Burrito
- In 2006, a Boston court ruled that a sandwich must contain at least two slices of bread, excluding burritos and tacos.
Tacos
- but In 2024, the Indiana court included tacos and burritos as “Mexican-style sandwiches.”
Quesadilla
- In Spain, “sándwich” refers specifically to English-style bread, while bocadillo uses long baguette-type bread.
Sliced bread
- In the UK and Australia, the term is narrower—usually referring only to sliced bread.
planB C
plan A
6.1 Extended Definitions:
From People to Countries to Methods
A people / a country / scientific /printing Method..........
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You will learn about new surprises.
6.2
Semiotic Analysis:
6.3
Cultural Contrast: How Different Cultures Define "Sandwich"
Hot dogs
- New York State’s definition is broader, covering hot dogs, wraps, and pita sandwiches.
Wraps
Chinese create sandwich
- In China, even some people DIY sandwiches, cooking different favorite flavors.
Rou Jia Mo sandwich.
- In china, Roujiamo from Shaanxi, often called the "Chinese haml Jer," may be one of the earliest sandwich forms in history.
6.4
Reflection: Similarities and Differences Across Food Cultures
Similarities
Across food cultures, the sandwich represents convenience and portability—embodying the rhythm and efficiency of modern life, satisfy different taste buds.
Differences - beyond food-metaphor
On a broader level, not just a food, "sandwich" also functions as a metaphor for structure itself It may represent a person, a city, a cultural mindset, or even a scientific method, printing Method- a relationships
Across cultures, its meaning shifts, revealing that the essence of a sandwich lies not in the “layers,” but in the “relationships”— how elements coexist, interact, and create new orders and experiences use unlimited Imagination within limited space.
6.5
Defining the Boundary: Building a Unified Visual System
How to build a unified visual system to link different connotations?
- do Subtraction
Remove the literal “sandwich” look.
Keep only the ideas behind it—relationships, layers, and order.
- conceptual Grafting
Use “3” as the core rule, because every sandwich has three parts.
So, the whole visual identity is built from a three-layer logic.
- set Clear Rules (the visual skeleton)
Colour: Use the three primary colours as the basic structure. These can expand into many variations but still feel unified.
Shape: Use circle, triangle and square—the simplest and most recognisable forms—to represent the three roles in the system.
6.6 References and Theoretical Basis
Industry semiotic case - design festival
- The New York Times: Food Festivalposter
The New York Times Food Festival uses bold red and simple speech-bubble motifs to turn food into a social experience. This showed me how a clear visual metaphor can shape a festival’s attitude—direct, energetic and communal. It reminded me to prioritise clarity and conceptual boldness in my Letterfest system.
- MAPP Music Festival
The combination of two images creates a third conceptual interpretation: 1+1=3 , It aims to explore the concepts of perception and perspective. The project uses the superposition and jucomposition of images
Theoretical basis:
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Structural Information Theory:Humans prefer to perceive visual stimuli in the simplest, most balanced form. A three-element structure provides a minimal, stable, and easily interpretable hierarchical configuration.
Numerology:In digital science, 3 represents creativity, self-expression and optimism, which is considered to be conducive to communication and socialization.
Psychology:Research shows that humans are more likely to remember the combination of the three elements and are more satisfied with the pattern of the three elements.Gestalt Psychology: Similarity Principles and Visual Grouping
book
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printed matter drukwerk
Printed Matter showed me how publication design can function as an open system rather than a fixed object. The consistency of grids, margins and pacing creates unity even when content varies greatly. This reinforced the value of defining strict structural rules for my Letterfest identity.
- system process form
Drukwerk’s work demonstrated how strong prints rely on clarity, reduction and precise colour decisions. Their restraint in form taught me that visual power often comes from limiting elements, not adding more. This aligns with my intention to build a minimal but expandable system for Letterfest.
poster
- Stanford University design Yearbook
-
Jewish Museum 38th Purim Ball Invitation card
6.7 Visual attempt
planA
At the sketch stage, I explored how the three-layer structure could act as the smallest visual unit of the system. Using the three primary colours as the foundational palette, I tested how their combinations could generate an unlimited range of tones and relationships. This approach allowed the system to remain simple at its core while expanding flexibly through layering, mixing and interaction—mirroring the conceptual shift from “sandwich ingredients” to an open, generative visual logic.
planB
Plan B explores whether simple shapes—circle, triangle and square—can recreate the textures of different ingredients. By changing the density, scale, rhythm and overlapping of shapes, I created patterns that feel like “food textures” but stay abstract.
This approach allows me to keep the idea of taste and ingredients without showing real food, making the system more flexible and playful.
plan C
Plan C was inspired by magnetic building tiles. I treated the shapes like small pieces that can be assembled, re-arranged and expanded freely, similar to a toy system.
This idea connects well with Letterfest because a festival identity should feel open, interactive and creative. It also means the audience could potentially “play” with the system, making the identity more engaging.
6.8 Feedback
- sketches are too literal and cold
My early visuals looked rigid, geometric, and lacked the warmth or sensory qualities of taste. The tutor mentioned the colour temperature feels "cold" and not "tasty," weakening the sensory intention.
- Let the idea stay simple - deepen the system, not the metaphor
This is a typesetting festival, not a sandwich festival.
They reminded me not to add too many secondary metaphors. The strength lies in clarifying one structural idea and building the entire festival identity around it.
6.9Reflection
This feedback made me realise that I was still thinking too literally. The sandwich structure is powerful, but I haven’t fully translated its openness and variation into my visuals.
I now understand that I need to:
- loosen the shapes,
- try unexpected forms,
- bring back sensory warmth through colour,
- and push the structure rather than the food itself.
It’s less about drawing a sandwich, and more about making its behaviour visible. Week 5 helped me see that my concept is on the right track — I just need to let it breathe.
CATALOGUE