Thaqif Nazri Finds His Voice As A Graphic Designer Through Typography
The 24-year-old has made intelligent typography designs something of a calling card.
By Keng Yang Shuen,
For this 24-year-old freelance designer (@tntn.xyz on Instagram), the most expressive works are the ones that draw on a designer’s personal interests and culture. It was a realisation he arrived at after researching his favourite design studio, the Amsterdam-based Experimental Jetset, for his final-year project as a Design Communication diploma student at Lasalle College of the Arts in 2021. That led him to create the Damascus Modular Typeface, which aims to capture the ornate architecture of the Syrian capital’s famous Umayyad Mosque.
“I think the process and outcome of creating the Damascus Modular Typeface is something that a creative person might feel only once or twice in his or her career, in the sense of how thoroughly emotionally invested I was,” he says. “The work holds a lot of value to me because I was able to share it with my friends and family, allowing me to show them how our culture can be translated into art and design.”
The beauty and emotional resonance of that project has morphed into something of a calling card for Thaqif, who has since become known for his intelligent typographic designs. “I’m drawn to the sophistication of using regular fonts and turning them into something else: things that evoke emotions,” he says. This knack has opened doors for him, including a feature on the international design platform It’s Nice That and a cover commissioned for the Japanese design publication Brain Magazine.
To think that he had originally signed up for an engineering diploma course. “A semester in and I realised I was terrible at it, and had no interest in it at all,” he reveals. Singapore post-punk band Intermission wouldn’t have it any other way – it roped him in for the cover art of its next album, Intermission Party Programme, which is set for release soon.
How did you get into the graphic design discipline?
"Initially after my O Levels, I went to Ngee Ann Polytechnic to pursue engineering. I probably wasn't sure of what I wanted to do at that time and after one semester, I realised I’m terrible at it and had no interest at all. However, in the midst of a lot of doubt and uncertainty, there was this group project that I had to do which required me to take on the role of designing an infographic poster. At that point, I felt like I had found my calling, and I was sure and determined to make the switch to study design. I had always found enjoyment in the humanities. However, since I couldn't pursue it in my studies, I discovered that art and design could be an alternative path for me."
Did you have formal training in graphic design?
"I studied at Lasalle College of the Arts for three years and it has been almost two years since I graduated. Having no prior art background in secondary school, I think the foundations and support I got from my lecturers and the school provided me with the right skill sets and tools, and more importantly, the right mindset and approach when it comes to looking at art and design. Contextual studies, which was my least favourite subject back in school, during my final year, became my favourite. When I was in my final year, my lecturer emphasised the importance of one's contextual knowledge in the arts, which would enable us to be critical thinkers and cognitive designers. Since then, I’ve always tried to conceptualise my ideas better when I design."
Describe your signature aesthetic.
"During my time in school, the majority of my works were usually printed on a particular type of paper called Recypal. Gradually, it turned into an inside joke among my friends that whenever they came across anything printed on Recypal, they would immediately assume it was one of my works. For the time being, I can't claim to have a specific style, but I have been fortunate enough to engage in several projects focused on creating covers and title cards. I find great satisfaction in this type of work because it allows me to dabble in typography, which happens to be one of the aspects of design that I enjoy the most."
Is there a graphic designer or work that resonates with you?
"Amsterdam graphic design studio Experimental Jetset is an all-time favourite of mine. Its work is deeply intertwined with and influenced by various aspects of culture. It draws inspiration from art history, modernist design movements, and pop culture. The work often contains subtle nods to iconic cultural artefacts or pays homage to influential figures and movements. Once again, an emphasis and reminder to myself of the importance of contextual knowledge in my practice."
What influences or inspires your work?
"I usually take references and inspiration from people and things that I like. They could come from writings, music, movies, basically anything that I absorb, understand, and love. I usually use it to help with my design work."
Can you give me some examples of how your inspirations have translated into your work?
"For my final year project, I couldn’t think of a genuine or authentic concept to start with for a modular typeface I was designing. During my research, I came across an interview with Experimental Jetset that showed how my favourite band of designers draw inspiration from their personal interests and culture. This realisation struck a chord with me. And instantly when I look across the works they have done, I could sense the passion and joy they infused into their designs, which were clearly influenced by the things they loved and enjoyed.
That's why I made the decision to base my typeface on a mosque, a place that holds a personal connection for me. By drawing from my own culture and experiences, I aimed to infuse my project with authenticity and a genuine sense of connection. Inspired by Experimental Jetset's approach, I wanted to create a typeface that reflects my own passions and one that resonates with my personal identity."
What are some misconceptions about graphic design you normally encounter?
"I think most people assume that all I do is design logos all day!"
What is good design to you?
"I think it varies from one person to another, but I like looking at designs I could relate to or I could infer that certain decisions made were based on pop culture references from movies, or books. I enjoy those most. It is important to note that while personal enjoyment is something I personally look at to determine whether I like a piece of work or not, there are also objective principles and standards that determine whether a design is good or not. These principles include considerations of visual hierarchy, balance, and colour theory that contribute to effective communication and aesthetics, but I usually would look at the typography aspect of the design. But I’m no expert, so I try not to criticise work unless they are my own!"
It would seem like typography is your speciality as a designer, after reading your interview with It’s Nice That from 2021. Two years on, where would you say you are now as a designer?
"I find most of my work still revolves around typography. I've done a few logotypes, which typically involve creating custom typefaces for my clients. It can be quite demanding, but when the outcome aligns perfectly, it brings a great deal of satisfaction. Recently, I've been fortunate to have the opportunity to do cover design works, which has proven to be quite intriguing. I've encountered more challenges with this type of project. There's a persistent sense of doubt and uncertainty because I’m always questioning whether I can surpass my previous cover designs, but like most jobs, there's a level of stress that comes with it, so I got no complaints. These projects are usually quite fun to work on, so I would love to do more cover design works."
In an age where AI and social media channels rule, has graphic design’s role changed?
"I think the role of graphic design has undoubtedly undergone significant changes. AI technologies have introduced new possibilities and tools for graphic designers, enabling them to automate certain tasks and generate artwork. Social media channels have also greatly influenced the practice of graphic design. The demand for visually engaging content on platforms like Instagram, is one of the channels I use to promote my works. I think these factors make me consider what I post online because certain works draw in certain types of projects. And in this age where everyone is posting their works online, you’re always trying to figure out how to make your work stand out and get the most likes and shares, but it is what it is. It’s a hustle. And it’s not easy."
What are some recent trends in graphic design you’ve been seeing and adoring?
"I think right now, motion graphics and moving designs are very cool. I probably wish it was something I took more interest in back in school. I still like looking at publications, printed works, and stuff like that. I don’t have a big collection of printed matter, but I do buy them from time to time. One of the ones I got recently was Dutch graphic designer Irma Boom’s Book Manifest. It’s the tiniest book I have in my collection. What intrigues me is her ability to create something unique each time and with the constraints of print, you delve into the intricacies of composition and typesetting in a book. You also explore various printing methods to achieve specific colours. These and many other factors interest me, which is why I continue to have an affinity for printed matter."
How would you describe the current state of Singapore’s graphic design scene?
"I think the graphic design scene here is still growing and we are relatively young, I have hope that it will get only better. On occasions when I discuss art and design with my friends and family who are not part of this industry, they tend to view it as an exclusive domain only accessible to 'art' people. Consequently, I believe that by engaging a broader audience, including individuals who are not traditionally associated with creativity, and promoting a narrative that fosters a deeper understanding of our field and its motivations, we can accelerate the advancement of this discipline and progress as a society – only then will art and design be looked at more seriously here."