無關懷舊。
This is not nostalgia.
This is not nostalgia manifests the uniqueness of traditional printing in the digital era. It aims to present what we have lost and what we cannot see from the digital printmaking process. This final outcome consists of three elements: movement, space, and sensation. Movement is the footprint formed by using letterpress and it presents your body engaging in your work. Space presents the physical typography in letterpress, which we can truly touch, feel and understand. Sensation is a booklet that shows insights from letterpress printmakers and their sentience through using this old printing technology.

無關懷舊包含了在活版印刷工作室的製作過程的移動軌跡、物理形式的排版、以及來自世界各地的活瓣印刷使用著的獨特見解和經驗。
藉此期望能體現出傳統工藝的美,以及在使用數位科技創作之下我們失去的。
Our era is characterised by large scale, rapid, international development. The advancements around us work to improve our lives, and they reflect diverse, human-created industries. With progress in science and technology, these industries have been flooded with popularized information. As a result, we can manufacture products without learning the professional skills of a craftsman. These changes have lead to an industrial transformation.
This project focuses on the changing of industries in relation to the traditional craft. As traditional artisanship is replaced by button-pushing, what are we losing? Is what we have lost important, and why?
The industrial transformation will be explored through the letterpress. Letterpress is the oldest form of printing, a technique popularised during the 15th and 19th centuries to distribute information. This medium has recorded the changes in history which contribute to today’s world, including our shift into an era of mass-production.
在這個數位充斥的世代中,靠著電腦編碼程式結合自動化機械,在設計中,我們變得仰賴這些高科技產品給我們的答案和結果,人們變得不需要知道專業知識或是擁有熟練的技能,便能產出作品。過程被機械取代,知識不需要靠經驗而得來,在這些傳統工藝被取代的過程中,我們失去了什麼? 
從Tim Ingold的書Making中,便能夠察覺到,我們失去的是從製作中去思考、從執行中去學習機會。我們失去用我們的雙手、身體、大腦去體驗每個過程、每個失敗、每個結果。我們依賴的是數位時代的預設值,有時我們甚至不知道那究竟代表著什麼意思。
從這個專案中,我從數位和傳統的關係,延伸到印刷歷史上。因緣際會下,導向了活版印刷,以活版印刷作為媒介來討論這個現象。
並不是要說過去多好,現在多糟,而是希望能從這個充滿著人性、歷史、文化的產物上,去發現它有,但現代的產物所沒有的,藉此發現他的獨特,並且作為一個靈感激發,帶向未來。

藉由活版印刷製作的過程,我去發現了傳統工藝的獨特,希望這能夠讓我們反思,很多傳統工藝、夕陽產業不應消失,那些從職人們的身體力行於作品、每個過程的經驗中,是讓我們能夠更加了解自己正在做什麼、在製作過程中更能感受到自己存在的因子。
This element is showing the movement of each making process. It responds to the statement from an architect at MIT which was mentioned in the book"The Craftsman", observed that ”when you draw a site when you put in the counter lines and the trees, it becomes ingrained in your mind. You come to know the site in a way that is not possible with the computer. You get to know a terrain by tracing and retracing it, not by letting the computer ‘regenerate’ it for you‘.
我以自己自身的經驗,製作出了這樣的軌跡,體現當我們使用這個傳統印刷工具時,我們需要大量的移動,但使用軟體時,我們只需要坐在電腦前便能完成所有事。透過活版印刷,身體能夠感覺到製作這個作品的過程,也因為動手製作,你更能夠在過程中去思考,更能致力於你的作品中。
這個元素的啟發亦來自於"The Craftsman"這本書中以一個建築師例子:如果你動手畫,這些東西會深植在你的腦袋中,你會了解有些事情是電腦辦不到的。透過反覆的練習而讓自己更加了解,而不讓電腦來給你答案。
Every stop point shows what the making process it is.
每個停頓點都標示著正在進行什麼樣的步驟。
At the last page of footprint, there is a booklet which contains the letterpress printmakers insights that got from the interview. The format is based on the type specimen. The reason I chose this format to present the insights is that the type specimen is to present the font of the metal type before user pick it and it shows the feature of the metal type itself. If you look for type font from metal type, it is very difficult
to find its feature and detail. Likewise, the letterpress printmakers can present the beauty of the letterpress from their experience, insights and their work. If you never try to understand it, you barely know the nature of itself and you will think it just an old print technology.

軌跡的最後,是本包含著來自世界各地的活版印刷使用者的使用經驗和見解。過程中訪談到許多啟發我的印刷者們。見解的部分會選擇使用他人的字句,是因為他們多年的經驗絕對比不上才接觸到這個傳統工藝不到一年的我,從他們的角度,更加有說服利。但由於時間限制,沒有辦法放上全部收集到的,只能從中挑出10個,呈現的是最精選的。
此部分使用活版印刷的樣本書形式呈現。當你看著這些鉛字時,因為字是相反的方向,所以不容易立即能夠辨認他是什麼字。而活版印刷也是如此,如果你單單只是看而沒有去嘗試、了解他的本質,對你來說,他只會是一個老舊的印刷機器。
One of the features in letterpress is that the typography is all in physical form. We can not see the blank space on the computer screen but in letterpress, it is all in three-dimension. You can see it, touch it and feel its weight. They have a different appearance and their own face which on the computer screen, is nothing. By showing the spacing, It conveys the theory of thinking through making from Tim Ingold. When you truly arrange the typography by your hand, you think and the answer generates from yourself and you get to know what typography it is. It also corresponds to the texts "This is not nostalgia: her observation addresses what gets lost mentally when screen work re- places physical drawing.” which mentioned in the book" The Craftsman".
每頁的背面都印著版上用來隔出空間的spacing。為的是想表達在活版印刷中,排版是看得見、摸得著、也有著重量的。透過雙手去編排著字字句句以及規劃空間,能讓身體連結著大腦,更能了解排版的本質。
Thanks for the assistance of the people mentioned below.
感謝以下人員的協助完成這個作品。

Course tutor : Ben Branagan
Letterpress technique assistance : Klara Vith, Andrew Long
Letterpress insights contributor :
Anthony Burrill, SUN YAO YU, Marta Dos Santos, Deirdre Thompson, Jennifer Farrell, Stephen Kenny, Nick Hand, Edwin Pickstone, Erik Spiekermann, Olof Gardarsdottir, Dulcie Fulton, Richard Ardagh(New North Press), Alessandro Sposato, Carl Middleton, Eva Mengual, Claudio Madella, Pat Randle, Thomas Gravemaker, Arcangela Regis, Jesús Morentin, Dimitri Runkkari, Myrna Keliher, Miki Wang(PAPERWORK紙本作業), 高鵬翔, 湯舜( 時分印刷 ), 猪飼 俊介  Shunsuke Ikai, 溪山丈介 Taniyama Jousuke