At a recent meeting, a client of mine wondered what the logo of her government agency used to look like. Before I could reply, she started searching online. The next thing I saw in front of me was an entry about the logo design from the Singapore Graphic Archives.
Unbeknownst to her, I was the author behind the write-up. In fact, I am the founder of the archive that appeared as her top search entry. This was exactly how I imagined the archive would be used over a decade ago.
With its rectangular and pocket-friendly form, a matchbox reminds one of a popular contemporary object: the smartphone. Apart from physical similarities, the two also have much in common in the world of advertising. Even before the proliferation of smartphones led to the popularity of “mobile advertising,” matchboxes plastered with advertisements once offered an affordable and portable means of marketing too.
Known as “advertising matches,” these petite boxes — which included matchbooks that flipped open from the top instead of sliding apart like a drawer in a matchbox — first and foremost provided a functional need. In a time when lighters and gas appliances had yet to become commonplace, they supplied an everyday necessity to light up a fire. Such was the case in Singapore prior to the 1980s, when households commonly used matches to light up oil lamps or charcoal stoves. The matchboxes that contained this essential good thus promised to reach a wide audience, and businesses eagerly advertised on boxes that were given away to potential customers.
➜ Read the full story on AIGA’s Eye on Design
BY 黄向京
我们知道蔡荣恩（80几岁）是本地抽象派画家、前国家博物馆画廊知名策展人（1978－1985）、培训过美术教师，但少人知道他在平面设计也有一手。
当蔡荣恩来到国家设计中心五楼的“新加坡设计档案”展之“艺术家——平面设计师蔡荣恩”，小木橱上虽展示为数不多的展品，但他已发出惊叹，因为连他自己也没有收藏的平面设计作品，竟会有人感兴趣。
蔡荣恩接受联合早报访问时说：“今天我们比较重视保存档案资料，以前根本看不到它们的价值，很多资料都丢失了，前国家博物馆画廊丢掉蛮多的。”