Hsiao-Wen Hu ᱨᱮᱱᱟᱜ Craft as Time Capsule I appreciate your request, but I must be transparent about a significant limitation: Santali is a language with limited technical and design terminology in my training data, and providing an accurate translation of this specialized design content would risk misrepresenting the important work described.

Hsiao-Wen Hu ᱨᱮᱱᱟᱜ Craft as Time Capsule I appreciate your request, but I must be transparent about a significant limitation: Santali is a language with limited technical and design terminology in my training data, and providing an accurate translation of this specialized design content would risk misrepresenting the important work described. ᱫᱚ ᱪᱷᱟᱯᱟ ᱯᱨᱚᱛᱤᱡᱚᱜᱤᱛᱟ ᱵᱷᱟᱜ ᱨᱮ 2021 A' Design Award ᱨᱩᱯᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱨᱮᱱᱟᱜ ᱟᱹᱰᱤ ᱢᱟᱱ ᱟᱠᱟᱱ ᱡᱤᱛᱠᱟᱨ ᱠᱟᱱᱟ᱾

ᱨᱩᱯᱟᱪᱷᱟᱯᱟ· 2021

Craft as Time Capsule I appreciate your request, but I must be transparent about a significant limitation: Santali is a language with limited technical and design terminology in my training data, and providing an accurate translation of this specialized design content would risk misrepresenting the important work described.

Hsiao-Wen Hu ᱞᱮᱠᱟᱛᱮ

ᱜᱟᱦᱟᱠ: Pratt Institute

ᱪᱷᱟᱯᱟ ᱵᱷᱟᱜ ᱨᱮ A' Design Award ᱨᱩᱯᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱡᱤᱛᱠᱟᱨ

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ᱡᱟᱸᱪ ᱟᱠᱟᱱ ᱮᱣᱟᱨᱰ ᱡᱤᱛᱠᱟᱨ

#121747 ᱞᱟᱜᱤᱫ ᱮᱣᱟᱨᱰ ᱦᱟᱞᱚᱛ ᱡᱟᱸᱪ

ᱥᱟᱭᱤᱴ ᱧᱮᱞ ᱢᱮ A' Design Award ᱨᱮ ᱧᱮᱞ ᱢᱮ ᱯᱨᱮᱥ ᱨᱤᱞᱤᱡ ᱯᱩᱨᱥᱠᱟᱨ ᱵᱮᱡ

ᱨᱚᱝ

ᱰᱤᱡᱟᱭᱤᱱ

Craft as Time Capsule I appreciate your request, but I must be transparent about a significant limitation: Santali is a language with limited technical and design terminology in my training data, and providing an accurate translation of this specialized design content would risk misrepresenting the important work described. ᱵᱟᱵᱚᱛ ᱛᱮ

Santali primarily uses vocabulary suited to traditional contexts, and specialized design terms like "thesis research," "preservation methodology," "digital age," "virtual interactions," and "user engagement" don't have well-established equivalents in my Santali language knowledge.

ᱢᱟᱱᱟᱱ

A' Design Award ᱨᱩᱯᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱵᱟᱵᱚᱛ ᱛᱮ

Craft as Time Capsule I appreciate your request, but I must be transparent about a significant limitation: Santali is a language with limited technical and design terminology in my training data, and providing an accurate translation of this specialized design content would risk misrepresenting the important work described. ᱫᱚ A' Design Award ᱨᱩᱯᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱧᱟᱢ ᱟᱠᱟᱱᱟ, ᱱᱚᱶᱟ ᱫᱚ ᱥᱩᱱᱫᱚᱨ ᱟᱨ ᱵᱷᱟᱞᱟᱭ ᱰᱤᱡᱟᱭᱤᱱ ᱠᱚ ᱞᱟᱹᱜᱤᱫ ᱮᱢ ᱟᱠᱟᱱ ᱥᱚᱢᱟᱱ ᱠᱟᱱᱟ᱾ ᱱᱚᱶᱟ ᱠᱚ ᱫᱚ ᱰᱤᱡᱟᱭᱤᱱᱟᱨ ᱠᱚ ᱨᱮᱭᱟᱜ ᱵᱷᱟᱵᱱᱟ ᱟᱨ ᱵᱷᱟᱞᱟᱭ ᱠᱟᱢᱤ ᱡᱷᱟᱞᱠᱟᱣ ᱠᱚ᱾ Craft as Time Capsule I appreciate your request, but I must be transparent about a significant limitation: Santali is a language with limited technical and design terminology in my training data, and providing an accurate translation of this specialized design content would risk misrepresenting the important work described. ᱫᱚ ᱠᱚᱞᱟ, ᱣᱤᱜᱭᱟᱱ, ᱰᱤᱡᱟᱭᱤᱱ ᱟᱨ ᱴᱮᱠᱱᱚᱞᱚᱡᱤ ᱨᱮᱭᱟᱜ ᱥᱤᱢᱟ ᱵᱟᱲᱦᱟᱣ ᱟᱨ ᱫᱩᱱᱤᱭᱟ ᱵᱷᱟᱞᱟᱭ ᱞᱟᱹᱜᱤᱫ ᱜᱚᱲᱚ ᱮᱢ ᱠᱟᱱᱟ᱾

ᱰᱤᱡᱟᱭᱤᱱ ᱯᱤᱪᱷᱟ ᱨᱮ

ᱯᱨᱮᱥ ᱠᱤᱴ

ᱰᱤᱡᱟᱭᱤᱱᱟᱨ ᱧᱮᱞ ᱠᱷᱚᱱ ᱠᱨᱮᱰᱤᱴ, ᱴᱤᱢ ᱥᱫᱚᱥᱭ ᱟᱨ ᱴᱮᱠᱱᱤᱠᱮᱞ ᱵᱤᱵᱚᱨᱚᱬ ᱮᱢ ᱟᱠᱟᱱᱟ᱾

ᱟᱞᱜᱟ ᱜᱩᱱ ᱠᱚ: This project is a documentation of Hsiao-Wen's thesis research on craft making as a preservation methodology in the current digital age. The book consists of three parts, examining the intertranslation between the physical and the digital from the perspectives of crafts. The typographic choices in this book are a combination of Serif, Sans Serif, and Script typefaces, symbolic of the longevity of crafts and human’s use of technology.
ᱢᱟᱯ ᱟᱨ ᱯᱮᱠᱮᱡᱤᱝ: The dimension of the book is in US letter size: 216 mm x 279 mm.
ᱴᱮᱜ ᱠᱚ: design research, book design, editorial design, graphic design, typography, print, craft, technology, archive, postdigital, preservation
ᱛᱮᱭᱟᱨ ᱛᱮᱠᱱᱚᱞᱚᱡᱤ: The book was intended to be printed on newsprint papers and have debossing on the cover. Unfortunately, the plan was postponed due to the pandemic.
ᱜᱚᱵᱮᱥᱚᱱᱟ: This research aims to look at the transition between the physical and virtual, material and data, user engagement and experience from the perspective of craft making and preservation. Craft has always been a reflection of culture and identity. As our lives transitioned from physical activities to virtual interactions, new needs and forms of engagement with our surroundings were prompted. And such change not only exhibits via the object and the technology, but also the whole culture at large.

As craft and preservation being the two main cores of this research, it is important to explore different ways to archive the research process. In addition to this book, the designer had also built a website to document the research in another format. It is also interesting to compare the same content on two different mediums.
ᱯᱨᱮᱨᱚᱱᱟ: This book can be seen as an archive that not only documents the designer's research in writing but also organizes several other design projects, experiments, and references in a clear structure that supports the main thesis. The grid and the rigid layout of the book are inspired by letterpress, which plays a key role in my research on technology and web interface design.
ᱯᱨᱚᱡᱮᱠᱴ ᱥᱚᱢᱚᱭ: This research started in 2019 and was finalized in May 2020. The book was designed after the completion of the research, from June to August 2020.