Fatih Rosli
Graphic Design, Typography & Identity                    
SGT
Project Overview


Fatih is a graphic designer and creative, based in Singapore who is deeply passionate in the realm of typographic systems and graphic design, and draws his inspirations from language, history, culture, religion, and literature. The majority of his works are based on ideas of the past, recontextualised for the modern setting. Fatih holds a belief that everything around him can spark inspiration if pondered deeply enough, yet recognises that sometimes, the most profound ideas strike when he least expects them. This balance of active thinking and spontaneous inspiration fuels his creative process.
NODES

Typography & Lettering
Print & Editorial
Branding & Identity
2D Motion Graphics
User Interface Design

EXPERIENCE

2018
Design Intern
qu’est-ce que c’est design

2019
Graphic Designer
qu’est-ce que c’est design

2021-2023
Graphics and UI/UX Designer
Luwjistik

2022
Social Media Designer
Mosque Madrasah Wakaf Shared Services

2021-Present
Freelance Graphic Designer


ACCOLADES

Diploma in Communication Design, with Merit

Temasek Polytechnic Director’s List 2018-2019

The Crowbar Awards 2019
‘Resurgence of Theos’
1 Silver, 4 Bronze

Singapore Packaging Star Awards
‘Flava Premium Nuts’
Student Sales and Display Category

Feature of Nura Typeface in Men’s Folio November Issue 21


EDUCATION

2012-2015
GCE ‘O’ Level Certificate
Pasir Ris Crest Secondary School

2016-2019
Diploma in Communication Design
Temasek Polytechnic

2023
Exchange Programme
School Art & Design
UNSW Sydney

2021-2024
BA(Hons) Design Communication
LASALLE College of the Arts







2024 © Fatih Rosli

  • Pengekalan Budaya (Cultural Context)


  • 2024 

  • Typography Explorative

Navigate to other parts of this project:

Stage Two: Interpretation
Linguistic Context: Kau Faham Bahasa Tak?
  • A common sight in the lives of many Malays, the kain pelikat is a diverse checkered fabric, available in various colours and patterns, serving as a versatile textile deeply integrated into the Malay daily life. Jawi letterforms are painted onto unused kain pelikats, sourced from family and relatives. Incorporating Jawi letterforms onto this fabric nods to the script’s potential to persist and thrive amidst the modernization and westernization of the Malay world, much like the kain pelikat itself.

    The flexible nature of the Jawi script is reflected in the various ways this fabric can be worn. This highlights the enduring usefulness of this fabric from our ancestors to its present-day usage. With this approach, Jawi can be presented as a tangible identity, reflecting its potential to endure across generations, akin to the kain pelikat itself. The zine publication serves to mirror the adaptable stylings of Jawi with the diverse methods of wearing the kain pelikat. The pelikat symbolises our connection to Jawi as a mode of communication and its significance to Malay identity.