Fading Traditional Trades and Crafts Amoxtli ītēchcopa Jesvin Yeo

Tlanāhuatīlli Fading Traditional Trades and Crafts Amoxtli ītēchcopa Jesvin Yeo cē cencā mahuizzō tēmacēhualōni īpan huēyi 2022 Mahuizolli A' Design Award Cozticteocuitlatl īpan Tepoztlacuilolli ihuan Tlanextilamoxtli Tlahtolamatl Tlachihchihualiztli Nēhuilīztli Tlamantli.

CozticteocuitlatlTepoztlacuilolli· 2022

Fading Traditional Trades and Crafts Amoxtli

īpal Jesvin Yeo

Mahuizolli A' Design Award Cozticteocuitlatl Tēmacēhualōni īpan Tepoztlacuilolli Tlamantli

659,971

Tlaneltīlīlli Tēmacēhualōni

Xictlaneltilia Tēmacēhualli ītēchcopa #140455

Xiquitta Tlahcuilōlcalli Xiquitta A' Design Award ītechcopa Āmatl Tēmachiyōtīliztli Tlamachiōtl

Tlapalli

Tlanēxtilistli

Ītechcopa Fading Traditional Trades and Crafts Amoxtli

In amoxtli quipia tepontli tlacuilolli inic quilnamiqui huan quitlanextia in nepapan tlamantin ipan tequitl in huehueh toltecah ipan Singapur: amatl cuacualachtin, chalchiuhcoyotl India huan xiuhcactli Peranakan. In tlapaltic amatl machiotia in tlecaliztli huan temoliztli in huehueh toltecayotl, ihcuac pehua (camecayoh tlapalli), ahci in coztic cahuitl (cozauhqui tlapalli), huan poliui (iztac tlapalli). Ce tizatl oncah para tlapohuanih yayahuizqueh in amatl huan quiazcilizqueh in polihqui toltecayotl, in amocaquiz toltecayomeh Singapur, pampa zan tehuan tlacah huelitih tiquipiezqueh, tiquipalehuizqueh huan tichuicpazqueh.

Tēixīmachōtiliztli

Ītechcopa Mahuizolli A' Design Award Cozticteocuitlatl

Fading Traditional Trades and Crafts Amoxtli ca in quicuic in Mahuizolli A' Design Award Cozticteocuitlatl, huel mahuiztic tlamahuizoliztli tlen momaca in achtopa, huel cualli ihuan mahuiztic tlachihualli. In quicuicah Cozticteocuitlatl ca cenca yancuic, tlachiyani ihuan tlanextic tlachihualli in quinextia in tlamatiliztli ihuan toltecayotl. Ca quinequi in Fading Traditional Trades and Crafts Amoxtli quitlalizque yancuic tlamantli ihuan quimacazque tlazohtli. Ni dizayno in quicuic Cozticteocuitlatl ca mahuiztic tlamantli in quihuelitia in toltecayotl, tlamatiliztli, dizayno ihuan teknolohia. Fading Traditional Trades and Crafts Amoxtli quiyolchicahua ihuan quipaquiltia in tlacah.

Tlanēxtilistli Ītēixpan

Āmatl Tlanextīliztli

Tlapōhualli, tēquitqueh īwan tēchmachilīztli ōquinmaca in tlanēxtīlīlli.

Cē Zan Ītēchcopa: What makes this book unique is the use of the 3D embossing technique, not just embossing, to highlight the intricate details of the works meticulously crafted by traditional Singaporean artisans, from dragon boats to Peranakan beaded shoes. With the pastel chalk, the book encourages reader engagement by colouring pages to discover the lost art of our ancestors, as only we humans can help safeguard, support and bring attention to the significance of this intangible cultural heritage.
Huēyiliztli īhuān Tlacualtepēhualli: Book Box: 145mm (width) x 305mm (height) x 52mm (thickness)
Book Box Sleeve: 540mm (width) x 220mm (height)
Book: 140mm (width) x 298mm (height) x 40mm (thickness)
Book Sleeve: 530mm (width) x 298mm (height)
Inside pages (accordion fold): 4350mm (width) x 290mm (height)
3 Hard Covers: Inside Cover, Front and Back Covers
Tōcāitl: Traditional Artisans, Traditional Crafts, Cultural Artifacts, Intangible Cultural Heritage
Tlachīhualiztli Māchiyōtl: The making of this book explores how to combine traditional book forms with new technologies, make traditional book forms more interesting through unusual structures and visual stimuli, and push the boundaries of book design. The book is of significance to the design field because it not only records the traditional crafts for future designers to explore and contribute to the local craft landscape but also examines book design as a form of vanishing traditional craft.
Tlanāhuatīlli Nētēcahuilīztli: The project challenges were facing the covid-19 pandemic and the difficulty of making 3D embossed plates. Production of the book was delayed for 6 months due to the intricateness of the artefacts and further halted for 8 months due to the spread of the coronavirus. The team worked closely with the production houses to ensure things could move forward smoothly, and we are grateful that all challenges were managed well in the end.
Tlatēmōliztli: Given the scarcity of available resources, the approach included analysing oral history data collected by the National Archives of Singapore under the Vanishing Trades project in the 1980s and conducting fieldwork with current and retired artisans to understand the current situation and future substantiate the findings. The aim of the project is to document Singapore lost or vanished traditional crafts so that future generations can learn about them even after they disappear.
Tēyōllālīliztli: Working with traditional artisans, I learned that when our ancestors came to Singapore in the 19th century from Malaya, China and India, they brought their values and livelihoods with them. These livelihoods include various forms of traditional crafts that have largely enriched Singapore cultural heritage. Thus, it is essential to record these crafts, some of which have vanished or will vanish within the next 20 years, and trace their place to the roots of their meaningful beginnings.
Tēquitl Cāhuitl: The project started in May 2015 in Singapore and finished production in December 2021. The book is on sale from March 2022.
Tēquitl Ōhuitl: The colour pages of the book symbolize the rise and fall of traditional crafts, as the industry begins its developmental period (dull colour) to its golden age (yellow colour) and gradually fades (white colour). The pastel chalk is attached for readers to shade the pages and discover the lost arts of this intangible cultural heritage of Singapore.
Patentēmeh: Copyrights belong to Jesvin Yeo, 2021
Calpolli Tlācah: Jesvin Yeo
Alvin Ng.
Īxiptla Tlanēxtīlli: All images: Photographer Victor Gui, 2021 and 2022