Finding one’s own style
Some people believe that a major effort should be made to revamp street aesthetics and signage, or even that the government should step in. But Lee believes that anything that doesn’t grow organically in a locality can be dangerous. “The real solution would start with aesthetic education, aesthetic experience, and public understanding of beauty. This will take a very long time.”
Moreover, he says, “Taiwan need not try to take any shortcuts.” When more people in Taiwan are discussing this issue, and there are more guides on the streets to help people to “see” and “discuss” it, gradually the new will replace the old and localities will find their own style.
In fact, in recent years some businesses have been redesigning their shop signs, and thus quietly changing our streetscapes. They are no longer seeking merely to compete for attention, but are considering what they want their own image to be.
Chen’s Wood, which is nearly a century old, has been hit by the decline of its industry, and Chen Wen-tsai, facing a dearth of opportunities to practice his craft, once thought of retiring and closing the shop. However, with help from the Beautiful Touch design team, Chen’s Wood began working with designers from other business communities, and has made signs for many designer workshops and start-up brands, including Joe Fang Studio, Light House, Bleu & Book, and Fufu Grocery Store. Combining design and craftsmanship, these carved wooden shop signs have made a distinctive addition to their local streetscapes.
Every shop sign also has its own story. For example, at Lukang Xi Yue, which produces traditional Chinese bridal cakes, the calligraphy was done by the father of the family, and the family’s hopes and dreams were carved into the sign. Tainan’s Wuming Rice Cakes asked Chen’s Wood to reproduce its old metal sign in carved wood, preserving its typography, layout, and style, in order to maintain the ambience of the old shop. Meanwhile, 1035 collab, a coffee shop in Taichung that opened last year in a refurbished house from the 1910s, takes its name from the premises’ four-digit telephone number from the era of Japanese rule, and Chen Wen-tsai carved hand signs for the numbers one, zero, three and five into the sign that now hangs on the facade; it’s very intriguing.
For Hello Tattoo Studio, Chen Wen-tsai again took up his writing brush and used three-dimensional characters to recreate the old-fashioned look of the signs of yesteryear. For the Michelin-recommended Yuan Huan Pien Oyster Egg Omelette restaurant (Oystera) in Taipei’s Ningxia Night Market, the owner commissioned a designer, who then turned his design over to Chen’s Wood to carve by hand. They used relief carving techniques as well as artificial aging and feibai calligraphy, mimicking the strokes of a half-dry brush, to bring out a sense of the passage of time, yet the oysters on the sign look fresh and delicious. It is a beautiful combination of a Taiwanese-style snack-food eatery and traditional craftsmanship.
From urban planning to craftsmanship, the topic of shop signs involves many aspects and is difficult to summarize in just one article. For now, let’s adopt these words of Lee Ming-tsung’s as our provisional conclusion: “Without cultural diversity, we would not have interesting shop signs!”
Taiwan’s shop signage, a critical element in our streetscapes, is gradually finding its own style. Shown here is the facade of 1035 collab, a coffee shop located in a refurbished old house.