Pen C mini—創作者對話 Cheng Tsung Feng / 范承宗

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范承宗:我們用設計公司的方法做事、用手工藝的方法製造,創作出各式各樣的藝術作品。

 

提到范承宗人們第一個想法可能就是竹編藝術家,但他所涉略的材質領域其實不僅僅是竹子而已,由金屬、紙甚至是米都是他曾經用來製作工藝品的材質種類。他研究傳統手工器物的製成再以自己的方式做分析整理並重新演繹,從許多作品中都能讓人清晰看見他的工藝長才與縝密的設計心思。

對於工藝設計他有一套自己的見解,認為工藝品的製造手法也是一位工藝家應當在開發過程中必須考量的重點,藉由對於材質的透徹了解才能近一步的設計製作工法,如此才能在材質與製造雙贏的基礎下呈現作品最極致的美。

 

 

Q :是什麼樣的契機促使你在產品設計與工藝設計這兩種不同面向產業中轉變,又因為什麼機緣而自己創業?

A:讀大學的時候念工藝並不流行,我們系上也有工業設計老師專門發展這個方向,但當時覺得工藝是很傳統且過時的東西並不會想去接觸它。

以前看到師傅做的手工藝作品我都不喜歡並且覺得俗氣,但是後來跟著師傅一起工作看著作品從開始到完成的過程,才發現其實這些東西在製作的某個階段是很好看的,從這中間也發現很多很有趣的地方,那時候我才開始對手工感興趣。

 

 

休學後當替代役的期間,我四處找師傅學習也自己找方法將一些製作脈絡理清楚,運用這些手法來做自己喜歡的東西。慢慢的拍了一些照片將他們放在網路上,起初並沒有想靠這個來生活,後來開始有人詢問想買我的東西,我才開始意識到原來我做的這些東西是有人會喜歡的。

因緣際會下參加了W Hotel在曼谷的商展,展期間,有人詢問作品的價格、最小起訂量以及稅金等問題,我才知道是可以多做一點作品來做販售。

 

 

退伍後,因為想再去一次曼谷的商展所以跟未來的主管協調晚點入職,主管雖然拒絕了,但他認真的分析在公司上班與創業的利弊,他說我在公司裡和他們一起做設計會發展得不錯,而自己創業雖然一開始會比較辛苦,但覺得我也可以發展得很好,取決於我自己現階段想要的是什麼樣的生活,他希望我不是因為不能生活而去上班而是真心喜歡這間公司才加入他們,我後來認真思索後就沒去了。

 

 

Q:大量生產與手工製造兩種相異的製成方式,在製作時有哪些限制或心境的不同?

A:大量生產常常需要專業工具與設備,嘗試的門檻高,而手工是在沒有太多資源的情況下就能夠開始的,製作過程自在沒有壓力。

大量生產很多都是由工廠專業端去協助製作,製造過程可能有一個既定且長久的規範,例如:模具要埋在什麼樣的機具裡、電鍍時有哪些規定,限制比較多一點,但在限制中也產生很多的可能性。

而手工的限制比較不一樣,從設計到製造過程都是要由我去思考,需要安排與規劃讓它能夠在短時間內保持品質穩定、良率高的基礎下複製,一樣是手工製作,但是用聰明的製造方法,而不是像打樣一個一個雕出來。

 

 

手工製作使用的材料相較大量生產是很便宜的,所以在嘗試的過程中比較不用擔心材料耗損的問題,這也是我們選用這些材料的原因之一,也使我們在開發與嘗試的過程比較自在。所以大量生產與手工製造這兩種製作方式會有製作限制與材料考量的不同。

 

 

Q:運用巧思讓竹藝技法不被機器取代,追求手工製造仍可保持優良品質,這樣的製作過程想必是需要經過多重的嘗試與測驗,除了自己本身豐富的經驗與熟練的技巧外,在和工藝老前輩探討解法的同時,有什麼有趣的事件或是意外的收穫?

A:目前只有取材的時候和師傅學習,大部分是在工作室打樣後把設計方式完成,製造的部分會委託給合作的製作團隊,除非是比較複雜的製作方法才由我們的團隊自己執行。

早期的時候,我有初步的設計想請師傅打樣,會被師傅糾正這樣的構想在製作上是行不通的,當收到這樣的訊息時我就開始思考這樣真的不行嗎?而師傅也說不明白不可行的原因,這樣就會形成一個未知的狀態。所以後來我就開始自己打樣或許成品不是很好看,但至少在和師傅討論的同時可以告訴他這樣的製作方式是可行的。

 

 

我認為有些嘗試性的過程也應該要放在設計開發的階段,而不是我們畫了一張很美的圖面就丟出去給師傅。因此後來我在檢視手工物件的同時,也會觀察這個設計者是不是有考慮到材料與製造過程的精彩結合,而不是畫一張美美的圖就丟給手工藝師傅去製作。

 

 

Q:創作時,材料的質地、色彩及特性都是製作過程中需要考量並納入設計的重點要件,同時透過「筆」將設計的雛形記錄下來,能不能分享你對於創作時的選筆,有什麼樣的偏好與要求呢(材質、色彩、重量)?

A:創作時會需要三種不同顏色的自動筆,能在筆記上做出觀看與思考的層次,此外,這些筆還要可以買到替換的筆芯並且在外觀上能辨識顏色。

 

 

Q:平常包袋裡會有的物件有哪些?

A:錢包、鑰匙、鉛筆盒、眼鏡、耳機。

 

 

Q:開箱使用Pen C mini後,讓你深刻的部分是什麼?

A:現在常見的原子筆設計都著重在減輕筆身的重量,讓人們用起來覺得輕巧;但PenC mini不一樣,他有一定的重量卻不會造成使用的困擾,而這樣的重量感受是平常使用筆的經驗中比較少見的。

PenC mini的重量感給人一種它是在重要場合或是比較嚴肅且正式的時候才會拿出來的筆,很適合用來簽寫重要資料。

 

 

另外,我有試過使用PenC mini畫圖,發現運用手肘保持不動運轉手腕的畫圖模式繪製圓形或是橢圓時,PenC mini非常的穩定,而且用它來畫快速手繪的感覺也比重量輕的筆來得好用!

 

 

 PenC mini 的筆身中間有一條中空挖洞,可以清楚看見筆芯的顏色,這樣的設計巧思還不錯,因為平時使用的筆芯本身是便宜的塑膠管,外觀不是很好看,但裝進PenC mini之後只露出一點點就可以辨識筆芯的顏色,雖是一個很細的細節但貼心。

 

 

Q:如果Pen C mini是一個人,你會如何形容他/她?

 A:以星座來說PenC mini很像做了很多事情卻不想被發現的悶騷處女座,表現得很隨性短時間內會以為只是一種個人氣息,但長期觀察後會發現這個人很多小事情不會講出來但其實他有很多的眉角,例如:出門時看起來穿著很隨性,他身上卻有各種小細節像是襯衫有燙過、皮鞋有擦過,一切比例都整整齊齊的,而他又很想假裝很隨性,但這些隨性其實都是努力做出來的。

如果用一個人來形容PenC mini的話,我覺得應該是像金剛戰士(Go go power ranger )裡面的黑戰士,他的性格比較偏理工人,當大家都要向前衝的時候,他會先幫大家規劃判斷局勢,若是有機會才會出發向前。

 

 

 

 

 

 

專題人物  / 范承宗

instagram

採訪 / Ya Wen Chou / Yen Tzu Liu

編輯  / Yen Tzu Liu

攝影  / Cheng Tsung Feng

 

Pen C mini—創作者對話 shihyang changchien / 張簡士揚

Sorry, this entry is only available in 中文. For the sake of viewer convenience, the content is shown below in the alternative language. You may click the link to switch the active language.

 

熱鬧的大稻埕商圈紅瓦屋灰磚道,『 只是ZISHI 』的神秘工作室就位於商店街上的皮鞋店後方,走進店內穿過陽光灑落的展間走廊,迎接我們的是帶著靦腆笑容的張簡士揚。

 

 

說到『 只是ZISHI 』大家不陌生的是它風格明確的品牌形象,濃濃的東方意象及傳統文化的意涵,老物新作是品牌發展的起源。無論是在自己商品或是合作品牌的形象營造,幽默風趣卻又不失分寸,張簡總能帶起一股風潮與話題。

透過品牌的特性與融合,我們能在張簡的作品中看見舊器物的新意象以及新事物的老靈魂,也能發現人們對於傳統文化展現的方式有更大的通容性與包容心。

 

 

Q :由商科、產品設計再到IP產業,除了喜愛繪畫的本質,是什麼促成你多方轉換身份去執行創作並建立品牌的方向?

A:要從我當學生即將畢業的時候講起,剛從產品設計系畢業設計產品大家都很強,當時的我就在思考自己的立足點,而我有一個和別人不一樣的地方就是我很喜歡畫畫,也畫得不錯,就開始想有什麼東西可以把圖像繪畫跟產品設計這兩個東西做結合。

 

 

想了又想,因為不想讓我的東西做出來以後是一個藝術品或是很難被購入的商品,希望以大家常用的東西做為出發點,所以我就開始研究生活中有沒有這樣的物件。後來發現了『 瓷器 』,他既是產品設計又兼具圖像繪畫的內涵,所以我就從這個角度去切入。

 開始深入研究陶瓷繪畫以後了解需要畫些什麼,市面上有很多陶瓷繪畫的東西,而我選擇『 青花 』這個載體,他不但富有東方文化的內涵,而簡單的顏色跟現代生活也比較有關係,因為現代生活顏色比較單一,不像過去需要五彩繽紛的色彩。

 

 

想以簡單素雅、耐看耐用這些方向為主所以才選擇『 青花 』。

 

 

Q:仔細觀察瓷器作品後,撇除上面的圖像繪畫,發現作品的外觀其實滿常見且復古的,是否曾經想過自己開發新的造型或更現代的樣式?

A:一開始我當然也希望設計自己的物件生產自己的造型,但後來跑去工廠實際考察後,發現工廠角落有很多不要的模具,我就想如果我再生產一個東西出來而我並不確定他到底好不好賣,會不會第一次打樣生產出來它就被閒置了,最後一樣被丟在工廠的角落裡。 

我就開始思考,是不是可以在這些模具裡尋找生產的靈感或是物件,因為那些不要的模具都是以前曾經被大量生產過又很紅的樣式,只是現在大家覺得形狀不好看或是覺得有點老氣,所以就不再使用了。如果我可以把它重新拿過來生產,然後我們在上面賦予不同圖像讓他有新的靈魂,或許也是一個不錯的方式。

 後來轉做Branding的服務案其實和這樣的概念蠻相近的,有些可能以前也是老品牌他想將它翻新,用過去品牌擁有的故事性再去賦予它新的設計或生命。 

 

 

Q:在你的作品及品牌的LOGO上,都能看見老虎的意象在其中,是因為老虎對你而言有什麼特別的含意嗎?

A:小時候第一次看到人家做壁畫就是在畫一些神象、老虎,以前在我們大寮的村子裡有一間土地公廟,裡面就有一隻很大隻的黑色虎爺,因為土地公的坐騎有些是老虎。

『 老虎 』比較親民,不像龍在天上飛比較有距離感,牠跟民間的故事也都有一些關連性。

 

 

Q:你的作品中有許多幽默詮釋東方文化的成份,與不同品牌合作的過程中,有沒有因此遇過什麼創作上的限制,又是如何打破限制成就每一次反應熱烈的成果?

A:在圖像方面其實沒有特別的限制反而會有一些設定,比如有些廠商想要人物穿古裝、有些想要穿現代服飾。

我們風格明確,客人選擇我們之前也都蠻了解我們的品牌特色,所以沒有給太大的限制,會來選擇『 只是ZISHI 』代表他們之前都已經清楚的了解過我們。

 

 

Q:在跨足產品、服飾配件、裝置、空間等品牌企劃後,有沒有哪些產業是你想碰觸卻還沒有機會接觸的?

A:其實蠻多的像化妝品、運動用品或是滑板用品(笑)。其中最想要的是滑板用品,我本身喜歡這樣的極限運動:滑板或是騎腳踏車,滑板它有著年輕和潮流象徵,所以一直蠻想要畫滑板,最好是有品牌的聯名,可以出限量版的產品。

 

 

Q:平時在執行創作時習慣用什麼樣的筆?對「慣用筆」有什麼樣的特質與功能的需求?

 A:我喜歡順的、筆頭有一點出水量讓線條可以有粗細變化的感覺,比較常用毛筆,像這款毛筆就可以讓線條自然的粗細粗細變化。

 

 

Q:平常包袋裡會有的物件有哪些?

A:錢包、鑰匙、筆記本、筆袋、ipad

 

 

Q:開箱使用PenC mini 後有什麼特別的感受?

A:我覺得工具控一定會超愛,很喜歡這種把手工具的夾具轉化應用到筆上的巧思,這樣一來就真得只要這支筆,接下來你不論你現在的心情是想要用水性鋼珠筆還是油性原子筆都只可以隨心所欲地更換筆芯,根本可以得諾貝爾獎了。

 

 

Q:如果用一位傳說故事中的人物或是動物去描繪「PenC mini」你會選擇什麼去詮釋它的特色呢?

A:看到 PenC mini 第一個想法是它很像山海經裡的何羅魚,這種魚它只有一個頭,卻有十個身體,哈哈哈。

 

 

張簡與夫人歐子。

 

 

 

 

專題人物  / 張簡士揚

instagram

採訪 / Ya Wen Chou

編輯  / Yen Tzu Liu

攝影  / Yen Chen Chang / Tan Kok Keong

 

Pen C mini—Content creator : Marco-Tsai

 

From creative director at an advertising agency to magazine art editor, and now as a design brands’ director. Marco Tsai has well utilized and applied his profound sense of styling into every bit of his daily routine and slowly infuses into his reader and followers’ life. 

 

 

Whether it’s the commercial projects, branding strategies, lifestyle presenting or even his Instagram account, Marco has always kept his vivid identity and the eye of an artist. These are not innate talents but from years of training in the creative industry. 

Apart from his role as a design director, Marco is also interested in photography, collectables of men’s accessories, and he has his point of view towards men wear and styling. From this interview, we would like to find out how Marco projects his full range of interest on to his work and his style.

 

 

Q: From advertising agency to branding company and one of the most iconic boutique stationery shop in Taiwan. They differ from business structure and strategy, but one thing in common – You’ve always worked as a designer. Were there any significant influences on you as a designer during these business transformations? Or were there any things in common among these jobs?

A: During my early years of working as an art editor, I was mainly dealing with a tremendous amount of graphic and wiring tasks, and I think this has become my foundation as a graphic designer. Speaking of so -I think all graphic designer should try a job as an art editor if one has the chance. It could help and train the logic of handling complex content from various perspectives. It will elevate the abilities to deliver appropriate copywriting, and visual design through the vast amount of the given practice from work.

On the other hand, – Branding requires a focus and consistency concept image. A brand can self sustain without any advertisement as long as it has the right products and a clear branding image. Some brands spend tons of money annually on advertising, whereas some spend almost little to none and still attracts people or press. The key is to build up a unique and robust brand content that differentiates one with others.  

 

 

However, advertising is only one of the factor when it comes to branding. After I started my brand, merchandise, and store, I realized that there are many things in detail that I’ve never encountered, such as promoting sales, dealing with customer and managing stocks. As I’ve started doing these myself, I get to obtain some key insights. It helped me with better understanding and relate to my client’s need when I’m designing their webpage, advertisement strategy, and brand. I would always suggest and aim for a marathon instead of a short term boost when it comes down to brand managing. A good advertisement is not necessarily to be the one that sold out all the products in the short run, but the one that directs the brand to its’ correct audience so that the brand can go deep and far.

 

 

Q: Among all the possible options for building up a unique lifestyle brand – Why a stationery shop?

A: We’ve always started from self-interest or the passionate love for some objects. Take stationery store – TOOLS to LIVEBY and tearoom – Liquide Ambré are the examples of my wife – Karens’ interests. The club – Staff Only Club originated from the passion of my business partner. 

As a designer, I’m solely interested in branding and graphic design, and I would devote myself in building up the business no matter what kind, as long as my partners trust me and give me the space to express my creativity. I’ve designed some of the packaging and products for the stationery store, and many other collaborating clients’ logo and packaging as well. 

 

 

Q: What do you have on your workspace desktop? What is the most frequently used tool?

A: My graphic drawing tablets, sketchbook, and my pens for drawing. They are needle-tip pen, rollerball pen, and my most frequently used pen are needle tip marker from SAKURA Pigma MICRON. They come with various tip width, and I am writing the widest one. They are not expensive and performs exceptionally well. 

 

 

Q: Besides fashion and styling, photography is one of your interest. Would you dress up in a typical style only to match the theme you plan to shoot? What are the things you shoot most frequently?

A: Sure, I would dress up accordingly to the place we’re visiting and the theme we plan to shoot. I knew we have an interview. Therefore, besides dressing up, I’ve also displayed my studio for your photography team; they are all part of the curation. 

Speak of photo shooting. I’ve been obsessed with it since I was still a student. Back then, I mainly shoot models that I made. Like it, for now, they are mostly images for our branding, lifestyle and our products. I handled most of the branding image for TOOLS to LIVEBY and Liquide Ambré. If we went on for travelling, I’m usually the one who takes care of photo-shooting for everyone. To me, photography has become a channel for me to express my creativity. 

 

 

Q: Tell us about your collections, and what are the things that you usually carried with you in your bag?

A: I have an array of collections of vintage clothing, watches, glasses, cameras, magazines, and I’m also interested in some of the sculptures and furniture from the 50s and 60s. These are not only collections but also things I would use. I drive in vintage cars, the glasses I have here were found during my travels in France, the U.K, Japan, and the U.S. Sometime I’ll have to restore them before they can be worn, like this watch. 

 

 

Q: Due to your professional practice and business at TOOLS to LIVEBY, we believe you’ve had the chance to try out different pens. After using PenC mini for the awhile, what are your thoughts?

A: Usually pens are made in plastic or wood. However, PenC mini has a metal, sandblasted texture to it, and It is not commonly seen in pens. Size-wise, I would prefer the PenC classic, mini is more suitable for daily carry. 

 

 

Q: What kind of refill will you use with PenC mini

A: I would have a rollerball type of refill. It’s has a plentiful of ink, and it’s easier to control when drawing.

 

Q: If using PenC mini as one of your inspiration for clothing style, what will you recommend? 

A: I think people like architects will like this pen. Design-wise, it feels highly engineered, and people with logical or structural thinking will love this pen.

 

 

 

 

 

GUEST  / Marco Tsai

cofounder of –

stationery store – TOOLS to LIVEBY

tearoom – Liquide Ambré

club – Staff Only Club

 

instagram

HOST / Ya-Wen Chou

EDITING  / Yen-Tzu Liu

PHOTOGRAPHY  / Yun Cheng

 

Pen C mini—創作者對話Haihao Wen/溫海豪

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溫海豪,產品設計背景同時也是Fyber Forma合夥創辦人之一。工作與生活間拿捏的平衡恰到好處,私下的他熱愛旅行、美食,熱衷於左手臂刺青。

以品牌負責人的角度來看生活與創意,除了著重品味、獨特性之外,同時也重視實用面向。透過此次訪問,海豪與我們分享了他的工作型態與生活樣貌,透過「筆」記錄工作、點綴生活。

在朋友眼裡的海豪,雖然外表看起來帥氣冷酷,但其實是個悶騷活潑的人,喜歡旅行、露營,像個大男孩一樣和朋友一起瘋一起玩;而生性溫和的他有一個可愛的女兒,從他看著女兒的眼神裡能夠看出他溫柔敦厚的性格,完全和外表與左手刺青呈現的距離感形象截然不同。

說到刺青,其實小時候的他是個中規中矩的孩子,長大後因為某些機緣開始愛上了左手刺青,因此讓他帥氣外型更添一些霸氣。

在工作上,海豪需要與廠商及銷售通路接觸,透過出眾的溝通能力,使得品牌在運營上如魚得水,由台灣一路發展到國外市場,讓Fyber Forma 成為家喻戶曉的包袋服飾品牌,在小眾市場殺出一片血路。

 

Q:身為品牌合夥創辦人,你主要負責哪一個部分?

A:我主要負責公司帳務、業務以及廠務等,簡單來講就是除了設計與行銷之外,大部分都是由我來負責。

 

 

Q:在創業後你在哪些面向的思維有明顯的變化?

A:創業前都覺得有一個好設計就能成功,把所有心力都投入創意發想與設計上。但創業後發現,好設計只是基本,僅佔了品牌營運的30%左右,行銷是最吃重的工作項目至少有50%,剩下的20%則是時間與成本控管。

設計師對於設計出來的商品絕對不會100%滿意,永遠都修改不完,但一定要在時間內完成當下可接受的外觀,並在成本內做出可接受的品質,未來再慢慢改良與進步。

 

 

 

Q:工作中你的必備物件是什麼?

A:筆電是最常用的,對於一天要喝兩杯茶的我,一個好水杯也是很重要的。另外特愛收集小物、轉蛋跟奇奇怪怪擺設品,所以好的置物盤是辦公桌上的療癒空間,目前置物器皿是使用蛋造及岸頭的商品,最後則是一隻好寫好用的筆。

雖然已經很少在畫圖設計了,但文書作業、開發票等等的事情非常多,離開電腦的短暫時光,用一支好筆完成一件事情是很重要的呼吸空間。

 

 

Q:外出時除了隨身攜帶自家Fyber Forma的包包,還有哪些是你必備的東西呢?

A:手機、鑰匙、錢包、菸還有口香錠、衛生紙以及記事本與筆。

 

 

Q:開箱使用Pen C mini後,讓你印象最深刻的部分是什麼?

A:除了扎實的手感,多角度的切線讓握感提升外。最喜歡的就是適用於市面80%以上筆芯的筆槽設計,方便套用每個人所習慣使用的不同筆芯。而簍空的筆桿可以清楚看到水量多寡,也是金屬筆少有貼心的設計。

 

Q:如果Pen C mini是一個人,你會如何形容他/她?

A:應該會是一個貼心的英倫紳士,外觀西裝筆挺,穩重卻在細節處展現細心與溫柔。

 

 

專題人物 / 溫 海豪

instagram

email

 

Pen C mini—Content creator : Yen-An Chen

I’ve been knowing Yen-An for over ten years now. We were classmates back in college, and we’ve even flown to the UK on the same flight together for our master program. After finishing our degree – I choose to temporary stay in the UK to work as an in-house product designer. However, Yan-An left for Holland to continued on his journey of self-exploration. As to how I remembered, Yen-An has always kept his vivid and creative personality and hobbies. Although they may have swift from time to time, they all seem to be traceable in some sort similarities. Over the years, We’ve met up in various of timing: during school, travelling, exhibitions or at work, and we’d shared creative ideas of our latest project or any exciting things. 

 

Yen-An, Chen is an Industrial designer/soldering iron artist/photographer and a hand-poke tattoo artist. While being multidisciplinary in his practice – he is also an antique collector and a woodwork hobbyist. Yen-An had even hand-carved his tattoo tools from his scavenged timber collection. Despite his wide variety of professional practice, his passion for art and drawing remains the same throughout these years. He documents every bit of life with his camera and pen. 

 

Q: While working as an Industrial designer, you are rational and precious. However, while working as a photographer, you are much more sensitive. How do you swift from many different roles?

A: I like to learn new skills and especially exciting things. My first attempted for filming making was the video that I made for my design brand. 

I noticed that while I was working as a designer on my brand, there were very few interactions among us and other similar brands. However, when I start filming for others, they were much more willing to share their stories with me. After I started doing tattoos, my clients would share much deeper or private things with me due to the trust they had in me. I appreciate addition value of what my job brought me and the idea of changing the perspective on how we look at a thing from a different point of views.

I benefit from encountering different people and broaden my views through their exciting stories. I took that as my advantage when looking at my job tasks. Take film making as an example – I know how important it is to present a product from its core value, but somethings being too rational could be a bit boring. I would spice up the content with some inspirations that I’ve obtained while meeting different people. I would try to have the right mix of rational and sentimental according to whom I’m telling the story. 

 

 

Q: Tell us a bit more about your woodwork and collection, or the hand-poke tattoos. You’ve made your own tools, don’t you? How did you start doing this from zero?

A: I started from filming for a tattoo artist, and after completing 2 videos for him. I can’t help myself to ask and try for myself. He taught me the basic techniques of how to handle the needle, and also he explained along while showing the skills by re-tattooing on my old tattoos. I quickly turned to google and bought a set of tools and start practising on artificial skin. However, the material feels unrealistic, and I soon got bored with it, and finally, I had my first try on a human body. Of course, I was my first client. During that time, a lot of friends came for tattoos, and I posted my works on my Instagram, and eventually, I had about 70 to 80 tattoo works within six months. I was lucky and surprised when I was invited from a Taiwan-based tattoo studio to attend their pop-up event as a tattoo artist when I travelled back to Taiwan.

Besides tattooing, I have been continually working on wood soldering iron art and sketching animal specimen or anatomy since 2012. I’ve volunteered at the Holland National archaeology museum to draw for their academic research and specimen collection in 2015. The vast amount of drawing or sketch practice had much supported my technique in tattooing, and I felt proficient with the similar concept of drawing with a pen-like tool.  

 

Q: You’ve been travelling around the world a lot and work as different professions. Is there anything that’s a “must” or you would take with you during travel? 

A: A camera, a pen, and a folding knife.

I’ve gone on road trips in the U.S in 2017 and 2018, and they were both for one and a half month long. We drove from north to south and east to west. Those trip changed me a lot, and I’ve learned not to be too attached to the materialized world. I tried to have my lifestyle as free and as minimal as possible. I usually carry a small folding knife when we went on camping, and I would have my camera to document inspiring things and a pen to write them down.

 

Q: Since a pen is such a key role in all of your practices or professions. Anything particular traits that you would expect from a good pen?

A: I like a pen with a decent weight, and I use a lot of fine liners. For example, I use the needle tip pen for most of my sketch and detail drawings. But most importantly, a good pen should look good.

 

 

Q: After using PenC mini for a while, what are your thoughts?

A: As a product designer, too. I would expect a product to have some surprising details, and I like the PenC mini’s magnetic cap. The click sound when capping the lip is so satisfying that I can’t help playing and fidgeting with it. The weight is decent and balanced, and the edgy profile is excellent for stabling the pen on the tabletop. The overall size is also compact for travel carry. 

 

Q: If PenC mini were a person, how would you describe him/her?

A: A very refined, organized, rational, and good liking person. As a pen used daily – I like how the coating one the edge gradually worn-out, and the pen become something unique and personal. 

 

 

GUEST / Yen-An, Chen

Instagram

email

 

HOST / Yen

Designer and co-founder at ANTOU and Yenchenyawen. Passionate about design, gaming, aliens and UFOs.

產品設計實習 – Felix 心得

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Felix / 產品設計師

在正式進入職場前,決定把握這短暫的幾個月最後給自己衝刺,利用實習機會充實自己,享受還能犯錯學習的機會(誤)。

在正式實習前就有先和岸頭負責人聊過,溝通品牌定位,公司接下來的計劃和需要的能力,藉此也了解到自己能從實習過程獲得什麼。剛上任的第一天就有明確的工作劃分和目標,主要從事新品項設計開發的工作,和同事共同朝今年的幾個計劃前進。和學生時期不相同的是在開發產品的過程,有很多商業因素和量產難度上需要考量,新品項能不能賣錢,價格怎麼定才能被買家所接受,品牌框架下的產品調性的限制,這些種種都是商品上架前會被挑戰的地方。

雖然這段期間開發的品項胎死腹中,可惜,深刻感受自己對市場接受度的不敏銳,也體會到開發成本居高不下無奈的事實。但過程中的學習扎實,撇開設計以外,了解非常多很重要的觀念:加工的know-how,開發成本估價,販售通路要怎麼算等等的,甚至有機會參與企劃的項目。很多時候要自己主動參與,找方法實踐,頻繁的討論再檢討,最後產出成果。

感謝這段時間老闆的幫助和教導,讓我在短短兩個月的訓練開啟新的技能點,很高興認識這段時間一起奮鬥的大家。

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pan c mini Q&A

Pen C mini Q&A

Sorry, this entry is only available in 中文. For the sake of viewer convenience, the content is shown below in the alternative language. You may click the link to switch the active language.

Q:新款Pen C mini是在哪製造呢?

A:台灣製造&採用高規格精密製程

ANTOU岸頭所有產品均為台灣生產與製造 ,品牌的目標是生產耐用、多功能的產品。為了讓Pen C mini完全達成,因此我們從設計到製造的階段就確定採用能持久、徹底低耗損,夠陪伴使用者歷經長期使用考驗的6016航太用鋁合金,其材質特性質量輕、具有良好的高強度延展性,常見使用在飛機結構,例如機身、機翼。

製造上我們採用3C產業與醫療器材精密加工的CNC方式,一支筆的製作完全以高規格機械製造手法來實踐。

Pen C mini製造,零件

Q:什麼是筆頭零搖晃?這很重要嗎?

A:零搖晃讓字跡更加工整,減輕手腕掌根施力。

市面上常見的筆都會有筆芯與筆頭邊緣縫隙的問題,這些縫隙看似小但在書寫過程卻容易產生搖晃,導致字跡難以工整。

為了優化書寫的體驗,團隊設計師花了一段時間試驗與調查市面多數筆芯/筆頭寬度,因此設計出特殊的筆頭尖爪結構在Pen C mini上,這樣的筆頭結構能夠緊密包覆市面絕大多數筆芯之外,同時也優化了書寫穩定性,因此Pen C mini能夠完全達到緊密貼合零搖晃。

Pen C mini書寫穩定

Q:Pen C mini新款包裝盒是什麼樣子呢?

A:Pen C mini使用鋁合金質感收納盒

ANTOU岸頭所有筆類產品的外裝盒,我們採用了與筆本身一致性的鋁合金 材質,表面附有品牌Logo雷射彫刻,收納盒整體質感內斂簡約。堅固且輕盈的外盒特性加上Pen C mini的小巧外型,使得收納盒更為精緻。除了用來包裝外,盒子還可以這麼使用:

1.用來收藏你心愛的筆

2.也可用來收納未使用的筆芯

Pen C mini金屬包裝盒

Q:Pen C mini換筆芯時,組裝零件會不會很複雜?

A:換置筆芯過程只需拆裝1個零件

Pen C mini換芯過程除了將筆蓋卸下之外,只需拆卸夾頭即可更換筆芯,以爪形夾頭設計取代彈簧,用來穩固筆頭讓筆尖更加服貼,因此不會有書寫晃動問題。外型與內在表裡如一,線條簡約、使用簡單、拆裝便捷好上手。

Pen C mini換筆芯

Q:Pen C mini的筆寬?書寫手感?好想親身體驗啊!

A:將籌備產品試寫體驗會 

問卷調查裡收到了不少朋友們的詢問:「想知道筆桿寬度?是否好握?」、「希望能試寫,才知道書寫的手感。」、「筆身多角邊形設計,實際書寫時手會更好固定還是會卡卡的?」大家熱情的提問我們都收到了!

為了滿足填問卷朋友們的好奇心,ANTOU團隊起了一個念頭,確定計畫在5月中旬時間舉辦產品試寫活動,除了能夠讓有興趣的朋友們能夠體驗實際書寫感受,還可以在活動現場在第一時間回應大家的疑問。歡迎好奇的朋友們來一探究竟吧!請持續關注ANTOU,我們會在確定時間與地點時在臉書粉專公告詳情。

Pen C mini輕盈筆體驗

Q:Pen C mini能使用哪種粗細的筆芯呢?

A:粗細不是問題,PenC mini各種粗細都能相容相通!

市面上常見筆芯粗細尺寸有0.3mm / 0.4mm / 0.5mm / 1.0mm 四種尺寸,筆芯的類型又分成膠墨中性筆、⽔性鋼珠筆、油性鋼珠筆、針芯筆/代針筆。無論是那種筆芯尺寸、類型,Pen C mini都能相容喔!筆尖粗細基本上是不影響,但由於Pen C mini小巧的外型關係,因此只需注意墨水管的長度稍作修剪即可。

Pen c mini 各種粗細筆芯

Q:Pen C mini筆看來有點偏粗耶?會不會不太好掌握呢?

A:適當粗細運筆時指頭的施力更好掌握

一支筆好不好握寫、操控,除了筆芯之外其造成影響的因素還包括筆桿的「形狀」和「粗細」兩點。大致上來說,適當粗度的筆桿會比細筆桿還要好抓握,原因是因為當書寫的手指頭接觸面積大,在操作運筆時指頭的施力按壓點能更好掌握。

市面上的款式筆類百百種,相信大家都接觸了不少,但如果您仔細的感受體會,應該是不難發現越細的筆桿寫字其實容易手酸,甚至較不好運筆。以Pad平板類電腦舉例,早些年的設計造型偏細的Pad筆,發展到近幾年都開始變得較粗了,這是因為細細的筆桿對於使用者來說是真實的反應出較難寫的端正且稍顯費力。

Pen C mini的筆桿屬於適中的粗度,也因筆桿是6016航太用鋁合金材質,筆握在手上可以明顯感受到它的質地,書寫體驗絕對不讓您失望。

pen c mini粗細

Q:「筆」在市面上有許多選擇,50元就可以購得一支筆,為何要選購千元單價的Pen C mini呢?

A:職人精神 淬煉商品

ANTOU品牌團隊以專業設計、用心製造的態度感到自豪,從2017年起推出經典模型Pen C經過時間淬煉,三年過後更精進優化的推出Pen C mini,產品除了更加貼近使用者的需求,品牌以嚴謹的精神投入其中,打造出可延續性使用同時擁有科技精品質感的筆。

A:你的風格 自己定義

試著想想那些令你欣賞的朋友、同事、指標性的人物,從他們身上你是否看出了是什麼關鍵點使你如此心之嚮往?無論是內在或外在,其中最為之關鍵的一點就是「第一眼印象」。 第一眼就展開好印象的人,不但可以縮短交際距離,還可以替你在眾多人之中突顯出與眾不同。印象可以從一個人的舉手投足、使用的東西、穿著的風格開始塑造。用單品塑造個人風格,不僅僅可得到他人關注、美言幾句或搭話,更可以成就自己外在的品味與內在的精緻。

懂選一支筆,每個細節Pen C mini都有設計的堅持。 懂挑一支筆,證明你重視自己,清楚明白你所合適的。

Pen C mini價值感

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