Tag: Publication Design

A Scroll Through Century-Old Hokkien Temples

“Architectural Decoration: Negotiating Symbols Across Time and Place” examines the symbolic images of Hokkien architectural-style temples. | JESVIN YEO
“Architectural Decoration: Negotiating Symbols Across Time and Place” examines the symbolic images of Hokkien architectural-style temples. | JESVIN YEO

In the age of the e-book, this print publication offers a different take on “scrolling” through text. For her new book about the symbolic images of Hokkien architectural-style temples, designer Jesvin Yeo turned to ancient Chinese scrolls for design inspiration. Architectural Decoration: Negotiating Symbols Across Time and Place is a stunning 225 bamboo strips-long (4.35 meters) English publication examining the symbolic meaning of images found in three temples in Singapore built between the 18th and 19th century. Jesvin recently took us through her limited-edition publication (Only 40 were made and each selling at S$338) and her fascination with designing projects on Chinese culture.

How did this book project come about?
The idea for this book derived from my experience of collecting data for my other published book, Choi! Touchwood!, which was in 2010. Through many visits to the oldest Chinese temple in Singapore, Thian Hock Keng, I discovered many unique and interesting symbolic images. When I researched further, it remained a mystery, and no one, not even the people who take care of the temple, could provide answers to the meaning behind some of these symbolic images. I decided to research and understand the meaning of these images through the lens of visual communication. Moreover, I am a Hokkien, therefore it is important for me to understand my own culture and roots. Especially, how my ancestors designed these symbolic images more than 1,000 years ago.

This book recently won a 2014 Red Dot Award in communication design. | JESVIN YEO
This book recently won a 2014 Red Dot Award in communication design. | JESVIN YEO

Why do a bamboo scroll book?
This book is deliberately made in the format of a traditional bamboo scroll to:

1) Indicate the importance of these cultural images as bamboo scrolls were used to record the chronicles of ancient China.

2) Enhance the value of these cultural images as they display our ancestor’s expectations and pursuits of beautiful things. As the bamboo scroll allows for the depiction of a continuous narrative, the viewing is a progression through time and space.

3) Let our younger generation have a chance to read a bamboo scroll book — how fascinating!

What were some of the challenges in designing this book?
I worked with a research team on this project with support from Nanyang Technological University and the Ministry of Education. The main members are Wong Wei Loong and Charissa Ho Jia En, with the help of others like Kent Neo and Kenneth Lim Zhi Wei. I start the project in February 2011 and we took over two years to take the photos, to archive and analyze, and to research on the meanings behind these symbols. The illustration, designing, and refinement took another year or so.

The main challenges in creating this book were:

1) Taking photos of the temples: some caretakers of the temples preferred us to send an email request before we shot and we were not allowed to set-up any equipment when photographing symbols on the roofs or ceilings. Of course, I totally understand this need for restrictions as these temples are Singapore monuments.

2) Researching on the meaning and mythology behind the symbolic images. I could not found any English books on the symbols of the temple then. Therefore I gathered information from Chinese references books and compared them with English articles written by scholars, especially on the name of the symbols and techniques used. At the end of 2011, I also went to Taiwan to interview caretakers of Hokkien-style temples too.

3) Illustrating the images: we hand-drew more than 150 illustrations of the symbols, and our eyes were seeing stars after a few images as they are very fine and detailed. Charissa started the first round and I continued from there and also refined all of them on computer later. It took us about eight months to finish.

Many of the images in this book were hand-drawn by Jesvin and her team | JESVIN YEO
Many of the images in this book were hand-drawn by Jesvin and her team | JESVIN YEO

How did you convince the client to commission such an unconventional book?

This is not the first time I have proposed an unconventional book form toBasheer Graphic Books. They also commissioned my other book, Choi! Touchwood!, which is made up of four parts and costs a lot to produce. LuckilyChoi! Touchwood! was well liked by readers, so Basheer was confident in what I could produce.

Was it difficult to find someone to manufacture this book?
I checked with a couple of printers in Singapore and they were unable to produce the book as the bamboo material was a major issue. Moreover, their laser machines cannot achieve the details that I wanted. In the end, we had it produced in China by Neo Brands. But the Chinese printer did complain that the book was too time consuming as it involves hand work to tie the more than 200 bamboo strips to form one book and laser engraving is also done manually. They experimented with more than 10 different threads to find the right one to hold the weight of the scroll. Each book took about five days to complete.

You’ve designed several projects related to Chinese culture. Can you talk about your personal fascination with this subject?
As a Chinese Singaporean, I am always very interested in symbol, totems and the visual culture of Singapore. I remember those fascinating stamp designs on the back of my T-shirts printed by Taoist mediums during my childhood. Studying and working in London allowed me to further realise and understand the value of one’s cultures and heritage. After returning from London, I came across a statement by Singapore’s founding leader,  Mr Lee Kuan Yew, who said that the digital age was making it impossible to evolve a Singaporean culture even in a few hundred years. I decided to explore this statement through experiments in design and cultures.

A set of wrapping paper designed by Jesvin which uses typographic elements from Singapore newspapers in the 1950s. | JESVIN YEO
A set of wrapping paper designed by Jesvin which uses typographic elements from Singapore newspapers in the 1950s. | JESVIN YEO

It’s interesting that this book about Chinese culture is in English. Can you talk about navigating between two cultures as a designer?
As a Gen X, I understand both English and Chinese. Therefore, it is not too difficult to navigate between these two cultures.

The book is in English because one of my aims in doing cultural projects is to bring as much knowledge and value of our cultures to the younger generations. And we know that our younger generation prefers English and they are not really interested in print. Therefore, my projects have to be in English, easy to digest, unconventional and visually appealing to stimulate interest their interest.

A lot of your work is also about bridging modernity and tradition. How do you approach such work as a designer without falling into stereotypes and cliches?
A good and difficult question. I am not too sure whether my work are stereotypes and clichés. I just know that I am interested in the dialogue between tradition and contemporary, old and new. Although I work with tradition elements, I create my content with our younger generation in mind. I believe that tradition and culture are symbols of thought and it is important to pass them down. Hopefully our young people can continue to preserve it. Moreover, I feel that a product is made up by a combination of effort from many people, so it has to scream and not just sit subtly.

Self-Publishing: Graphic Design’s New Muse in Singapore?

Singapore graphic design studios like fFurious, PHUNK, Asylum, and Kinetic may have different styles and approaches, but there’s one thing that binds their practices: music.  The founders of these studios grew up listening to bands like New Order and Joy Division that had record and CD covers designed by the likes of Peter Saville and Vaughan Oliver. They also watched  animation graphics on television channel MTV and browsed magazines such as The Face and Ray Gun, which were designed by Neville Brody and David Carson respectively.

These studios, established in the late ’90s and early 2000s,  have acknowledged the influence of music on their designs, whether it was introducing them to the profession or inspiring them to work on music-related projects — PHUNK originally started as a music band and still refer to themselves as a ‘visual rock band’; one of Asylum’s goals was to design record covers such as 4AD, and they  started a music label; the founders of Kinetic were also in the band Concave Scream and work with local band The Observatory; while fFurious designed album covers for Singapore music bands and also worked on legendary local music magazine BigO.

But with the slow death of albums, the design scene today, however, seems to have found a new muse. In the last few years, many younger designers have gotten involved in self-publishing. Just this weekend, Galavant, an annual magazine focusing on collaborative and curated content from around the world, was founded by photographer Dilys Ng and designer Nathalia Kasman. The inaugural issue uses a mix of poems, short stories and images to explore the theme of “Absence”.

It is a familiar format found in UNDERSCORE MagazineCasual Days, Ceriph, kult, Bracketand Terroir Magazine — independent publications started in Singapore by designers or design-conscious founders over the last three years. By and large, these publications focus on literature as well as arts and culture from Singapore and around the world. And as I’ve written elsewhere, these magazines share a similar outlook and ethos.

Could self-published projects become the definitive element in the portfolio of Singapore’s future graphic designers? It fits into the global trend of designers becoming authors, and magazines have proven to be one of the best mediums for projecting a distinctive “voice” with images and text.

Two Singapore studios are already taking self-publishing further than just magazines. Epigram has been working on annual reports and occasionally published books since it founded in 1991, but last year in July, it started a separate entity Epigram Books to publish its own books, including literature, photography and children’s books.

A much younger entity is Studio Kaleido, which is behind Ceriph. The magazine preceded the studio’s founding last year, but since then, the founders Amanda Lee and Winnie Goh have gone on to initiate several publishing projects including GRAPHME, a zine lab, while busying themselves with design work too.

Of course, the one major difference with publishing a magazine as compared to designing a record is it is continuous. You got to regularly come up with the next issue. So it’s not very surprising that many of these magazines are annuals, and the most prolific is quarterly. Will these publishing efforts sustain in the following years? Read on.

Singapore Institute of Architects Journal in the ’80s

Singapore Architect has been published by the Singapore Institute of Architects since the 1960s and is one of the oldest architecture magazine in the region. It used to be called the SIAJ or Singapore Institute Architects Journal.

I flipped through its old issues a while back and was very captivated by the magazine’s covers. I decided to look through the archives in detail again, and here are even more gems that I discovered. These were the covers of magazines published between 1979-1981

I’m really curious who did these covers! Sounds like a story to chase.

After this phase of graphic covers, the magazine switched to photography on its covers, presumably because the technology allowed it to. It was only in 2008, when Kelley Cheng took over the magazine, did it start using graphic covers all over again. But, while the current graphic covers are a stylistic choice, I think these in the past were so because technology only offered these options!