Bianca Aguilar
@biancamikaila
Bianca Aguilar
@biancamikaila


“Digital universalism ” is the pervasive but mistaken framework shaping global imaginaries around the digital that presumes that a single, universal narrative propelled by “centres” of innovation can accurately represent the forms of digital development unde
rway across the globe today.
Hui, who previously designed the New York Times’ Chinese logo and a custom typeface for tech giant Tencent, believes that Chinese type design has become stagnant and unoriginal. Most of the fonts on the market have gone through a process of convergent evolution to become blocky and conventional. “There’s no emotion behind them,” Hui told Rest
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ost Southeast Asian are still struggling to afford and get access to full product experiences due to cost of ownership limitations.
Many major non-Chinese sites are completely inaccessible. Trying to load up a blocked site usually gets you a good ol’ Page Cannot be Displayed message, and for reasons seemingly unknown to anyone, also seems to crash your browser’s ability to load anything at all for thirty seconds or so.
Hui said that the point of the project is not just an exercise in aesthetics, but an attempt to “decolonize” Chinese type. He intends to take it back to its roots before the influence of Japanese designers, and to free it from the cultural gravity of the mainland, where even typefaces come under the purview of the state. His research and
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