Sirin Gunkloy is a graduate of BFA in Visual Communication Design from Silpakorn University. Her interest grew more intensely upon her accomplishment in her first typeface graduation project, which was selected for a stage presentation at the 2012 BITS MMXII and in other exhibitions in Chiang Mai and Bangkok. She was the winner of the Emerging Awards for Designer of the Year 2013 (Graphic Design) by Department of International Trade Promotion (DITP).
She worked with Rabbithood Studio, a well-recognised studio in Chiang Mai. She was also chosen by Mite-Ugro to join a residency program in South Korea for a type exhibition. Her exposure to the world of professional type work became a great motivation for her to pursue more in-depth and extensive knowledge and understanding of type design. Ultimately, she had a chance to be a part of Cadson Demak team. She was actively involved and contributed to the success of various projects afterwards, namely ๑๐๑๐10, Totem, and Type Face Face Type.
Currently, Sirin is a part of the type design team at Cadson Demak. Her appreciation for type centers on shapes and roots of languages, ways of writing type and relevant tools or methodology. Her major responsibilities involve conducting research, gathering information, learning and designing multiple types of scripts. She loves spending her free time practicing calligraphy, making lettering and traveling in order to learn more about type.
BITS 6 International Conference
October 7, 2016.
4.30 pm. - 6.00 pm.)
at Auditorium, Goethe Institut
“From the Invisible Bottom Line to the Prospective Thai Classification”
It seems like when we talk about a hundred different options among us, we manage to find a way to communicate and understand each other. But when it comes to talking about our routine typographic work, the use of Thai fonts in particular, we seem to miscommunicate or talk about different things so often. The root cause of this problem lies in the fact that we have no clear classification for Thai fonts, which results in unnecessary loss of time, effort, and budget. One potential solution is to set a clear classification and definitions for each group of Thai fonts, especially for those frequently used in education and business. If this is achieved, we may find solutions to the problem and improvements in efficiency. In addition, apart from business perspective, not only will font classification benefit the educational standard-setting in vocational schools and universities but will also reflect the long historical development of Thai characters to date.