20 questions with Thomas Girard

I was invited by Thomas Girard of uniqueways.ca as a guest on his audio podcast channel. The format is the same for all guests to his podcasts: they answer 20 preset questions. The full transcription is published here. It was done automatically with otter.ai, an excellent automatic transcription service (though I had to do some editing still). Hope that at least some my thoughts would resonate with you.

Link to the episode here

Thomas Girard: Uniqueways with Thomas Girard emerges with people from all walks of life, who through their own unique angle, succeed and flourish. Enjoy the ride and welcome to Uniqueways an audio podcast.

Hey everyone, welcome to Uniqueways with Thomas Girard, an audio podcast. We’ve got an exciting guest from Hong Kong today. An information designer, typographer and academic who is currently the Head of Department of Communication Design, and Director of Centre for communication design in Hong Kong design Institute. Distinguished Research Fellow at the Type Lab of Shanghai Academy of Fine Arts at Shanghai University, with previous appointments as Associate Professor and Director of MA information design at reading in the UK, and leader of the communications design discipline and founding leader of the information design lab at Hong Kong Polytechnic, among others. We’re welcoming Keith Tam today. Welcome, Keith.

Keith Tam: Thanks very much, Thomas. Thanks for the invitation.

Thomas: My pleasure. If you’re ready, we can just go right into the 20 questions.

Keith: Yeah, sure.

Thomas: The first question is, tell me a little bit more about yourself. What do you do?

Keith: I think before anything else, I always consider myself a designer. I was trained as a communication designer, or the older way of saying this would be graphic designer, but my focus is mainly on typography and information design. Those are my primary interests. I’d like to say I’m an academic, but maybe I’m more of an administrator these days, I manage things. I lead an academic department, and I founded and run a research centre, the Centre for Communication Design. A lot of things are involved in that kind of role. A lot of management and admin stuff. But on the side I still do some consulting. I still practice a little bit and I research. I’m working on a project right now with another designer. It’s a book design project, complex typography. I try to write almost on a daily basis, but I don’t think I publish enough. I write in my blog. I have a blog called (non)material text. I give talks. I research. And lately, I’ve been doing some exhibitions. I do a lot of different things.

Thomas: Sounds great. Keith was my instructor at Emily Carr University 20 years ago.

Keith: 20 years ago really? It doesn’t feel that long, to be honest.

Thomas: I bite my lip with my comments here. Number two, what’s a key piece of knowledge that makes you different?

Keith: I thought that was a really tough question, because I guess we’re all unique in a way. Maybe you can say that I’m ‘third culture’, as in I don’t belong anywhere, but I belong everywhere. I think that’s probably an interesting one for a lot of people. And I thought of a word: ‘praxis’, which I thought really describes me quite accurately. This word means ‘theory in action’ or ‘theory in practice’. I don’t know if that’s something like what you’re looking for in this question.

Praxis: theory in action, theory in practice

Thomas: Yeah, absolutely. We’ve been with the other guests trying to brainstorm new words. It seems that we’re at a loss for words with a lot of what we’re trying to get at. I think ‘praxis’ is a great one.

Keith: Yeah. Another thing is I have a loud voice and I have a loud laugh. A lot of people tell me that. I don’t know, if you’ve met me, you probably already know this piece of information.

Thomas: It’s intimidating. It’s an intimidating laugh. I like it. It’s just, you know, you got to handle it, you know? Okay, number three. So why this of all things? Why do you do what you do in terms of career, in terms of life?

Keith: When I think back it’s pretty inevitable that I do what I do today. I guess the influence goes back a long way. Actually, since I was little. My dad studied graphic design, he was a fabric designer. He did a lot of freelance work at home. Every evening, we’d finish dinner, we’d clear the table, and he’d get his paints out, papers and tools and whatnot, and start working into the night. And that had a big influence on me really early in my life. I was really fascinated by what he did. Especially the typographic stuff that he did, he had a whole stack of Letraset in his drawer. And he’d let me use the ones that he finished with, and he taught me everything like how to kern and how to do everything properly like a professional does. And I remember, one day, I asked him, ‘can I be a designer?’ And he said, ‘Of course you can. You’re already a designer’. So I guess you could say, from that day on, I have been a designer. And I was probably around 10 years old. I could have been younger, I don’t remember exactly. And another thing is, I went to Emily Carr to study communication design. I started as a foundation student. Unlike a lot of my peers, I’m guessing, I spent a lot of time in the library at Emily Carr. In those days it was on Granville Island. And I read a lot of things. The classes that I enjoyed the most were the history and theory classes. I was already doing some part-time jobs at that time. And quite early on, I was thinking, maybe I don’t want to practice. I enjoy the thinking part, the writing part and reading about design thinking about the practice. And I knew that a regular design practice job won’t satisfy my curiosity. It’s kind of like something inevitable that I’m doing this today.

Thomas: I was also very early on in deciding on design. My choice at that time was industrial design, but like you ended up in communication. Would have been about 18 years old then.

Keith: I wanted to study architecture, though. And my dad was saying – in those days there weren’t a lot of degree programmes in design – and he said, maybe you want to study architecture in university. And then I was trying that, but I guess I didn’t make the grades. I didn’t actually do the public exams in the UK. So I moved to Canada and and got into Emily Carr instead. 

Thomas: I had a similar route. That’s interesting. This one some people struggle with but I know you’ve got your sets of answers here. This one is: what does your future look like?

Keith: I don’t have a crystal ball. And it’s actually great that we don’t have crystal balls because we can shape it any way we like really. I do believe that we have some control. Although I don’t really plan ahead that much. I just go with the flow usually. So maybe there’re going to be surprises. We, as designers, try to envision better futures. And that’s what we do as a profession. Designers try to put visions into action as well. So we could do that as well for our lives. I don’t know, it’s hard to answer this one. What do you think?

Thomas: I just finished a five year plan. And as soon as I finished it, everyone asked me what my next five year plan was. But to be honest, that’s the only five year plan I’ve ever made in my life. And it was really hard to make that and it was really hard to go through it. And I couldn’t immediately come up with another five year plan. I’m still debating about what am I doing? Not sure.

Keith: Right. Well, as I said, I’m not big into that. I don’t have five year plans or whatever. I have weekly plans or yearly plans, maybe, but I don’t usually look that far into the future.

Thomas: That makes sense. Okay, here’s a fun one. So let’s talk about location. How does the notion of place play into what you do?

Keith: I like that question a lot. But again, it’s a difficult one. I used the word ‘third culture’ earlier. And I consider myself a world citizen, because I’ve moved around quite a bit. So, I guess we call this sort of people, ‘adult third culture kids’, ATCK. I feel that I belong to a lot of places, but I also don’t belong. I can feel at home in many places, but also feel isolated. I heard your TEDx talk as well. And the airport is kind of like a third place, isn’t it? You can say a non-place, or a transitory place. In a way, I feel like that. I moved to the UK to study in the 90s, really early on. I was 13 then. And it was a different world in those days, because you had to write physical letters and send them by post. You didn’t have internet or mobile phones, and things like that. The closest thing was a fax machine. You could send a fax instantly. Distances were a lot greater than they are today. Now with the internet and everything we’re very connected with everywhere in the world. So place, you can say, is not as important as before, because we’re so connected. But for me it’s still important because places create meanings. Because we have people who are connected to us at different places, and stories and history and culture. These are all very influential, I guess, in shaping a person’s thoughts or way of life. I’ve lived in the UK for a bit but I’ve never felt a strong connection to the country to be honest. I’ve been feeling like an outsider. Although there are a lot of people there that I care about, a lot of my history is there. But Hong Kong definitely has a special place in my heart. I’m here now. Because I was born here and my family was here, and it’s still a very unique kind of place. And Canada of course, Vancouver, for me has a very special meaning. And it’s home for me. My parents are there, my relatives and my friends are there. I went through a lot in Vancouver as well. So these two places are always special for me. So place is definitely important, but also less important at the same time.

I feel that I belong to a lot of places, but I also don’t belong. I can feel at home in many places, but also feel isolated.

Thomas: The non-place book – Mark Argué, the anthropologist – his book just arrived. It must have been out of print for awhile and it’s just very timely. 

Keith: Yeah, I should read it. Do you feel that as well?

Thomas: I do. After giving that TED talk, I started to have a stronger relationship with places that have less identity. Airports, movie theatres, taxi cabs. And I kind of grew up that way too.

Keith: Yeah, of course, you have a connection to Hong Kong too.

Thomas: Absolutely. I mean, places like Hong Kong, year 2000, really strong sense of place for me there. Other places Vancouver, not so much could be any place.

Keith: Vancouver does have its kind of non-placeness, in a way. I think in a way, that’s also good. Because there are many possibilities, because it’s so diverse, right? I remember, in one of my classes in Vancouver. Other faculty and I were co-teaching, and we counted how many languages were spoken in the class, there were 13 spoken in one class. I was like: ‘wow, this is amazing’. Also in such a diverse place like Vancouver, it means that cultural norms, and a lot of our expected behaviours, values and things like that, you need to really get through that. There’s no single accepted way of doing things. There are many different ways of doing things and many different ways of thinking. And that diversity really is inspiring to me.

Thomas: I just recently had an option to go to India and leave Vancouver for a bit.

Keith: India is very interesting . . .

Thomas: It is interesting. I had a guest this morning who made me feel really good about deciding to not go to India. And now I’m talking to you and I’m feeling like maybe I should have gotten. Strong sense of identity in that place.

Keith: Well, maybe you can connect to India virtually. You never know, maybe you can take the job virtually. I have imagined having virtual jobs in different places. That’s an actual thing now, isn’t it? It’s happening. To me, that’s very interesting. I have a job in India, I have a job at the same time in Hong Kong. How interesting that would be.

Thomas: I’ve been doing it for three geographic locations at the same time. It’s pretty confusing.

Keith: It is. There’s still the time difference. That’s really hard to work out. I’m at nine o’clock now. It’s difficult to do business with Vancouver. In Hong Kong, for example I’m nine o’clock in the morning, and you are six o’clock in the evening. With the UK is difficult too because our five o’clock is their at nine o’clock.

Thomas: That kind of disconnect with places that happens, I know what you mean. Number six here. If you had to start from scratch, what advice would you give to your former younger self?

Keith: Are you talking about career-wise or . . . ?

Thomas: Career, life. It’s up for interpretation.

Keith: I’m actually thinking the opposite: what can I learn from my younger self? What did I have when I was younger that I don’t have anymore. I often think about that. When you’re older, you kind of lose that sense of purity and innocence. Or that braveness of not afraid to voice out things, because you don’t really think too much about how other people feel. I don’t know, maybe. There’s a boldness in my younger self that I probably don’t have now. We’re too safe as we get older. We think we’re getting wiser, but in a way, we need that sense of innocence to drive us forward, to be creative for example. I try to remind myself of my former self, that kind of energy and that kind of purity or innocence, or boldness. I think of it the other way. I kind of grew up quickly. I went to the UK quite early on in my life, so I grew up quickly. I was a little bit precocious, you can say. I’ve always been a little bit of an oddball. Not so much nerdy, but liking things that other people didn’t understand. Or not really into popular culture or the mainstream stuff so much. Maybe my advice to my former self would be to embrace all of that. Not to think too much about what other people think. But I think it’s more important the other way around: to remind myself of my former self constantly.

There’s a boldness in my younger self that I probably don’t have now. We’re too safe as we get older. We think we’re getting wiser, but in a way, we need that sense of innocence to drive us forward, to be creative.

Thomas: I can relate to that. Being in Vancouver, you really learned that people care about popular culture so much. As a young, trying to be cool, trying to be hip kid. The popular culture seems like the obvious bad choice, like why would you ever do that? And later I realise, oh, that’s how you fit in.

Keith: Yeah, that is how you fit in. Although I didn’t really try too hard to do that I suppose. I still don’t. Looking at kids these days, the younger generation of Gen Z these days, there’s a lot more diversity than before I think. I think because what we’re exposed to is so diverse as well. Whereas before we watched the same TV shows, and now everybody’s finding, you know different things to watch and to read and to listen to, so I guess things are a little bit different now.

Thomas: I have a thousand questions to respond with, but I won’t. What’s a day in your life like?

Keith: My day is pretty boring. If you’re talking about weekdays, I actually work an office job. And most of my time is spent in my office. But the interesting thing is I interact with my colleagues a lot. Students and colleagues and industry partners, because we have a lot of external projects. I meet a lot of people, and that’s what really gets me going. When I’m desk-bound, I work on emails, like a lot of people do. I work on administrative stuff, I do the budgets, I do some planning, I do paperwork for the Department and the Centre. They’re boring but these things ultimately benefit students. It’s part of being an educator. One thing I really enjoy doing, but probably not a lot of time I have for is to strategise and initiate things and to be creative about what I do, to brainstorm things. Because sometimes on a day-to-day basis, you’re just trying to put out fires. I still try to build in time to do that and with my colleagues as well, to brainstorm and to strategise. That that part I really enjoy. I don’t really teach so much these days, sadly. I’m still very interested in teaching but the nature of my job doesn’t allow me a lot of time to do that. But I still sometimes teach you know, a professional course outside of my day job. I enjoy that. Research, of course, look at stuff in our archive, think about projects to do, that kind of stuff.

I should leave a little bit earlier. When it gets to about five o’clock, I think, oh, maybe I should think about leaving soon. And then before I know, it is six o’clock, six-thirty or seven. And then I go home and have dinner with my spouse, and watch some Netflix and whatnot. That would be a very typical day for me. Of course weekends I won’t do any admin stuff. But I still read and do other things and go to the beach. So yeah, not not terribly interesting, I guess it’s a pretty regular kind of office job, if you will.

Thomas: We just had a guest, Dr Garnett Hertz on the show. His knee-jerk reaction to ascending into academic administration is to go to the skate park and do graffiti. That’s pretty funny.

Keith: Swimming, for me, is a really good way of clearing one’s mind. Walking in the city is also good. I think these two things really help. It makes you more creative. And it helps you figure out problems. When you’re just swimming laps, your mind is clear. When you have stuff that you can’t figure out, after a swim, sometimes it’s solved. Walking is the same. Walking, looking at what people are doing, looking at trees and the light, and just the beauty in the city. It really helps.

Thomas: My neighbourhood community centre pool is like this Olympic level pool. It’s pretty wild. It happens sometimes in Vancouver. And I remember that from Hong Kong.

Keith: Our pool here is not like Olympic size.

Thomas: Number eight, lifelong learning is a popular topic, how do you stay up to date?

Keith: It’s really hard. When you have a busy day job, it’s hard. At work we have a staff development programme, we can sign up for different things, and they pay for it. It’s really good. We do that. Reading things online, books and magazines and things like that, to keep updated, that’s an easier thing to do. To build some of that into your day, I do that. It’s hard because there’s so many new things happening, especially in the field of communication design. Everybody’s talking about metaverse. I hardly know anything about it. I read a McKinsey report the other day, and suddenly it makes sense now. I try to keep up, but it’s really hard. I subscribe to two magazines. One of them is Eye magazine. A lot of graphic designers really like that magazine. I still want to keep up with my own field, my own practice. The other one I find really valuable is Harvard Business Review. They don’t just talk about business, actually. They talk a lot about work, leadership, management, self development, and the new technology stuff as well, and how that impacts on business. That’s all very useful and very inspiring for a communication designer to think about. 20 years ago I wouldn’t have been interested in reading a business magazine, but now I do.

Thomas: I get a printed version of the London Review of Books. It must be my dad who’s sending those to me. Because I never subscribed but I keep getting them. It’s refreshing to get some print.

Keith: Yeah, you should call him and thank him for that.

Thomas: No doubt. Okay, I’m excited about this next one. What tools do you use? Are you more digital? Are you more pen and paper? And I’m excited about this because you use a typewriter.

Keith: Yeah, I do. I use quite a few typewriters, actually. I still think paper is a great technology is one of the greatest inventions. Pens too. But I’d like to think I am digitally savvy. My first Mac was in ’93, actually. So I’m pretty comfortable with software. I’m not a techie at all, but I’m pretty versed with using digital tools for my creative work or for my work. I don’t know, there’s something about older technology that can still have a value in what we do these days. I started a blog – it was a Covid project – in March 2020. To think about material text and non-material text and how that affects the way we write, the way we edit and the way we publish. So much of it is technology because a lot of the text that we produce – text as in words – we do it digitally. We use text messaging, we we type in word processing software. A lot of it is digital now. Of course there are benefits to that because everything is instantaneous, and you can sync across different devices and easily share with other people and publish even. But does it mean that text on paper has no more value? I think it still does actually. Part of it is I have a love and fear of writing. Maybe I have more of a fear of publishing, than writing itself, writing for publishing. And I find that part of the reason why I procrastinate in writing digitally is because I go back to edit instead of writing. I think too much about what I’ve written instead of what I’m going to write. I spend too much time tweaking stuff where I should be moving forward. After discovering the manual typewriter, because you can’t go back and change a whole paragraph – not easily anyway – it forces me to go forward. And I fell in love with that way of writing. I did learn to type on on a manual typewriter when I was little, I never had to use a typewriter to write long prose at all, because by the time I was in high school I was already writing my English essays on the computer. So I think there’s still a value in older technology. These different modes of text production actually impact on the way we think. And on the way we ideate, on the way we write on the way we we we consume texts even. I’m very much into that. I also like pens. I have a large collection of fountain pens and writing tools, I really love that. There’s something about handwriting as well.

I wrote answers to your questions quite quickly and sent it back to you, right? Now actually have a printed copy of my responses, but I have markups using a pen, adding things and just jotting down further thoughts on that printout. Annotation is important, and it’s easier when it’s done by hand. And the printed and handwritten words on this piece of paper actually helps me to shape my thoughts.

Talking about digital tools, I do use an iPad, I use a I use a note-taking out called Goodnotes. It’s a Hong Kong startup. It’s an excellent app for taking notes and sharing and marking up PDFs. I use it when I go to a lecture or conference or something. I can take notes, but I can also take a picture of the slide, and in real time put that into my notebook and annotate on the side. That really is useful. But that doesn’t mean I don’t use a paper notebook. I do that too. I use paper a lot. I use Keynote a lot, because I have to give a lot of presentations. But now I like using Google Slides even more, because I can collaborate easily with other people. I often have to create slides or documents with my colleagues. And Notion is really good. I’ve started using it for a while now. I probably just know maybe 1% of the features in Notion. Do you use Notion, Thomas?

Thomas: I know about it. It does come up a lot.

Keith: What’s so good about that is you can create databases, which you couldn’t easily do before. You can create a database of images, bits of text and quotes you’re researching about. That’s really handy. But it’s so complicated. It’s really hard to keep up with it. You can do a lot with it.

Thomas: Some of our audience would be early on in typography. I was wondering if you could add something about digital typography and pen-and-paper typography or something?

Keith: Okay. I use InDesign a lot. I do letterpress sometimes. Not extensively, but I I do know a bit about the craft of letterpress printing. Letterpress printing and typesetting with lead type . . . InDesign still has a foundation in that. And the fact that everything is a modular unit of lead helps you to develop a very tangible way of understanding space, marks on paper and indent and leading. It’s a very tangible experience in letterpress. That kind of experience, when you bring it to the computer, that craft is still there actually, but it’s a little bit more elusive on the computer. In fact, it’s all pixels and light and things like that. That letterpress experience really gave me some grounding, or enhances the way I handle typography on the computer. Typography might sound like a really specialised craft or discipline. But everybody practices typography. Everybody who writes practices typography. Whereas 30 years ago people might not have thought about that. It might have been more specialised. But now it’s very accessible. I can talk about this all day but it’s going to take too long. I see a relationship between the traditional art of typography with the way we’re handling information on the web now – HTML, CSS, database, XML – all of that stuff has something to do with typography. We often think of those things as tech or UX or things like that, but really, it has its roots in typography. It’s just that we think of the way we handle textual information now – or non-textual information, pictures even, databases. We see that as UX or programming or whatever, but I really see a strong relationship with our age-old craft of typography that we can learn a lot from and can transform into.

I see a relationship between the traditional art of typography with the way we’re handling information on the web now – HTML, CSS, database, XML – all of that stuff has something to do with typography. We often think of those things as tech or UX, but really, their roots are in typography. I really see a strong relationship with our age-old craft of typography that we can learn a lot from and can transform into.

Thomas: With my students, whenever I mentioned typography, they would go to Google Fonts and pick Montserrat. So eventually I just told them just go to Google Fonts and pick Montserrat, like everybody else. And then they started probing me, they’re like, ‘oh, what other options are there? What is this typography?’

Keith: That’s a good way of stimulating their thoughts. Just to throw something at them and see how they’d react, that’s good. But I guess for beginners, or for a lot of people who don’t know much about typography. To them, the typeface is the most important thing, but very often it’s not. Very often it’s how you structure information, which is also part of typography. For my master’s classes in the past, I had a project where they had to do the information architecture of an online shopping site. At first glance it has nothing to do with typography. But the thinking behind it with information architecture does have something to do with typography, because you’re structuring information.

Thomas: Absolutely. Okay. Number 10. How do you deal with work–life balance? People have struggled with this question recently.

Keith: Maybe I don’t deal with work–life balance. Maybe that’s not relevant anymore.

Maybe I don’t deal with work life balance. Maybe that’s not relevant anymore.

Thomas: That seems to be the common knee-jerk reaction is work–life balance. ‘Don’t ask me that. I don’t do that’.

Keith: The traditional way of thinking about work was: work is something that you don’t want to do. Work is a chore, is torture, whatever. A nine-to-five job is torture. After work you go and have a drink, and do what you enjoy doing. Work is not something that you enjoy. And that’s why you have to take holidays. You go you go on a trip. You work till you’re 60, you retire and then you have a good life. Why wait till 60? It’s absurd. Why wait till you’re 60? Why not do it now? Of course not everybody are in jobs that they really love doing. I’m lucky enough to be in a job that I like doing. But at the same time, I still have a lot of things that I have to put up with in my job that I don’t like. I’ve heard this term ‘work–life harmony’. I don’t know where I heard this recently. It’s how to live with it, actually. I do work in an office-based job. There are goods and bads about about being in that kind of workplace. But even with my office job, there’s a lot of flexibility in how I spend my time. I already said that as a rule, unless it’s really, really pressing, I try not to do admin work in the weekend. But for stuff like brainstorming ideas about a project, the research part of what I do, I happily do that in the weekends and evenings, because those things are fulfilling and enjoyable to do. Or even what you would call ‘staff development’ stuff. When I read something, that doesn’t mean it’s work. I want to grow, that’s why I’m learning new things and reading something new. That is enjoyable in itself. And it should not be seen as a chore. When I talk about work–life balance like this, I’m sure a lot of people don’t agree with me, and it probably would offend a lot of people, because I know a lot of people are not in a job like this. And we have to be aware of that, too.

You work till you’re 60, you retire and then you have a good life. It’s absurd. Why wait till you’re 60? Why not do it now?

I have some friends, maybe they should be on on the show as well. They have an initiative called Making Meaningful Work, I’m good friends with them, Daniel Szuc and Josephine Wong. They have designed tools and learning programmes surrounding how to move from sleepwalking to sparkling at work, to put it simply. I think that’s a very nice way of putting it, it’s very simple. We are focusing on the transactional aspects in our work, the daily routines, the paperwork, and all the boring stuff. But what they’re thinking is, it’s not about looking for a meaningful job. But to insert meaning into the work that you do, whatever you’re doing. It’s going to take too long to go into details. But I find that thinking is really healthy, I think that kind of thinking is not ‘oh, I need to quit my job and I need to volunteer’, because you can actually do something meaningful, even with your current job, without changing too much of it, but changing your mindset about it. And thinking about the tasks that you do, thinking about the larger issues that surround the tasks that you need to perform, I think that’s very important too. I might be filling out of form, but what does that mean, that might be for a scholarship application for a student. Think about the greater meanings of what you do instead of the really boring routine stuff that you have in front of you.

Think about the greater meanings of what you do instead of the really boring routine stuff that you have in front of you.

Thomas: To bring it to a basic level, one of my students commented that design is not a job for me, it’s a kind of a way of life or something like that. In a way, I wonder if that’s perhaps how it is for you as well.

Keith: Yes, it is. It definitely is. But it goes further than design. Because of my role, I don’t just deal with design stuff. I deal with students and their learning experience. Ultimately it’s their learning experience. It’s preparing for whatever comes after. The meaning is there, regardless of whether they end up being a designer or not, I still have to deal with that.

Thomas: That’s great. We’re going to have to have you back and get the full take on all of this. Number 11: if you weren’t doing what you do now, what would you be doing? And it could be career-wise or life.

Keith: I mentioned architecture before, I’m still interested in that. But I’d probably be too bad at math to be a good architect. But I like architectural theory. I like the way of thinking about buildings and communities and how people use spaces. If there’s a chance I might go and study for an architecture degree or whatever. I’m increasingly interested in publishing. Anything to do with words and language. I’d love that. And broadcasting. I’m interested in that too, also has to do with communication. The easiest way to move into might be to be a full time designer again. That’s also interesting, especially UX design, information design, that kind of stuff. I also think about working with animals because I do like animals a lot. I imagine having a farm or something, but I don’t think I can deal with the nasty stuff that goes with that.

Thomas: This morning, we had Al Jones on the show, whose job title is Curious Human. That’s a great episode. You should check that out. He talked a lot about graduate studies and more graduate studies.

Keith: Well, I still have a PhD that I started nine years ago that I didn’t finish. So yeah, that is in my future I guess.

Thomas: Okay, number 12: what would you not like to do? And I guess, again, we’re talking about career or life.

Keith: I don’t want to be unhappy. That’s for sure. I, I don’t think I can handle a medical job. I can’t deal with blood and all of that stuff. I might be able to be an entrepreneur, but I probably won’t be able to be an accountant or a business developer. I don’t have that kind of mindset. I don’t like dealing with numbers as the main part of my job. I do need to deal with numbers with my current job. But if that’s exclusively what I need to deal with, I wouldn’t like that because I am more more interested in a more human side of a job. So if it’s just number crunching, I won’t be happy with that.

Thomas: 13 – is 13 still unlucky? I don’t know about about that. Is it an unlucky number? When I was growing up 13 was very unlucky? I don’t know.

Keith: I was actually talking about that with Cherry last night.

Thomas: Are you kidding? The number 13?

Keith: Yeah. I don’t know how it came up. I just said I don’t like that number. And she said, ‘you’re so westernised’. I said, ‘no, it’s not because of that. I just don’t like odd numbers in general. I like even numbers.’ I actually said I prefer the number 14 to 13. 14 is unlucky [in Chinese culture]. But actually 14 sounds a lot more pleasant. We live on the 14th floor actually.

Thomas: What’s your your favourite word, quote or sentence? This is number 13. So take it as you will.

I love this quote: ‘Love, work and knowledge are the wellsprings of our lives. They should also govern it.’ by Wilhem Reich. I already touched a little bit on that with your questions about lifelong learning and work–life balance. I find that those three things probably sum up everything about life really, in a very general way.

‘Love work and knowledge are the wellsprings of our lives. They should also govern it.’ — Wilhem Reich

Thomas: Least favourite word quote or sentence.

Keith: I thought a little bit about that one. I don’t know, it sounds odd, but I think ‘design’ is one of my least favourite words. Although I call myself a designer in the beginning of the show, but really I don’t like it so much because of how people use it. And when I say ‘I’m a designer’ . . . I remember I was in London on a conference trip, and I was chatting with a a stranger in a cafe, ‘I’m here on a design conference’. And she said: ‘Yeah, London is really good for fashion and things like that’. I’m not a fashion designer. I’m probably as far from a fashion designer as one can be. The word ‘design’ is misused a lot. I think you probably find that as well.

‘Design’ is one of my least favourite words. I don’t like it so much because of how people use it.

Thomas: Yeah, I can relate. It’s not ‘design’ that bothered me. But it was ‘designed’, like it’s something that you do to something. When I was younger, that was really a problem. I couldn’t deal with that.

Keith: Yeah. Like, ‘Oh, there’s no design in this chair’, for example. What do you mean there’s no design? There’s always design. Design is the most fundamental thing about being a human, isn’t it?

There’s always design. Design is the most fundamental thing about being a human.

Thomas: It’s not mascara.

Keith: Yeah, exactly. Design is just is, right? I can’t think of anything that’s human made – I’m not talking about the natural environment, I’m talking about things that are made by humans – that are not designed. It’s impossible. I was talking to a designer who’s really into typography, Hong Kong-based. And I said, ‘You know, typography can change the world. Typography does change the world.’ And they said, ‘No, I don’t think we can do that. We’re designers. I don’t think we can do that.’ I was like, ‘What?’ Our whole civilisation is built on typography. I mean the broad definition of typography. Not letterpress printing. As soon as you need to make language visible, as soon as you need to make [language] seen, you need to make decisions about form. And that’s when typography happens, right? It’s not laying out a page. It’s not flowing text into a text box, right? The broader definition of typography, and it’s the same thing with design.

I can’t think of anything that’s human made hat are not designed. It’s impossible.

Thomas: Right. You hear this kickback that Don Norman was getting for saying that he wouldn’t do small design projects anymore. He wanted to do these world changing projects. And there must have been a comment flood after that. And he just crashed. Poor guy.

Keith: It’s great that he’s doing that, because a lot of our problems in the world now are systemic. So we need to think systemically increasingly. Whereas before, design was more about making things, producing things. Now it’s more about planning things. That’s why I think the Chinese word for design [設計] is really good, because it actually has planning and strategising in it. It’s not about the form, it’s about the act. But I still do think though, systemic, yes. But even if we’re making a small thing, we are kind of envisioning a small future and making a small change in the near future. It is also important. Small steps are important too.

A lot of our problems in the world now are systemic. So we need to think systemically increasingly. Whereas before, design was more about making and producing things. Now it’s more about planning things. That’s why I think the Chinese word for design [設計] is really good, because it actually has planning and strategising in it. It’s not about the form, it’s about the act.

Thomas: I was bingeing on some podcasts, and I stumbled on Mauro Porcini’s podcast who’s the VP of design at PepsiCo. And he was hosting John Maeda. John Maeda was a little bit cranky. He wasn’t very happy to be on that cast. I think he thought it was a small project.

Keith: You need to send me a link to that.

Thomas: Absolutely. Number 15: If you had to pick one word to describe yourself? What would you be able to? Oh, yeah. Are we? Is it praxis? Here we go.

Keith: Well, actually I wrote down ‘in-between’. That was my first reaction. But ‘praxis’ is good. But the ‘in-between’ part has to do with third culture as well. Kind of hard to define or don’t want to be defined maybe. Or you can say, in between theory and practice, or academia and design, or in between word and deed, and in between a lot of different things. I like that state.

Thomas: I was on a call this morning about TED. And so we were talking about airports. And there’s a great Hollywood movie called The Terminal with Tom Hanks. And the airport administrator says that he’s stuck in a crack, and why would he stay in a crack? And he’s talking about the airport as a crack. And it made me think of this idea of crack is something completely . . . like very broad and it has lots of possibilities. And I never thought of it that way until today.

Keith: I like that, because I like things being ambiguous and blurry. I actually think we should be cautious of things that are so well defined that everybody know what it means. I like that state of blurriness or ambiguity, because there are a lot of possibilities, and you’re not defined by the status quo. Although it’s hard to be in that kind of state, because people generally like putting things in boxes. That state is really full of possibilities.

I like things being ambiguous and blurry. I actually think we should be cautious of things that are so well defined that everybody know what it means. I like that state of blurriness or ambiguity, because there are a lot of possibilities, and you’re not defined by the status quo.

Thomas: I could talk about this for a long time. What’s a dream you’re chasing?

Keith: Very simple: to be happy and satisfied. I know that sounds really corny. We all want to be in that state, don’t we?

Thomas: It’s so Canadian? Canadians are very happy.

Keith: Yeah, it is, isn’t it? And to live a meaningful life. That’s also very corny. But ultimately that’s what we try to do. But yeah, It doesn’t mean that you will never be sad and unsatisfied or unhappy. Or not meaningful. That’s also part of life as well.

Thomas: What keeps you up at night?

Keith: I’m sleeping pretty well these days, because there are no unresolved issues at work. There are no looming deadlines yet. We just made a deadline yesterday is no looming deadlines. I think it’s usually the things that need my brain work [that keep me up at night]. For example, I need to I need to do a conference presentation. Now we need to record a conference presentation, right? It’s even more pressure than doing it live. I worry about these things. After I’ve recorded it, I’m fine. But if I’m still trying to figure out my argument, and I can kind of I can’t put it together in a sensible way yet. It keeps me up. That would keep me up. Or if it’s an essay I need to submit. There’s a deadline, and I still haven’t figured out what I’m trying to say. That keeps me up.

Thomas: I have something 20,000 unread emails. And so I wiped my iPhone in hopes that I can I can get rid of that. And then the iPhone automatically makes me keep them. So I still, like 21,000 or something.

Keith: I use Microsoft Outlook. And I’ve had an email backup problem that I haven’t solved yet, but that won’t keep me up at night. I’ve left it basically. It’s on my old work computer. Actually I’ve forgotten about that. I need to deal with that next week, probably.

Thomas: Okay, so final stretch. 18: What inspires you?

Everything? I know, it’s an easy answer. But people, their ideas, what they do, what they create. Human beings are great. They’ve made a lot of very interesting things, even if they . . . I’m recently reading a book. I won’t say who the author is. It’s driving me nuts because I think the arguments have no basis. But it’s inspiring still. It still makes me think. A lot of things that humans make. They are inspiring. And environments. Definitely inspiring. Places, architecture, cultures. I can’t really think of anything that wouldn’t in some sort of way inspire me.

Thomas: Any advice you’d like to share?

Keith: I’m not big on advice, because everybody’s different. But I have a quote I’d like to share: ‘Work is love made visible.’ That’s from The Prophet, Kahlil Gibran. I think that has to do with work, but it doesn’t have to be ‘work’ work. It could be other kinds of efforts that you make to do things. I find that inspiring for myself. And that’s what I want to share. 

‘Work is love made visible.’ — Kahlil Gibran

Thomas: That’s great. And number 20, everyone’s favourite. How do our listeners keep tabs on you? Where do we follow you? Where do we check out your stuff?

Keith: The single point of contact would be the website, keithtam.net. There you’ll find articles, my email addresses, my other blogs and my Medium, Behance and LinkedIn and whatnot. That’s probably the easiest way to find me.

Thomas: So much gratitude. Thank you so much for joining us today. Thank you.

Keith: No problem. It’s been a pleasure.

Thomas: We have to have to have to book you again. And have you back because this could be like 10 episodes. I don’t know why it isn’t. And we’ll have to keep tabs on the the guests you recommended.

Keith: I’ll connect you guys. They are actually UX consultants too.

Thomas: Okay, perfect.

Keith: But the funny thing about them was I had a client from more than 20 years ago in Vancouver I was contacting to talk about some kind of . . . she’s a management consultant. Maybe she is also a guest you want to have on your show as well. Dawna Jones, my longtime client, I was chatting to her about some other things and then she was saying, ‘Oh you should meet Dan and Jo’. I met up with them. I thought it was going to talk UX with them. And they ended up telling me about Make Meaningful Work, which I thought was really good. I’ll put you in touch.

Thomas: Okay, perfect. Thank you so much, Keith. And we’ll be in touch. Thank you.

Keith: All right. Thank you. Bye!

Thomas: If you like today’s podcast, I encourage you to have a listen to other episodes. You can easily find them at uniqueways.ca or wherever you find podcasts. You can also find us on social media. And thank you. It’s you that makes this great and it’s you who these are for. Stay tuned for more Uniqueways.

文字设计教育的四种思想流派

Teaching typography across cultures diagram

2019年3月,我在斯里兰卡首都科伦坡举行的国际文字设计协会(ATypI)首次举办的教育工作研讨会上分享了一些我对跨文化文字设计教育的见解。虽然我的教育工作经验横跨加拿大、英国和香港三地,但我分享的并非地域上的文化异同,而是关于设计教育的四种不同观点,从信念、价值观和实际行动上表现出来的文化差异。

文字设计教育——typography,包括文字编排和字体设计——通常包含于传意设计课程中(communication design,或称平面设计、视觉传意),但其性质和重要性不尽相同。有设计师主要将文字和字体作为一种表现力高的视觉元素、亦有设计师视之为讯息传递的基础。有设计师视文字设计为排版技术,有些认为它是一门学科。设计师对文字设计有着多种不同的演绎。

在这里我将文字设计教学归纳为四种不同的观点或思想流派。这四种流派也能引申到传意设计领域中。在我的教学生涯中,我不断游走于这四种观点之间,在不同时期或情况下有不同程度的着重。以下我逐一阐述:

视觉概念:求新 Innovation

概念的视觉表现在艺术学院里往往有着至高无上的地位。文字与字体设计为的是将概念视觉化、营造格调、触及特定受众、从竞争对手中以视觉突围而出、或者说服受众去进行某些行为。文字和字体特视觉表现力和情感冲击是首要考虑,把文字的语意以视觉表现伸延。设计师的美学修为和品味至为关键。这流派广为平面设计师、品牌设计师和广告人所采纳。「求新」是这流派的使命,而师徒制是传授技法的手法,鼓励反覆实验以求创造出最新颖的视觉表现,推陈出新。设计师通常比较注重个性发展和内在的推动力。在这种实践模式下的设计师以其艺术天赋和个性见称,以获奖肯定其成就,而奖项都是表扬最新、最入时的创意,是设计潮流的指标。

工艺传承:求精 Refinement

文字设计(typography)在西方世界源于活字印刷,它与印刷的工艺和技术密不可分。文字设计师在活字印刷时代就是排字工人,早期以在职学徒制培训,后来在工业技术学校内训练。在电脑桌面出版流行前,排字和组版是平面设计师必须外包的任务。因为排字和印刷设备价格不菲,只有排字和印刷技工才能拥有文字设计的工艺知识。这种分工现在已几近消失。随着20世纪90年代桌面出版时代的到来,精密的电脑排版软件和数码向量字体让排版的工艺和法则得以传承和更新,现在已是一种普及技术。在数码时代的今天,这种工艺传统依然健在,也不仅限于印刷媒体。它零星存在于平面设计、书籍和出版设计、文字设计、字体设计以及小众活版印刷出版活动中。这流派的重点是「求精」,务求造出品质极佳的成品。

用家为本:求效 Effectiveness

以用家为本的设计通常有非常特定的使用情境,而沟通的效率和性能是最重要的考虑。导向标识系统、表格、说明书、用户界面、形形式式的文件等都是以用户为中心的文字和传意设计师所关注的。一种以用户为中心的方法源于人机互动(human–computer interaction, HCI),网站可用性(web usability)和信息设计(information design)几个领域,其中研究人对视觉化信息的心理反馈。图像与文字的属性怎样影响用户有效寻找、吸收和理解信息?例如字体的易辨性,页面布局对寻找信息的有效性,界面元素的互动等 ,通过用户调研验证,为设计师提供参考理据。随着数码化转型,文字和传意设计师愈趋与信息设计或用户体验设计领域相结合,设计出以可用、有效为先的资讯系统。这流派的设计师富同理心,以「求效」为主、逻辑思考为先。

知识探索:求知 Knowledge

文字和传意设计是建基于实践的学问。传统上,技能透过「边做边学」的形式从师傅传授予学徒。随著文字和传意设计成为正规教育中的学术和研究领域,设计师所掌握的内化隐性知识(tacit knowledge)是实践性的智慧,要有系统地传授便需要转化成外在的显性知识(explicit knowledge)。反思和整合实践经验、系统地分析历史案例和文献,从而探讨传意设计在生产、发布和使用上的脉络:如何管理工作流程、如何作出决策、社会,文化和经济背景、科技的影响等。这研究角度视设计为文化产物。另一个研究领域就是前述的用家为本研究,以实验和定量方法进行统计分析,验证假设。研究可循多重途径发表,包括学术期刊,学术/行业研讨会,主流设计杂志、博文等。设计业界对学术研究反应不一而足,但一般都不甚热切。无论如何,学术研究非常重要,能提升专业知识,推动行业发展,重点是「求知」。

你的观点是什么?

以上谈及的四种思想流派,只是我身为设计师、教育工作者和研究员的反思和总结。 这四种观点并不是独立存在的。 教育工作者或业界人仕可以同时持有多种观点,或者有意无意间在四个流派之间流畅地游走。或者他们可能深深地持有一种观点,只于单一领域进行实践。不同类型的教育机构也可能将其中一项(或多项)作为其中心思想。你的观点又是什么?

Reflections on TED2023: Possibility

17–21 April 2023 | Vancouver, Canada

Objectives of my TED 2023 trip

  • To gain a broad vision of the latest developments in technology, sustainability, the arts, creativity, design, societal issues, etc.
  • To learn how the renowned TED event is organised, curated and designed so as to develop an understanding of how we might organize a local TEDx event at HKDI
  • To be immersed in TED-style presentations to gain insights on storytelling and presentation skills
  • To network with international delegates from diverse backgrounds and exchange views and ideas

Background

TED is a long-standing non-profit educational organisation with the mission to spread ideas, foster community and create impact. Established in 1984, TED stands for Technology, Entertainment and Design, but has since widened its scope and focusses on such educational endeavours as conferences, a media platform, project funding (such as the Audacity Project), podcast channel, etc. TED has become a globally known brand for engaging and impactful presentations that promote ‘ideas worth spreading’, and its presentation format became a standard around the world for powerful storytelling. The annual TED conference embraces the notion of multidisciplinarity in both its speaker line-up and delegate community. 

TED2023: Possibility

Held at the Vancouver Convention Centre, the theme of TED 2023 is ‘Possibility’, with a major focus on the possibility and impact of artificial intelligence technology, which was featured in many talks, exhibits and discussions. The five-day programme was packed with 12 two-hour talk sessions in the main theatre; workshop sessions; exhibits, demonstrations, food and beverage, and networking opportunities in The Loop around the theatre; themed lunch and dinner sessions; as well as networking dinners/parties. The five-day event was fully packed from the first session at 8:45am until beyond 9:00pm with the social/dinners.

The centrepiece: the talks

The talks were the centrepiece which TED is known for. The talks happened in a temporary, purpose-built wooden auditorium structure beautifully designed and furnished with comfortable and well-designed furniture. The talks were not driven by slides – slides were only used sparingly as visual aid where necessary – but were focussed on the well-rehearsed, well-researched and meticulously crafted stories delivered by exceptional charisma and oratory skills of the speakers. Some presentations were illustrated with real time demonstration that created a sense of awe (eg live deep fake face- and voice-swapping), or a curious and strangely beautiful artistic performance that created a sense of wonder (eg Studio Drift’s ‘concrete box’ that floated above the audience). At times, there were multimedia musical interludes (eg live singing performance with the accompaniment of an AI-enabled musical instrument). On two occasions, the audience even participated in singing performances! The design of the theatre experience represented the epidemy of intellect, impact, theatrical showmanship as well as production value.

The TED Theatre

The 12 two-hour talk sessions were dispersed over five days with breaks in between with other scheduled activities. This demonstrates good programme design, with only one track of talks so that the delegates can see all of the talks if desired, and allowing the audience to rest, network and reflect and participate in other types of activities. I attended all sessions, totalling around 79 talks, and made copious notes. The talks were grouped into sessions that were loosely themed, eg sustainability, artificial intelligence, imagination, new global realities, AI creativity, etc. The talks were mostly 18 minutes in length (give or take), but there were also some short talks given by delegates that were selected through submitting a video proposal before the conference. In session 12, there was a ‘town hall’ session where members of the audience were given an opportunity to go on stage to provide responses or rebuttals to the talks. The final speaker was a stand-up comedian who gave an entertaining yet informative round-up of most of the talks.

The general format of TED talks can be summarised as such:

  • Start with a story, the best ones would be from personal experience
  • Use statistics, facts or real-life situations to establish context
  • What has been done or what needs to be done, a call to action
  • One central takeaway that is very memorable

This format coincides with the three elements to persuasion in Aristotle’s Art of Rhetoric: logos (logic and reasoning), pathos (emotional appeal) and ethos (character and credibility).

One interesting observation was that several speakers, due to tremendous stage fright, forgot what they had to say. Overcame with nerves, they paused mid-sentence on stage at a loss for words. The TED audience, being an extremely friendly and encouraging crowed, heart-warmingly cheered them on. They took deep breaths, revisited the script, had a drink of water, gathered themselves then picked up where they left off. I can only imagine how much stress that must have been. It was these moments that made the TED stage a human one.

Experiential artist Lonneke Gordijn creating a sense of wonder with a concrete box hovering over the audience
Unapologetic maximalist fashion designer Machine Dazzle talked about fear, identity and transformation through costumes

The Loop

In the area surrounding the TED Theatre, there were different themed areas including a book shop, an AI art installation, VR demonstration, EEG demonstration, an immersive gaming station, a vinyl record listening station, a ‘quiet room’ that shows an immersive video of a forest, as well as F&B and areas where delegates can comfortably sit and watch a livestream of the talks, network, or work quietly. Catering is provided buffet style, but there were also local food trucks that drove into the open area of the convention centre, creating a casual and street-like atmosphere.

Vinyl Lounge at The Loop
Networking / F&B area at The Loop
The Loop
An AI art generator by Alexander Reben. Speak your prompt into the microphone, and a description of the artwork will be generated, then four images will appear. Select the one you like, then a ticket is printed out with the description, the generated artwork and a QR code to download the image.
AI generated artwork that I created with the prompt: ‘A futuristic mismatch of Vancouver and Hong Kong’

Workshops and other sessions

Workshops were scheduled between the TED Theatre (talk) sessions. I participated in a workshop on natural dyes, a panel discussion on web3, a panel discussion on AI, an inspiring lunch session with conductor Benjamin Zander talking about the art of possibility, as well as a dinner session with the theme of leadership. 

Lunch with conductor Benjamin Zander, co-author of The Art of Possibility. ‘Downward spiral’ vs ‘radiance of possibility’. One of the most inspiring speakers.

Networking and social events

Unlike previous industry/academic conference that I had been to, TED attracts an extremely diverse audience, both in terms of industries and countries. The TED Connect app made it handy to connect both speakers and delegates, with a full directory of all attendees (around 1,800 in total), a detailed, personalised conference schedule, a location map (a tag is attached to the conference lanyard to track attendee’s location in the venue), as well as instant messaging with other delegates. Contact information can be exchanged by tapping the RFID-equipped name tag using the TED Connect app, making the exchange of business cards redundant. I made 42 direct connections and added them to my network. I met delegates from Canada, the US, Austria, India, South Sudan, the UK, and Australia, from such diverse industries as telecommunication, corporate training, product safety, healthcare, legal practice, journalism, vaccine development, etc. This diversity made for rich conversations on topics that are outside of my own discipline and culture, widening my perspectives. There were plenty of opportunities to network and socialise, in between sessions, at lunch/dinners and at parties. The TED crowd is extremely friendly and open to connections and conversations. The culture is liberal and open.

Reflections

The TED conference has been a truly inspiring and eye-opening experience. The programme did not provide me with what we traditionally call hard skills and industrial knowledge, but more importantly widening my perspective and mindset to think more globally about our impact as designers and global citizens. The experience highlighted the importance for contemporary, future-oriented designers to develop a curiosity and willingness to develop their breadth of knowledge and interests and reach out to as many knowledge domains as possible, so that we can truly make a difference in the world as design practitioners. 

The TED experience also highlighted the importance of good storytelling for disseminating knowledge and ideas, and its role in advocacy on issues that are of global concern. 

One epiphany from the TED experience for me as a designer and academic leader is this: if we want to become a centre of excellence in design education, we must abandon the imaginary boundaries of the traditional ‘object-based’ disciplines of design to an integrated approach that is planet-centred, humanity-centred, and human-centred, and continue to work with other disciplines for the collective good. There are urgent issues in the world that need to be addressed. We should think beyond simply subscribing to a model that design feeds desires and serves commerce (the traditional ‘star designer’ model).

Official photo gallery

Follow-up actions

  • Apply for a license to run TEDx at HKDI (with an audience size of over 100 with webcast)
  • Set up a TEDxHKDI working group under DILWL’s LTDC
  • Plan and implement a series of TEDx ‘salon’ events that lead up to a full-scale TEDx. Tentative timeline: salons in September–November 2023, full TEDx in February 2024
  • Identify relevant potential topics/issues that are of global significance to focus on as projects at HKDI
  • Incorporate the idea of ‘widening perspectives’ and ‘kindling curiosity’ into learning and teaching activities, curriculum, and campus culture

Typography: between language, technology, aesthetics and culture (Radiodada)

Back in 2010, I was invited by fellow designer Paul Ng to appear as a guest on the internet radio station Radiodada in a show called Design In-house. We spent an hour and a half talking about typography. Radiodada was conceived and founded by Tommy Li, with a then-cutting edge website designed by Pill and Pillow. This show was aired on 7 April 2010, and we were doing it live (in Cantonese) at the basement of Langham Place in Mong Kok, in a ‘fish tank’ studio with shoppers passing by. My email to Paul in preparation of the show is published here.

https://spotifyanchor-web.app.link/e/opGRiOqhzLb

From: Keith Tam
Date: 6 April 2010 10:47:19 AM GMT+08:00
To: Paul Ng
Subject: Re: Topics for Radiodada

Hi Paul

Thanks for the questions.

I really hope that this programme would be less of a complaint session – we both know too well what a sorry state typography Hong Kong is in. Instead, let’s offer a fresh perspective on what typography is and could be. In Hong Kong, typography is mistaken to be just ‘playing with letterforms’, or ‘something about fonts’. All designers say that typography is important, but what do they really mean? What is often overlooked is typography as information, or, typography that is meant to be read rather than just something to be looked at or to grab attention. I would really like to give a big picture of typography and contextualise it from different perspectives.

Typography is situated at the crossroads between language, technology, aesthetics and culture.

              +------------+
              |            |
              |  Culture   |
              |            |
+-------------+------------+--------------+
|             |            |              | 
|  Language   | TYPOGRAPHY |  Technology  |
|             |            |              |
+-------------+------------+--------------+
              |            |
              | Aesthetics |
              |            |
              +------------+  

Now onto the questions:

1. Your background and experience related to typography

I’m thinking less of an interview but more of a talk show.

2. From the CVs that I’ve received all these years, I notice that the standard of typography is declining. What’s the cause of this phenomenon? What are your comments on this issue?

I’ve noticed this as well, but only in Hong Kong. In Canada/UK it doesn’t seem to be the case. I think it’s a misconception that the CV is not ‘design’ but merely a ‘document’, and documents should look a certain way, ie default settings in Word. I think the software (Word) should not be blamed. In fact pretty sophisticated documents could be produced in Word.

3. Do you think the standard of typography in Hong Kong is up to international standard?

This is a leading question ;-) and I don’t know if there’s an international standard really. Who do we go by for international standards? UK? Germany? Or the US? Or Japan? It’s difficult to define. But in terms of whether we’re taking it seriously in Hong Kong, no, we do not take it seriously, nor do we care. This is the saddest thing!

I think the standard of typography of a particular place (if there is one) has so much to do with its cultural atmosphere. At the most basic level, do people read here? Are they culturally aware? Pictures are much more valued over text in Hong Kong. It’s so widespread, it’s scary. People who read are in the minority. It seems like almost the entire Hong Kong culture is infested with this whole idea of infotainment or TVB-style consumption of popular culture. It’s all about instant gratification or the fear of boredom (whatever that means). Images are interesting; text is boring. This is the general sentiment. Text is labeled as too serious, and there is a huge segregation of people who are in the ‘cultural business’ and people who are part of the ‘mass consumers’. Knowledge is just not something that people respect or have an interest in generally.

(Of course, I’m generalizing and am hugely exaggerating in the last paragraph.)

4. As readers are getting used to web pages, are legibility and readability still important or it doesn’t matter anymore? 

I think they will be more important than ever before, because of the convergence of media and the ubiquity and explosion of information. Legibility and readability are the foundations of good typography, but to elaborate upon the traditional values of typography and to look into the future, typography and information design will have to merge and become something very sophisticated. For example, instead of merely making something easy to read, we will be thinking about how best to get ideas across for optimal clarity and understandability. To achieve this, we need to tap into content and editing in a huge way, and think about how best to organize and structure the textual information and to give it visual form (which is what typography is about).

Systems thinking will be a very important skill to have. To understand not only the textual meaning of the content but the semantic structure underneath it, and then designing information systems to support this, for example for an information-intensive, database-driven website with lots of dynamic information.

5. To what extent should we preserve the traditional typographic rules?

I’m not an advocate of rules, but I do believe that there are conventions. Unlike rules, which could seem inflexible at times, conventions continue to evolve. Communication is to ‘make common’. The designer must try to understand the codes that the user uses to communicate. Conventions are formed when there is mutual agreement between the originator, the mediator (which is the designer) and the receiver. Like the way languages evolve, so too would typographic conventions, which is a meta (visual) language imposed upon written language. 

6. Do you think design students and designers of Hong Kong get adequate training in typography?

No, not at all. It’s just an observation; if it’s adequate, then why is there bad typography everywhere? I try to do it my way and properly and uphold the values that I believe in. But, it’s not easy (see 2 and 3 above). Often teachers are not clear as to what typography is.

7. What is the essence of good typography?

This is a big question! Let’s discuss this in the show.

8. I’ve notice some common errors in the usage of punctuation marks in many designers’ work, such as using primes for quotation marks, hyphens to replace dashes, the overuse of colons. What are your comments on this phenomenon?

This is not only a typography problem, but language. One has to have an affinity to the language in order to do good typography. To what extent, I don’t know.

But, referring to the point I made earlier about the evolution of conventions (see 5 above), these conventions do change as well. As much as I dislike primes as quotation marks, hyphens as dashes, etc, this phenomenon does seem inevitable. Just like how we’re communicating here, via email. There’s no easy way to type curly apostrophes and proper dashes, and also depending on what software and hardware you use to view this message, some of these typographic niceties will get lost and become something else. Email is not a formal communication medium. Same for MSN messages, Facebook, SMS, or even blogs. The unrefined typography conveys the informality. And this proliferation of ‘informal media’, I think, is causing this phenomenon. People don’t have time to read anyway!

9. Do you consider the understanding of typographic tradition and history of typography critical for designers?

Yes, absolutely critical. Sadly not a lot of designers/students are interested, nor are they interested in reading in general. The evolution of typography, not just as pure aesthetic movements, but in relation to the technology, cultural, social and economic contexts, are really important. (I tend not to favour an art-historical approach in looking at typographic/design history.) How do we know where we stand if we don’t look back at where we came from?

10. Do you think design competitions which only honour expressive or experimental typography divert the essence of good typography?

Not necessarily. The expressive/emotive approach to typography is also very important, just that they communicate on a different level (viewed and read at the same time). No doubt it is an important part of our visual culture. It is still good to see designers pushing the boundaries of typography and to come up with new things.

11. Is post-modern typography just a revival of modern typography with digital manipulations?

Coming back to Hong Kong in mid-2006, I was surprised that ‘post-modern’ typography was (and is) still in vogue! As I student I was absolutely captivated by it, and although I’m on to something else now, I still admire what Weingart, Greimen, McCoy, Vanderlans, Carson, etc. did. It was absolutely necessary, and it provided alternative viewpoints of typography and raised many good questions. The worse thing is to see it merely as a style.

Whatever a designer produces (however small), ultimately reflects not his/her taste or aesthetic sense, but their believes and values as a designer. It’s easy to see when a piece of design only has seemingly beautiful form but not enough substance to substantiate it. Where does it come from? What is the intent? ‘Referenced’ designs are all too common in Hong Kong. There’s no honesty to the communication.

Is Hong Kong a ‘post-modern’ society? Hardly. We’re not living under a democracy, we’re not liberal, we’re not pluralistic . . . What does post-modern design stand for then in Hong Kong? Does it reflect who we are? 

12. There are many graphic designers but few typeface designers, and yet many designers are doing logotype design. I have seen many bad logotype designs in Hong Kong these days. As a typeface designer, what’s your opinion?

In terms of lettering and logotype design, ugly is the new beautiful at the moment! Especially for Chinese. All of a sudden, everyone wants custom type. And all of a sudden, everyone with Adobe Illustrator can do it! Typeface design is quite different from lettering. Typeface design requires a lot of patience and technical know-how, and the designer cannot control how the typeface will be used in an actual design piece. Lettering should form part of the foundational skills of a graphic designer really. It’s about balancing black and white, negative and positive. Shouldn’t every designer have this skill already?

* * *

I think there is more than enough ground to cover. There won’t be enough time to discuss all of these points in the programme anyway.

Let me know what you think, and where/when we should meet tomorrow.

Best
Keith

Certificate in Advanced Typography:
Multilingual

12 hours 27 February; 6, 13, 20 March 2021 (Saturdays) Register

Reconciling the linguistic, anatomical and aesthetic differences between the Hanzi (Chinese) and Latin scripts to create optimal reading experiences for different genres of typographic communications.

This course concerns the typographic design of multilingual documents. Complex issues related to the navigation of information arise when two scripts that are linguistically and visually very different need to coexist in the same environment. It will look at the spatial patterns and graphical considerations when a logographic script (Hanzi) is combined with an alphabetic script (Latin). Print, screen and spatial application of multilingual typography will be considered. Principles of multilingual typography will be put into practice, combining aesthetic and digital craft skills using an industry-standard software.

Course content

  • Theory of Hanzi–Latin multilingual typography
  • Aesthetic and digital craft skills
  • Multilingual typographic design practice

Learning outcomes

Upon completion of the programme, learners will be able to

  • describe the issues and theories related to Hanzi–Latin typography
  • devise effective spatial organisation and graphic cueing systems for multilingual information
  • make appropriate typographic design decisions for multilingual information based on communication goals, users’ needs and other contextual requirements
  • apply aesthetic and digital craft skills related to multilingual typography for different applications using industry-standard software

QF level 4
QR registration no. 20/000475/L4
Validity period 15/07/2020 to 31/08/2021

Certificate in Advanced Typography:
Designing for Reading

12 hours 9, 16, 23, 30 January 2021 (Saturdays) Register

Typography is not just about the styling of text; it shapes how we read and engage with information. This course explores what makes typography work for reading and the advanced craft skills that enable that.

This course takes an in-depth look at the technics and thinking behind good typography that works. The focus is not type as a conceptual or expressive element, but a lucid vehicle for textual content to support different contexts and modes of reading. Digital craft knowledge will be complemented by theory of typography and document design. Suitable for practising communication designers who are interested in elevating their craft skills and typographic knowledge for creating usable and aesthetically sound documents.

Course content

  • Theory of typography and document design
  • Aesthetic and digital craft skills
  • Typographic design practice

Learning outcomes

Upon completion of the programme, learners will be able to

  • describe the typographic and document design theories that make typography work for supporting reading
  • apply aesthetic and digital craft skills on character, paragraph, list, table, object and page levels using industry-standard page layout software
  • make appropriate and informed orthographic and typographic decisions when designing with complex text matter to support different modes of reading

QF level 4
QR registration no. 20/000474/L4
Validity period 15/07/2020 to 31/08/2021

Lecture videos

Typography

Type anatomy explained through lead type (Univers Condensed 30pt): point, pica, em, en, leading (in Cantonese)
A demonstration of paragraph and character styles (including nested styles) in InDesign (in Cantonese)
On Chinese–English bilingual typography: historical origins, matching Chinese and Latin type, bilingual layout and information hierarchy, detail bilingual typography (in English and Cantonese)
A lecture on the legibility of Latin and Chinese type (in English and Cantonese)
A lecture on the small details that make typography read and look great: orthography, numerals, alignment, detailing, hyphenation & justification (in English and Cantonese)

Information design

An introduction to information visualisation, with classic/historical examples and some information design principles (in Cantonese)
A short introduction to the POEMS observational research framework (in Cantonese)
Wayfinding design principles (1) Cognitive maps (2) Kevin Lynch’s five key environmental components (3) Per Mollerup’s wayfinding strategies (in Cantonese)
A wayfinding system design case study: Jockey Club Innovation Tower (in Cantonese)

Reflecting on formal design education

What is the role and meaning of design education? As a field of study that is firmly rooted in practice, is the purpose of design education simply for skill training so that students can get a job upon graduation? I would think not — education has a greater role than that, especially in the 21st century where the constantly evolving economy and technological developments mean that skills — and indeed the profession and industry — transform at a rate unbeknownst to previous generations. Education needs to prepare graduates for resilience and unpredictability.

On the occasion of receiving a design education award back in 2016, the Hong Kong Designer’s Association asked me a couple of questions, and I reflected on the role and meaning of formal design education.

As aesthetic standards may be subjective and varies between people, what are the criteria you would take into consideration, while grading your students’ works other than functionality?

I do not believe that aesthetics can be considered separately from function. Good designers try to understand the context and users rather than focussing on his or her own taste or aesthetic preferences. Good design performs as intended, and that includes whether a piece of design can be understood or used, as well as whether it elicits the right emotional response. Grading, to me, is overrated. The most important thing is that students develop their ability to articulate whether something that they have done is effective for the intended situation. The ability to self-evaluate is more important in my opinion. As much as I do not believe in grading, it is a necessary evil in formal education. Drawing up a set of objective criteria for an assignment is important. The final outcome of a project needs to adequately answer to the requirements and the needs of the intended users as set out in the brief. The final outcome is only part of the picture. Research and concept development need to also be taken into consideration. Clarity in verbal and written communication is also important, because designers need to be able to eloquently explain their work.

There are many renowned self-taught designers who did not acquire their skills through standard education. To what extent do you agree that knowledge of design can be taught through a standard educational system?

Good designers tend to be life-long learners. A natural curiosity can motivate anyone in learning anything really. So design, for sure, can be learnt outside of formal education. The craft aspects of design can be imparted through apprenticeship in a design studio, but the apprenticeship mode of learning is also quite widely used in formal design education. But we mustn’t forget that formal education can be much more than simply a means for honing professional skills; more importantly it should be a place where an inquisitive, critical mind is nurtured. Asking critical and difficult questions, challenging the status quo, advancing knowledge in the profession – these are all very important within formal design education. So design education is not a means to an end; it is an end in itself. Along with the industry, educational institutions drive change in the design profession.

Image: A vision for the future of education in the year 2000 produced as a cigarette card in France, 1901 (from Wikimedia Commons)

Also published on LinkedIn and on Medium in (in)visible (de)signs