronunciation are known as Sinoxenic pronunciations, and have been useful in the reconstruction of Ancient Chinese.
Chinese characters number in the tens of thousands, though most of these are minor graphic variants only encountered in historical texts. Studies carried out in China have shown that functional literacy requires a knowledge of between three and four thousand characters. In Chinese orthography, the characters are largely morphosyllabic, each corresponding to a spoken syllable with a distinct meaning, though this is not systematic. In Modern Standard Chinese words are generally not monosyllabic as they were in Classical Chinese, so most are written with more than one character. About 10% of native words have two syllables without separate meanings, but they are nonetheless written with two characters. Some characters, generally ligatures, represent polysyllabic words or even phrases, though this is the exception and is generally informal.
Chinese characters number in the tens of thousands, though most of these are minor graphic variants only encountered in historical texts. Studies carried out in China have shown that functional literacy requires a knowledge of between three and four thousand characters. In Chinese orthography, the characters are largely morphosyllabic, each corresponding to a spoken syllable with a distinct meaning, though this is not systematic. In Modern Standard Chinese words are generally not monosyllabic as they were in Classical Chinese, so most are written with more than one character. About 10% of native words have two syllables without separate meanings, but they are nonetheless written with two characters. Some characters, generally ligatures, represent polysyllabic words or even phrases, though this is the exception and is generally informal. Cognates in the various varieties of Chinese are generally written with the same character. They typically have similar meanings, but often quite different pronunciations. In other languages, most significantly today in Japanese, characters are used to represent native words, ignoring the Chinese pronunciation, to represent Chinese loanwords, and as purely phonetic elements based on their pronunciation in the historical variety of Chinese they were acquired from. These foreign adaptations of Chinese pronunciation are known as Sinoxenic pronunciations, and have been useful in the reconstruction of Ancient Chinese.
Chinese characters number in the tens of thousands, though most of these are minor graphic variants only encountered in historical texts. Studies carried out in China have shown that functional literacy requires a knowledge of between three and four thousand characters. In Chinese orthography, the characters are largely morphosyllabic, each corresponding to a spoken syllable with a distinct meaning, though this is not systematic. In Modern Standard Chinese words are generally not monosyllabic as they were in Classical Chinese, so most are written with more than one character. About 10% of native words have two syllables without separate meanings, but they are nonetheless written with two characters. Some characters, generally ligatures, represent polysyllabic words or even phrases, though this is the exception and is generally informal. Cognates in the various varieties of Chinese are generally written with the same character. They typically have similar meanings, but often quite different pronunciations. In other languages, most significantly today in Japanese, characters are used to represent native words, ignoring the Chinese pronunciation, to represent Chinese loanwords, and as purely phonetic elements based on their pronunciation in the historical variety of Chinese they were acquired from. These foreign adaptations of Chinese pronunciation are known as Sinoxenic pronunciations, and have been useful in the reconstruction of Ancient Chinese.
Chinese characters number in the tens of thousands, though most of these are minor graphic variants only encountered in historical texts. Studies carried out in China have shown that functional literacy requires a knowledge of between three and four thousand characters. In Chinese orthography, the characters are largely morphosyllabic, each corresponding to a spoken syllable with a distinct meaning, though this is not systematic. In Modern Standard Chinese words are generally not monosyllabic as they were in Classical Chinese, so most are written with more than one character. About 10% of native words have two syllables without separate meanings, but they are nonetheless written with two characters. Some characters, generally ligatures, represent polysyllabic words or even phrases, though this is the exception and is generally informal.
中文字符数在几万，虽然其中大部分是历史文本只有在遇 到一些小图形的变种。在中国进行的研究表明，功能性扫盲 需要三至四个万字的知识。在中国的正字法，字符在很大程 度上是由多个音节，每个对应一个具有鲜明的意义的口语音 节，虽然这不是系统性的。 在现代标准汉语词一般不单音节作为他们在中国古典，所 以大部分都是书面多个字符。约10％的原生有两个音节，没 有独立的含义，但他们仍然与两个字符的书面。一些字符， 通常连字，代表的多音节词，甚至是短语，虽然这是个例 外，一般非正式。 在中国的各个品种的同源词一般具有相同字符的书面的。 他们通常有类似的含义，但往往是完全不同的发音。在其他 语言中，最显著的日本今天，字符是用来表示本机的话，忽 略了中文发音，代表中国的外来词，并根据自己的发音在中 国历史的各种元素作为纯粹的拼音，他们收购。这些外国适 应中文的发音被称为Sinoxenic 发音，并已在中国古代的重 建非常有用。
Ashley Gaffney | GRDS 400 | Graphic Design Studio II Project II | Fall Quarter
Chinese characters number in the tens of thousands, though most of these are minor graphic variants only encountered in historical texts. Studies carried out in China have shown that functional literacy requires a knowledge of between three and four thousand characters. In Chinese orthography, the characters are largely morphosyllabic, each corresponding to a spoken syllable with a distinct meaning, though this is not systematic. In Modern Standard Chinese words are generally not monosyllabic as they were in Classical Chinese, so most are written with more than one character. About 10% of native words have two syllables without separate meanings, but they are nonetheless written with two characters. Some characters, generally ligatures, represent polysyllabic words or even phrases, though this is the exception and is generally informal. Cognates in the various varieties of Chinese are generally written with the same character. They typically have similar meanings, but often quite different pronunciations. In other languages, most significantly today in Japanese, characters are used to represent native words, ignoring the Chinese pronunciation, to represent Chinese loanwords, and as purely phonetic elements based on their pronunciation in the historical variety of Chinese they were acquired from. These foreign adaptations of Chinese pronunciation are known as Sinoxenic pronunciations, and have been useful in the reconstruction of Ancient Chinese.
中文字符数在几万，虽然其中大部分是历史文本只有 在遇到一些小图形的变种。在中国进行的研究表明，功 能性扫盲需要三至四个万字的知识。在中国的正字法， 字符在很大程度上是由多个音节，每个对应一个具有鲜 明的意义的口语音节，虽然这不是系统性的。 在现代标准汉语词一般不单音节作为他们在中国古 典，所以大部分都是书面多个字符。约10％的原生有两 个音节，没有独立的含义，但他们仍然与两个字符的书 面。一些字符，通常连字，代表的多音节词，甚至是短 语，虽然这是个例外，一般非正式。 在中国的各个品种的同源词一般具有相同字符的书 面的。他们通常有类似的含义，但往往是完全不同的 发音。在其他语言中，最显著的日本今天，字符是用 来表示本机的话，忽略了中文发音，代表中国的外来 词，并根据自己的发音在中国历史的各种元素作为纯粹 的拼音，他们收购。这些外国适应中文的发音被称为 Sinoxenic 发音，并已在中国古代的重建非常有用。
中文字符数在几万，虽然其中大部分是历史文本只有 在遇到一些小图形的变种。在中国进行的研究表明，功 能性扫盲需要三至四个万字的知识。在中国的正字法， 字符在很大程度上是由多个音节，每个对应一个具有鲜 明的意义的口语音节，虽然这不是系统性的。 在现代标准汉语词一般不单音节作为他们在中国古 典，所以大部分都是书面多个字符。约10％的原生有两 个音节，没有独立的含义，但他们仍然与两个字符的书 面。一些字符，通常连字，代表的多音节词，甚至是短 语，虽然这是个例外，一般非正式。 在中国的各个品种的同源词一般具有相同字符的书 面的。他们通常有类似的含义，但往往是完全不同的 发音。在其他语言中，最显著的日本今天，字符是用 来表示本机的话，忽略了中文发音，代表中国的外来 词，并根据自己的发音在中国历史的各种元素作为纯粹 的拼音，他们收购。这些外国适应中文的发音被称为 Sinoxenic 发音，并已在中国古代的重建非常有用。
中文字符数在几万，虽然其中大部分是历史文本只有在遇 到一些小图形的变种。在中国进行的研究表明，功能性扫盲 需要三至四个万字的知识。在中国的正字法，字符在很大程 度上是由多个音节，每个对应一个具有鲜明的意义的口语音 节，虽然这不是系统性的。 在现代标准汉语词一般不单音节作为他们在中国古典，所 以大部分都是书面多个字符。约10％的原生有两个音节，没 有独立的含义，但他们仍然与两个字符的书面。一些字符， 通常连字，代表的多音节词，甚至是短语，虽然这是个例 外，一般非正式。 在中国的各个品种的同源词一般具有相同字符的书面的。 他们通常有类似的含义，但往往是完全不同的发音。在其他 语言中，最显著的日本今天，字符是用来表示本机的话，忽 略了中文发音，代表中国的外来词，并根据自己的发音在中 国历史的各种元素作为纯粹的拼音，他们收购。这些外国适 应中文的发音被称为 Sinoxenic 发音，并已在中国古代的重建 非常有用。
poster process
Ashley Gaffney | GRDS 400 | Graphic Design Studio II Project II | Fall Quarter
production
Ashley Gaffney | GRDS 400 | Graphic Design Studio II Project II | Fall Quarter
production
Ashley Gaffney | GRDS 400 | Graphic Design Studio II Project II | Fall Quarter
production
HAOHOW LONG a modern chinese typeface
HAOHOW LONG a modern chinese typeface
Ashley Gaffney | GRDS 400 | Graphic Design Studio II Project II | Fall Quarter
final poster designs
HAOHOW LONG a modern chinese typeface
HAOHOW LONG
available december 2012
a modern chinese typeface
HAOHOW LONG a modern chinese typeface
HAOHOW LONG a modern chinese typeface
Ashley Gaffney | GRDS 400 | Graphic Design Studio II Project II | Fall Quarter
HAOHOW LONG a modern chinese typeface
HAOHOW LONG a modern chinese typeface
final set of postcards
HAOHOW LONG
HAOHOW LONG
a modern chinese typeface
a modern chinese typeface
HAOHOW LONG a modern chinese typeface
Ashley Gaffney | GRDS 400 | Graphic Design Studio II Project II | Fall Quarter
final set of poster & postcards
HAO
a mo
HOW
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a modern chine
NG
se typeface
a modern chine
HAOHO
a mode
type
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face
W LON
rn chin
ONG OW sLe typeface H O A e H rn chin
ese typ
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eface
avai
lable
mbe
r 20
12
typeface
HAOHOW LONG
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a modern chinese
a modern chinese typeface
de a mo
Ashley Gaffney | GRDS 400 | Graphic Design Studio II Project II | Fall Quarter
ese
HAOHOW LO
NG HAOHOWseLO typeface
HAOHOW LONG
LON
chin
postcards
Ashley Gaffney | GRDS 400 | Graphic Design Studio II Project II | Fall Quarter
postcards
a modern chinese typeface
HAOHOW LONG
HAOHOW LONG recipient:
a modern chinese typeface
recipient:
For more information on the development and the purchasing of HaoHow Long please visit our websi te at www.arphic.com.
Ashley Gaffney | GRDS 400 | Graphic Design Studio II Project II | Fall Quarter
postcards
haohow long
project title Media
HaoHow Long typeface A display typeface in one style, a promotional poster and a set of 12 postcards / client: Arphic Technology, www.arphic.com
design process
/ project: Before designing the simplified forms of the Chinese characters, I researched the most commonly used characters in the Chinese language. From there I refined the forms into basic shapes and symbols that still communicated the simplified Chinese characters. / target audience: Typographers who are both male and females, ages 22-40 who work globally in the design market. They are those designers who are pioneering the way for well-designed typography overseas. / competition: Other type foundries with well-designed typefaces. In the mainland of China these would be Changzhou SinoType Technology, Founder Group, and Hanyi Keyin. Also Taiwan-based type foundries that design and market Simplified Chinese fonts, such as DynaComware.
design research
/ facts & research: While Chinese speakers outside of the mainland do not find simplified Chinese as elegant, there are many businesses who disagree. Simplified Chinese was originally created in an attempt to unify the global market, making it easier for businesses to communicate. The goal in design was to create an initial set of geometric, monoweighted forms that can be used to continue improving the use of typography in the global market place.
concept and development
The forms were designed on a 9-modular grid which reflects the imperial number of traditional Chinese emperors. In the name, “Hao” is the Chinese spelling while “How” is the American pronunciation. Since Chinese is based on tonal values this is a play on “tones.” The last word “Long” is also an imperial symbol and means dragon-which is the animal Chinese people consider themselves descendents from. The culture of China is a blended mix of contrast: tradition and modernity, the old and the new generations, and a constantly moving yet stagnant city. HaoHow Long is a typeface that speaks to the contemporary culture of China and presents a beginning collection of standard geometric, san serif forms that can integrated into it’s ever
design goals and Objectives
final production
developing society. / layout & design: The poster and postcards incorporate my own photography which was taken during my time in Hong Kong. They represent the various aspects of modern and traditional culture which are all over lapped by the HaoHow Long typeface. This was done to emphasize the prevalent idea of contrast between tradition and modernity in China. / typeface: The type for the body copy, Pill Gothic 300, was selected to complement the geometric forms and not detract the focus away from the HaoHow Long typeface. / software & special process: CS5.5 InDesign, Photoshop and Illustrator / paper: Poster (9.5 x 13.5 inches), ILFORD 170MSG glossy photo paper Postcards (5 x 7 inches), ILFORD 170MSG glossy & matte photo paper / color: 1 color, C | 15, M | 100, Y | 100, K | 0
Ashley Gaffney | GRDS 400 | Graphic Design Studio II Project II | Fall Quarter
design narrative
HAOHOW LONG: a modern chinese typeface