Fading Traditional Trades and Crafts Iwe láti ọwọ́ Jesvin Yeo

Fading Traditional Trades and Crafts Iwe láti ọwọ́ Jesvin Yeo jẹ́ aṣẹ́gun olókìkí púpọ̀ ti 2022 Àmì-ẹ̀yẹ Wúrà A' Design Award nínú Ẹ̀ka Ìdíje Àpẹẹrẹ Ìtẹ̀wé àti Àtẹ̀jáde.

WúràÌtẹ̀wé· 2022

Fading Traditional Trades and Crafts Iwe

látọ̀wọ́ Jesvin Yeo

Aṣẹ́gun Àmì-ẹ̀yẹ Wúrà A' Design Award nínú Ẹ̀ka Ìtẹ̀wé

659,971

Aṣẹ́gun Àmì Ẹ̀yẹ Tí a Jẹ́rìísí

Jẹ́rìísí Ipò Àmì Ẹ̀yẹ fún #140455

Ṣàbẹ̀wò Ojú Òpó Wo ní A' Design Award Ìwé Ìròyìn Àmì Ẹ̀yẹ

Àwọ̀

Àpẹrẹ Náà

Nípa Fading Traditional Trades and Crafts Iwe

Iwe naa nlo 3D embossing lati ṣe akosile ati ki o ṣe afihan awọn alaye ti o ni idiwọn ti awọn iṣẹ ti a ṣe daradara nipasẹ awọn oniṣẹ-ọnà Singapore ti aṣa, lati awọn ọkọ oju omi dragoni iwe ati awọn ohun ọṣọ India si awọn bata bata Peranakan. Awọn oju-iwe awọ ṣe afihan igbega ati isubu ti awọn iṣẹ-ọnà ibile, bi ile-iṣẹ naa ṣe bẹrẹ akoko idagbasoke rẹ (ṣiiṣii) si ọjọ-ori goolu rẹ (ofeefee) ati laiyara rọ (funfun). Aso pastel chalk fun awọn oluka lati ṣiji awọn oju-iwe naa ki o ṣe iwari awọn iṣẹ ọna ti o sọnu ti ohun-ini aṣa aifọwọyi ti Ilu Singapore, nitori awa nikan ni eniyan le daabobo, ṣe atilẹyin ati mu pada wa.

Ìdánimọ̀ Náà

Nípa Àmì-ẹ̀yẹ Wúrà A' Design Award

Fading Traditional Trades and Crafts Iwe jẹ́ olùborí Àmì-ẹ̀yẹ Wúrà A' Design Award, ìdánimọ̀ olókìkí gan-an tí a fún àwọn àwòṣe ìpele àkọ́kọ́, tó jẹ́ ìyanu tó sì yàtọ̀. Àwọn olùborí Wúrà jẹ́ àwọn ẹ̀dá tó ní ìmúṣẹ̀dá tuntun gidigidi, tó ní ojú-ìwòye tó jìnnà tó sì ń tàn yòò tí wọ́n ń ṣàfihàn ọgbọ́n, òye àti ìjáfáfá àwọn olùṣàwòṣe wọn. A retí pé Fading Traditional Trades and Crafts Iwe yóò jẹ́ ohun ìmúṣẹ̀dá tí a yìn gidigidi, tó ń gbé ìtẹ̀sí kalẹ̀ tó sì jẹ́ ìrántí tó ń mú iye tí a kò rí rí wá. Àwòṣe tó borí Àmì-ẹ̀yẹ Wúrà A' Design Award yìí jẹ́ iṣẹ́ àkànṣe tó yani lẹ́nu tí a bọ̀wọ̀ fún tó ṣe anfàní gidigidi tó sì ń tì ààlà iṣẹ́ ọnà, sáyẹ́ǹsì, àwòṣe àti ìmọ̀-ẹ̀rọ síwájú. Fading Traditional Trades and Crafts Iwe ń dá ìmọ̀lára ìfẹ́ tó lágbára sílẹ̀, ń jí ìtara, ń gbé ìṣẹ̀dá lárugẹ tó sì ń fà wá mọ́ra.

Lẹ́yìn Àpẹrẹ Náà

Àkójọ Ìròyìn

Àwọn ẹ̀tọ́, àwọn ọmọ ẹgbẹ́ àti àlàyé ìmọ̀ ẹ̀rọ tí olùṣàpẹrẹ pèsè.

Àwọn Ohun Àkànṣe: 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.
Ìwọ̀n àti Àpò: 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
Àwọn Àkọlé: Traditional Artisans, Traditional Crafts, Cultural Artifacts, Intangible Cultural Heritage
Ìmọ̀-ẹ̀rọ Ìṣelọ́pọ̀: 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.
Ìpèníjà Àpèsè: 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.
Ìwádìí: 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.
Ìmísí: 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.
Àkókò Iṣẹ́ Àkànṣe: The project started in May 2015 in Singapore and finished production in December 2021. The book is on sale from March 2022.
Ìlànà Ìṣiṣẹ́: 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.
Àwọn Ìwé-ẹ̀rí Ohun-Ìmọ̀: Copyrights belong to Jesvin Yeo, 2021
Àwọn Ọmọ Ẹgbẹ́: Jesvin Yeo
Alvin Ng.
Ìfọwọ́sí Àwòrán: All images: Photographer Victor Gui, 2021 and 2022