Julius Hon-Man Hui


Julius Hui (b. 1984) is the owner of contemporary Chinese type foundry Han Wan Tang (means studio of massive text).

A graduate of the BA Design, Visual Communication discipline at School of Design, The Hong Kong Polytechnic University, Hui began his career with an apprenticeship as typeface designer under Sammy Or a.k.a. VM Type, veteran Chinese typeface designer who has produced some of the best Chinese fonts in the past 30 years. They eventually designed Xin Gothic, a massive San-Serif Chinese font family of 10 weights, after crafting strokes for 3 years.

Hui started his own studio juliushui.com in 2012, working for a wide range of international companies and design agencies to cope with boom of Chinese business. In the short half year of time, Hui designed notable works, including the Traditional and Simplified Chinese companion for logotype of The New York Times, and partnered with New York City based type foundry Commercial Type designed Chinese commissions for Bloomberg Businessweek, as well as logotype for BW China. Hui was also a Chinese type and typography consultant for Wallpaper*, Figtree, several international design agencies, Commercial Type, Dalton Maag before joining Dalton Maag as a font developer in September 2012, Hui involves mainly in DaMa’s massive multi-script font family, including the recent released HP font family.

Being one of the few typeface designers in China area, Hui has recently started the newly established Chinese type foundry Han Wan Tang to tackle critical reading issues in Chinese life, includes signage recognition, text reading both on paper and screen, etc. Hui is also an active writer for type and typography, Chinese articles have continuously been published in HeyShow (Taiwan), The House News (Hong Kong) and Type Is Beautiful (Mainland China). 


BITS MMXIV International Workshop 
Julius Hon-Man Hui
November 14, 2014.
Auditorium A, TCDC
1.30 - 3.30 pm.
Available slots : 10 people

"Outline and structural fun of chinese typeface"

The workshop is consist of 2 parts, the first part would be Chinese song-ti (serifed-style) composing. Participants would be given lot of strokes (supposed they don’t read any Chinese at all), and started composing 1–2 characters according to the screen shown. By going this exercise participants would start getting what’s actually decided the the legibility of Chinese type: The outer shape.

The second part would be playing different weight of hei-ti (san-serif style). Participants would be given a few distinctive Chinese characters which horizontal strokes’ weight id wrong decided, they have to decide each stroke’s weight. By going through this exercise participants would understand the structural essence of Chinese characters.


BITS MMXIV International Conference
Julius Hon-Man Hui
November 15, 2014.
2.00 - 3.00 pm.

"Problems & Solutions: Typeface Design in China area"

If the true typeface design means to solve some certain reading problems that Mr Matthew Carter did, then in China area there are actually no typeface design in the last hundred of years, because no one really know, why we need ever more typefaces.

By showing self work experience and case studies from daily life, Julius is ready to show BITS audience what ‘Typeface Design’ means to be in the past and how it is evolved in the last 10 years, provide an unique and interesting of how this new and fast-growing font market is going to.