{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/2015-takeo-paper-show-subtle#article","isPartOf":{"@id":"https://trouver.art/2015-takeo-paper-show-subtle"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"2015 Takeo Paper Show – Subtle","datePublished":"2023-08-23T13:51:10+00:00","dateModified":"2026-01-01T16:48:14+00:00","mainEntityOfPage":{"@id":"https://trouver.art/2015-takeo-paper-show-subtle"},"wordCount":635,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/2015-takeo-paper-show-subtle#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/07/20150513-ACE_8665-scaled.jpg","keywords":["Design","FinePaper","GraphicDesign","SUBTLE","TAKEO","TakeoPaperShow","trouver","TROUVER art","展覽"],"articleSection":["All","Japan","Journal"],"inLanguage":"zh-TW","description":"中文/English/日本語\n\n\n\n紙的展覽 Subtle ——2015 Takeo Paper Show 再思\n\n\n\n我依稀還記得，展覽的入口空無一物，只有極淡的指引與微光。觀者的腳步緩慢，呼吸深而細長，彷彿空間本身也鼓勵我們暫停紛雜，僅以最素淨的精神進入紙的空間。日本美學將「空」視為設計的起點，不是填滿，而是有意識地留下未盡之處。紙，在這裡，被視為訊息與空間之間的一抹柔光，既是容器，也是界線，介於物與無、明與暗之間的細語。\n\n\n\n紙，一直被認為是最平凡的材料。然而在展覽中，每一件作品都像一層窗，允許觀者慢慢地駐足、凝視，甚至在細節裡迷失。沒有繁複的裝飾，沒有多餘的詮釋。紙本身就是最好的表演者。\n\n\n\n設計師與藝術家僅僅在紙的邊緣加上一點推手，便足以引發觀者對「細微」的無限想像。這種極簡，並非刪減至枯竭，而是邀請人們參與創造：當「少」拉開空間，人與物之間的關係反而因此變得親密。\n\n\n\n現場的紙花、光影、裝置，不再是為了物質形態而存在，而是化為一個個靈巧的訊號——在光影與空隙之中，喚醒沉睡已久的感官。單以眼睛觀賞，就能感受細緻的觸感、柔和的層次、靜物的形變、甚至那幾乎不可見的纖維流動，都引發著日常經驗的陌生化。\n\n\n\n「將已知的事物陌生化，才有可能真正了解它。」紙張的存在感，正是在這一層層觀察、體驗下被慢慢放大與重新定義。\n\n\n\n極簡也不是單純的「去」。真正的極簡，是讓紙在最不經意的時刻，成為空間中的主角與引子。就像日本建築中，榻榻米的邊與角、拉門上的和紙，在「空」與「有」之間劃分出節奏與呼吸。\n\n\n\n紙作為隔扇與牆的結界——若有似無地調節著日常生活的明暗、溫度與柔和的情感流動。這種「界線的設計」，其實是存而不論的沈默哲學：通過最細微的安排，讓人「不自覺地」與材質產生連結，產生屬於自身的解釋和遐想。\n\n\n\n設計，不再僅僅是形式與功能的妥協。而是將物與思想、歷史和現代、內外邊界，編織在一紙之間。設計，也是透過對物質的創造來解釋生活和生存的意義及願望的過程。\n\n\n\n紙的存在，喚起的是連結——人與人、人與自然、人與某個過去的自己。在這樣的展覽空間裡，紙張像一面鏡，收納眾人的思緒，有時柔軟，有時堅實。最終讓我們發現，設計所需的不是更多喧囂的資訊，而是一種帶有餘白的寧靜；不是追逐時代浪潮的熱鬧，而是回歸細部，重新發現日常中那些被忽略的細微訊息。\n\n\n\n走出展館，光線逐漸轉明，每個人或許都拿著一張張看似微不足道的白紙樣品。但正是這一抹微光，喚醒了我們再次關注日常生活中細微處蘊含的驚奇。\n\n\n\n設計也許就是如此：用極小、極靜的方式，將世界連接起來，為未來預留溫和的解釋與想像空間。\n\n\n\nEnglish Ver.：\n\n\n\nSubtle: Rethinking Paper—2015 Takeo Paper Show\n\n\n\nThe entrance to the exhibition was empty—just a faint guide and a hint of light. Visitors slowed their steps, breathing deep and slow, as if the space itself encouraged us to pause and let go of the noise, to step into the world of paper with the purest mindset. In Japanese aesthetics, \"emptiness\" is the starting point of design—not about filling, but about intentionally leaving parts unfinished. Here, paper becomes a soft glow between message and space; it's both a vessel and a boundary, quietly whispering between presence and absence, light and shadow.\n\n\n\nPaper has always been seen as the most ordinary material. Yet in the exhibition, every piece was like a layer of window, inviting viewers to stop, gaze, and even lose themselves in the details. No complicated decorations, no extra explanations—paper itself was the best performer.\n\n\n\nDesigners and artists only nudged the edges of paper a little, and that was enough to spark visitors' infinite imagination about subtlety. This minimalism wasn’t about stripping things away to nothing; rather, it invited people to join in the act of creation. When “less” opens up space, the relationship between people and objects becomes closer.\n\n\n\nThe paper flowers, the interplay of light and shadow, and the installations at the site weren’t just about material shape anymore—they turned into clever signals. In that interplay of light and space, dormant senses were awakened. Just by looking, you could feel delicate textures, soft layers, the transformation of still objects, even the barely visible movement of fibers—prompting you to see everyday life with new eyes.\n\n\n\n“To make the familiar strange is often the only way to truly understand it.” The presence of paper was amplified and redefined through layer upon layer of observation and experience.\n\n\n\nMinimalism isn’t just about getting rid of things. True minimalism is when paper naturally becomes the lead actor and the bridge in a space, often when you least expect it. Just like in Japanese architecture, where the edges and corners of tatami, or the washi paper on sliding doors, create rhythm and breathing room between emptiness and fullness. As partitions and boundaries, paper subtly guides the brightness, warmth, and gentle emotional flows of daily life. This “design of boundaries” is actually a philosophy of silent presence: with the subtlest touches, it lets us connect to the material on an unconscious level, creating our own interpretations and imaginations.\n\n\n\nDesign is no longer just a compromise between form and function. It weaves together substance and thought, history and modernity, inside and outside—all within the thinness of one piece of paper. Design is, after all, the process by which we explain the meaning and desires of life and existence through the act of creation.\n\n\n\nWhat paper awakens is connection—between people, between people and nature, and between people and past selves. In this exhibition space, paper became like a mirror, holding everyone’s thoughts: sometimes soft, sometimes firm. In the end, we realized that what design really needs isn’t more noisy information, but a kind of silence that leaves room to breathe; it’s not about chasing trendy excitement, but about coming back to the details, rediscovering the overlooked subtle messages of everyday life.\n\n\n\nAs we left the exhibition, the light gradually brightened. Each of us might have been holding what seemed like a trivial white paper sample. But it was precisely this faint glow that reminded us to once again notice the wonders hidden in the subtlety of daily life.\n\n\n\nPerhaps that’s what design is: connecting the world in the smallest, quietest ways, leaving space for gentle explanations and imagination for the future.\n\n\n\n日本語Ver.：\n\n\n\n紙の展覧 Subtle ——2015 Takeo Paper Show 再考\n\n\n\n展覧会の入り口には何もなく、ほのかな案内と微かな光だけが漂っていた。来場者の足取りは自然とゆっくりになり、呼吸も深く、細くなる。まるでこの空間自体が、私たちの雑念を一度脇に置き、もっとも素朴な心で「紙の空間」に入るように促しているかのようだった。日本の美学では「空（くう）」をデザインの始まりと捉え、何かを埋めるのではなく、あえて余白や未完の部分を残すことを大切にしている。ここでの紙は、情報と空間の間を漂う柔らかな光。器でもあり、境界でもあり、「有」と「無」、「明」と「暗」のあいだで囁き合う存在だ。\n\n\n\n紙は、ずっともっとも平凡な素材と考えられてきた。しかし、展覧会の中で一つ一つの作品がまるで窓の層のようになり、訪れる人々に立ち止まり、じっと見つめ、時にはその細部に迷い込むことを許してくれる。複雑な装飾も、余計な解説もない。紙そのものが最高のパフォーマーとして舞台に立っていた。\n\n\n\nデザイナーやアーティストは、紙の端にほんの少しの「推進力」を加えることだけで、「細やかさ」への無限の想像を鑑賞者に掻き立てることができた。このミニマリズムは、決して削ぎ落として枯渇させることではなく、人々を創造のプロセスに招き入れるもの。減らすことで空間ができ、人とモノとの関係が逆にぐっと親密になる。\n\n\n\n会場のペーパー・フラワーや光と影、インスタレーションは、もはや物質の形として存在するのではなく、一つ一つが巧みに仕込まれた信号のよう。光と隙間の中に、眠っていた感覚を目覚めさせてくれる。目で見るだけで、繊細な触感や柔らかな層、静物の形の変化、ほとんど見えない繊維の流れまでもが伝わり、日常の経験が新鮮なものに生まれ変わる。\n\n\n\n「既知のものを見慣れぬものにすることで、初めて本当に理解できる」という言葉の通り、紙の存在感はその層ごとの観察と体験を通して徐々に大きく、そして新たに定義されていった。\n\n\n\nミニマリズムもただ「減らす」だけで終わらない。本当のミニマリズムは、紙が思いがけない瞬間に空間の主役やきっかけとなること。日本建築の畳の縁や角、障子に貼られた和紙が、「空」と「有」の間にリズムや呼吸を生み出すのと同じ。紙は間仕切りや壁として見えない結界をつくり、日常生活の光と影、温度、そして柔らかな感情の流れをほのかに調節する。「境界のデザイン」は、実は語られない沈黙の哲学であり、わずかな仕掛けによって、人が無意識のうちに素材とつながり、自分だけの解釈や想像を生み出すきっかけになる。\n\n\n\nデザインはもはや、形と機能の妥協点を見つけるものではない。モノと思想、歴史と現代、内と外の境界を一枚の紙に織り込むこと。デザインとは、物質を創造することで、私たちの日常や生きる意味・願いを解釈するプロセスでもあるのだ。\n\n\n\n紙の存在が呼び起こすのは、つながり――人と人、人と自然、人と過去の自分自身。展覧空間の中で、紙はまるで鏡のようにみんなの思いを映し出し、時に柔らかく、時にしっかりとその思いを包む。最終的に私たちが気づくのは、デザインに必要なのは、余白を持った静けさであり、時代の流れを追いかける熱狂ではなく、細部に戻り、日常で見過ごしがちな細やかなメッセージを再発見することだということ。\n\n\n\n展示会を出ると、光がじわじわと明るさを増していた。誰もが「たいしたことない」と思える真っ白な紙のサンプルを手にしていたかもしれない。だがそのささやかな光こそが、再び日常の中の小さな驚きに目を向けさせてくれたのだ。\n\n\n\nおそらく、それこそがデザインなのだろう。とても小さく、静かな方法で世界を結び、未来にやさしい解釈と想像の余地を残すこと――。"}
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{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/did-you-know-that-paper-has-a-heart#article","isPartOf":{"@id":"https://trouver.art/did-you-know-that-paper-has-a-heart"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Did you know that paper has a heart?","datePublished":"2024-03-27T16:05:03+00:00","dateModified":"2026-01-01T16:44:30+00:00","mainEntityOfPage":{"@id":"https://trouver.art/did-you-know-that-paper-has-a-heart"},"wordCount":219,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/did-you-know-that-paper-has-a-heart#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/07/S-0684-scaled.jpg","keywords":["dyeing process","Jost Amman","laser engraving","paper core","paper heart","Paper Maker","trouver","TROUVER art","版畫","紙張染色","紙心","藝術","雷射雕刻"],"articleSection":["All","Journal"],"inLanguage":"zh-TW","description":"After undergoing the dyeing process, paper reveals various layers of color, and it's this diversity that enriches the expression of design work. When utilizing laser engraving technology, through meticulous control, we uncover what is referred to as the \"paper core\" – a characteristic stemming from the color differences between the inner and outer parts of the dyed paper, an intriguing phenomenon. This process is not merely a physical transformation but an exploration and innovation.\n\n\n\nThe visual effects displayed by paper under the laser are essentially a deep understanding of the material's own properties. Interestingly, due to the varying effects of dyeing on paper, the color of the \"paper core\" after laser engraving differs as well. Just as art and design are constantly advancing through exploration, the intervention of technology allows us to glimpse the hidden qualities of materials and the aesthetic dimensions that might be overlooked in everyday vision.\n\n\n\nThe work \"Paper Maker\" by Jost Amman, a 16th-century European printmaker, serves as an early record of papermaking culture. The modern reproduction of this artwork, achieved through laser engraving on fine art paper, not only demonstrates the fusion of technology with traditional craftsmanship but also shows how design and art can converse across time and space.\n\n\n\n-\n\n\n\n紙張在經過染色處理後，展現出不同的色彩層次，正是這種多樣性賦予了設計工作更豐富的表現手法。 在使用雷射雕刻技術時，透過精細的控制，揭示了所謂的“紙心”這個性質，是來於染色過程中紙張內外部的顏色差異，所造成的有趣現象，這一過程不僅僅是物理上的變化，更是一種探索和創新的過程。 \n\n\n\n紙張在雷射的作用下展現的視覺效果，實則是一種對材質本身特性的深入理解，有趣的是，由於染色對於紙張的效果不同，雷射雕刻後的“紙心”顏色也有所不同。 正如藝術與設計總是不斷地探索前進，透過科技的介入，我們得以窺見材質本身隱藏的特質，以及那些可能被日常視覺忽略的美學維度。 \n\n\n\n16世紀歐洲版畫家Jost Amman的《Paper Maker》便是對造紙文化的一種早期記錄，而這幅作品的現代復刻，透過激光雕刻技術在美術紙上的應用，不僅向我們展示了技術 與傳統工藝的結合，也讓我們看到了設計與藝術如何跨越時空對話。"}
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{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/nagaharu-fiber-paper#article","isPartOf":{"@id":"https://trouver.art/nagaharu-fiber-paper"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Nagaharu Fiber Paper","datePublished":"2024-04-01T13:33:46+00:00","dateModified":"2025-12-30T17:55:12+00:00","mainEntityOfPage":{"@id":"https://trouver.art/nagaharu-fiber-paper"},"wordCount":544,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/nagaharu-fiber-paper#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/07/S-0045-scaled.jpg","keywords":["Fiber Paper","handmade paper","Nagaharu","trouver","TROUVER art","Washi","和紙","室內設計","手造紙","椰子纖維","楮","芭蕉葉","菲纖和紙","藝術燈具","雁皮","麻"],"articleSection":["All","Japan"],"inLanguage":"zh-TW","description":"中文/English/日本語\n\n\n\n菲纖和紙｜光，纖維，以及空間的內在呼吸\n\n\n\n進入空間之前，光線已經在那裡等候。它在某個安靜的角落遇見紙，透過每一道纖維的縫隙緩緩穿行，最後在淡白與灰影之間，漸漸沉澱下來。\n\n\n\n菲纖和紙，是一種接受不同植物語言洗禮後誕生的材料。楮的沉穩，雁皮的纖細，麻的手感，還有芭蕉葉與椰子的遙遠來信。這些纖維，被並置、重疊、拉長，像是對過去與未來的緩慢回應。手造紙的時間，是一種呼吸。透過不斷嘗試與修正，手工的大小限制被突破，紙與空間終於有機會合而為一。\n\n\n\n日本人的審美常在留白處生根。一張紙，或許不只是紙。它是空間的皮膚，是光影遊玩的幕布，也是傳統工藝和現代技術在一線曖昧中的往返。紙的纖維，既可細密緊實，承載重量和結構；亦可刻意鬆展，使染料、光線、甚至水氣都能穿行無礙。在這塊紙上，每一次吸收、每一次形變，都像是呼吸之間的默契。\n\n\n\n菲纖和紙並非為了追求極致的印刷表現而生，而是將自己獻給空間。作為屏風、作為燈具的外皮、作為室內肌理的適度起伏。當光源漸亮或幽微，紙本身的織理和植物纖維所構築的陰影網絡，便讓室內多出幾分含蓄未說的故事。亮與暗的界線不再銳利，而化為無數層次的灰，包覆了時間的推移、空間的沉默。\n\n\n\n設計，是與世界的溝通，而不是強加於世界的對話。菲纖和紙的哲學就在於此。它不是主角，只是不動聲色地讓空氣、光線、人的情緒在空間裡安穩流動。人們因這看似平淡的材料，而重新思考什麼才是生活中真正值得珍惜的質感：階梯間由紙幕切割的日光、深夜燈火下摺紙的指紋。\n\n\n\n這不僅僅是一種材料，而是一種讓場域獲得呼吸節奏的裝置。這是紙張、光線與時間的合作，無聲地告訴我們：設計的意義，有時就在於接受那些日積月累、微妙而細緻的流變。而如同一張紙在陽光下徐徐暈開的光暈，我們在生活裡所能體會到的安靜與澄澈，也許正來自這些近乎不可見的細節。\n\n\n\nEnglish Ver.：\n\n\n\nNagaharu Paper | Light, Fiber, and the Inner Breath of Space\n\n\n\nBefore stepping into the room, light is already there, waiting. It finds the paper in a quiet corner and seeps through each small space between the fibers, finally settling into a gentle balance between pale tones and shadow.\n\n\n\nNagaharu Paper is a material born from the blending of many plant voices—kozo, gampi, hemp, banana leaf, and coconut. By refining traditional papermaking techniques, it surpasses the old size limits of handmade paper and now stretches gracefully throughout spacious interiors.\n\n\n\nUnlike paper made for printing, Nagaharu Paper is mainly used in interior design and artistic lighting fixtures. By blending fibers from various plants, its appearance and quality can be precisely controlled—fiber can be made dense or deliberately loose to set how much light gets through; it’s easily dyed, shapes well after absorbing water, and keeps the characteristic texture of handmade paper. These qualities make Nagaharu Paper an ideal medium for creative spatial and lighting design.\n\n\n\nIn a space, Nagaharu Paper acts as a bridge for light. It softens the contrast between brightness and darkness, filling the room with a quiet, thoughtful atmosphere. It’s not just a physical object—it gently transforms the mood, encouraging a delicate conversation about time, tradition, and innovation.\n\n\n\nAesthetics in Japanese culture often take root in empty spaces. A single sheet of paper is more than just paper; it becomes the skin of the room, a stage for light and shadow, and a field where traditional craft meets modern technology. The fiber can be woven tightly to carry weight or left loose for dyes, sunlight, or even moisture to travel freely. Every absorption and change in the paper feels like a quiet breath shared in the room.\n\n\n\nNagaharu Paper was never created for the sake of perfect printing performance; it devotes itself to a space. It serves as a screen, a surface for lighting, or a texture that brings walls to life. As the light shifts, the weave of the paper and the subtle network of plant fibers create a layered story in the room. The line between light and dark softens into a hundred shades of gray, quietly recording the passing hours and the stillness of space.\n\n\n\nDesign is about communicating with the world, not forcing your voice upon it. This is the heart of Nagaharu Paper. It doesn’t seek the spotlight—it simply lets air, light, and people’s feelings naturally flow through the room. With this gentle material, we’re invited to reconsider what textures matter most in our lives: sunlight divided by a paper screen on the stairs, or the memory of a fingerprint on late-night origami under a lamp.\n\n\n\nNagaharu Paper is more than just a material—it’s an instrument that lets a place breathe. It represents a silent collaboration between paper, light, and time and reminds us that design often means accepting subtle, gradual changes day by day. Like watching sunlight slowly spread across a piece of paper, the quiet clarity and calm we feel in daily life may come from these almost invisible details.\n\n\n\n日本語Ver.：\n\n\n\nNagaharu Paper｜光、繊維、そして空間の内なる呼吸\n\n\n\n空間に一歩足を踏み入れる前から、光はすでにそこに待っています。静かな隅で紙と出会い、繊維ひとつひとつの隙間をゆっくりと通り抜け、淡い色と影のあいだにそっと沈んでいきます。\n\n\n\nNagaharu Paperは、楮、雁皮、麻、バナナリーフ、ココナッツなど、異なる植物の声が重なりあって生まれた素材です。伝統的な製紙技術を洗練させることで、従来の和紙のサイズ制限を超え、広い空間でも活躍できるようになりました。\n\n\n\n印刷用の紙とは異なり、Nagaharu Paperは主にインテリアデザインやアート照明などに使われます。多様な植物繊維を組み合わせて外観や透光性を調節し、染色も容易で、水分を吸収すれば自由に成形しやすいという和紙ならではの性質があります。これらの特性が、Nagaharu Paperを照明や空間デザインに最適な素材にしています。\n\n\n\nNagaharu Paperは、空間の中で光の架け橋のような存在です。明暗のコントラストをやわらげ、静けさと深い思索をその場に与えてくれます。それは単なる物質の表現ではなく、雰囲気の変化、そして時間や伝統、革新の関係について考えさせるものです。\n\n\n\n日本の美意識は、しばしば余白に根付いています。一枚の紙は、単なる紙ではありません。空間の皮膚となり、光と影の舞台となり、伝統工芸と現代技術が交差する場所にもなります。繊維を密に編んで重さや構造を支えたり、あえて緩めて染料や光、水分さえも自由に通したりできるのです。Nagaharu Paperのすべての吸収や変形は、静かに呼吸を交わすような一瞬です。\n\n\n\nNagaharu Paperは印刷のパフォーマンスを追求するために生まれたものではなく、空間に自らを捧げています。パーテーションや照明のシェード、壁面のテクスチャーとして、光の移ろいによって紙の織りや繊維が紡ぐ影が、室内にさりげない物語を生み出します。明暗の境界はやわらかく溶け合い、いくつものグレーの層となって、時の流れや場の静けさを包み込みます。\n\n\n\nデザインとは世界との対話であり、主張を押し付けることではありません。それこそがNagaharu Paperの哲学です。主役になることなく、あくまで空気や光、人の感情が空間に溶け込むのを静かに見守ります。この穏やかな素材があることで、私たちは生活の中で本当に大切な質感を見直すきっかけが得られるでしょう。たとえば階段の和紙スクリーン越しに差し込む日差しや、深夜に灯りの下で折り紙をする指先の感触のように。\n\n\n\nNagaharu Paperは単なる素材ではなく、その場に呼吸のリズムをもたらす装置です。紙、光、時間の静かな協働が、積み重なり移ろう変化を受け入れることこそデザインの本質であると教えてくれるのです。和紙の上にゆるやかに広がる光のように、私たちが日常で感じる静けさや透明感もまた、目に見えないほど繊細な部分から生まれているのかもしれません。"}
{"@context":"https://schema.org","@type":"WebPage","@id":"https://trouver.art/nagaharu-fiber-paper","url":"https://trouver.art/nagaharu-fiber-paper","name":"Nagaharu Fiber Paper - trouver.art","isPartOf":{"@id":"https://trouver.art/#website"},"image":{"@id":"https://trouver.art/nagaharu-fiber-paper#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/07/S-0045-scaled.jpg","datePublished":"2024-04-01T13:33:46+00:00","dateModified":"2025-12-30T17:55:12+00:00","description":"菲纖和紙，是一種接受不同植物語言洗禮後誕生的材料。楮的沉穩，雁皮的纖細，麻的手感，還有芭蕉葉與椰子的遙遠來信。這些纖維，被並置、重疊、拉長，像是對過去與未來的緩慢回應。手造紙的時間，是一種呼吸。透過不斷嘗試與修正，手工的大小限制被突破，紙與空間終於有機會合而為一。","inLanguage":"zh-TW"}
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{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/ezomatsu-craft-board#article","isPartOf":{"@id":"https://trouver.art/ezomatsu-craft-board"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Ezomatsu Craft Board","datePublished":"2024-04-02T07:28:07+00:00","dateModified":"2025-12-30T17:55:01+00:00","mainEntityOfPage":{"@id":"https://trouver.art/ezomatsu-craft-board"},"wordCount":218,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/ezomatsu-craft-board#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/04/S-3480.jpg","keywords":["craft","Ezomatsu Craft Board","EzomatsuCraft","trouver","TROUVER art","モリタ紙器","加賀谷木材","北海道雲杉","回收紙漿","大和板紙","株式会社COMMUNE","牛皮紙"],"articleSection":["All","Japan"],"inLanguage":"zh-TW","description":"\"Ezomatsu Craft Board\" is a Japanese cardboard born from the cold winters of Hokkaido. This cardboard, a blend of recycled pulp and the distinctive spruce native to Hokkaido, not only mirrors the regional characteristics of winter but also reflects a thoughtful consideration of forestry resources.\n\n\n\nThe spruce of Hokkaido, known for its straight grain, is widely utilized in architecture and fine furniture. As part of windbreak forests, these trees are intimately connected to the local ecosystem. However, the leftover materials from furniture making, if not utilized effectively, represent a waste of these natural resources.\n\n\n\nThrough the collaborative efforts of \"Kagaya Lumber,\" \"Yamato Board Paper,\" \"Morita Paper Container,\" and the design company \"COMMUNE,\" \"Ezomatsu Craft Board\" has emerged as an innovative project. It transforms these unused premium materials into environmentally friendly cardboard imbued with the local spirit, making use of the material characteristics of spruce. Inspired by the boreal forests, it is crafted in three colors that resemble the structure where the bark wraps around the heartwood, presenting colors on each side of the paper to depict the natural landscapes of Hokkaido. This design allows users to experience the charm originating from a corner of Hokkaido when using the paper.\n\n\n\n-\n\n\n\n中文代理名稱：三賀杉\n\n\n\n「Ezomatsu Craft Board」是一款從北海道寒冬中誕生的日本紙板。這種紙板，融合了回收紙漿和北海道特有的雲杉為原料，映射出該地區冬季特色的同時，也展示了對林業資源的深思熟慮。\n\n\n\n北海道的雲杉，因其直挺的木紋而被廣泛使用於建築和精緻家具中，這些樹木作為防風林的一部分，與當地生態環境緊密相連。然而，在製作家具的過程中產生的剩餘材料，如果未被有效利用，則成為對這些自然資源的浪費。\n\n\n\n透過「加賀谷木材」、「大和板紙」、「モリタ紙器」以及「株式会社COMMUNE」設計公司的共同合作，「Ezomatsu Craft Board」成為了一個創新項目，將這些未被使用的高級材料，轉化為充滿在地精神的環保紙板，並善用了雲杉的材料特性，以寒帶的森林作為靈感製成了三種顏色，與近似樹皮包覆內部心材的結構，將顏色一深一淺各自作為紙的正反面，描繪出一幅幅北海道自然風貌的畫卷，讓人們在使用紙張時，能夠感這份受到源自北海道的一隅魅力。\n\n\n\n-\n\n\n\n「Ezomatsu Craft Board」は北海道の寒冬から生まれた日本のボードです。このボードは、リサイクルされたパルプと北海道特有のエゾマツを原料としており、その地域の冬の特徴を反映しつつ、林業資源に対する深い思慮も示しています。\n\n\n\n北海道のエゾマツは、そのまっすぐな木目のために建築や精巧な家具に広く使用されています。これらの木々は防風林の一部として地域の生態系と密接に関連しています。しかし、家具の製造過程で生じる余剰材料が効果的に活用されない場合、これらの自然資源の浪費となります。\n\n\n\n「加賀谷木材」、「大和板紙」、「モリタ紙器」、およびデザイン会社「株式会社COMMUNE」との共同作業を通じて、「Ezomatsu Craft Board」は革新的なプロジェクトとなりました。これら未使用の高品質な素材を地元の精神に基づいたエコフレンドリーなボードに転換し、エゾマツの素材特性を活かし、寒帯の森をインスピレーションにした3つの色で製作され、内部の心材を木の皮で包むような構造で、色合いを表裏それぞれに異なる深淺で表現し、北海道の自然の景色を描いた絵巻を作り出しています。これにより、人々が紙を使用する際に、北海道からの魅力に触れることができます。"}
{"@context":"https://schema.org","@type":"WebPage","@id":"https://trouver.art/ezomatsu-craft-board","url":"https://trouver.art/ezomatsu-craft-board","name":"Ezomatsu Craft Board - trouver.art","isPartOf":{"@id":"https://trouver.art/#website"},"image":{"@id":"https://trouver.art/ezomatsu-craft-board#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/04/S-3480.jpg","datePublished":"2024-04-02T07:28:07+00:00","dateModified":"2025-12-30T17:55:01+00:00","description":"「Ezomatsu Craft Board」是一款從北海道寒冬中誕生的日本紙板，以回收紙漿和北海道特有的雲杉為原料來製作。北海道雲杉被廣泛使用於建築和家具，在製作過程中產生的剩餘材料，透過「加賀谷木材」、「大和板紙」、「モリタ紙器」以及「株式会社COMMUNE」的共同合作，「Ezomatsu Craft Board」成為了一個善用雲杉材料的創新項目。","inLanguage":"zh-TW"}
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{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/gmund-hanf#article","isPartOf":{"@id":"https://trouver.art/gmund-hanf"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Gmund Hanf","datePublished":"2024-04-03T12:38:11+00:00","dateModified":"2026-01-01T15:56:21+00:00","mainEntityOfPage":{"@id":"https://trouver.art/gmund-hanf"},"wordCount":282,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/gmund-hanf#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/07/20220513-1DSC_3844.jpg","keywords":["120g/m2","320g/m2","environmental sustainability","Germany","gmund","Gmund Hanf","Gmund paper","Hanf","In 2020","trouver","TROUVER art","大麻紙","德國環保大麻紙","植物纖維","環境永續","造紙業","麻纖維"],"articleSection":["All","Europe"],"inLanguage":"zh-TW","description":"In 2020, Germany's Gmund paper mill introduced the innovative and groundbreaking paper \"Hanf,\" using hemp plants as the main raw material.\n\n\n\nThe hemp plants used in this paper mainly include hemp and cannabis. These plants, with their unique fiber texture, give the paper different textures and toughness. They are labeled according to the proportion of pulp to hemp fiber—10% (Good), 50% (Better), 100% (Best), clearly demonstrating the grading of environmental conservation and quality commitment. The content of hemp fiber ranges from low to high, representing the delicacy and wildness of the texture, and the degree of ink absorption increases slightly with a higher proportion.\n\n\n\nThere are options for both thin 120g/m2 and thick 320g/m2 for all three proportions. At 100% proportion, there is a noticeable fiber distribution feeling on the printing surface, while the thicker 320g/m2, besides its rich texture, has excellent effects for processes like embossing, foil stamping, and letterpress printing due to its fluffy nature.\n\n\n\nHistorically, hemp plants have been widely used in making clothing, ropes, and bags due to their rough and tough fiber properties, becoming indispensable materials in life. Additionally, the cultivation of these plants has minimal environmental impact, growing rapidly with almost no need for pesticides or excessive care. In the past, converting hemp plants into paper required a large amount of manual labor to soften the fibers. Nowadays, modern industrial technology can rapidly convert tough hemp fibers into alternative pulp for traditional wood pulp. As times evolve, the paper industry continues to delve into and humbly explore environmental sustainability issues.\n\n\n\n-\n\n\n\n中文代理名稱：德國環保大麻紙\n\n\n\n在2020年，德國的Gmund造紙廠推出了創新且具有里程碑意義的紙張「Hanf」，以大麻屬植物作為主要原料。\n\n\n\n這張紙所使用的大麻屬植物，以火麻、漢麻為主。這些植物以其獨特的纖維質地，為紙張賦予了不同的手感和堅韌度，並按照紙漿與麻纖維的比例—10%(Good)、50%(Better)、100%(Best)進行了產品標示，明確展示對環境保育和品質承諾的分級。麻纖維的含量由低至高代表了手感的纖細到狂野，同時油墨吸收的程度也會隨著比例越高有些許增加。\n\n\n\n三種比例都具有薄的120g/m2和厚的320g/m2做選擇，在100%的比例下的印刷面有明顯的纖維分佈感，而較厚的320g/m2除了手感豐富以外，紙張本身的蓬鬆度，對於金屬版去擠壓類型的加工：打凹凸、燙金、凸版印刷都有非常優秀的效果。\n\n\n\n歷史上，麻類植物因其粗糙而堅韌的纖維特性，被廣泛應用於製作衣物、繩索和布袋等用品，成為生活中不可或缺的材料。此外這些植物的種植具有極低的環境影響，且生長迅速，幾乎不需要農藥或過多的照料。過去由於若要將麻類植物製成紙需要大量的人工勞力去軟化纖維，到了現代，新型的工業技術能令堅韌的麻纖維快速轉換為替代傳統的木材紙漿，隨著時代演進，造紙業也不斷對於環境永續議題，深入且謙卑的繼續探索。\n\n\n\n-\n\n\n\n2020年、ドイツのGmund製紙工場は、画期的で、節目となるペーパー「Hanf」を発表しました。このペーパーは、主原料としてヘンプ科植物を使用しています。\n\n\n\nこの紙に使用されているヘンプ科植物は、大麻とカンナビスを主原料としています。これらの植物は、独特の繊維質で、紙に異なる手触りと耐久性を与えます。紙パルプと麻繊維の比率に応じて—10%(Good)、50%(Better)、100%(Best)と製品が表示されており、環境保護と品質へのコミットメントを明確にしています。麻繊維の含有量が低いほど、手触りは細やかから荒々しくなり、同時にインクの吸収量も比率が高くなるにつれてやや増加します。\n\n\n\n3つの比率は、薄い120g/m2と厚い320g/m2の選択肢があり、100%の比率の場合、印刷面には明確な繊維分布感があります。また、厚い320g/m2は、豊かな手触りに加えて、金属版を圧迫するタイプの加工：エンボス加工、ホイル押し、凸版印刷などに非常に優れた効果があります。\n\n\n\n歴史的に、ヘンプ科植物はその粗いが丈夫な繊維特性から、衣類、ロープ、バッグなどの製品の製作に広く使用され、生活に欠かせない材料となっています。また、これらの植物の栽培は環境への影響が極めて少なく、成長が速く、ほとんど農薬や過度の手入れが必要ありません。過去には、ヘンプ科植物を紙にするためには、繊維を柔らかくするために大量の人手が必要でしたが、現代では、新しい産業技術により、頑丈な麻繊維を迅速に従来の木材パルプの代替品に変換できるようになりました。時代の変化に伴い、製紙業は環境持続可能性の問題に対して、より深く謙虚に探求を続けています。"}
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{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/gmund-bio-cycle#article","isPartOf":{"@id":"https://trouver.art/gmund-bio-cycle"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Gmund Bio Cycle","datePublished":"2024-04-05T16:51:51+00:00","dateModified":"2025-12-29T06:07:42+00:00","mainEntityOfPage":{"@id":"https://trouver.art/gmund-bio-cycle"},"wordCount":621,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/gmund-bio-cycle#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/07/DSC_4180.jpg","keywords":["Baumwolle Papier","Bio Cycle","Cannabis paper","Chlorophyll paper","Cycle paper","FinePaper","gmund","Hanf Papier","Rag paper","trouver","TROUVER art","Wheat paper","小麥紙","德國生物循環紙","棉紙","葉綠素紙","麻紙"],"articleSection":["All","Europe"],"inLanguage":"zh-TW","description":"中文/English/日本語\n\n\n\n德國生物循環紙｜循環、纖維與存在的溫度\n\n\n\n廢紙、草、麥稈、麻、棉花。這些在日常中各自佇立的植物與纖維，以細碎或粗獷的方式，被收集、解構，然後融合進同一個新的紙頁之中。不是單一的純白，也並非標準化的平整。每一張紙，都記述著曾經的種植、割取、粉碎，以及最初承載的使命。\n\n\n\n重新被收容的纖維，在循環裡找到新的形式。顏色未被刻意掩蓋，青草綠、麥桿黃、麻色、柔棉，不追求絕對的一致，而是讓天然自成紋理。那些不均勻的稻桿，分布於表面，促成一種貼近土地的觸感。指尖滑過，能輕易辨認那來自季節與土地留下的時間蹤跡。麻的堅韌、棉的柔軟，都不再是背景，而在紙的表面留下了生命力的氣息。\n\n\n\n纖維短暫的生命週期，使過往需要七八年的樹木使用，盡其可能將造紙的可替代物料加入，而這些作為替代的材料，大多都為不到一年的輪替生長的植物。紙，不再只能依賴森林的成熟。青草於夏日生長，秋收，味道隱隱留存於發酵後的紙頁。小麥收割於平原，纖維混入紙漿，帶有茶色的微光。麻株筆挺，布料之外，也在紙的成分中呈現剛柔並濟的質地，棉來自另一段旅程，曾是織品，如今成為包覆文字的肌膚。\n\n\n\n每一面紙，均帶著單側微熨的平整。纖維的隨性、葉綠素的染痕、不規則的觸感，都被保留在視覺與觸覺裡。灰白底色，不完全潔淨，正如土地的色斑。青草淡香在鼻間停駐，正是此生此地的線索。\n\n\n\n紙，安然地進入每個循環。如同草葉凋零後歸還於泥土，這種因短暫而得以快速更迭的纖維循環，打破了工業的線性時間。廢紙、衣料、田野的殘株，被提煉成新的質地，隨然融解於空氣、水分和微生物之間。使用過後，它又會回到自然。\n\n\n\n這樣的紙，代表的是自然而自足的平衡。美學不單純為了裝飾，而是一種對資源、節奏與生命過程的敏銳觀察。紙讓文化流轉，也讓場域和生態於寧靜中共存交匯。纖維與紙，從來不是靜止的。它們一次次走進我們的日常，然後再次回歸於看不見的循環。\n\n\n\n當材料被賦予了設計價值，設計又反照材料的極限，回歸本質，印刷與包裝從此擁抱純粹生態邏輯，設計的敘事力比過去變得更為堅定而溫柔。消費者手裡的不只是宣傳品、卡片、包裝，而是一次可以被循環與感官共同證明的設計經驗。\n\n\n\n紙在設計語境裡，成為文化的記錄、不完美的證明。那是自我選擇、品牌承諾，也是未來消費者觸碰時，再次感受的某一刻共鳴。\n\n\n\n在這一念之間，紙面下那份接納所有的包容性，成為商業與自然環境之間，寬廣又平穩的橋梁。\n\n\n\nEnglish Ver.：\n\n\n\nGerman Bio Cycle Paper | Cycles, Fibers, and the Warmth of Existence\n\n\n\nWaste paper, grass, wheat straw, hemp, and cotton—these are plants and fibers that stand quietly in our everyday lives. Whether finely shredded or coarsely gathered, they are collected, deconstructed, then blended together into a new page of paper. It's not a uniform pure white, nor a standardized flat surface. Each sheet tells a story of its own planting, harvesting, fragmentation, and the original purpose it bore.\n\n\n\nReclaimed fibers find a new form within the cycle. Colors are not artificially hidden: the green of fresh grass, the yellow of straw, the hue of hemp, the softness of cotton—there's no pursuit of perfect uniformity, but rather, a celebration of natural textures. Those uneven straw fragments scattered on the surface foster a tactile closeness to the earth. As your fingers glide across, you can easily recognize traces of time left by seasons and soil. The toughness of hemp and gentleness of cotton are no longer mere background elements; they leave a breath of life on the paper's surface.\n\n\n\nThanks to the short life cycles of these fibers, trees, which once took seven or eight years to grow, can now be replaced as much as possible with alternative materials—most of which come from plants that only need less than a year to regenerate. Paper no longer has to depend on mature forests. Grass grows in the summer, is harvested in the fall, and its scent faintly lingers on the fermented paper. Wheat is gathered from the plains, its fibers mixed into the pulp, shining with a tea-colored glow. Hemp stands tall, and aside from its role in textiles, brings both strength and flexibility to paper; cotton, from yet another journey—once a fabric, now forms the skin that wraps words.\n\n\n\nEvery sheet has a subtly pressed, smooth face on one side. The randomness of the fibers, the traces of chlorophyll, the irregular texture remain—offering both visual and tactile delight. The base color is off-white, not perfectly clean, just like the mottled earth. The faint scent of grass hovers by the nose, an unmistakable clue of its time and place.\n\n\n\nPaper quietly enters each cycle. Just as blades of grass wither and return to the soil, these rapidly-renewing fibers break the linear timeline of industrial production. Waste paper, textiles, remnants from the fields are transformed into new textures, dissolving seamlessly into air, moisture, and microbes. After use, it finds its way back to nature.\n\n\n\nSuch paper embodies a balance that is both natural and self-sufficient. Aesthetics are not merely for decoration—they are an acute observation of resources, rhythms, and the process of life. Paper enables the flow of culture and allows spaces and ecologies to coexist in quiet harmony. Fibers and paper are never still. They enter our daily lives again and again, before returning once more to an unseen cycle.\n\n\n\nWhen materials are given design value—and design, in turn, reflects the limits of materials—returning to the essence of things, print and packaging then embrace a truly ecological logic. The narrative power of design becomes both more steadfast and gentle than before. What sits in the consumer’s hands is not just a flyer, card, or package, but a design experience proven by both the cycles of nature and the senses.\n\n\n\nIn the context of design, paper becomes a record of culture and a testament to imperfection. It is about choice, brand promise, and that certain moment of resonance felt once more by future consumers.\n\n\n\nIn that very instant, the embrace beneath the surface of the paper becomes a broad, steady bridge between commerce and the natural environment.\n\n\n\n日本語Ver.：\n\n\n\nドイツ バイオサイクルペーパー｜循環、繊維、そして存在のあたたかみ\n\n\n\n廃紙、草、麦わら、麻、綿花。日常に佇むこれらの植物や繊維が、細かく砕かれたり荒く集められたりしながら、集められ、分解され、そして新たな紙の一枚へと融合される。それは、純白でも標準化された平坦さでもない。一枚一枚の紙には、それぞれの栽培や収穫、粉砕、最初に担った使命が物語として刻まれている。\n\n\n\n再利用された繊維は、循環の中で新たな形を得る。色は意図的に隠されることはなく、青草のグリーン、麦わらのイエロー、麻の色、コットンの柔らかさ―絶対的な均一さを追い求めず、自然本来のテクスチャーが活かされる。不均等な稲わらが表面に分布し、土に近い触感を生み出す。指先でなぞれば、季節や大地が残した時間の痕跡が容易に感じ取れる。麻の強さとコットンの柔らかさは、背景ではなく、紙の表面に生命力として息づいている。\n\n\n\nこれらの繊維は成長サイクルが短いため、従来7〜8年かかっていた木材の代わりに、1年未満で循環できる植物素材を最大限利用している。紙はもはや森林の成熟だけに頼らなくてもよい。草は夏に育ち、秋に収穫され、発酵後の紙にはほのかな香りが残る。小麦は平原で刈り取られ、繊維がパルプに混ざり、茶色みを帯びた輝きを放つ。真っ直ぐに伸びる麻は、布だけでなく紙にも強さとしなやかさを加え、コットンは別の旅から来て、かつては織物、今は文字を包み込む“肌”となる。\n\n\n\nすべての紙は片面に軽いアイロンがけのような仕上がりを持たせている。繊維の自由な動きやクロロフィルの染み跡、不規則な触感が、見た目にも手触りにも残されている。グレイッシュな地色は完全な清潔さではなく、まるで大地の斑のよう。青草のほのかな香りが鼻先に漂い、ここ、この時の証しとなる。\n\n\n\n紙は静かに各サイクルに入り込む。葉が枯れて土に還るように、この短い周期で絶え間なく循環する繊維たちは、産業の直線的な時間軸を打ち破る。廃紙や衣服、田畑の残り株は、新たな質感へと精製され、空気や湿気、微生物に溶け込んでいく。使い終えたあと、また自然へと還っていくのだ。\n\n\n\nこのような紙は、自然で自足的なバランスそのものを体現する。美学は単なる装飾ではなく、資源・リズム・生命の過程への鋭敏な観察そのもの。紙は文化の流れを生み出し、空間と生態系は静かな共存を実現する。繊維や紙は決して静止したものではなく、何度も私たちの日常に現れては、再び見えない循環へと戻っていく。\n\n\n\n素材がデザイン価値を纏い、デザインが素材の限界を映す時、本質に立ち返る。印刷もパッケージも、ピュアなエコロジーロジックを抱きしめ、デザインの物語性はかつてないほど力強く、やさしくなる。消費者の手にあるのは、もう単なる宣伝物やカード、パッケージではなく、循環と五感が共に証明するデザイン体験なのだ。\n\n\n\nデザインという文脈の中で、紙は文化の記録となり、不完全さの証となる。それは自らの選択、ブランドの約束、そして未来の消費者が再び触れるときに呼び起こされる共鳴の一瞬でもある。\n\n\n\nこの一瞬に、紙の奥深くに宿る包容力が、ビジネスと自然環境の間に広く平穏な橋をかけるのだ。"}
{"@context":"https://schema.org","@type":"WebPage","@id":"https://trouver.art/gmund-bio-cycle","url":"https://trouver.art/gmund-bio-cycle","name":"Gmund Bio Cycle - trouver.art","isPartOf":{"@id":"https://trouver.art/#website"},"image":{"@id":"https://trouver.art/gmund-bio-cycle#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/07/DSC_4180.jpg","datePublished":"2024-04-05T16:51:51+00:00","dateModified":"2025-12-29T06:07:42+00:00","description":"Gmund Bio Cycle 德國生物循環紙 ，將廢紙、草、麥稈、麻、棉花。這些在日常中各自佇立的植物與纖維，以細碎或粗獷的方式，被收集、解構，然後融合進同一個新的紙頁之中。不是單一的純白，也並非標準化的平整。每一張紙，都記述著曾經的種植、割取、粉碎，以及最初承載的使命。","inLanguage":"zh-TW"}
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{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/takeo-shin-danshi#article","isPartOf":{"@id":"https://trouver.art/takeo-shin-danshi"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Takeo Shin Danshi","datePublished":"2024-04-05T17:08:43+00:00","dateModified":"2025-12-29T06:07:50+00:00","mainEntityOfPage":{"@id":"https://trouver.art/takeo-shin-danshi"},"wordCount":168,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/takeo-shin-danshi#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/07/ST01.jpg","keywords":["Kirara","Shin Danshi","Takeo Paper","trouver","TROUVER art","まゆみ","和紙","新壇紙","日本神道教","楮","構樹","檀木","竹尾紙業"],"articleSection":["All","Japan"],"inLanguage":"zh-TW","description":"The Beauty of Traditional Etiquette\n\n\n\nIn the early days, Tan paper was made from the bark of the Mayumi tree from the Pittosporaceae family. Because the fibers were quite hard, it was quite difficult to produce. Later, the Kozo tree from the Moraceae family was used instead. In Japanese, it's called \"Kozo\". This allowed for the creation of high-quality paper with a wrinkled texture resembling pear skin and a certain thickness.\n\n\n\nIn Shintoism, Tan paper is considered a sacred object capable of warding off evil spirits. It is also used for naming ceremonies, writing materials related to shrines, and as hair ornaments for shrine maidens.\n\n\n\n\"Shin-Tan paper\" recreates the characteristics of handmade Tan paper using modern papermaking techniques. It features the traditional Tan paper pattern on one side and its thick texture. \"Kirara,\" on the other hand, not only inherits the pattern but also adds a beautiful pearl-like luster to the surface, making it suitable for various modern artistic purposes.\n\n\n\n-\n\n\n\n伝統の礼儀の美\n\n\n\n初期の檀紙はマユミ科の檀（まゆみ）を原料としており、繊維が非常に硬く、製作は非常に困難でした。後に桑科のコウゾが採用され、日本の漢字で「楮」と表記され、梨皮のようなしわと厚みのある高級和紙が再現されました。\n\n\n\n日本の神道では、檀紙は悪魔を追い払い邪悪を避ける力があると考えられており、名前の命名や神社に関連する書き物、巫女の髪を束ねるためにも使用されています。\n\n\n\n「新壇紙」は、手造り檀紙の特徴を現代の製紙技術で再現し、伝統的な檀紙の模様と厚みのある手触りを片面に再現しています。一方、「Kirara」は、模様を継承しつつ、表面に美しいパールのような輝きを加え、さらに現代のさまざまな美術用途に適した製品となっています。\n\n\n\n-\n\n\n\n傳統的禮儀之美\n\n\n\n早期的檀紙，是以衛矛科的檀（まゆみ）作為原料，由於纖維相當堅硬，製作時相當不易，後來採用了桑科的構樹，日本的漢字為「楮」，仿製出具有像是梨皮狀皺摺且帶有厚度的高級和紙。\n\n\n\n由於日本神道教認為檀紙是一種能夠驅魔避邪的神聖之物，也用在名字的命名、神社有關的書寫物、及巫女作為束髮之用。\n\n\n\n「新壇紙」則是將手造檀紙的特徵以現代造紙技術重現，以單面復刻傳統的壇紙紋路及其厚實手感為特點，「Kirara」則是承繼了紋路以外，在表面增添了美麗的珍珠光澤，更能貼近現代的各種美術用途使用。"}
{"@context":"https://schema.org","@type":"WebPage","@id":"https://trouver.art/takeo-shin-danshi","url":"https://trouver.art/takeo-shin-danshi","name":"Takeo Shin Danshi - trouver.art","isPartOf":{"@id":"https://trouver.art/#website"},"image":{"@id":"https://trouver.art/takeo-shin-danshi#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/07/ST01.jpg","datePublished":"2024-04-05T17:08:43+00:00","dateModified":"2025-12-29T06:07:50+00:00","description":"早期的檀紙，是以衛矛科的檀（まゆみ）作為原料，由於纖維相當堅硬，製作時相當不易，後來採用了桑科的構樹，日本的漢字為「楮」，仿製出具有像是梨皮狀皺摺且帶有厚度的高級和紙。由於日本神道教認為檀紙是一種能夠驅魔避邪的神聖之物，也用在名字的命名、神社有關的書寫物、及巫女作為束髮之用。","inLanguage":"zh-TW"}
{"@context":"https://schema.org","@type":"ImageObject","inLanguage":"zh-TW","@id":"https://trouver.art/takeo-shin-danshi#primaryimage","url":"https://trouver.art/wp-content/uploads/2024/07/ST01.jpg","contentUrl":"https://trouver.art/wp-content/uploads/2024/07/ST01.jpg","width":1067,"height":1067,"caption":"SHIN-DANSHI-1"}
{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/echizen-washi#article","isPartOf":{"@id":"https://trouver.art/echizen-washi"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Echizen Washi","datePublished":"2016-03-28T17:44:00+00:00","dateModified":"2025-12-30T18:00:35+00:00","mainEntityOfPage":{"@id":"https://trouver.art/echizen-washi"},"wordCount":245,"publisher":{"@id":"https://trouver.art/#organization"},"keywords":["Echizen","Echizen Washi","trouver","TROUVER art","Washi","和紙","和風之花彩","彩光紙","杉皮","杉皮紙","柳葉紙","桑皮","生紙","稻禾紙","紅花染","花彩紙","越前和紙"],"articleSection":["All","Japan"],"inLanguage":"zh-TW","description":"Japan boasts over a thousand types of washi paper. Apart from its rich history, each region has its own distinct characteristics due to its unique environmental ambiance. Here are five selections of washi paper from the \"Echizen\" region that I'd like to introduce to you:\n\n\n\n\nSugi-bark Washi: \"Sugihi\" paper, made using traditional methods, remains unbleached and retains the natural color of the bark. Its soft and durable texture, along with the faint scent of wood, are its defining features.\n\n\n\nHanazumi:Similar to traditional Unryu paper, Hanazumi has shorter and finer fibers compared to Unryu paper, with fibers densely distributed on the surface. These fine fibers reflect light, creating various subtle changes in color from delicate brown to silvery-white, giving it an enchanting allure.\n\n\n\nBenibana Dye:Gathered from wildflowers growing in the surrounding natural vegetation, Benibana Dye intentionally preserves the original colors of the flowers. Each flower is delicately scattered onto the paper, capturing the poetic essence of their various forms.\n\n\n\nSaikou:Saikou incorporates a large amount of slender fibers into the papermaking process, creating a ripple-like effect when reflected by light. It exhibits a visually striking appearance and is commonly used in Japan for cultural gifts and confectionery packaging.\n\n\n\nInaho:Derived from local rice fields, Inaho utilizes rice stems left behind after threshing, providing a new purpose for what would otherwise be discarded. Due to the varying thickness of the rice stems, the paper surface showcases a unique natural charm.\n\n\n\n\n-\n\n\n\n日本有千種以上的和紙，除了其歷史悠久以外，不同的地區也因為環境風情不同而有了各自的地方特色，以下挑選五張來自「越前」地區的和紙向各位介紹。\n\n\n\n杉皮採用傳統製法的杉皮紙，未經漂白等加工，紙張本身柔軟且強韌，保留樹皮原色的樣貌，帶著淡淡的原木氣味是其最大的特點。花彩與傳統雲龍紙的相當接近，相較於雲龍紙纖維較寬且長，花彩的纖維較短而細緻，在表面分佈的較為密集。纖維細絲會藉由光線反射，形成不同的變化，淡雅的褐色到銀白的光澤層次，是它的迷人之處。紅花染將周圍自然叢生的小花摘下，刻意保留原生顏色，一朵一朵的撒入抄紙摟，將花的各種姿態，相當詩意的納入紙中。彩光於抄紙簍中加入了大量的細長纖維，令表面藉由光線反射之後有著類似波紋的效果，視覺上的表現相當強烈。日本當地常用於文化禮品、點心類的外包裝用途。稻禾取材自於當地的稻田，打穀後留下的稻梗，將原本無用要燒毀的稻梗，賦予嶄新的二次用途。由於稻梗的粗細不一，分佈於紙的表面別有一番自然風情。\n\n\n\n-\n\n\n\n日本には千種以上の和紙があります。その歴史は古く、地域ごとに環境や風情が異なり、それぞれ独自の特色があります。以下では、「越前」地域から選んだ5つの和紙を紹介します。\n\n\n\n\n杉皮伝統的な製法で作られた杉皮紙は、漂白などの加工を受けず、紙自体が柔らかくて丈夫であり、樹皮の原色を保持しています。淡い木の香りが漂い、それが最大の特徴です。\n\n\n\n花彩伝統的な雲龍紙に近い花彩は、雲龍紙よりも繊維が短く細かい特徴があります。繊維が光を反射し、淡い茶色から銀白色の輝きが生まれ、その魅力を引き立てます。\n\n\n\n紅花染周囲に自生する小さな花を摘み取り、原色を残したまま紙に散りばめます。花々の様々な姿が、詩的な雰囲気を紙に納められます。\n\n\n\n彩光製紙かごに多くの細長い繊維を加え、光を反射することで波紋のような効果が生まれます。日本では文化的な贈り物やお菓子の包装などによく使われます。\n\n\n\n稲禾地元の稲田から採取された稲穂は、刈り取り後に残る茎を利用し、新たな再利用方法を与えます。稲穂の太さや長さが異なるため、紙の表面には自然な風情が漂います。"}
{"@context":"https://schema.org","@type":"WebPage","@id":"https://trouver.art/echizen-washi","url":"https://trouver.art/echizen-washi","name":"Echizen Washi - trouver.art","isPartOf":{"@id":"https://trouver.art/#website"},"datePublished":"2016-03-28T17:44:00+00:00","dateModified":"2025-12-30T18:00:35+00:00","description":"日本有千種以上的和紙，除了其歷史悠久以外，不同的地區也因為環境風情不同而有了各自的地方特色，以下挑選五張來自「越前」地區的和紙向各位介紹。杉皮採用傳統製法的杉皮紙；花彩的纖維較短而細緻，在表面分佈的較為密集；紅花染將花的各種姿態抄紙摟；彩光於抄紙簍中加入了大量的細長纖維；稻禾取材自於當地稻田稻梗。","inLanguage":"zh-TW"}
{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/torinokogami#article","isPartOf":{"@id":"https://trouver.art/torinokogami"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Torinokogami","datePublished":"2024-04-07T18:19:43+00:00","dateModified":"2026-01-01T15:46:28+00:00","mainEntityOfPage":{"@id":"https://trouver.art/torinokogami"},"wordCount":423,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/torinokogami#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/04/t001.jpg","keywords":["chizen Rice-paper","Torinokogami","trouver","TROUVER art","Washi","トリノコガミ","和紙","富春山居圖","收納帳","故宮博物院","書寫紙","正倉院文書","經疏料紙","鳥子紙"],"articleSection":["All","Japan"],"inLanguage":"zh-TW","description":"The documented records indicate that the Japanese paper known as \"Torinokogami\" uses the bark of the euonymus as its raw material. With its extremely fine fibers, the resulting paper has a delicate texture and a slight gloss on its surface. It contains a low amount of resin, making it better in ink absorption compared to paper made from kozo bark. In the past, it was commonly used by the upper echelons of society for transcribing Buddhist scriptures or for important documents that needed to be preserved for a long time. Historically, it can be traced back to the \"Keisho-ryo-shi Collection Book\" in the \"Shoso-in Documents\" from the 18th year of the Tenpyō era in central Japan (746 AD).\n\n\n\nIn its place of origin, \"Echizen,\" different types of paper are named based on their raw materials: \"Special Grade,\" which uses only the bark of the euonymus; \"Grade 1,\" which mixes the bark of the euonymus with the bark of the San'yo tree; \"Grade 2,\" which uses only the San'yo tree; \"Grade 3,\" which is made by mixing the bark of the euonymus with wood pulp; and \"Grade 4,\" which uses materials other than wood pulp, among others.\n\n\n\nWhat we're introducing now is a modern version of Torinokogami. The original request for this project was to \"mass-produce artworks using printing.\" This meant that soft washi paper needed to be processed by a four-color printing machine. Initially, a test was conducted using Haijuen Chinese paper 60gsm, a type of paper made from long-staple cotton, but because the paper was too soft, the prints became messy, with more than twenty sheets scattered on the table.\n\n\n\nLater, it was discovered that the Palace Museum had reproduced and produced the painting \"Dwelling in the Fuchun Mountains\" by the Yuan dynasty painter Huang Gongwang as a product. The paper used by the Palace Museum was the Torinokogami introduced here. The photo shows a modern Torinokogami from Japan, with the pattern of bamboo blinds visible through the light. In addition to the delicate texture unique to \"euonymus\" Chinese paper, it incorporates modern papermaking technology, achieving a thickness of 83gsm. The problem of excessive wear caused by the softness of the paper in the paper feeding device of the automatic printing machine has been significantly reduced, ultimately achieving the initial goal of mass production.\n\n\n\nIf this modern Torinokogami were to be named in the manner of the ancients of Echizen, it would be called the \"Special of Special Grade,\" evolved in the extreme environment of modern times.\n\n\n\n-\n\n\n\n鳥子紙\n\n\n\n目前記載的文獻顯示，稱作“鳥子紙”的日本和紙，使用瑞香科的雁皮作為原料，纖維寬度很細，製成的紙手感相當細緻，表面則帶有些許光澤。且樹脂的含量低，在吸墨性較構樹皮製成的紙更佳，早期為社會上層的官商，用於佛經抄寫，或是製作文獻可長時間保存的重要文書使用。歷史上可追朔到中日本天平18年(西元746年）於「正倉院文書」的「經疏料紙收納帳」所收藏。\n\n\n\n在發源地「越前」，將紙張的原料不同以編號命名：只使用雁皮為原料的「特號」、將雁皮與三椏樹混合的「一號」、單純以三椏樹為原料的「二號」、構樹與木漿混合製作的「三號」、除了木漿外作為原料的「四號」，作為區分的標準。\n\n\n\n本次介紹的是現代版本的鳥子紙，當時手上案子的一項要求：「希望將書畫作品以印刷的方式量產」，那意味著得將柔軟的宣紙放上四色印刷機製作，起初使用長春棉紙的海月宣（連四紙）60gsm做為測試，由於紙張過於柔軟，二十幾張一塌糊塗的印樣就攤在桌上。\n\n\n\n後來輾轉得知故宮博物院也曾將元朝畫家黃公望的「富春山居圖」進行複製量產作為商品，而故宮博物院當初所使用的，就是這次介紹的鳥子紙。\n\n\n\n照片為來自日本的現代鳥子紙，透著光可見竹簾紋路，除了「雁皮」紙張特有的細膩質地，也融合現代造紙技術，將厚度達到了83gsm，對於自動印刷機在輸紙裝置，將以往過於柔軟，所導致的耗損問題大幅降低，最後成功達到當初的量產目的。\n\n\n\n如果要將這張現代的鳥子紙，學習越前古人的方式為其命名，就是在現代的極端環境下，所演化出來的「特別特別號」吧。\n\n\n\n-\n\n\n\n現在の文献によると、日本の和紙である「鳥子紙」は、ミズキ科の雁皮を原料として使用しており、繊維の幅が非常に細かいため、作られた紙は非常に繊細な手触りであり、表面にはわずかな光沢があります。また、樹脂含有量が低く、構株皮製の紙よりも墨の吸収性が優れています。これはかつて社会的上層の官商によって、経典の写本や長期保存可能な重要文書の作成に使用されていました。歴史的には、中日本天平18年（西暦746年）の「正倉院文書」の「経疏料紙収納帳」にまで遡ることができます。\n\n\n\n発祥地である「越前」では、紙の原料によって種類が命名されています：雁皮のみを原料とする「特号」、雁皮とサンヨウノキを混合する「一号」、純粋なサンヨウノキを原料とする「二号」、構株と木パルプを混合して作られた「三号」、木パルプ以外の原料を使用した「四号」などがあります。\n\n\n\n今回紹介するのは、現代版の鳥子紙で、当時の依頼内容は「書画作品を印刷して大量生産したい」というものでした。これは、柔らかい和紙を四色印刷機にかけて製造することを意味します。最初にテストとして使用されたのは、60gsmの長春綿紙でしたが、紙が柔らかすぎるため、20枚以上の印刷物が乱雑に机の上に散らばってしまいました。\n\n\n\n後に、故宮博物院が元朝の画家である黄公望の「富春山居図」を商品として複製生産したことが分かり、故宮博物院が使用したのが今回紹介した鳥子紙であることが判明しました。 写真は、日本からの現代の鳥子紙で、光が透けて竹製のブラインドの模様が見えます。これは「雁皮」紙独特の繊細な質感に加えて、現代の製紙技術も組み合わされ、厚さは83gsmに達しています。自動印刷機の紙送り装置において、過去の柔らかさによる消耗問題が大幅に改善され、最終的に当初の大量生産目標が達成されました。\n\n\n\nもし現代の鳥子紙を越前の先人のように命名するなら、現代の極端な環境で進化した「とっておき号」になるでしょう。"}
{"@context":"https://schema.org","@type":"WebPage","@id":"https://trouver.art/torinokogami","url":"https://trouver.art/torinokogami","name":"Torinokogami - trouver.art","isPartOf":{"@id":"https://trouver.art/#website"},"image":{"@id":"https://trouver.art/torinokogami#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/04/t001.jpg","datePublished":"2024-04-07T18:19:43+00:00","dateModified":"2026-01-01T15:46:28+00:00","description":"日本和紙“鳥子紙”使用瑞香科的雁皮作為原料，手感細緻，表面則帶有些許光澤，樹脂的含量低，在吸墨性較構樹皮製成的紙更佳，早期為社會上層的官商，用於佛經抄寫，或是製作文獻可長時間保存的重要文書使用。歷史上可追朔到中日本天平18年(西元746年）於「正倉院文書」的「經疏料紙收納帳」所收藏。","inLanguage":"zh-TW"}
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{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/conqueror-iridescent#article","isPartOf":{"@id":"https://trouver.art/conqueror-iridescent"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Conqueror Iridescent","datePublished":"2015-09-15T18:15:00+00:00","dateModified":"2025-12-30T18:01:14+00:00","mainEntityOfPage":{"@id":"https://trouver.art/conqueror-iridescent"},"wordCount":98,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/conqueror-iridescent#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/08/NT-SFUL-2.jpg","keywords":["Arjowiggins","Conqueror","FinePaper","Iridescent","trouver","TROUVER art","コンケラー IR","剛古紙","珠光紙"],"articleSection":["All","Europe"],"inLanguage":"zh-TW","description":"Conqueror Iridescent / コンケラー IR (Konkerā IR)\n\n\n\nOriginating from the renowned Gangu Paper family, the official name of the product with the Taiwanese agent is \"Yingwu Gangu Paper.\" The paper itself has a pale white base, with a surface coated in an elegant pearlescent sheen. Depending on the angle of light, it subtly reflects a gradient of iridescent hues. In Japan, these colors are named \"Tamamushi-iro\" (pale gold) and \"Niji-iro\" (rainbow color). Compared to other types of pearl art paper, this paper's texture is outstanding, making it quite popular in Europe as well.\n\n\n\n-\n\n\n\n中文代理名稱：影舞剛古紙\n\n\n\n銀河般的光芒 / コンケラー IR\n\n\n\n同樣源於久負盛名的經典剛古紙家族，在台灣代理商的正式名稱為「影舞剛古紙」。紙張本身以蒼白色為基底，表面抹上象徵優雅的珍珠光澤，並且依照角度的不同，細緻的反映出漸層虹彩般的色調，故在日本分別以淡金的「玉虫色」與淡藍的「虹色」為顏色命名，以同類型珠光美術紙相較之下質感出眾，在歐洲也相當受到歡迎。\n\n\n\n-\n\n\n\n銀河のような輝き / コンケラー IR\n\n\n\n有名なクラシックガングペーパーの一族から派生したこの紙は、台湾代理店では正式に「影舞剛古紙」として知られています。この紙は、淡い白色を基調とし、その表面にはエレガントな真珠光沢が施されています。光の角度により、微妙にグラデーションの虹色を反映し、日本では淡い金色の「玉虫色」と淡い青色の「虹色」としてそれぞれの色が命名されています。同類の真珠光沢アート紙と比較して質感が際立っており、ヨーロッパでも非常に人気があります。"}
{"@context":"https://schema.org","@type":"WebPage","@id":"https://trouver.art/conqueror-iridescent","url":"https://trouver.art/conqueror-iridescent","name":"Conqueror Iridescent - trouver.art","isPartOf":{"@id":"https://trouver.art/#website"},"image":{"@id":"https://trouver.art/conqueror-iridescent#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/08/NT-SFUL-2.jpg","datePublished":"2015-09-15T18:15:00+00:00","dateModified":"2025-12-30T18:01:14+00:00","description":"經典剛古紙家族，在台灣代理商的正式名稱為「影舞剛古紙」。紙張本身以蒼白色為基底，表面抹上象徵優雅的珍珠光澤，並且依照角度的不同，細緻的反映出漸層虹彩般的色調，故在日本分別以淡金的「玉虫色」與淡藍的「虹色」為顏色命名，以同類型珠光美術紙相較之下質感出眾，在歐洲也相當受到歡迎。","inLanguage":"zh-TW"}
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{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/curious-matter#article","isPartOf":{"@id":"https://trouver.art/curious-matter"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Curious Matter","datePublished":"2015-07-14T06:33:00+00:00","dateModified":"2025-12-30T18:02:28+00:00","mainEntityOfPage":{"@id":"https://trouver.art/curious-matter"},"wordCount":437,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/curious-matter#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/08/20150614-ACE_8964-1024x1024.jpg","keywords":["Arjowiggins","Curious","Curious Matter","FinePaper","Matter","Potato","trouver","TROUVER art","UV印刷","再生紙","觸感紙","馬鈴薯皮"],"articleSection":["All","Europe"],"inLanguage":"zh-TW","description":"Curious Matter\n\n\n\nIf you want to choose a type of paper that can give a deep impression to someone, first come to my mind is the paper with fantastic texture, Curious Matter by Arjowiggins. By the first time I saw it, the first impression is ordinary. “ It seems like another high GSM (grams per square meter) hard carton? ”But when I touch it, some kind of feeling of material burst out, that is special and fascinating! The feature of Curious Matter is the mineral grainy texture, in my words, it is much smoother than cat’s rough tongue but within a fine sandpaper-like surface.\n\n\n\nEspecially, this remarkable texture is from potato skin, dry and shred recycle potato skin with a bit powdery fibre. “ Ah-ha! ” It reminds me of a tactile sensation that mashed potato left on the spoon, this time not by tongue but fingers. By the samples, the paper agent provides, Curious Matter have six colours: Goya White, Black Truffle, two potato skin colours (Andina Grey and Ibizenca Sand), and two Exuberant colours (Adiron Blue and Desiree Red). It is suitable for eye-catching design, for example, the package of organic product or some exhibition prints. If you want to provide more than just visual impact, Curious Matter is the ideal material. By the color rendering, from the upper picture shows the overprint of CMYK, you could find granulated thing floating on ink, it means that Curious Matter will not lose surface texture after overprint process, also it brings out neutral colors, and these features make it easy to present subject like humanities, cultures and gray photography. By using macro photography, we could see gradient printing affected by the top-layer fibre. It should be considered during the whole printing process.\n\n\n\nThen, on processing adaptability, from the upper picture, three kinds of topping be using on the surface. From the Highest triangle pattern, “Curious”, to the lowest “Matter”, we could find that it still maintained the texture after Toppan printing. Usually, these kinds of strong texture paper, during Toppan printing process, will lose their texture and even change back to the smooth status. Because of the strong bracing, Curious Matter could adopt more complicated processes.\n\n\n\nAt last, Maybe the cost constraints and information popularity make us rarely see this kind of material be using. Hope that in the future we could overcome the limits in computer graphic and let designers spread their feelings through the paper, by giving samples and sharing correct usages in exhibitions or somewhere.\n\n\n\n-\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n-\n\n\n\n源自馬鈴薯皮的觸覺新體驗 / Curious Matter\n\n\n\n還記得，第一次看到Matter的時候，拿起它碰觸的瞬間，指尖湧入了許多特別的感受，有別於其它以手感為目的製造的紙品，是相當新奇且愉悅的感受，由我的詞彙來形容的話，它像是比較光滑的貓舌頭，或是類似較細顆粒的砂紙，介於這兩者中間恰到好處的微妙部分。\n\n\n\n紙張表面的特殊觸感的來源，是藉由回收的馬鈴薯皮，經過乾燥與切碎之後的粉狀纖維，加入抄紙機進行製作，最初得知紙中添入了馬鈴薯皮這個訊息的我，有一種「原來如此！」的反應，這種手感的印象來源，來自吃完馬鈴薯泥的湯匙上所殘留顆粒，只是以往大多是使用舌頭去碰觸與記憶。\n\n\n\n紙廠當初決定顏色的靈感來源，是參考世界各地不同品種馬鈴薯的顏色，並與觸感的原料互相呼應。\n\n\n\n2015年代理商提供的Matter樣本顯示，提供六個顏色的選擇，建議可以使用於透過觸覺表現的主題，例如名片或是書籤能近距離觸摸的印刷品，或者強調優質素材的有機商品包裝，應該都是能勝任的合適選擇。\n\n\n\n在2015的時候固定生產照片中的六種顏色，後續增加了第七種的紫色。\n\n\n\n關於色彩表現的部分，在CMYK的四色UV印刷部分可以看到顆粒狀的物質浮在油墨上頭，這表示了Matter並不會油墨疊印而造成表面觸感的折損，色彩表現則是一般無塗佈紙的水平，不建議進行照片類型的彩色印刷，以單色的印象主題表現或許是比較好的方式。\n\n\n\n樣本中以UV印刷表現的疊印效果因為UV印刷本身的油墨可以堆疊較厚的緣故，在小細節適度的運用，能夠跟紙張的觸感結合成為奇妙的對比。\n\n\n\n最後，由於在台灣可能大多因為製作的成本限制，或是紙張方面的資訊的宣傳尚未完全透明，希望藉由個人所見於紙的特性，讓更多設計師或印刷同業能適度的在印刷品中帶入視覺以外的感官要素，或許未來有朝一日能在展覽甚至捷運站內發送的宣傳品也能獲得有著 「原來如此」感覺的印刷品吧！\n\n\n\n-\n\n\n\n銀じゃがいもの皮から生まれた新しい触覚体験\n\n\n\n初めてMatterを見たとき、それを手に取って触れた瞬間、指先に多くの特別な感覚が湧きました。他の触感を目的として製造された紙とは異なり、非常に新鮮で楽しい感覚でした。私の言葉で表現するなら、それはより滑らかな猫の舌、または細かい粒子のサンドペーパーのようで、ちょうどその中間に位置する絶妙な感触です。\n\n\n\n紙の表面の特殊な触感の由来は、リサイクルされたじゃがいもの皮が乾燥され、細かく砕かれた後の粉末繊維を加えて抄紙機で製造されています。紙にじゃがいもの皮が含まれていることを初めて知った時、「なるほど！」という反応がありました。この触感の印象の由来は、じゃがいも泥のスプーンに残った粒から来ており、これまでは舌で触れて記憶していたものです。\n\n\n\n製紙工場が当初決定した色のインスピレーションは、世界各地の異なる品種のじゃがいもの色を参考にしており、触感の原料と呼応しています。\n\n\n\n2015年の代理店が提供したMatterのサンプルには、6色の選択肢があり、名刺やしおりのように近距離で触れる印刷物や、質の高い素材を強調したオーガニック商品のパッケージに使用することをお勧めします。\n\n\n\n2015年には6色の固定生産がされていましたが、その後、7色目の紫色が追加されました。\n\n\n\n色の表現に関して、CMYKの四色UV印刷では、粒子状の物質がインクの上に浮いているのが見られます。これは、Matterがインクの重ね刷りによって表面の触感が損なわれないことを示しています。色の表現は通常の無塗工紙のレベルであり、写真のようなカラープリントには適していないため、単色の印象を表現するテーマで使用するのが良いかもしれません。\n\n\n\nサンプル中のUV印刷による重ね刷り効果は、UV印刷自体のインクが厚く堆積できるため、小さなディテールで適度に使用することで、紙の触感と組み合わせて素晴らしいコントラストを作り出すことができます。\n\n\n\n最後に、台湾では製作コストの制約や紙に関する情報の宣伝がまだ十分に透明ではないため、私が見た紙の特性を通じて、より多くのデザイナーや印刷業者が印刷物に視覚以外の感覚要素を取り入れることができるようになることを願っています。もしかしたら、将来的には展示会やさらには地下鉄の駅内で配布される宣伝物にも、「なるほど」と感じる印刷物が登場するかもしれませんね！"}
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{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/leatherlike#article","isPartOf":{"@id":"https://trouver.art/leatherlike"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"LEATHERLIKE","datePublished":"2017-07-19T08:19:00+00:00","dateModified":"2025-12-30T17:59:21+00:00","mainEntityOfPage":{"@id":"https://trouver.art/leatherlike"},"wordCount":469,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/leatherlike#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/07/DSC_2861-scaled.jpg","keywords":["Cordenons","FinePaper","Italy","LEATHERLIKE","LuxePack","trouver","TROUVER art","UVprint","仿皮革","壓紋紙","打凸"],"articleSection":["All","Europe"],"inLanguage":"zh-TW","description":"Recreating Luxurious Premium Leather / LEATHERLIKE\n\n\n\nIn recent years, with the development of graphic design and printing applications, designers have started to have greater expectations for the paper materials they use. In response, international paper manufacturers have been launching new products that emphasize the feel of different textures. One such unique product among the many leather-textured papers is “LEATHERLIKE.”\n\n\n\n“LEATHERLIKE” was first introduced by the Italian paper manufacturer Cordenons at LuxePack 2016, a luxury packaging exhibition. The initial inspiration for its development and design came from the leather materials frequently used in the fashion industry. However, as environmental awareness continues to rise, using animal leather is no longer the mainstream fashion choice. Therefore, the paper manufacturer aimed to provide a more environmentally friendly solution for premium printed materials and luxury packaging by embossing paper to simulate the texture and surface feel of real leather.\n\n\n\n“LEATHERLIKE” comes in three colors, each corresponding to four different leather textures. The black color on the sample cover exudes a deep, matte atmosphere, paired with a subtle embossed logo and contrasting foil-stamped letters, giving it an unmistakable premium feel. Due to adjustments in the paper composition to emphasize the textures, traditional offset inks cannot be used for printing. Instead, UV or other quick-drying printing methods are recommended. Quick-drying printing methods usually leave thicker ink layers on the paper; the contrast between the stacked layers and the surface texture creates a unique effect, though it may be more challenging for creative applications. The leather texture itself has a \"raised\" feature on both the front and back sides. The front typically resembles real animal leather, while the back offers a strikingly different texture. If this characteristic is effectively utilized in design, it can add surprising effects to the reverse side of the paper.\n\n\n\nThe second texture of “LEATHERLIKE” is suitable for general binding and sewing use. However, since the paper surface is relatively smooth, a higher-viscosity adhesive (with more corrosive properties) is recommended for bonding to prevent peeling. By alternating between different leather patterns, this paper is quite suitable for styles related to the luxury industry, allowing for highly flexible printing and processing combinations. The third texture, resembling snake skin, when combined with UV ink effects, showcases the texture’s characteristics in sync with the style of leather high-heeled shoes. Different densities of white and black inks, along with selective color accents, are used in printing. When printing handbag photos using four-color inks, the integration of textures can undoubtedly accelerate the desire to purchase the products featured in this “catalog.” Clever design, suitable paper, and meticulous printing craftsmanship—creating a beautiful printed piece through the layering of different colors and textures isn’t so difficult, is it?\n\n\n\n-\n\n\n\n再現奢華精品皮革 / LEATHERLIKE\n\n\n\n近年隨著平面設計與印刷應用的發展,設計者們對於使用的紙媒材開始有了更多的期待,而國際紙廠們近期也陸續推出了強調材質感覺的新產品,本次介紹的 “LEATHERLIKE” 是為數眾多皮紋理類紙中非常有特色的紙品。“LEATHERLIKE” 為義大利紙廠 Cordenons 於 2016年的 LuxePack(奢侈品包裝展)中首次發表;據說起初開發設計的靈感,源自於時裝精品業經常使用的皮革原料,但隨著環保意識逐漸高漲的情況下,使用動物皮革已不再是大眾主流所追求的時尚意識,所以紙廠希望藉由紙張進行壓紋之後,以仿真的皮革紋理以及表面觸感,來針對高級印刷品與精品包裝提出較為環保的解決方案。\n\n\n\n“LEATHERLIKE” 一共有三種顏色並對應四種不同的皮革紋路,在樣本封面的黑色有著相當沈穩的霧面氛圍,搭配低調的打凸標誌以及較明顯對比的字母燙金,質感不在話下。由於為了強調紋理而在紙張成分有所調整,所以實務上無法以一般平版油墨印刷,建議改用UV或其他快速乾燥的印刷方式進行。而通常快速乾燥的印刷方式,在紙上會留下較有厚度的油墨;透過堆疊與表面紋理的對比,在效果呈現上非常特別,但創意應用難度會比較高。而皮革紋理的部分,正面與反面的紋路具有“凹凸”的特性,一般正面近似真的動物皮革,在背面又有對比強烈的紋路表現，若在設計中也能夠善用這個特性,在紙的反面中加入令人感到驚喜的效果。\n\n\n\n”LEATHERLIKE”的第二種紋理,在一般裝訂與車縫的使用是沒有問題的,但紙面比較偏光滑,若有黏合的需求會建議使用黏度(腐蝕性)高一些的膠種,較能避免脫膠的情況。透過不同的皮革紋路交替,若以精品相關行業風格會相當合適,印刷加工的組合也能相當靈活的進行使用。近似蛇皮的第三種紋理與UV油墨的效果範例,為針對紋理特性結合皮質高跟鞋的風格,使用不同濃度的白墨黑墨與局部點綴的彩色進行印刷。在四色油墨的皮包照片印刷上結合了紋路的特性,是不是加速了想要購買此本“型錄“中產品的慾望呢?巧妙的設計、適合的紙、嚴謹的印刷工藝;透過不同顏色與紋理的交疊,其實製作一份美麗的印刷品並沒有那麼困難,對吧?\n\n\n\n-\n\n\n\nラグジュアリーレザーブティックを再現する / LEATHERLIKE\n\n\n\n近年、グラフィックデザインや印刷用途の発展に伴い、デザイナーたちは使用する紙メディアに対してより多くの期待を持つようになりました。そのため、国際的な製紙会社は最近、素材感を強調した新製品を次々と発表しています。今回紹介する「LEATHERLIKE」は、多くのレザー風紙の中でも非常に特徴的な製品です。\n\n\n\n「LEATHERLIKE」は、イタリアの製紙会社Cordenonsが2016年のLuxePack（高級包装展示会）で初めて発表しました。開発当初のデザインのインスピレーションは、ファッションブティック業界でよく使用される革の素材に由来しています。しかし、環境意識の高まりに伴い、動物の革を使うことはもはや主流のファッション意識ではなくなりました。そのため、製紙会社は紙にエンボス加工を施し、リアルな革の質感や表面の触感を再現することで、高級印刷物や高級包装に対するより環境に優しい解決策を提供することを目指しました。\n\n\n\n「LEATHERLIKE」には3つの色とそれぞれ異なる4つの革模様があります。サンプルのカバーの黒色は非常に落ち着いたマットな雰囲気を持ち、控えめなエンボスロゴと、目立つコントラストのホットスタンプの文字が施されています。その質感は素晴らしいものです。模様を強調するために紙の成分が調整されているため、実際には通常のオフセットインクでは印刷できません。UVや他の速乾性の印刷方法を使用することをお勧めします。速乾性の印刷方法は通常、紙の上に厚みのあるインクを残します。積み重ねと表面の模様のコントラストによって、非常に独特な効果を生み出しますが、創造的な応用には多少の難しさがあります。\n\n\n\n革の模様に関しては、表面と裏面の模様が「凹凸」の特性を持ち、一般的に表面は本物の動物の革に似ています。裏面には対照的な模様が表現されており、デザインにおいてもこの特性を上手に利用することで、紙の裏面に驚きを与える効果を加えることができます。\n\n\n\n「LEATHERLIKE」の第二の模様は、通常の製本や縫製の使用には問題ありませんが、紙面が比較的滑らかであるため、接着の必要がある場合は粘度（腐食性）が高い接着剤を使用することをお勧めします。これにより、剥がれを防ぐことができます。さまざまなレザー模様を交互に使用することで、高級品関連の業界スタイルには非常に適しており、印刷加工の組み合わせも非常に柔軟に使用することができます。\n\n\n\n蛇皮に似た第三の模様とUVインクの効果例は、模様の特性をレザーのハイヒールのスタイルと組み合わせ、異なる濃度の白インクと黒インク、部分的なカラーアクセントを使用して印刷しています。四色インクのバッグの写真印刷では、模様の特性と組み合わせることで、この「カタログ」に掲載された製品を購入したいという欲望が加速されるのではないでしょうか？巧妙なデザイン、適切な紙、厳密な印刷技術を用いて、異なる色と模様の重なりを通じて、美しい印刷物を作るのはそれほど難しいことではありませんよね？"}
{"@context":"https://schema.org","@type":"WebPage","@id":"https://trouver.art/leatherlike","url":"https://trouver.art/leatherlike","name":"LEATHERLIKE - trouver.art","isPartOf":{"@id":"https://trouver.art/#website"},"image":{"@id":"https://trouver.art/leatherlike#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/07/DSC_2861-scaled.jpg","datePublished":"2017-07-19T08:19:00+00:00","dateModified":"2025-12-30T17:59:21+00:00","description":"“LEATHERLIKE” 為義大利紙廠 Cordenons 於 2016年的 LuxePack(奢侈品包裝展)中首次發表。據說開發設計的靈感源自於時裝精品業經常使用的皮革原料,近來使用動物皮革已不再是大眾主流,所以紙廠經由壓紋處理的製程提供紙張具有仿真皮革紋的表面觸感,來針對高級印刷品與精品包裝提出較為環保的解決方案。","inLanguage":"zh-TW"}
{"@context":"https://schema.org","@type":"ImageObject","inLanguage":"zh-TW","@id":"https://trouver.art/leatherlike#primaryimage","url":"https://trouver.art/wp-content/uploads/2024/07/DSC_2861-scaled.jpg","contentUrl":"https://trouver.art/wp-content/uploads/2024/07/DSC_2861-scaled.jpg","width":2560,"height":2560,"caption":"LEATHERLIKE"}
{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/wild#article","isPartOf":{"@id":"https://trouver.art/wild"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Wild","datePublished":"2016-01-24T15:54:00+00:00","dateModified":"2025-12-30T18:00:48+00:00","mainEntityOfPage":{"@id":"https://trouver.art/wild"},"wordCount":341,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/wild#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/08/DSC7663.jpg","keywords":["Cordenons","FinePaper","Italy","Pordenone","trouver","TROUVER art","Wild","凸版加工","棉紙","燙金","狂野紙"],"articleSection":["All","Europe"],"inLanguage":"zh-TW","description":"The Wildness Hidden in the Fingertips / Wild\n\n\n\nLocated in Pordenone, Italy. Cordenons launched a fine paper product in 2012 called “Wild”, and meanwhile, this special promotional sample book was also released.This sample book uses animals in the wild as its theme. It caressingly balances the galloping actions of prairie and the stillness of image on the paper.The most obvious feature of Wild is that it contains 35% cotton. It has a moist and fluffy touching feel, and the neutral white surface; therefore in offset printing, it has a very dazzling performance. It is quite suitable for any theme that is related to animals or theme that requires emphasis in hand touching senses.\n\n\n\nThe highest substance is 850gsm. For embossing and hot foil techniques, it shows excellent results. Even the hair along the back of the horse’s body can be clearly displayed on the paper.It must be mentioned that there is a fluffy feeling when touching the surface of the paper, also the texture contains fibre, hence it creates a feeling that is close to touching the real hair. In the occasion where the design involves the combination of visual and touching senses, an unbelievably well effect can be achieved. Just like this zebra pattern, when touching this image a false impression similar to that of touching a real zebra is created. This is the most amazing aspect of the product.\n\n\n\nIn Taiwan, hot foil and embossing techniques can have very good effects even in small details. This is a real example of Wild being used in the Taiwanese printing industry. It is the director’s design project for a private pet salon. However, the issue that needs to be aware of is that the paper has very high ink absorbency.Other than the need to pay attention in selecting the glue during the laminating process, when using inject printing, the colour plate’s injection rate needs to be adjusted.\n\n\n\n-\n\n\n\n潛伏於指尖的野性 / 狂野紙 Wild\n\n\n\n在2012年，義大利Pordenone的紙廠 Cordenons，誕生了以「Wild」命名的美術紙系列，並同時推出了這份特別的宣傳紙樣本。「Wild」在中文的意思為：狂野、野性之意；此次樣本以野生動物為主題進行一系列的設計，將奔騰於草原的「動」和印刷於紙上的「靜」，取得相當微妙的平衡。「Wild」的最大特徵，在於它擁有35%的棉、溫潤蓬鬆的手感、以及中性白色的紙面；所以在四色膠印的表現相當亮眼，相當適合搭配關於動物或是需要強調手感的主題。而最大基重到850gsm，對於凸版印刷或是燙金的加工，呈現出來的效果相當優異，可以看到在背脊細緻的毛髮處，都能清楚地在紙上做呈現。值得一提的是，在觸摸紙面能感到鬆軟，而且具有纖維的紋路與接近毛絮的感覺，若是在設計上將視覺圖像與觸覺的感官相結合，可以獲得意想不到的良好效果，像是這張斑馬紋一樣，在觸摸時居然有著近似撫摸實際斑馬的錯覺 ，是令人最驚奇的地方。\n\n\n\n在台灣，即使用於燙金或凸版加工，在細節上也能有相當良好的表現，此為「Wild」一紙在台灣使用的實例，由所長替一間私人寵物沙龍進行設計，但實務上需要注意的問題是，紙張的吸水性相當高，除了用於黏合類的加工，在膠的選用調配上需要特別注意以外，使用噴墨類的印刷在色版的放墨量需要特別調整。\n\n\n\n-\n\n\n\n指先に潜む野性 / Wild\n\n\n\n2012年、イタリアのポルデノーネにある紙工場コルデノンスから「Wild」と名付けられた美術紙シリーズが誕生し、同時にこの特別な宣伝用サンプルも発表されました。「Wild」という言葉は、中国語で「狂野」や「野性」を意味します。このサンプルでは、野生動物をテーマにした一連のデザインが施されており、草原を駆け抜ける「動」と紙に印刷された「静」との絶妙なバランスが取られています。\n\n\n\n「Wild」の最大の特徴は、35%のコットンを含む温かみのあるふわふわとした手触りと、中性的な白の紙面です。そのため、四色オフセット印刷の表現が非常に鮮やかで、動物に関するテーマや手触りを強調する必要があるテーマに非常に適しています。最大厚さが850gsmに達するため、活版印刷や箔押し加工にも非常に優れた効果を発揮し、背中の細かい毛の部分まで紙上で明確に表現することができます。\n\n\n\n特筆すべきは、紙面に触れると柔らかさを感じるとともに、繊維の質感と毛羽立ちに近い感覚がある点です。デザインにおいて視覚的なイメージと触覚的な感覚を組み合わせることで、予想外の良い効果を得ることができます。例えば、このシマウマの柄のように、触った時に実際のシマウマを撫でているかのような錯覚を覚えるのは非常に驚きです。\n\n\n\n台湾においても、「Wild」は箔押しや活版印刷加工で非常に良好な表現を見せています。これは台湾での「Wild」の使用例であり、工場長がプライベートペットサロンのためにデザインしたものです。しかし、実際に使用する際には注意すべき点があります。紙の吸水性が非常に高いため、接着加工に使用する際には接着剤の選定と調整に特別な注意が必要です。また、インクジェット印刷を使用する場合、インクの量を特に調整する必要があります。"}
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{"@context":"https://schema.org","@type":"ImageObject","inLanguage":"zh-TW","@id":"https://trouver.art/wild#primaryimage","url":"https://trouver.art/wp-content/uploads/2024/08/DSC7663.jpg","contentUrl":"https://trouver.art/wp-content/uploads/2024/08/DSC7663.jpg","width":1335,"height":1335,"caption":"Wild"}
{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/takeo-desk-diary-2018#article","isPartOf":{"@id":"https://trouver.art/takeo-desk-diary-2018"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"2018 Takeo Desk Diary","datePublished":"2019-03-05T05:57:00+00:00","dateModified":"2025-12-30T17:58:20+00:00","mainEntityOfPage":{"@id":"https://trouver.art/takeo-desk-diary-2018"},"wordCount":561,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/takeo-desk-diary-2018#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2019/03/web-3698-300x300.jpg","keywords":["ARTISAN","CREANOG","Desk Diary","Engraving","Les Ateliers Asdourians & Gustave Gernez","TAKEO","TakeoDeskDiary","trouver","TROUVER art","アラベール","クロコGA","凹版印刷","雕刻版"],"articleSection":["All","Japan"],"inLanguage":"zh-TW","description":"中文/English/日本語\n\n\n\n刀刻的設計靈魂\n\n\n\n你或許會以為，紙是一種載體，理應被設計和印刷所駕馭——但真正深入設計的人，其實都明白，每一種材料都帶有自己的個性與任性，三者協作合而為一，才是最接近文化與情感的方向。而創作情感的流動大多出現於「相遇」的當下。\n\n\n\n在2018年與 Takeo Desk Diary 以「ARTISAN 法國傳統與創新」為題的年曆相遇，拆開航空包裹後的我，將焦點投向封面那別緻的雕刻銅版與凹版印刷，像是一場無聲對話，在時間與手感之間來回穿梭。\n\n\n\n設計的進化，往往被認為是技術的競賽，但在紙張與印刷的世界裡，每一次的選擇都是對歷史的回望。雕刻銅版本身，是設計師遞給材料的第一個提問。線條的深淺、紋理的疏密，來自職人指尖或雕刀劃過的瞬間，它不僅記錄，也不斷地反問；技術進步到數位雕刻機，卻無法完全去複製手工微妙的溫度與不可預期的細節。\n\n\n\n此刻，凹版印刷登場了。當金色墨水隨著機器緩慢運作，紙與油墨在精微的控制中交會，這種印刷工藝並非純然的生產流程，它像一場「賦予的儀式」：環境的溫度、油墨的流動性、運作機構的速度、甚至空氣裡的濕度，彼此糾纏成一組看不見的公式。材料往往不是回應設計圖說的命令，而是在設計者經過一次又一次問題後的糾結與抉擇，每一面作品的細節都反映著設計者的思維與情緒。\n\n\n\n這是一種職人精神，但不只如此。Takeo Desk Diary 內選用的每一種紙，包括日本竹尾的「アラベール」台灣代理商名稱：艾若薇，以紙張原生的質地中呈現出一種低調。它不喧嘩、不爭奪視線，即使在層層油墨與色彩下，也能保有材料該體現的色彩與莊重，讓印刷成為設計哲學的延伸，而不是一場魄麗的喧囂。\n\n\n\n設計，終究是關於可能性的開發。凹版印刷與手工雕刻，無論多麼考究與困難，似乎在提醒我們，設計或許可以是場溫柔地材料考驗，在材料的限制與技藝的邊界裡開出新枝。設計工作裡，有時並不是要找出最有效率的答案，而是在材料邊緣，讓一點幽微的不完美、些許尚未被機械取代的手感留存，成為創意的火苗。\n\n\n\n每年的 Takeo Desk Diary 如同行業的年度祕密集冊，不僅記錄紙張與印刷的創新，更紀錄著彼時彼地設計師與紙張之間，溫柔又激烈的文化思辨。\n\n\n\n也許，我該問自己：在一次又一次的設計案中，是否還能為那些被機械與標準流程淡化的細節，留下些許反思的時間？設計不是結果，是持續被材料提醒的過程，而紙，也正因此成為一切可能展開的基點。\n\n\n\nEnglish Ver.：\n\n\n\nThe Carved Soul of Design\n\n\n\nYou might think of paper as just a medium—something to be shaped and controlled by design and print. But anyone deeply involved in design knows: every material has its own personality and temper. True culture and emotion emerge when design, printing, and material collaborate as equals. Most creative sparks, in fact, come from moments of encounter.\n\n\n\nBack in 2018, my encounter with the Takeo Desk Diary themed “ARTISAN: French Tradition and Innovation” was just like that. When I opened the airmailed package, my attention immediately landed on the cover’s exquisite engraved copperplate and intaglio printing—a wordless dialogue flowing between time and touch.\n\n\n\nPeople often say that design evolves through technological competition. But in the world of paper and print, every choice is really a nod to history. That engraved copperplate is the designer’s first question for the material. The depth and texture of the lines, born from an artisan’s chisel or fingertip, aren’t just recorded—they ask questions in return. Even as technology advances to digital engraving machines, it can never truly replicate the hand’s warmth and the subtle unpredictabilities of craftsmanship.\n\n\n\nThen comes intaglio printing. Golden ink moves slowly through finely-tuned machines: here, paper and ink meet in a process that’s never just industrial. It feels like a ceremonial act of giving—one where temperature, ink viscosity, machine speed, and even the ambient humidity entangle into an invisible formula. Materials don’t simply obey the designer’s instructions; their resistance and unpredictability reflect every conflict and choice the creator has made. Each detail reveals a trace of the designer’s mind and mood.\n\n\n\nThis is the spirit of craftsmanship—but it’s also more than that. Every sheet chosen for the Takeo Desk Diary, including Takeo’s “Arabelle,” has a quiet dignity. It doesn’t shout or fight for attention. Even beneath layers of ink and color, it preserves its own true character and solemnity, turning printing into an extension of design philosophy—never just a flashy spectacle.\n\n\n\nIn the end, design is about possibility. Intaglio printing and hand engraving, despite their complexity, remind us that design can be a gentle test of materials—pushing new growth from within the constraints of substance and technique. In this work, the goal isn’t always efficiency; sometimes it’s about leaving a little space for subtle imperfection and a human touch that machines can’t replace, letting that become the spark of creativity.\n\n\n\nEach year, the Takeo Desk Diary feels like a secret industry almanac—a record not only of innovation in paper and print, but also of the ongoing, passionate, and thoughtful cultural conversation between designers and material.\n\n\n\nMaybe the real question I should ask myself is: Amid endless projects, can I still spare some reflection on details that get blurred by machines and standard routines? Design isn’t a final answer—it’s a process in which material keeps teaching us something new. And paper—that’s where every possibility unfolds.\n\n\n\n日文語Ver.：\n\n\n\n刻み込まれたデザインの魂\n\n\n\n紙はただの媒体、デザインや印刷に従うものだと思われがちです。でも、本当にデザインに向き合う人たちは知っています。すべての素材には個性や頑固さがあり、デザイン・印刷・素材が三位一体となった時にこそ、文化や感情に近づけるのだと。そして「出会い」の瞬間にこそ、創作の感情が生まれます。\n\n\n\n2018年、「ARTISAN フランス伝統と革新」をテーマにしたTakeo Desk Diaryとの出会いもまさにその瞬間でした。航空便を開封し、カバー中央の繊細な彫刻銅版と凹版印刷に目を奪われた私は、時間や触感を超えた静かな対話が始まるのを感じました。\n\n\n\nデザインの進化は技術の競争と捉えられがちですが、紙と印刷の世界では、あらゆる選択が歴史へのまなざしとなります。彫刻銅版自体、デザイナーが素材に投げかける最初の問いです。線の深さや質感は、職人や彫刻刀が生み出す一瞬の痕跡。記録されるだけでなく、逆に問いかけてもくる。技術がどんなに進歩しても、デジタル彫刻機に手作業の繊細な温度や予測不能なディテールを完全に再現させることはできません。\n\n\n\nそして、凹版印刷の出番です。ゴールドのインクが、ゆっくりと精密な機械の中を流れ、紙とインクが緻密なコントロールのなかで交わる——この印刷技術は単なる生産工程ではなく、まるで「授与の儀式」のよう。環境の温度、インクの流動性、機械のスピード、空気中の湿度までが、見えない数式のように絡み合います。素材は設計図通りに応答するものではなく、デザイナーの逡巡や選択を経て、作品の細部に思いや感情が映し出されます。\n\n\n\nそれは職人の精神ですが、それだけにとどまりません。Takeo Desk Diaryで選ばれる竹尾の「アラベール」など、どの紙も本来の質感を大切にしていて、主張しすぎることなく、重ねられたインクや色の下でも素材らしい色や品格を保っています。印刷がデザイン哲学の延長となり、派手な装飾にはなりません。\n\n\n\n結局、デザインは可能性を切り拓くことです。どんなに精緻で難しい凹版印刷や手彫りであっても、素材の限界と技術の境界の中から新しい芽が生まれる、優しい実験なのかもしれません。効率の良い答えを探すのがすべてではなく、ほんの少しの不完全さや、まだ機械に奪われていない手仕事の感覚を残すことが、創造の火種になるのです。\n\n\n\n毎年のTakeo Desk Diaryは、業界の“秘密の年鑑”のように、紙と印刷の革新だけでなく、その時その場のデザイナーと紙の間に生まれる、温かくも激しい文化的対話を記録しています。\n\n\n\n私は自分に問いかけてみます。何度も繰り返すデザインワークのなかで、機械や標準工程に薄められてしまう細部について、少しでも立ち止まり考える時間を持てているだろうか。デザインは結果ではなく、素材によって常に気づかされ続けるプロセス。その基点となるのが、やはり紙なのです。\n\n\n\n關於每一年的發行資訊可以參考這裏：\n\n\n\nhttp://www.takeo.co.jp/finder/goods/deskdiary.html\n\n\n\n相關連結：\n\n\n\n「Les Ateliers Asdourians & Gustave Gernez」\n\n\n\n「CREANOG」\n\n\n\n「TAKEO DESK DIARY 2018」發行資訊：「ARTISAN フランスの伝統と革新」アートディレクション：永井裕明（N.G.inc.）デザイン：本間 亮、柏木美月（N.G.inc.）デザインコーディネーション：堀川玲菜（N.G.inc.）序文：ジャン=マルク・ディマンシュ編集 & テキスト：宮後優子写真：市川勝弘製本：有限会社 美篶堂製本：背開き製本、60ページ"}
{"@context":"https://schema.org","@type":"WebPage","@id":"https://trouver.art/takeo-desk-diary-2018","url":"https://trouver.art/takeo-desk-diary-2018","name":"2018 Takeo Desk Diary - trouver.art","isPartOf":{"@id":"https://trouver.art/#website"},"image":{"@id":"https://trouver.art/takeo-desk-diary-2018#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2019/03/web-3698-300x300.jpg","datePublished":"2019-03-05T05:57:00+00:00","dateModified":"2025-12-30T17:58:20+00:00","description":"你或許會以為，紙是一種載體，理應被設計和印刷所駕馭——但真正深入設計的人，其實都明白，每一種材料都帶有自己的個性與任性，三者協作合而為一，才是最接近文化與情感的方向。而創作情感的流動大多出現於「相遇」的當下。在2018年與 Takeo Desk Diary 以「ARTISAN 法國傳統與創新」為題的年曆相遇，拆開航空包裹後的我，將焦點投向封面那別緻的雕刻銅版與凹版印刷，像是一場無聲對話，在時間與手感之間來回穿梭。","inLanguage":"zh-TW"}
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{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/snoble#article","isPartOf":{"@id":"https://trouver.art/snoble"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Snoble","datePublished":"2018-05-31T05:09:00+00:00","dateModified":"2025-12-30T17:59:03+00:00","mainEntityOfPage":{"@id":"https://trouver.art/snoble"},"wordCount":380,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/snoble#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/08/DSC_3944-scaled.jpg","keywords":["letterpress printing","paperboard","SBS","SBS紙漿","Snoble","TAKEO","trouver","TROUVER art","スノーブル-FS","凸版印刷","卡紙","壹級卡","新浪厚卡","銅版紙","銅西卡"],"articleSection":["All","Japan"],"inLanguage":"zh-TW","description":"\"New Possibilities for Packaging Applications?\" / スノーブル-FS Snoble\n\n\n\nIn the past, when it came to choosing white cardstock in Taiwan, customers with a limited budget would typically go for the affordable and practical duplex board. On the other hand, those with a higher budget would opt for the premium Swedish Grade One Cardboard. Although these different grades of cardstock are not fairly comparable, the discussion about their respective advantages, disadvantages, and price differences has always been a popular topic of conversation.\n\n\n\nHowever, this made me reflect on one thing: does cardstock really have no other new applications besides four-color printing and hot stamping? I think the emergence of \"Snoble Heavy Cardstock\" is both timely and serendipitous.\n\n\n\nUnlike similar products with a glossy coated finish, the lightly coated surface of Snoble means it offers a variety of layers and textures after printing, similar to the shift in preference in the coated paper market when the publishing industry consolidated. The paper also has a slightly fibrous and fluffy structure, which might encourage further exploration with \"letterpress printing\" or other composite processes to innovate in packaging structures.\n\n\n\nApart from the paper’s stiffness, which should meet the standards of SBS pulp, and its ability to withstand embossing and debossing without much issue, I noticed another unique characteristic: after the packaging is formed, other papers with the same structure tend to have slight warping. With Snoble, a simple press along the creases results in an exceptionally flat finish, which is the most surprising aspect of this paper. You can see this in the comparison photos later on.\n\n\n\nPaperboard has always been closely associated with printing, with color performance being highly scrutinized, and hot stamping and die-cutting requiring numerous trials before packaging boxes can be made. I often like to say, \"The paper itself is blameless; it all depends on how people use it.\" This saying implies that the value of paper is not determined by its price or the brand but by its purpose and application. Different types of paper, regardless of their cost, have their own significance. Understanding the characteristics of paper and considering its potential applications across different dimensions is the fundamental concept of making the most out of any piece of paper.\n\n\n\n-\n\n\n\n「加工用於包裝的新可能性？」/ 新浪厚卡 Snoble\n\n\n\n以往台灣在白色卡紙的選擇，除了親民好用的銅西卡以外，有預算的客戶通常會選擇直上瑞典壹級卡，雖然這幾支不同等級的卡紙雖然相較之下並不公平，但也因為其各有優缺點及價格的落差也是大家茶餘飯後所津津樂道的討論話題。\n\n\n\n不過這讓我反思一件事情，難道卡紙除了四色印刷與燙金以外，沒有其他新的做法了嗎？我想這時候「新浪厚卡 / Snoble」的出現，是機緣，也是巧合吧。\n\n\n\n別於同類型紙品的銅版光澤，表面的微量塗㳍意味著像當初統一出版業的銅版紙市場的喜好轉換，印刷後多了數種層次與風韻以外，紙張具有些許纖維感的蓬鬆結構，或許可以進而嘗試將「凸版印刷」，或是以複合加工嘗試在包裝結構進行創新。\n\n\n\n除了本身紙張的挺度應該有SBS紙漿的水準，對應壓凹凸的加工對於紙張的考驗應該不是太大的問題以外，我注意到一個特性是在於包裝成型後，原本其他紙在同樣結構都會有些微的翹曲部分，在Snoble上只要簡單的順一下折角後，就會異常的平整，這也是這張紙最讓我驚奇的一部分，可以參考比較後面的兩張照片。\n\n\n\n一直以來紙板類型的紙總是離不開印刷，除了在顏色表現斤斤計較，燙金與軋型成為包裝盒前還得經過不少考驗，筆者很喜歡講一句話：「紙本身是無罪的，端看人如何去使用它。」話中的含義其實代表了紙張無關價格高低，品牌大小，不同用途與不同價格的紙，都各自有它們存在的意義，適度了解紙的特性，盡可能的思考紙張在不同層面能夠延伸的可能性，我想這就是能夠善用一張紙的基礎概念吧。\n\n\n\n-\n\n\n\n「包装における加工の新しい可能性？」/ スノーブル-FS Snoble\n\n\n\nこれまで台湾で白いカード紙を選ぶ際、手頃で使いやすい「コートボール」以外にも、予算に余裕のあるお客様は通常スウェーデン製の「グレード1カード」を選んでいました。これらの異なる等級のカード紙を比較することは公平ではありませんが、それぞれの長所と短所、価格の違いが話題になることが多いのも事実です。\n\n\n\nしかし、このことから私は考えさせられました。カード紙は四色印刷や箔押し以外に、新しい使い方がないのでしょうか？「シノーブル厚手カード」の登場は、まさにそのタイミングで偶然の出会いだったのかもしれません。\n\n\n\n同じタイプの紙製品とは異なり、コートされた光沢を持たず、表面に軽くコーティングされているため、まるで出版業界がコート紙市場の好みを統一した時のように、印刷後には複数のレイヤーと風合いが追加されます。また、紙にはわずかに繊維感のあるふんわりとした構造があり、「レタープレス印刷」や複合加工を用いた包装構造の革新に挑戦することができるかもしれません。\n\n\n\n紙自体の強度はSBSパルプの基準を満たしているはずで、エンボス加工やデボス加工にも問題なく対応できるでしょう。さらに、私が注目した特性は、包装が形成された後、他の紙では同じ構造であっても少し反り返る部分があるのに対し、シノーブルでは折り目を軽く整えるだけで異常なほど平らになるという点です。これがこの紙の最も驚くべき部分であり、後ろの2枚の写真で比較することができます。\n\n\n\n従来から板紙のタイプの紙は常に印刷と密接に関連しており、色の表現にこだわるだけでなく、箔押しや型抜き加工も多くのテストを経てからでないと包装箱として完成しません。私はよく「紙そのものに罪はない、使い方次第だ」と言います。この言葉の意味は、紙の価格やブランドの大小に関わらず、異なる用途や異なる価格の紙にはそれぞれ存在する意味があるということです。紙の特性を適度に理解し、紙がさまざまな側面でどのように拡張できるかを最大限に考えることが、紙をうまく活用するための基本的な概念だと思います。"}
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{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/jeanfelt#article","isPartOf":{"@id":"https://trouver.art/jeanfelt"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"JEANFELT","datePublished":"2017-11-27T06:05:00+00:00","dateModified":"2025-12-30T17:59:16+00:00","mainEntityOfPage":{"@id":"https://trouver.art/jeanfelt"},"wordCount":415,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/jeanfelt#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/08/S-3254-1024x1024.jpg","keywords":["Felt","JEAN","Jean Auguste Dominique Ingres","JEAN FELT","Jeanfelt","TAKEO","trouver","TROUVER art","ジャンフェルト","丹寧紙","壓紋紙","松田行正","立體書"],"articleSection":["All","Japan"],"inLanguage":"zh-TW","description":"Elegant and Delicate Impression / ジャンフェルト JEANFELT\n\n\n\nAs 2017 draws to a close, let's introduce the newly launched paper in Taiwan, \"JEAN FELT.\" Starting with the name, \"JEAN\" is inspired by the 19th-century French artist Jean Auguste Dominique Ingres (1780–1867). Ingres is renowned for his meticulous line work, precise contours, vivid colors, and rigorous compositions, which have left a lasting impression on the world. \"Felt\" refers to the pattern reminiscent of the regular lines seen in traditional carpets due to their weaving direction. By combining JEAN and FELT, this paper aims to convey a specific sensory experience.\n\n\n\nJeanfelt is characterized by its surface, which features delicate dyed fibers and a cross-woven felt pattern. When touched under contrasting light, it evokes a traditional and grand impression. The fibers, scattered uniformly across the surface, have their colors and blend ratios meticulously adjusted, creating a visually rich depth, especially when overlaid with traditional embossed paper techniques. It is available in 14 captivating colors, each telling its own story, making it a highly anticipated choice for future bookbinding and packaging designs.\n\n\n\nIn the sample book, Jeanfelt comes in four different thicknesses, ranging from 93 to 244 gsm, and is showcased using pop-up book principles. Notably, its color saturation in offset printing is outstanding, avoiding the dullness typical of similar uncoated papers. In the gold stamping section, you can see from the photos that the foil reflects the paper’s texture, indicating a tight bond between the paper and the foil, which speaks to its excellent adaptability to various processing methods. However, because it is embossed paper, it’s essential to consider the direction of tearing when handling it for printing processes. Overall, Jeanfelt is a paper prepared to meet all kinds of challenges.\n\n\n\nFinally, a bit of history: Jeanfelt was first introduced in 1997, and recently, Takeo commissioned designer Yukimasa Matsuda to create this sample book. The sample book is designed with \"symbols\" as the central theme, with each of the fourteen colors representing a different symbol. Since the 19th century, symbols—whether through illustrations, mathematical symbols, maps, or other forms—have made visual communication more efficient and easier to understand. Perhaps the designer aimed to reflect the meticulous and structured style of the artist Jean Auguste Dominique Ingres, bringing various layers of meaning into the design in a clever way.\n\n\n\n-\n\n\n\n典雅的纖細印象 / ジャンフェルト JEANFELT\n\n\n\n到了2017的尾巴，來介紹這支近期在台灣上市的紙品 “JEAN FELT(ジャンフェルト)”，首先就命名的字面上來看，「JEAN」為十九世紀的法國藝術家 “Jean Auguste Dominique Ingres(1780~1867)” 為靈感而起，由於Jean的作畫風格以線條工整、輪廓確切、色彩明晰與構圖嚴謹著稱，在世人心中留下深刻印象；而Felt則是”毯紋”之意，如同傳統地毯由於編織方向所見到規則線條的紋路，將 JEAN 與 FELT的印象合二為一，則是本支紙所要訴求的感受。\n\n\n\nJeanfelt的特徵為表面有著纖細的染色纖維，以及橫豎交織的毯紋，在光線的對比下以手觸摸，帶給人一種傳統大氣的印象。均勻散落在表面微量的染色纖維，仔細觀察可以發現纖維的顏色與數量混合的比例是經過仔細調整的，而與傳統的紙壓紋技術重疊之後，產生了在視覺上相當豐富的深度表現，並添入了引人入勝帶有故事性的14種色彩，未來無論是出現在書籍裝幀或是包裝設計的作品上，都是非常令人期待的。\n\n\n\n在樣書當中，我們可以見到Jeanflet有四種從93到244gsm的厚度，並運用立體書的原理呈現；而值得一提的地方是在平版印刷的色彩飽和相當出眾，並沒有類似紙品因無塗佈表面所自然呈現的色彩暗沉現象。在燙金的部分可以透過照片看到金箔上有著紙張的紋路，意味著紙張與金箔兩者之間緊密的結合，加工適應性非常良好，不過由於是壓紋紙，在感受纖細的外表之後，在印刷加工還是記得要注意撕向所造成的不同影響，綜合來說，是準備好接受各種挑戰的一張紙。\n\n\n\n最後來談論一下，關於Jeanfelt最早是在1997年發表的紙品，近期竹尾委託了設計師 “松田行正”製作了此本樣書，樣書其中以“符號”作為設計的原點，並使用了十四個顏色個別代表了不同的符號，因為自從十九世紀開始有了圖形計算以來，藉由插圖或是數學、地圖等各式不同的符號，能夠使視覺傳達更加的有效率且容易理解，我想或許設計者希望更加呼應藝術家“Jean Auguste Dominique Ingres” 嚴謹工整風格的關係，以巧妙的方式將不同層面的意義帶到設計當中。\n\n\n\n-\n\n\n\nエレガントで繊細な印象 / ジャンフェルト JEANFELT\n\n\n\n2017年の終わりに向けて、台湾で最近発売された紙製品「JEAN FELT（ジャンフェルト）」をご紹介します。まず、その名前から見てみましょう。「JEAN」は19世紀のフランスの芸術家ジャン・オーギュスト・ドミニク・アングル（1780～1867）に由来しています。ジャンの作品は、正確な線、明瞭な輪郭、鮮やかな色彩、厳密な構図で知られ、多くの人々に深い印象を残しています。一方、「FELT」は「フェルト」のことで、伝統的なカーペットの織り目のように規則的な線が見えるものです。「JEAN」と「FELT」を組み合わせた印象が、この紙が伝えたい感覚です。\n\n\n\nJeanfeltの特徴は、表面に細かく染色された繊維と、縦横に交差するフェルトのような模様です。光の反射を受けて手で触れると、伝統的で落ち着いた印象を与えます。表面に均一に散りばめられた微量の染色繊維をよく観察すると、繊維の色と量の混合比率が細かく調整されていることがわかります。伝統的な紙のエンボス技術と重ねることで、視覚的に非常に豊かな深みが生まれ、物語性のある14色を加えました。今後、書籍の装丁やパッケージデザインに登場するのが楽しみです。\n\n\n\nサンプルブックでは、Jeanfeltは93gsmから244gsmまでの4種類の厚さがあり、立体的な本の原理を使って表現されています。特筆すべき点は、オフセット印刷における色の飽和が非常に優れており、無塗工の紙製品に見られるような自然な色の暗さがないことです。金箔の部分では、写真を通して金箔に紙の模様が見られ、紙と金箔が密接に結合していることを意味します。加工適応性が非常に良好ですが、エンボス加工紙であるため、印刷加工の際には紙の撚り方向による影響に注意する必要があります。総合的に見て、あらゆる挑戦に応じる準備ができた紙です。\n\n\n\n最後に、Jeanfeltは1997年に最初に発表された紙製品であり、最近、竹尾がデザイナー松田行正氏に依頼してこのサンプルブックを制作しました。サンプルブックでは、「シンボル」をデザインの出発点として、14色の各色が異なるシンボルを表しています。19世紀以降、図形計算が登場して以来、イラストや数学、地図などさまざまなシンボルを用いることで、視覚的な伝達がより効率的で理解しやすくなっています。おそらくデザイナーは、芸術家ジャン・オーギュスト・ドミニク・アングルの厳格で整然としたスタイルをさらに反映し、巧妙な方法で異なる側面の意味をデザインに取り入れようとしているのかもしれません。"}
{"@context":"https://schema.org","@type":"WebPage","@id":"https://trouver.art/jeanfelt","url":"https://trouver.art/jeanfelt","name":"JEANFELT - trouver.art","isPartOf":{"@id":"https://trouver.art/#website"},"image":{"@id":"https://trouver.art/jeanfelt#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/08/S-3254-1024x1024.jpg","datePublished":"2017-11-27T06:05:00+00:00","dateModified":"2025-12-30T17:59:16+00:00","description":"Takeo “JEAN FELT(ジャンフェルト)”，「JEAN」為十九世紀的法國藝術家 “Jean Auguste Dominique Ingres(1780~1867)” 為靈感；而「Felt」則是”毯紋”之意，將 JEAN 與 FELT的印象合二為一。Jeanfelt最早是在1997年發表的紙品，近期竹尾委託了設計師 “松田行正”製作此樣書，以“符號”作為設計，使用十四個顏色個別代表了不同符號，藉由插圖、數學、地圖等的符號，使視覺傳達更易理解。","inLanguage":"zh-TW"}
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{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/leathac16#article","isPartOf":{"@id":"https://trouver.art/leathac16"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Leathac16","datePublished":"2017-03-29T07:28:00+00:00","dateModified":"2025-12-30T17:59:34+00:00","mainEntityOfPage":{"@id":"https://trouver.art/leathac16"},"wordCount":156,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/leathac16#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/07/DSC_2502.jpg","keywords":["Embossed paper","FinePaper","JapanLeathac16","Leathac16","TAKEO","trouver","TROUVER art","レザック16","壓紋紙","荔采紙"],"articleSection":["All","Japan"],"inLanguage":"zh-TW","description":"Recreating the Familiar Texture of Leather / Lesseac 16\n\n\n\nPaper, as a cultural medium, has always been a means to capture and recreate various textures on its surface, blending emotion with information. In Japan, through advanced embossing techniques, the irregular patterns of leather and its soft yet durable texture have been effectively reproduced on paper. Lesseac 16 comes in 16 different colors, with the white variant allowing for standard four-color printing, which performs exceptionally well in terms of color representation, avoiding any dullness or color shift issues. Additionally, its natural color range includes fluorescent shades rarely seen in typical embossed or colored papers, providing a unique option for packaging or bookbinding. Unlike regular embossed papers, this leather-textured paper particularly stands out with the sample showcasing a black monochrome print of a leather shoe. The contrast of the surface texture and the grayscale of the black further highlight the quality of the leather, don’t you think?\n\n\n\n-\n\n\n\n重現熟悉的皮革紋理 / レザック16 Leathac16\n\n\n\n紙張，因為其文化媒介的角色，始終令人希望能將各類不同的材質，重新再現於紙的表面上，揉合情感作為資訊的載體，於是日本藉由對於壓紋技術力，將皮革表面不規則的紋理，與柔軟卻又強韌的手感質地，重新表現於紙張上。レザック16一共有16種顏色，白色能在表面進行一般四色印刷，色彩表現方面相當良好，不會有過於暗沈或是偏色的問題。另外原生色系中含有一般壓紋紙種或是色紙類少見的螢光色系，在包裝或是書籍的裝幀運用上多了一項相當特色的選擇。有別於一般的壓紋紙，特別在這種皮革紋路，樣本內使用單色黑印刷皮鞋照片，表面紋路的對比與黑色的灰階層次，是不是將皮件的質感又更加凸顯出來了呢？\n\n\n\n-\n\n\n\nなじみのあるレザーの質感を再現する / レザック16\n\n\n\n紙は文化の媒体としての役割を持つため、さまざまな素材を紙の表面で再現し、感情を伝える情報の媒体にしたいという思いが常にあります。そこで、日本はエンボス技術を駆使して、革の表面の不規則なテクスチャーや、柔らかくも強靭な手触りを紙の上で再現しました。レザック16は全部で16色あり、白色は一般的な四色印刷が可能で、色彩表現において非常に優れています。暗すぎたり色がずれたりすることはありません。また、原色系には一般的なエンボス紙や色紙にはあまり見られない蛍光色が含まれており、パッケージや書籍の装丁に際立った選択肢を提供します。通常のエンボス紙とは異なり、このレザーのテクスチャーを特に強調するために、サンプルには単色の黒で印刷された革靴の写真が使用されています。表面のテクスチャーのコントラストと黒のグレースケールの階調により、革製品の質感が一層引き立てられているのではないでしょうか？"}
{"@context":"https://schema.org","@type":"WebPage","@id":"https://trouver.art/leathac16","url":"https://trouver.art/leathac16","name":"Leathac16 - trouver.art","isPartOf":{"@id":"https://trouver.art/#website"},"image":{"@id":"https://trouver.art/leathac16#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/07/DSC_2502.jpg","datePublished":"2017-03-29T07:28:00+00:00","dateModified":"2025-12-30T17:59:34+00:00","description":"Leathac16 (レザック16) 紙張重現熟悉的皮革紋理，日本藉由對於壓紋技術力，將皮紋理、手感質地重新表現於紙張上。レザック16一共有16種顏色，白色能在表面進行一般四色印刷，色彩表現方面相當良好，不會有過於暗沈或是偏色的問題。另外原生色系中含有一般壓紋紙種或是色紙類少見的螢光色系，在包裝或是書籍的裝幀運用上多了一項相當特色的選擇。","inLanguage":"zh-TW"}
{"@context":"https://schema.org","@type":"ImageObject","inLanguage":"zh-TW","@id":"https://trouver.art/leathac16#primaryimage","url":"https://trouver.art/wp-content/uploads/2024/07/DSC_2502.jpg","contentUrl":"https://trouver.art/wp-content/uploads/2024/07/DSC_2502.jpg","width":1367,"height":1367,"caption":"Leathac16"}
{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/karape-lapis#article","isPartOf":{"@id":"https://trouver.art/karape-lapis"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Karape Lapis","datePublished":"2017-03-28T07:34:00+00:00","dateModified":"2025-12-30T17:59:38+00:00","mainEntityOfPage":{"@id":"https://trouver.art/karape-lapis"},"wordCount":252,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/karape-lapis#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/08/DSC1792-scaled.jpg","keywords":["FinePaper","Karape Lapis","KarapeLapis","TAKEO","trouver","TROUVER art","燙金","珠光紙","竹尾","薄紙"],"articleSection":["All","Japan"],"inLanguage":"zh-TW","description":"A Masterpiece Among Thin Papers / Karape Lapis\n\n\n\nWe often choose paper within a safe thickness range due to practical processing considerations, controlling both cost and risk. However, once accustomed to this safety, it’s easy to forget the challenge. \"Karape Lapis\" is not only half the thickness of Double A paper but also features a metallic, iridescent shimmer on the front, distinct from other pearlescent papers that have single or multiple sheens. This shimmer has a unique, almost gold dust-like texture, which is rare. The reverse side retains the original dark green color of the base paper, creating an unexpected effect if used for designs involving folds. Working with very thin paper requires significant printing experience and technical expertise from manufacturers. For instance, the foil stamping on the front must be smooth, slightly indented, and non-peeling, while the back must avoid overly prominent impressions. This necessitates careful adjustment of pressure, temperature, and machinery.\n\n\n\nFinally, due to its unique qualities and production difficulty, \"Karape Lapis\" is categorized in the high-price range on Takeo's official website. The accompanying photo shows a New Year’s card sent by Takeo to Taiwan years ago, where its distinct texture was beautifully showcased through monochrome printing and foil stamping, making full use of its thinness. Please take a moment to appreciate the delicate quality of this thin paper, so different from the usual thick, fluffy varieties.\n\n\n\n-\n\n\n\n薄紙中的逸品 / Karape Lapis\n\n\n\n我們時常會因為一些加工實際問題，選擇較安全範圍厚度內的紙張，雖然控制了成本與風險，但似乎習慣後就容易遺忘挑戰。「Karape Lapis」除了本身只有Double A一半的厚度以外，正面有著金屬閃爍的七彩光澤，與其他珠光類型的紙張單一或複數的光澤不同，七彩中帶著近似金砂般的質感，實為少有；反面則為底紙原本的墨綠色，若作為有翻折用途的設計類型，會有相當意想不到的效果。若要相當薄的紙上進行加工，對於印務的經驗與廠商的技術可想而知有不低的門檻，例如燙金的部分在正面必須平整微凹不剝落，背面不能有過於明顯的凸痕，在壓力溫度與機器調整上要非常注意。\n\n\n\n最後，「Karape Lapis」因為其特性與製作難度的關係，售價在竹尾的官方網站上被歸類為高價位以上的區域，照片為多年前竹尾Takeo寄於台灣的賀年狀，與眾不同的質感透過單色印刷與燙金，利用薄度做了相當完美的演譯。 請仔細地品味別於常見的蓬鬆厚紙外，那輕薄中的細膩質感。\n\n\n\n-\n\n\n\n薄紙の逸品 / Karape Lapis\n\n\n\n私たちはしばしば、実際の加工の問題のために、安全な範囲の厚さの紙を選びます。これによりコストとリスクを制御できますが、一度慣れてしまうと挑戦を忘れがちです。「Karape Lapis」は、厚さがDouble A紙の半分しかないだけでなく、表面には金属のように輝く七色の光沢があります。他のパール調の紙と異なり、この七色の光沢は金砂のような質感を持ち、非常に珍しいです。裏面は元のダークグリーンのままなので、折り目をつけるようなデザインでは意外な効果を発揮するでしょう。非常に薄い紙に加工する場合、印刷の経験と製造業者の技術が必要であることは容易に想像がつきます。例えば、箔押しの部分では表面が平らで、少し凹んでいて剥がれないこと、裏面には目立った跡が残らないことが求められます。圧力、温度、機械の調整には細心の注意が必要です。\n\n\n\n最後に、「Karape Lapis」はその特性と製造の難しさから、竹尾の公式サイトでは高価格帯に分類されています。写真は数年前に竹尾が台湾に送った年賀状で、独特の質感をモノクロ印刷と箔押しで表現し、薄さを活かして非常に完璧に解釈しています。普段見かけるふんわりした厚紙とは異なる、この薄さの中にある繊細な質感をぜひ味わってください。"}
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{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/nt-rasha#article","isPartOf":{"@id":"https://trouver.art/nt-rasha"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"NT Rasha","datePublished":"2017-02-16T07:47:00+00:00","dateModified":"2025-12-30T18:00:12+00:00","mainEntityOfPage":{"@id":"https://trouver.art/nt-rasha"},"wordCount":278,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/nt-rasha#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/08/IMG_8231-e1520503828250.jpg","keywords":["graphic design LAB","NT Rasha","TAKEO","the color","trouver","TROUVER art","丹迪紙","元素紙","展覽訊息","模造紙","田修銓","竹尾紙業"],"articleSection":["All","Japan"],"inLanguage":"zh-TW","description":"Exploring More Possibilities of Colored Paper / NT Rasha\n\n\n\nFrom the colored papers traditionally found in bookstores or stationery shops, such as mock-up colored paper and Dandy paper, to the long-standing imported Kishu colored fine paper, these have always been the mainstays of the colored paper category. However, in recent years, when discussing printing, and more specifically, the printing processing of colored paper, it's essential to be well-acquainted with \"NT Rasha,\" a paper from Takeo Co., Ltd. in Japan with a history of over 70 years.\n\n\n\n\"NT Rasha\" is available in 120 colors, and its main features are:\n\n\n\n\nThe color tones are mostly saturated, which is different from the color schemes of Dandy paper or Kishu paper.\n\n\n\nThe color quality is stable with high colorfastness, achieved by pre-dyeing the pulp before papermaking.\n\n\n\nIt has excellent adaptability for various processing techniques, delivering outstanding performance in all common processes.\n\n\n\n\nWith a history dating back to 1949, NT Rasha has been continuously improved with advancements in papermaking technology for over 60 years. It has gained significant popularity in the design industry. We hope everyone will join the \"The Color\" exhibition hosted by the graphic design LAB, centered around NT Rasha and featuring various printing processes. This exhibition not only showcases all 120 colors but also collaborates with designers from different fields to present unique and distinctive printing techniques. Participants will have the opportunity to experience the pure beauty of color and gain a practical understanding of basic printing concepts.\n\n\n\n-\n\n\n\n展出色紙的更多可能性 / NT Rasha\n\n\n\n從以往在書局或文具店常見的色模造、丹迪紙，到引進許久的紀州色上質一直都是色紙類的座上嘉賓。但若近年談到印刷，進一步地說是色紙的印刷加工，就不能不好好認識一下這張同樣擁有七十年以上歷史，來自日本竹尾紙業的「NT Rasha」。\n\n\n\n「NT Rasha」共有120種顏色，其最大的特色在於：\n\n\n\n\n顏色調性大多屬於飽和色，別於丹迪或紀州的色系\n\n\n\n色質穩定，色牢度佳，在紙漿時預染色後抄紙\n\n\n\n擁有優秀的加工適應性，各類常用加工都有出色表現\n\n\n\n\n從1949年的歷史至今已經六十多年，在不斷改良的造紙技術下，相當受到設計業的喜愛，希望各位一起參與 graphic design LAB 以Nt Rasha一紙為主題，結合各種印刷加工舉辦的The Color 展覽。展覽除了將120種色全數展出以外，與各個領域的設計師合作，共演獨特且別具特色的印刷加工，讓參與的朋友實際體會單純色彩的美，也能實際了解並認識初級的印刷概論。\n\n\n\n–\n\n\n\n展覽訊息：\n\n\n\n時間：2016/12/21-2017/2/28 每天12:00-20:00(星期一公休）\n\n\n\n地點：台北市大安區安居街60巷4號\n\n\n\n門票：100元（附送一本設計師創作作品）\n\n\n\n展出設計師：\n\n\n\n詹雨樹、林羅伯、宋政傑、黃顯勛、倪子濟、陳信宇、連成崴、海流設計、林鼎國、朱疋、呂瑋嘉、Rivers Yang、何庭安、RYAN Z、見本生物、方維鴻、徐毅驊、林致命、劉克韋、曾國展、李珮雯、GGDOG、WUOUXIANG、林正達\n\n\n\n協辦單位：竹尾紙業、采憶紙品\n\n\n\n特別感謝：田園城市\n\n\n\n照片提供：The Color 策展人 田修銓 設計師\n\n\n\n-\n\n\n\n色紙の新たな可能性の展示 / NT Rasha\n\n\n\n昔ながらの文房具店や書店でよく見かけた色模造紙やダンディ紙、または長い間導入されている紀州色上質紙は、常に色紙の代表格とされてきました。しかし、近年では印刷、特に色紙の印刷加工について語るとき、同じく70年以上の歴史を持つ日本の竹尾紙業から出された「NTラシャ」をしっかりと知っておく必要があります。\n\n\n\n「NTラシャ」は全部で120色あり、その最大の特徴は以下の通りです：\n\n\n\n\n色調がほとんど飽和色で、ダンディ紙や紀州色上質紙の色系とは異なる。\n\n\n\n色の品質が安定しており、色の堅牢度が高い。パルプの段階であらかじめ染色された後に製紙されている。\n\n\n\n優れた加工適応性を持ち、さまざまな一般的な加工方法でも優れたパフォーマンスを発揮する。\n\n\n\n\n1949年に誕生して以来、60年以上の歴史を持ち、改良を重ねてきた製紙技術によって、デザイン業界で非常に人気を博しています。皆さんもぜひgraphic design LABで、NTラシャをテーマにしてさまざまな印刷加工を組み合わせた「The Color」展覧会に参加してみてください。この展覧会では120色すべてが展示されるだけでなく、各分野のデザイナーとのコラボレーションによる独特で特徴的な印刷加工も披露されます。参加者は純粋な色彩の美しさを実際に体感できるだけでなく、初級の印刷概論についても実際に学ぶことができます。"}
{"@context":"https://schema.org","@type":"WebPage","@id":"https://trouver.art/nt-rasha","url":"https://trouver.art/nt-rasha","name":"NT Rasha - trouver.art","isPartOf":{"@id":"https://trouver.art/#website"},"image":{"@id":"https://trouver.art/nt-rasha#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/08/IMG_8231-e1520503828250.jpg","datePublished":"2017-02-16T07:47:00+00:00","dateModified":"2025-12-30T18:00:12+00:00","description":"近年色紙的印刷加工，來認識一下這張同樣擁有七十年以上歷史，來自日本竹尾紙業的「NT Rasha」。「NT Rasha」共有120種顏色，其最大的特色在於：顏色調性大多屬於飽和色，別於丹迪或紀州的色系色質穩定，色牢度佳，在紙漿時預染色後抄紙擁有優秀的加工適應性，各類常用加工都有出色表現從1949年的歷史至今已經六十多年，在不斷改良的造紙技術下，相當受到設計業的喜愛。","inLanguage":"zh-TW"}
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{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/conqueror-ideas-kid#article","isPartOf":{"@id":"https://trouver.art/conqueror-ideas-kid"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Conqueror Ideas Kid","datePublished":"2016-03-15T17:04:00+00:00","dateModified":"2025-12-30T18:00:43+00:00","mainEntityOfPage":{"@id":"https://trouver.art/conqueror-ideas-kid"},"wordCount":359,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"keywords":["Arjowiggins Conqueror","Conqueror","Conqueror Annual Report Ideas Kit","Conqueror Ideas Kid","Cyan","envelope","letter","siliconplus","stationery","trouver","TROUVER art","Wove","信封","信紙","美術紙"],"articleSection":["All","Europe"],"inLanguage":"zh-TW","description":"This “Conqueror Annual Report Ideas Kit” is a printed sample made from Arjowiggin’s Conqueror. It is designed by the Singaporean company Siliconplus. Mainly for the purpose of displaying the Conqueror paper, using a variety of printing techniques, this becomes an ideal product for expressing images for enterprises. The surface of the envelope is made from the white Conqueror, which stands out from the traditional white envelope. It has a smooth touching feeling.\n\n\n\nThis letter paper uses double-sided printing and a special folding technique. Although the exterior uses more Cyan printer ink, the Conqueror series usually has very good user feedback. Apart from its history in Europe, this is also the reason it has been broadly used. Perhaps because the details of the letter could unintentionally be seen by an unrelated third person through lights, therefore for “privacy” reasons, dark colours are applied on the modern day envelope interior and the letter paper. However in the instances where the cost of mailing is measured in weight, even though there is a variety of paper substances available for envelopes, for the companies that have frequent mailing requirement, this may not be a good value for money option. I once tried to imagine, if my company has an important event that needs a delicate invitation card. This envelope has already made a very good proposal for a prudent but uncompromised elegance guest invitation.\n\n\n\nCD case made from “Wove” of the Conqueror series. In fact other than the frequently seen plastic packaging, paper and printing perhaps allow more applications in theme design presentation. “Who says that paper and digital technology have to be bitter enemies? With beautiful or ingenious packaging, even a simple CD ROM can look like a million bucks. It’s time to get creative.” For packaging design, what do we need to present and express? And what value does it represents? I believe these questions are worthwhile for every single designer to consider.\n\n\n\n-\n\n\n\n這是由新加坡siliconplus公司為紙廠Arjowiggins Conqueror（剛古紙），所設計的「Conqueror Annual Report Ideas Kit」樣本。主要為了展示Conqueror紙，如何透過各式的印刷加工，成為傳達企業形象的理想製品。首先看到以白色的剛古紙所製作的信封，特色有別於傳統白色信封表面，擁有相當滑順的感受。\n\n\n\n信紙採用了雙面印刷與相當特殊的摺法，外部雖然使用了較重的(Cyan)油墨印刷，但一直以來剛古系列在印刷適應性，有著相當好駕馭的評價，也是在歐洲除了歷史因素以外，受到廣泛使用的原因。可能在不相關的第三者，會不經意的透過光線看到信封的內文，因此現代信封內層或是信紙上，使用深色印刷的理由大多都是為了「保密」。但某些寄件方式是以「重量」計價，雖然可以依照需求選擇厚紙取代薄紙作為信封之用，對於時常需要寄發大宗郵件的公司來說，可就不是相當划算的選擇了。我曾經試著想像一下，假設我的公司有一場相當重要的宴會需要精美的邀請函，若是能透過慎重卻又不失優雅的書信來邀請賓客，我想這封信紙已經做了相當好的提案。\n\n\n\n最後以Conqueror系列中的“Wove” 所製作的CD包裝，有別於以往常見的塑料外殼，紙與印刷或許在主題的掌握上更容易發揮。在背面以燙金的方式印著：誰說美術紙和數位技術是不共戴天的敵人？隨著美麗精巧的包裝，讓一個簡單的CD ROM可以看起來像一百萬元。是時候來發揮創意了。對於包裝設計，什麼是我們要呈現的，想要表達的，以及所代表何種價值的，我相信這是每一位設計者都值得深思的事情。\n\n\n\n-\n\n\n\nこれはシンガポールのSiliconplus社が製紙会社Arjowiggins Conqueror（コンケラー）向けにデザインした「Conqueror Annual Report Ideas Kit」サンプルです。このサンプルの主な目的は、Conquerorの紙がどのように様々な印刷加工を通じて企業イメージを伝える理想的な製品になり得るかを示すことにあります。まず、白いConquerorの紙で作られた封筒が目に入ります。これは従来の白い封筒とは異なり、非常に滑らかな感触が特徴です。\n\n\n\n便箋は両面印刷と非常に特殊な折り方を採用しています。外側にはより濃いシアンインクが使用されていますが、これまでのところ、Conquerorシリーズは印刷適応性において非常に高い評価を受けており、ヨーロッパで広く使用されている理由の一つでもあります。無関係な第三者が光を通して封筒の中身を偶然見てしまう可能性があるため、現代の封筒の内層や便箋においては、しばしば「秘密保持」のために濃い色で印刷されます。しかし、一部の郵送方法では「重量」で料金が決まるため、薄い紙の代わりに厚い紙を封筒として使用することもできますが、頻繁に大量の郵便物を送る必要のある企業にとっては、非常に経済的ではありません。私は一度、もし自分の会社で非常に重要なパーティーがあり、洗練された招待状が必要であるとしたら、慎重でありながらエレガントな手紙でゲストを招待できれば、この便箋が非常に良い提案をしてくれていると思いました。\n\n\n\n最後に、Conquerorシリーズの「Wove」で作られたCDパッケージについてです。これは従来のプラスチックケースとは異なり、紙と印刷がテーマの表現においてより自由に発揮できるかもしれません。裏面には金箔押しで「誰が美術紙とデジタル技術は相容れないと言った？」と印刷されています。美しく精巧なパッケージにより、シンプルなCD ROMでも100万ドルのように見えることがあります。創造力を発揮する時が来たのです。パッケージデザインにおいて、何を伝えたいのか、どのような価値を表現したいのかは、すべてのデザイナーが真剣に考えるべき課題であると信じています。"}
{"@context":"https://schema.org","@type":"WebPage","@id":"https://trouver.art/conqueror-ideas-kid","url":"https://trouver.art/conqueror-ideas-kid","name":"Conqueror Ideas Kid - trouver.art","isPartOf":{"@id":"https://trouver.art/#website"},"datePublished":"2016-03-15T17:04:00+00:00","dateModified":"2025-12-30T18:00:43+00:00","description":"由新加坡siliconplus公司為紙廠Arjowiggins Conqueror（剛古紙），所設計的「Conqueror Annual Report Ideas Kit」樣本，主要為了展示各式的印刷及加工。白色的剛古紙信紙採用了雙面印刷與相當特殊的摺法，外部雖然使用了較重的(Cyan)油墨印刷，但一直以來剛古系列在印刷適應性，所以受到廣泛使用。使用深色印刷的理由大多都是為了「保密」信紙內的內容。","inLanguage":"zh-TW"}
{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/conqueror-laid#article","isPartOf":{"@id":"https://trouver.art/conqueror-laid"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Conqueror Laid","datePublished":"2015-08-24T04:02:00+00:00","dateModified":"2025-12-30T18:01:35+00:00","mainEntityOfPage":{"@id":"https://trouver.art/conqueror-laid"},"wordCount":325,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"keywords":["Arjowiggins","Conqueror","FinePaper","Laid","Louis-Vuitton","Mandarin-Oriental","trouver","TROUVER art","ビクトリア時代","書寫紙","東方文華","條紋剛古紙","棉紙","沾水筆","維多利亞時期","英國皇室","路易威登","鋼筆"],"articleSection":["All","Europe"],"inLanguage":"zh-TW","description":"During the Victorian era, there were only handmade papers available, and only wealthy families could afford using papers at such a difficult time after the war. Later there was a stationery merchant who felt that writing should be a right of all people, and thus he founded Conqueror in London in 1888 to popularise papers. This pioneering action gave civilians chances to obtain papers much easier. This photo shows the mark of Conqueror series: the golden sword is very highly recognisable. In this article, I will be introducing Laid, the most classic and commonly-used paper series of Conqueror. Conqueror Laid is made out of 100% cotton pulp, giving the papers great ink absorbency, and therefore the papers require relatively longer ink drying time. Conqueror Laid performs a great adaptability to a range of processing methods such as coating, embossing, hot-stamping and screen printing.\n\n\n\nThe popularity of Conqueror Laid among the civilians after the paper series was produced also influenced the British royal family. This paper series is still beloved after so many years and is now used as letter papers by some of the most famous international brands such as Louis Vuitton and Mandarin Oriental, in order to convey their sincere invitation to their customers through letters.\n\n\n\nStriped lines left by bamboo curtains used during papermaking is the most significant feature of Conqueror Laid. This feature does not only provides an embossed texture to the touch but also can guide the direction of strokes during writing and painting. The problem of ink smudging when writing with the dip pen in the past has been solved by the great ink absorbency of Conqueror Laid. Noted that nowadays a special processing has been added to the paper in order to create ink smudge effect when writing with a pen.\n\n\n\n-\n\n\n\n距今127年前的維多利亞時期，只存在手工造紙的技術，在歷經戰亂後的那個年代，只有富裕人家才有機會使用紙張。後來有一位文具商人，覺得書寫應該是所有人民的權利，於是在1888年的倫敦創立了Conqueror，將紙廣泛流通並且更容易取得，這在當時無非是平民百姓的福音，也是一項前所未見的創舉。照片是Conqueror系列所使用的標誌，金色的西洋軍刀是具有高辨識度的圖形，而接下來我們要談到今天的主題，也是Conqueror系列最為經典且被廣泛使用的「Laid」。印刷方面來說，它並沒有隨著歷史而帶來加工上的不便，紙漿質地是100%純棉，有著吸收油墨的特性，相對油墨乾燥時間較長需要注意，在其他例如上光、壓凸、燙金與網版印刷的方式均有良好的適應性，有趣的地方是，家用的噴墨與雷射印表機也能輕易使用，有別於沈重歷史感帶來的平易近人外，也是世界上少數在製造中留下品牌浮水印的紙張。Conqueror Laid製作完成之後因為受到民間喜愛，也間接影響當時英國的皇室成為其愛用者，而這樣的使用歷史流傳到了現代，則是受到了想要傳達經典形象的國際品牌Louis Vuitton以及Mandarin Oriental(東方文華）作為信紙之用，藉由書信的方式向客戶傳達慎重的邀請之意。\n\n\n\nConqueror Laid最大的特徵為抄紙過程中，使用竹簾所留下的條狀紋路，這個特徵除了帶來起伏的手感以外，也能引導書寫及繪畫時筆觸的方向，早期在使用沾水墨筆寫信時，容易造成出墨量過大而暈開的問題，在當時改善了吸墨性而得到解決，不過現代的Laid則是針對了油墨部分做了特別加工，對於鋼筆墨水反而會有暈開的效果，這點在使用上需要特別注意。\n\n\n\n-\n\n\n\n127年前のビクトリア時代、紙は手作りで製造されており、戦乱の時代を経た当時、紙を使えるのは裕福な家のみでした。そんな時代に、ある文具商が「書くことはすべての人の権利であるべきだ」と考え、1888年のロンドンでConquerorを創立しました。これにより紙は広く流通し、誰でも手に入れやすくなりました。当時、これは庶民にとって福音であり、かつてない革新的な出来事でした。\n\n\n\n写真はConquerorシリーズで使用されているロゴです。金色の洋式軍刀は高い認識度を持つ図柄です。そして、ここから今日のテーマであるConquerorシリーズの中で最もクラシックで広く使用されている「Laid」についてお話しします。印刷に関して言えば、この紙は歴史とともに加工の不便さを持ち込んでいません。紙の繊維は100％コットンで、インクを吸収しやすい特性がありますが、インクの乾燥時間が長くなるため、注意が必要です。その他、例えば上光、エンボス、箔押し、スクリーン印刷などの加工方法にも優れた適応性を持っています。興味深いことに、家庭用のインクジェットやレーザープリンターでも簡単に使用できます。重厚な歴史を感じさせる一方で、親しみやすい紙でもあり、製造過程でブランドの透かしが残る数少ない紙の一つです。\n\n\n\nConqueror Laidはその完成後、一般の人々からも好まれ、それが間接的に英国王室にも影響を与え、愛用されるようになりました。この使用の歴史は現代にも引き継がれており、クラシックなイメージを伝えたい国際ブランドのLouis VuittonやMandarin Oriental（マンダリン オリエンタル）は、この紙をレターヘッドとして使用し、手紙を通じて顧客に丁寧な招待の意を伝えています。\n\n\n\nConqueror Laidの最大の特徴は、製紙過程で竹すだれを使うことで残される縞模様です。この特徴は、凹凸のある手触りを生み出すだけでなく、書きや絵を描くときの筆使いの方向性を導く役割も果たしています。初期には、ペンで手紙を書く際にインクの量が多すぎて滲む問題がありましたが、当時は吸墨性を改善することで解決されました。しかし、現代のLaidはインクの部分に特別な加工が施されており、万年筆のインクにはむしろ滲む効果があるため、使用時には特に注意が必要です。"}
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{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/moondream#article","isPartOf":{"@id":"https://trouver.art/moondream"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"MoonDream","datePublished":"2016-01-18T04:10:00+00:00","dateModified":"2025-12-30T18:00:57+00:00","mainEntityOfPage":{"@id":"https://trouver.art/moondream"},"wordCount":394,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"keywords":["Cordenons","FinePaper","Hot Stamping","hotstamping","Italy","MoonDream","Pordenone","trouver","TROUVER art","熱烙印","熱燙加工","義大利"],"articleSection":["All","Europe"],"inLanguage":"zh-TW","description":"The construction of the dream’s temperature / MoonDream\n\n\n\nLocated in Pordenone, Italy. Cordenons launched a product in 2010 with a very romantic name – “Moon Dream”. The cover uses 400gsm, white. White in Italian is “Bianco”; there is a smooth feeling when touching the surface of the paper, and the texture is soft. It can be easily associated with any design that has a theme related to emotion. The visual design is based on its name. With its special feature of subtle softness, it has a complex texture that is similar to the surface of the moon, and it is done by the embossing and the debossing technique. If a higher substance of paper is used, the effect of embossing can be controlled by the parameter pressure setting of the machine. All these visual effects of the partial unevenness of the moon’s surface and the texture detail contrasts with the cover image. On the rounding shape or the sharp angle of the embossed font, imagine if such technique is applied on something similar to the image of an architectural structure, it will also have an excellent effect.\n\n\n\nFour colour offset printing is used in this image. A special mention to “Moon Dream”, which is a type of paper that can undergo the hot foil technique. This means the paper melts under a certain temperature, thus a semi-transparent visual effect can be achieved. It is similar to the Takeo “Pachica” that was mentioned in the previous article, but each also has its own different advantages. Finally using the effect of backlight shooting, the semi-transparent effect is created after the hot foil process. By using the thinner 140gsm and hold it upwards in the air, it looks just like the moon shining in front of your eyes.\n\n\n\nThe Paper Institute has a variety of printing samples, but it is very rare to see a sample that consists of a “romantic” feeling element. Does it perhaps make us reconsider the definition of a printing product? And by bringing the design process back to the very starting point of conceptual thinking, using the Italian “Moon Dream”, it undoubtedly constructs a warm dream for the designers that are in love with paper.\n\n\n\n-\n\n\n\n構築夢的溫度 / MoonDream\n\n\n\n位於義大利Pordenone的紙廠 Cordenons 在2010年的時候推出以相當浪漫的「Moon Dream」命名的美術紙樣，封面封底使用的是400gsm、白色，在義大利文以「bianco」形容白色之意；手感整體而言相當滑順，且質地柔軟，相當容易與情感相近的題材作為連結。視覺設計以命名的英文字體為主，配合紙質些微鬆軟的特性，使用了與月球表面類似的複雜紋理，進行了凹凸版的加工。如果選擇了較高的磅數，壓印能藉由參數的控制，來決定最終的效果，這些可以觀察月球部分的凸起高度，紋理的細節，與封面的照片來進行對比。而在字體的圓角、以及轉折處，可以想像若是用於類似建築的圖像構成，也會有相當優秀的表現。藍色的圖像部分使用了四色膠印作為圖像印刷，特別值得一提的是，「MoonDream」是屬於能夠進行熱燙加工（Hot Stamping）的紙種，意指紙身在遇到一定的溫度會溶解，呈現半透明狀，與先前介紹竹尾的「Pachica」有異曲同工之妙，但成果各有千秋。最後透過背光拍攝來表現，在熱燙加工之後局部半透明化的效果，而使用較薄的140gsm磅數隔著光凝視，就像看著月亮在眼前發亮。\n\n\n\n紙研所的樣本，從以前累積起來不少的數量，但相當少見能讓人感受到「浪漫」元素的樣本，或許我們能夠重新思考印刷品的定義為何？以及在思考設計時的出發點，藉由來自義大利「moondream」一紙，對於愛紙的設計師而言，無疑是構築了一張具有溫度的夢。\n\n\n\n-\n\n\n\n夢を築く温度 / MoonDream\n\n\n\nイタリアのポルデノーネにある紙工場Cordenonsは、2010年に非常にロマンチックな名前「Moon Dream」を冠したアート紙サンプルを発表しました。表紙と裏表紙には400gsmの白い紙が使われており、イタリア語で「bianco」と表現される白色を意味しています。手触りは非常に滑らかで、柔らかい質感が特徴であり、感情に近いテーマと非常に相性が良いとされています。ビジュアルデザインは名前の英字フォントを中心に、紙のわずかに柔らかい特性を生かし、月の表面に似た複雑なテクスチャを使用してエンボス加工を施しています。高い目付けの紙を選ぶと、パラメータの調整によって最終的な効果を決めることができ、月の部分の盛り上がりの高さやテクスチャの細部、表紙の写真と比較してその効果を観察できます。さらに、フォントの角の丸みや曲線の部分から、建築のイメージを構成する場合にも優れた表現力があることが想像できます。\n\n\n\n青い画像部分には四色オフセット印刷が使用されており、特に注目すべき点は、「Moon Dream」がホットスタンピング加工が可能な紙であるということです。これは、一定の温度に達すると紙が溶けて半透明になり、以前紹介した竹尾の「Pachica」と同様の効果を持ちながらも、それぞれ異なる魅力を持っています。最後に、裏から光を当てて撮影することで、ホットスタンピング加工後の部分的な半透明化の効果が表現されており、より薄い140gsmの紙を通して光を見つめると、まるで目の前で月が輝いているかのように見えます。\n\n\n\n紙研究所のサンプルはこれまでにも多く集められてきましたが、「ロマンチック」な要素を感じさせるサンプルは非常に稀です。私たちは印刷物の定義を再考することができるかもしれませんし、デザインを考える際の出発点についても考え直すことができるでしょう。イタリアの「Moon Dream」という一枚の紙を通じて、紙を愛するデザイナーにとって、それは間違いなく温かみのある夢を築くものであるといえます。"}
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{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/found-01-edge#article","isPartOf":{"@id":"https://trouver.art/found-01-edge"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Found 01 – Edge / 邊緣","datePublished":"2025-12-23T18:17:04+00:00","dateModified":"2025-12-30T09:09:09+00:00","mainEntityOfPage":{"@id":"https://trouver.art/found-01-edge"},"wordCount":51,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/found-01-edge#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2025/12/Found-01-1.png","keywords":["Edge","paper","paper concept","paper Edge","paper fibers","paper shadows","Poem","trouver","TROUVER art","紙","紙意象","紙的陰影","紙纖維","紙邊緣","詩"],"articleSection":["Found"],"inLanguage":"zh-TW","description":"站在一年的邊緣，腳還沒跨出去。站在一年的邊緣，腳還沒跨出去。\n\n\n\n紙被撕開的地方，纖維微微翹起，光從缺口斜斜落下，在高低之間留出陰影。\n\n\n\n那個小小的身影停在那裡，不是猶豫，是在感受這個瞬間。還沒離開，也還沒抵達。\n\n\n\n邊緣是兩個時間交會的地方。\n\n\n\n-\n\n\n\nStanding at the edge of a year.Not yet stepping forward.\n\n\n\nWhere paper tears, fibers lift slightly.Light falls through the gap, casting shadows between heights.\n\n\n\nA small figure pauses there.Not hesitating, but feeling this momentbetween leaving and arriving.\n\n\n\nThe edge is where two times meet."}
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{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/paper-with-patterns-of-hakka-printed-cloth#article","isPartOf":{"@id":"https://trouver.art/paper-with-patterns-of-hakka-printed-cloth"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Paper with patterns of Hakka Printed Cloth","datePublished":"2016-03-29T04:20:00+00:00","dateModified":"2025-12-30T18:00:26+00:00","mainEntityOfPage":{"@id":"https://trouver.art/paper-with-patterns-of-hakka-printed-cloth"},"wordCount":95,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/paper-with-patterns-of-hakka-printed-cloth#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/09/S-0152-e1519670201393.jpg","keywords":["Paper with patterns of Hakka Printed Cloth","trouver","TROUVER art","はなぬの","印花紙","台灣傳統印花","宣紙","手工製紙","樹火紙博物館","花仔布","花布入紙","花布紙","被單布","被單花"],"articleSection":["All","Taiwan"],"inLanguage":"zh-TW","description":"Paper with patterns of Hakka Printed Cloth\n\n\n\nHakka Printed Cloth is a type of traditional Taiwanese printed cloth. These culture-embedded patterns are beautifully printed on plant fibres pulp using traditional block printing technique, which requires long producing hours, highly skilled technicians, and ten printing plates each for a separate colour. Due to these requirements, these amazing papers with patterns of Hakka Printed Cloth are now very rare and this technique is facing.\n\n\n\n-\n\n\n\n花布入紙 / Paper with patterns of Hakka Printed Cloth\n\n\n\n花布又稱被單布或花仔布，一種台灣的傳統印花，以植物纖維作為抄紙的基底，結合傳統版印工藝，使用了十個版分色印製，製作的難度高與工時長，除了逐漸快失傳以外，現在也僅有春節前會少量生產的限定紙品。\n\n\n\n-\n\n\n\n花布（はなぬの）/ Paper with patterns of Hakka Printed Cloth\n\n\n\n別名：掛け布や花柄布（はながらぬの）\n\n\n\n台湾の伝統的な印花で、植物繊維を基底にした手漉き紙に、伝統的な版画技法を組み合わせています。10版の分色印刷を用いており、製作の難易度が高く、時間がかかるため、徐々に失われつつあります。現在では、春節前に少量限定で生産されるのみとなっています。"}
{"@context":"https://schema.org","@type":"WebPage","@id":"https://trouver.art/paper-with-patterns-of-hakka-printed-cloth","url":"https://trouver.art/paper-with-patterns-of-hakka-printed-cloth","name":"Paper with patterns of Hakka Printed Cloth - trouver.art","isPartOf":{"@id":"https://trouver.art/#website"},"image":{"@id":"https://trouver.art/paper-with-patterns-of-hakka-printed-cloth#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/09/S-0152-e1519670201393.jpg","datePublished":"2016-03-29T04:20:00+00:00","dateModified":"2025-12-30T18:00:26+00:00","description":"花布入紙 Paper with patterns of Hakka Printed Cloth 又稱被單布或花仔布，一種台灣的傳統印花，以植物纖維作為抄紙的基底，結合傳統版印工藝，使用了十個版分色印製，製作的難度高與工時長，除了逐漸快失傳以外，現在也僅有春節前會少量生產的限定紙品。","inLanguage":"zh-TW"}
{"@context":"https://schema.org","@type":"ImageObject","inLanguage":"zh-TW","@id":"https://trouver.art/paper-with-patterns-of-hakka-printed-cloth#primaryimage","url":"https://trouver.art/wp-content/uploads/2024/09/S-0152-e1519670201393.jpg","contentUrl":"https://trouver.art/wp-content/uploads/2024/09/S-0152-e1519670201393.jpg","width":830,"height":554,"caption":"花布入紙 Paper with patterns of Hakka Printed Cloth"}
{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/pineapple-leaf-fibre-made-xuan-paper#article","isPartOf":{"@id":"https://trouver.art/pineapple-leaf-fibre-made-xuan-paper"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Pineapple leaf fibre made Xuan paper","datePublished":"2017-03-27T04:20:00+00:00","dateModified":"2025-12-30T18:00:06+00:00","mainEntityOfPage":{"@id":"https://trouver.art/pineapple-leaf-fibre-made-xuan-paper"},"wordCount":68,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/pineapple-leaf-fibre-made-xuan-paper#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/08/S-0184-1024x1024.jpg","keywords":["PineapplePaper","trouver","TROUVER art","仿徐青藤墨荷","修復紙質文物","宣紙","張大千","樹火紙博物館","菠蘿宣","鳳梨宣","鳳梨葉纖維","鳳髓宣"],"articleSection":["All","Taiwan"],"inLanguage":"zh-TW","description":"Pineapple leaf fibre made Xuan paper\n\n\n\nThe pulp is a combination of pineapple leaf fibre, bamboo or straw pulp, and wheat straw fibre, giving the paper strength to avoid damage during multiple paper colouration processes. The slight alkalinity of the paper can neutralise acidity when repairing artefacts.\n\n\n\n-\n\n\n\n鳳髓宣 / Pineapple leaf fibre made Xuan paper\n\n\n\n別名鳳梨宣 / 菠蘿宣\n\n\n\n因使用鳳梨葉纖維得名，混合了竹漿或草漿加上麥桿纖維，除了在多次渲染不易造成破損以外，微鹼性的體質在修復紙質文物具有中和酸性的效果。書法畫家張大千曾在作品：「仿徐青藤墨荷」-1979 以：「滑能註毫，凝能發墨，直與元明以來爭勝。」來稱讚鳳梨宣的特色。\n\n\n\n-\n\n\n\n鳳髓宣 / Pineapple leaf fibre made Xuan paper\n\n\n\n別名：鳳梨宣（ほうりせん）/ 菠蘿宣（ぼらせん）\n\n\n\nパイナップルの葉繊維を使用していることからこの名が付けられ、竹パルプや草パルプ、さらに麦わら繊維が混合されています。何度も彩色しても破れにくく、微アルカリ性の性質があり、紙質の文物を修復する際に酸性を中和する効果があります。書道家の張大千（ちょう たいせん）は1979年の作品「仿徐青藤墨荷」で「滑らかで筆を止め、凝り固まっても墨を発する。その特徴は元・明以来のものと競い合う」と鳳梨宣の特性を称賛しました。"}
{"@context":"https://schema.org","@type":"WebPage","@id":"https://trouver.art/pineapple-leaf-fibre-made-xuan-paper","url":"https://trouver.art/pineapple-leaf-fibre-made-xuan-paper","name":"Pineapple leaf fibre made Xuan paper - trouver.art","isPartOf":{"@id":"https://trouver.art/#website"},"image":{"@id":"https://trouver.art/pineapple-leaf-fibre-made-xuan-paper#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/08/S-0184-1024x1024.jpg","datePublished":"2017-03-27T04:20:00+00:00","dateModified":"2025-12-30T18:00:06+00:00","description":"鳳髓宣 Pineapple leaf fibre made Xuan paper 別名鳳梨宣 / 菠蘿宣，因使用鳳梨葉纖維得名，混合了竹漿或草漿加上麥桿纖維，除了在多次渲染不易造成破損以外，微鹼性的體質在修復紙質文物具有中和酸性的效果。書法畫家張大千曾在作品：「仿徐青藤墨荷」-1979 以：「滑能註毫，凝能發墨，直與元明以來爭勝。」來稱讚鳳梨宣的特色。","inLanguage":"zh-TW"}
{"@context":"https://schema.org","@type":"ImageObject","inLanguage":"zh-TW","@id":"https://trouver.art/pineapple-leaf-fibre-made-xuan-paper#primaryimage","url":"https://trouver.art/wp-content/uploads/2024/08/S-0184.jpg","contentUrl":"https://trouver.art/wp-content/uploads/2024/08/S-0184.jpg","width":1367,"height":1367,"caption":"鳳髓宣 Pineapple leaf fibre made Xuan paper"}
{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/patterns-printed-made-xuan-paper#article","isPartOf":{"@id":"https://trouver.art/patterns-printed-made-xuan-paper"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Patterns printed made Xuan paper","datePublished":"2017-03-27T04:21:00+00:00","dateModified":"2025-12-30T17:59:59+00:00","mainEntityOfPage":{"@id":"https://trouver.art/patterns-printed-made-xuan-paper"},"wordCount":56,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"keywords":["FinePaper","Patterns printed made Xuan paper","silkscreen","trouver","TROUVER art","伝統的な楮皮","手工製紙","楮皮紙","樹火紙博物館","紋画宣","紋畫宣","絶版品","網版印刷"],"articleSection":["All","Taiwan"],"inLanguage":"zh-TW","description":"Patterns printed made Xuan paper\n\n\n\nThis is Asian cultural patterns screen printed on Paper mulberry made Xuan paper. Thanks to the neutral water of Puli used in papermaking, the paper condition can still remain at good standard after 30 years.\n\n\n\n-\n\n\n\n紋畫宣 / Patterns printed made Xuan paper\n\n\n\n目前已屬於絕版品，以傳統楮皮宣紙為基底，以網版印刷上亞洲傳統的紋樣染色，距離抄造出來的時間已約有30年以上，埔里中性的水質對於紙張保存的條件可見一般。\n\n\n\n-\n\n\n\n紋画宣（もんがせん）/ Patterns printed made Xuan paper\n\n\n\n現在では絶版品となっており、伝統的な楮皮（こうぞがみ）宣紙を基底に、シルクスクリーン印刷でアジア伝統の模様を染色しています。この紙が抄造されたのは約30年以上前であり、埔里の中性の水質が紙の保存状態に良好な影響を与えていることが伺えます。"}
{"@context":"https://schema.org","@type":"WebPage","@id":"https://trouver.art/patterns-printed-made-xuan-paper","url":"https://trouver.art/patterns-printed-made-xuan-paper","name":"Patterns printed made Xuan paper - trouver.art","isPartOf":{"@id":"https://trouver.art/#website"},"datePublished":"2017-03-27T04:21:00+00:00","dateModified":"2025-12-30T17:59:59+00:00","description":"紋畫宣 Patterns printed made Xuan paper目前已屬於絕版品，以傳統楮皮宣紙為基底，以網版印刷上亞洲傳統的紋樣染色，距離抄造出來的時間已約有30年以上，埔里中性的水質對於紙張保存的條件可見一般。","inLanguage":"zh-TW"}
{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/layered-hemp-paper#article","isPartOf":{"@id":"https://trouver.art/layered-hemp-paper"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Layered hemp paper","datePublished":"2017-03-27T04:21:00+00:00","dateModified":"2025-12-30T17:59:48+00:00","mainEntityOfPage":{"@id":"https://trouver.art/layered-hemp-paper"},"wordCount":39,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"keywords":["abacà","Layered hemp paper","traditional handmade papers","trouver","TROUVER art","傳統造紙","手工製紙","纖維落水抄製","蕉葉纖維","麻紙","麻落水紙"],"articleSection":["All","Taiwan"],"inLanguage":"zh-TW","description":"Layered hemp paper\n\n\n\nThis paper is purely handmade using thick hemp fibres, and thus each sheet is unique. This is the beauty of traditional handmade papers.\n\n\n\n-\n\n\n\n麻落水紙 / Layered hemp paper\n\n\n\n由馬尼拉著名的abacà蕉葉纖維為主原料。取較粗韌的纖維落水抄製而成，由於因為完全由人工控制纖維的散佈，所以不會有第二張相同的紙，是這一類傳統造紙的迷人之處。\n\n\n\n-\n\n\n\n麻落水紙（あさらくすいし）/ Layered hemp paper\n\n\n\nマニラで有名なアバカ（abacà）のバナナの葉繊維を主原料としています。比較的粗くて強靭な繊維を用いて、手漉きで抄造されます。すべての繊維の分布が手作業で制御されるため、同じ紙が二枚と存在しないのが、この伝統的な製紙の魅力です。"}
{"@context":"https://schema.org","@type":"WebPage","@id":"https://trouver.art/layered-hemp-paper","url":"https://trouver.art/layered-hemp-paper","name":"Layered hemp paper - trouver.art","isPartOf":{"@id":"https://trouver.art/#website"},"datePublished":"2017-03-27T04:21:00+00:00","dateModified":"2025-12-30T17:59:48+00:00","description":"麻落水紙 Layered hemp paper 由馬尼拉著名的abacà蕉葉纖維為主原料。取較粗韌的纖維落水抄製而成，由於因為完全由人工控制纖維的散佈，所以不會有第二張相同的紙，是這一類傳統造紙的迷人之處。","inLanguage":"zh-TW"}
{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/tradition-mulberry-paper#article","isPartOf":{"@id":"https://trouver.art/tradition-mulberry-paper"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Tradition Mulberry Paper","datePublished":"2018-03-27T04:21:00+00:00","dateModified":"2025-12-30T17:59:10+00:00","mainEntityOfPage":{"@id":"https://trouver.art/tradition-mulberry-paper"},"wordCount":78,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"keywords":["KozoPaper","MulberryPaper","Tradition Mulberry Paper","trouver","TROUVER art","Washi","傳統楮皮紙","手工製紙","楮樹皮","楮皮紙","樹火紙博物館","水墨"],"articleSection":["All","Taiwan"],"inLanguage":"zh-TW","description":"Tradition Mulberry Paper\n\n\n\nMade of 100% Paper mulberry fibres without additives, Traditional Paper mulberry made paper is made with traditional papermaking methods and dried under low temperature. This type of paper is acid-free and has long storage life, thus is often used for repairing paintings of the National Palace Museum. The great absorbency of the fibres shows the astonishing effect on the calligraphic strokes in Chinese ink paintings.\n\n\n\n-\n\n\n\n傳統楮皮紙 / Tradition Mulberry Paper\n\n\n\n100%的楮樹皮纖維製作，採用傳統抄紙方法生產，低溫烘乾與無添加劑，自然無酸且存放年限長，故也被用於故宮畫作的修復用途。在水墨作畫方面，因其纖維吸水的特性，在飛白的部分具有奇佳的效果。\n\n\n\n-\n\n\n\n伝統的な楮紙（こうぞがみ）/ Tradition Mulberry Paper\n\n\n\n100%の楮（こうぞ）の樹皮繊維で作られており、伝統的な手抄き製法で生産されています。低温乾燥され、添加剤は一切使用されていないため、自然に酸を含まず、長期間保存が可能です。そのため、故宮の絵画修復にも使用されています。水墨画においては、繊維が水を吸収する特性があるため、飛白（ひはく）の部分で優れた効果を発揮します。"}
{"@context":"https://schema.org","@type":"WebPage","@id":"https://trouver.art/tradition-mulberry-paper","url":"https://trouver.art/tradition-mulberry-paper","name":"Tradition Mulberry Paper - trouver.art","isPartOf":{"@id":"https://trouver.art/#website"},"datePublished":"2018-03-27T04:21:00+00:00","dateModified":"2025-12-30T17:59:10+00:00","description":"傳統楮皮紙 Tradition Mulberry Paper 以100%的楮樹皮纖維製作，採用傳統抄紙方法生產，低溫烘乾與無添加劑，自然無酸且存放年限長，故也被用於故宮畫作的修復用途。在水墨作畫方面，因其纖維吸水的特性，在飛白的部分具有奇佳的效果。","inLanguage":"zh-TW"}
{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/2016-paper-lecture-in-taipei#article","isPartOf":{"@id":"https://trouver.art/2016-paper-lecture-in-taipei"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"2016 Paper lecture in Taipei","datePublished":"2017-03-28T04:21:00+00:00","dateModified":"2025-12-30T17:59:43+00:00","mainEntityOfPage":{"@id":"https://trouver.art/2016-paper-lecture-in-taipei"},"wordCount":260,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/2016-paper-lecture-in-taipei#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/08/DSC1567-1024x1024.jpg","keywords":["2016 PAPER LECTURE IN TAIPEI","Barclay","BearPaper","Beer tag Paper","Bling paper","FinePaper","Handmade","trouver","TROUVER art","啤酒紙","巴克禮紙","布林紙","樹火紙博物館","活版印刷"],"articleSection":["All","Taiwan"],"inLanguage":"zh-TW","description":"2016 PAPER LECTURE IN TAIPEI\n\n\n\nLecture introduction paper - \"Left image 1\"\n\n\n\nBelow is a brief summary of the three letterpress-suitable papers that I’d introduced during the lecture at Suho Paper Memorial Museum on the 28th October 2016.\n\n\n\n\n\n\n\nBeer tag paper - \"Left Image 2\"\n\n\n\nOriginally used as alcohol labels for Sake of both Japan and Taiwan Tobacco and Liquor Corporation, the paper is thick and sturdy and is also often used as beer mats. The deckle edge and the special stain are kept during papermaking to create the uniqueness.\n\n\n\n\nMade in Taiwan / Handmade\n\n\n\nMaterial: Mulberry Tree bark, Wood pulp\n\n\n\n\n\n\n\n\nBarclay - \"Right Image 2\"\n\n\n\nThe paper is named after Pastor Barclay, who brought the technique of letterpress printing to Taiwan. Barclay is a thick paperboard with the smooth surface and good ink absorbency, making it suitable for writing and painting with all sorts of media. Recently, the paper is often used for Letterpress.\n\n\n\n\nMade in Finland / Machine-made\n\n\n\nMaterial: Wood pulp\n\n\n\n\n\n\n\n\nBling - \"Right image 1\"\n\n\n\nBling is 100% handmade, keeping irregular deckle edges for uniqlustreture. The name comes from its sparkly luster on the surface. The paper performs a delicate outcome when screen printed with graphics, and is smooth for writing with ink. Bling is often used as postcards or greeting cards, giving a sense of both modern and antique.\n\n\n\n\nMade in Taiwan / Handmade\n\n\n\nMaterial: Mulberry Tree bark, Wood pulp\n\n\n\n\n-\n\n\n\n2016 PAPER LECTURE IN TAIPEI\n\n\n\n講座介紹用紙 -「左1圖」\n\n\n\n在2016/10/28與樹火紙博物館合作舉辦講座，當時在講座上介紹三款適合活版印刷使用的紙，一併收錄到網站上來。\n\n\n\n\n\n\n\n啤酒紙 / Beer tag Paper -「左2圖」\n\n\n\n粗獷的篇章，醇放熱烈的澎湃，在紙上來一杯啤酒吧，用濃醇渾厚敬壯烈的筆魂！原作為日本與公賣局清酒用酒標紙，紙張渾厚飽實，在抄造時特別保留紙張毛邊與特殊染色。\n\n\n\n\n產地：台灣 / 手工製作\n\n\n\n材料：桑樹皮、木漿\n\n\n\n\n\n\n\n\n巴克禮 / Barclay -「右2圖」\n\n\n\n遙敬活字印刷的引進者─巴克禮牧師\n\n\n\n從芬蘭進口的巴克禮紙，溫文儒雅、有著北歐簡潔的設計感，尤適合裁切卡片、明信片大小使用。有厚度磅數的紙卡，紙面平整好書寫好上墨，做水彩繪畫、鋼筆插畫都非常適用，近來也常被使用在鉛字蓋印，紙張被鉛字重量咬下的印痕，特別具有溫潤度。\n\n\n\n\n產地：芬蘭 / 機械製作\n\n\n\n材料：木漿\n\n\n\n\n\n\n\n\n布林 / Bling -「右1圖」\n\n\n\n抄起時光的影子，篩寫本季的種種四季的思念化為手感，良善的記錄下來\n\n\n\n寫者有情、讀者有意，快速的網路世代終將慢下來，深刻的東西永遠需要時間，如同一筆一畫富含情意，寫岔了，也得保留下來。沒有一個delete鍵，能讓紙上的曾經，永遠消失。全手工抄製明信片，紙質厚挺有份量，並保留不規則的手感毛邊，表面佈有隱約的亮粉光澤，有低調的bling bling感。適於網版印刷效果精緻，書寫滑順墨色勻稱，作為明信片或賀卡，表現出復古與新味相襯意涵。\n\n\n\n\n產地：台灣 / 手工製作\n\n\n\n材料：桑樹皮、木漿\n\n\n\n\n-\n\n\n\n2016 PAPER LECTURE IN TAIPEI\n\n\n\n講座紹介用紙 -「左1図 」\n\n\n\n以下は、2016年10月28日に蘇州紙博物館での講義で紹介した3種類の活版印刷に適した紙の簡単な概要です。\n\n\n\n\n\n\n\n啤酒紙 / Beer tag Paper -「左2図 」\n\n\n\n荒々しい風合いで、力強く情熱的な味わいが溢れる。紙の上で一杯のビールを楽しみましょう。濃厚で豊かな魂を持つペンのために！もともとは日本と専売局の清酒用のラベル紙として使用されていたこの紙は、厚みがあり、しっかりとした質感が特徴です。製造過程で特に紙の毛羽立ちと特殊な染色を残しています。\n\n\n\n\n台湾製 / 手作り\n\n\n\n材質：桑の樹皮、木材パルプ\n\n\n\n\n\n\n\n\nバクレー / Barclay -「右2図 」\n\n\n\n活版印刷の先駆者であるバークレー牧師への敬意を表して\n\n\n\nフィンランドから輸入されたバクレーペーパーは、北欧らしいシンプルで洗練されたデザイン感覚を持ち、特にカードやポストカードのサイズに裁断して使うのに適しています。厚みのあるカード用紙で、紙面が滑らかで書きやすく、インクののりも良いため、水彩画やペン画にも非常に適しています。最近では、鉛の活字で印刷する際にもよく使用され、活字の重さで紙に刻まれる跡が、特に温もりを感じさせます。\n\n\n\n\nフィンランド製 / 機械製\n\n\n\n材質：木材パルプ\n\n\n\n\n\n\n\n\nブリン / Bling -「右1図 」\n\n\n\n時の影を抄（すく）い上げ、今季の様々なことを記す四季の思い出が手触りとして感じられ、良き記録として残されます。\n\n\n\n書き手に情があり、読み手に意がある。速いネット世代もいずれゆっくりと歩み、深いものは常に時間がかかる。一筆一画が情感を込めたものであり、書き間違えたとしても、それを残さなければなりません。どんな「削除」キーも、紙の上の過去を消すことはできません。すべて手作りのポストカードで、紙質は厚くしっかりとしており、不規則な手触りの毛羽立ちが特徴です。表面にはかすかなラメがあり、控えめなきらめきを放ちます。シルクスクリーン印刷に適し、書き心地が滑らかでインクの色も均一です。ポストカードやグリーティングカードとして、ヴィンテージと新しさが交錯する魅力を表現します。\n\n\n\n\n台湾製 / 手作り\n\n\n\n材質：桑の樹皮、木材パルプ"}
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{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/paper-with-rice-husks-%e7%a8%bb%e6%ae%bc%e7%b4%99#article","isPartOf":{"@id":"https://trouver.art/paper-with-rice-husks-%e7%a8%bb%e6%ae%bc%e7%b4%99"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Paper with rice husks","datePublished":"2016-03-29T04:21:00+00:00","dateModified":"2025-12-30T18:00:18+00:00","mainEntityOfPage":{"@id":"https://trouver.art/paper-with-rice-husks-%e7%a8%bb%e6%ae%bc%e7%b4%99"},"wordCount":47,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/paper-with-rice-husks-%e7%a8%bb%e6%ae%bc%e7%b4%99#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/08/S-0134-1024x1024.jpg","keywords":["FinePaper","trouver","TROUVER art","宣紙","手工製紙","樹火紙博物館","稻殼紙","長春棉紙"],"articleSection":["All","Taiwan"],"inLanguage":"zh-TW","description":"Paper with rice husks\n\n\n\nRice husks are spread freely onto pulps during papermaking to create this unique texture. The paper itself looks like rice husks sprinkled on rice; you can seem to smell the rice just by looking at the paper.\n\n\n\n-\n\n\n\n稻殼紙\n\n\n\n有別於來自日本越前的稻禾，台灣的長春棉紙，把農田中打穀後的稻殼，藉由抄紙時不規則的散落於紙漿內。與稻梗一段一段的感覺不同，在視覺上像是米飯上灑落稻殼，看著似乎讓紙變得更香了呢！\n\n\n\n-\n\n\n\n籾殻紙（もみがらがみ）\n\n\n\n日本の越前からの稲とは異なり、台湾の長春棉紙（ちょうしゅんめんし）は、収穫後の籾殻を漉き紙の際に不規則に紙漉きの中に散らします。稲の茎が断片的に感じられるのとは違い、見た目はまるでご飯の上に籾殻が散りばめられているようで、まるで紙がさらに香ばしくなったような気がしますね！"}
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{"@context":"https://schema.org","@type":"ImageObject","inLanguage":"zh-TW","@id":"https://trouver.art/paper-with-rice-husks-%e7%a8%bb%e6%ae%bc%e7%b4%99#primaryimage","url":"https://trouver.art/wp-content/uploads/2024/08/S-0134.jpg","contentUrl":"https://trouver.art/wp-content/uploads/2024/08/S-0134.jpg","width":1367,"height":1367,"caption":"稻殼紙_Paper with rice husks"}
{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/tant-select-ts-1#article","isPartOf":{"@id":"https://trouver.art/tant-select-ts-1"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Tant Select TS-1","datePublished":"2015-08-21T04:22:00+00:00","dateModified":"2025-12-30T18:01:46+00:00","mainEntityOfPage":{"@id":"https://trouver.art/tant-select-ts-1"},"wordCount":189,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"keywords":["Embossed paper","FinePaper","TAKEO","Tant Select TS-1","TantSelect","trouver","TROUVER art","TS-1","印刷品","壓紋紙"],"articleSection":["All","Japan"],"inLanguage":"zh-TW","description":"Translation:\n\n\n\nThe TANT SELECT series is renowned for its unique appearance and tactile feel, achieved through a special embossed papermaking technique. One of the members of this series is \"TS-1.\" Imagine trying to create intricate patterns on a sheet of paper that mimic the texture of woven fabric; this gives you an idea of how challenging it is to produce this type of paper. The woven patterns are present on both sides of the paper, and when viewed against the light, the transparency creates an impression of a textile’s rustic charm.\n\n\n\nWhen observed under a macro lens with light shining through, you can see not only the embossed “line” patterns on the surface but also that the intersections are compressed so much that only a very thin, nearly translucent layer of pulp remains. This paper is particularly well-suited as a substitute for fabric as a material. When used in high-end couture or finely crafted knitted bedding, it can convey a sense of weaving and handcrafted luxury. It is an excellent choice for both packaging and printed materials.\n\n\n\n-\n\n\n\nTANT SELECT系列主要以特殊的壓紋抄紙技術打造獨特樣貌與手感著稱，這是其中的成員之一「TS-1」。可以試著想像如何在一張紙上做出細緻紋理，並達到近似布織的質感？就能大致理解這是相當不易製造的紙。布織的紋路為雙面皆有，對著光線觀察，在視覺上的穿透感令人留下紡織品的樸質印象。以微距鏡拍攝放大，透過光線照射時可以發現，除了突出表面 “線” 的紋路以外，在交錯部分壓和後只剩下非常薄近似半透明的些微紙漿。這是相當適合作為代替布料為媒材的紙，如果應用在高級訂製服或是以講究針織布料的寢具，能夠傳達編織與手工的高級感，無論包裝或是印刷品都是非常出色的選擇。\n\n\n\n-\n\n\n\nTANT SELECTシリーズは、主に特殊なエンボス加工技術を用いて、独特な見た目と手触りを持つことで知られています。その中の一つが「TS-1」です。紙の上に細かな模様を施し、布のような質感を再現するのはどれほど難しいか、想像してみてください。それが、この紙がいかに製造が困難であるかをおおよそ理解する助けとなるでしょう。布織の模様は両面に施されており、光に透かして見ると、その透過感が織物の素朴な印象を残します。\n\n\n\nマクロレンズで拡大撮影し、光を透過させると、表面に浮かび上がる「線」の模様だけでなく、交差部分を圧縮して残った非常に薄い半透明の紙漉きを観察することができます。これは布の代わりに素材として使用するのに非常に適した紙であり、高級オートクチュールやこだわりのニット素材の寝具に応用することで、織りと手作業の高級感を伝えることができます。包装や印刷物としても非常に優れた選択肢です。"}
{"@context":"https://schema.org","@type":"WebPage","@id":"https://trouver.art/tant-select-ts-1","url":"https://trouver.art/tant-select-ts-1","name":"Tant Select TS-1 - trouver.art","isPartOf":{"@id":"https://trouver.art/#website"},"datePublished":"2015-08-21T04:22:00+00:00","dateModified":"2025-12-30T18:01:46+00:00","description":"TANT SELECT系列主要以特殊的壓紋抄紙技術打造獨特樣貌與手感著稱，這是其中的成員之一「TS-1」。可以試著想像如何在一張紙上做出細緻紋理，並達到近似布織的質感？就能大致理解這是相當不易製造的紙。布織的紋路為雙面皆有，對著光線觀察，在視覺上的穿透感令人留下紡織品的樸質印象。","inLanguage":"zh-TW"}
{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/evanescent-gloss#article","isPartOf":{"@id":"https://trouver.art/evanescent-gloss"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Evanescent Gloss","datePublished":"2015-08-23T04:22:00+00:00","dateModified":"2025-12-30T18:01:41+00:00","mainEntityOfPage":{"@id":"https://trouver.art/evanescent-gloss"},"wordCount":228,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"keywords":["CHEMA-MADOZ","Dean&DeLuca","Evanescent-Gloss","FinePaper","Hirabayashi-Naomi","PaperBook","PaperShow2007","TAKEO","trouver","TROUVER art","UVprint","エヴァネソングロス","平林奈緒美","描圖紙","透明紙"],"articleSection":["All","Japan"],"inLanguage":"zh-TW","description":"The Evocative Airiness / Evanescent Gloss\n\n\n\nGenerally, the impression of transparent paper tends to be \"ordinary\" or \"common.\" However, \"エヴァネソングロス Evanescent Gloss,\" released in 2002, meaning \"vanishing gloss,\" creates a unique atmosphere for paper, with a slightly subdued emotion and dramatic, special sheen. It is considered a representative work of modern transparent papers. Made primarily from glassine paper, it undergoes secondary processing on the surface. Not only does it have a silver-like sheen on both sides, but its semi-transparency also gives printed designs a distinctive, embedded appearance within the paper itself.\n\n\n\nHowever, due to the paper's tendency to resist ink drying, it is recommended to use UV printing. When using screen printing, it is important to ensure the ink is evenly applied. Hot stamping is not feasible. Unfortunately, \"エヴァネソングロス Evanescent Gloss\" was discontinued in 2010, and those interested can only inquire at shops in Japan that might still have some in stock. It is quite a pity. The photograph featured here is a print created by Japanese designer Naomi Hirabayashi and Spanish photographer Chema Madoz for the renowned New York chain store \"Dean & DeLuca,\" included in the book \"TAKEO PAPER SHOW 2007: FINE PAPERS.\"\n\n\n\n-\n\n\n\n絕響的空氣感 / Evanescent Gloss\n\n\n\n一般對於透明紙的印象，大多止於“普通”或是“常見”的感覺；自2002發售的「エヴァネソングロス」（Evanescent Gloss）原意為 – 逝去的光澤，營造出了屬於紙張的氛圍，帶著些微沈澱的情緒，及戲劇性的特殊光澤，屬於近代透明紙系的代表作品。原料以玻璃紙為基底，在表面進行二次加工處理；除了正反兩面均有接近銀色的光澤感以外，因其半透明性質，使印刷的圖案就像是鑲嵌在紙張裏頭，非常具有特色！\n\n\n\n不過也因為紙質不易令油墨乾燥，建議使用UV印刷的方式加工在使用網版印刷的情況，需要注意油墨是否均勻，且無法使用燙金加工。這張「エヴァネソングロス」（Evanescent Gloss）已經在2010年停產，有興趣的朋友只能日本還有少量庫存的坊間店家詢問了，相當可惜。本次拍攝的是：日本設計師「平林奈緒美」與西班牙攝影師「CHEMA MADOZ」為紐約知名的連鎖超市「Dean & DeLuca」製作的平面作品，印於「TAKEO PAPER SHOW 2007 ” FINE PAPERS」書內。\n\n\n\n-\n\n\n\n絶響の空気感 / Evanescent Gloss\n\n\n\n一般的に透明紙の印象は「普通」や「一般的」という感じが多いですが、2002年に発売された「エヴァネソングロス」（Evanescent Gloss）は、文字通り「消えゆく光沢」という意味を持ち、紙の雰囲気を作り出しました。わずかに沈んだ感情と劇的な特殊な光沢を持ち、現代の透明紙の代表作です。原材料はグラシン紙をベースにしており、表面に二次加工が施されています。表裏両面には銀色に近い光沢があり、半透明の特性により、印刷されたデザインがまるで紙に埋め込まれたように見える、とても特徴的な紙です。\n\n\n\nただし、この紙はインクの乾燥が難しいため、UV印刷の使用を推奨します。スクリーン印刷を使用する場合は、インクが均一に塗布されているかどうかに注意が必要で、ホットスタンプ加工は使用できません。「エヴァネソングロス」（Evanescent Gloss）は2010年に廃盤となり、興味のある方は日本でまだ少量在庫がある店舗でしか問い合わせることができません。本当に残念です。今回撮影されたのは、日本のデザイナー「平林奈緒美」とスペインの写真家「CHEMA MADOZ」がニューヨークの有名なチェーンスーパー「Dean & DeLuca」のために制作した平面作品で、「TAKEO PAPER SHOW 2007 ” FINE PAPERS」書内に印刷されています。"}
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{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/shin-danshi-kirara-sinju#article","isPartOf":{"@id":"https://trouver.art/shin-danshi-kirara-sinju"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Shin Danshi – Kirara Sinju","datePublished":"2015-09-16T04:22:00+00:00","dateModified":"2025-12-30T18:12:01+00:00","mainEntityOfPage":{"@id":"https://trouver.art/shin-danshi-kirara-sinju"},"wordCount":106,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/shin-danshi-kirara-sinju#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/07/ST01-1024x1024.jpg","keywords":["FinePaper","Kirara","Kirara Sinju","Shin-Danshi","TAKEO","trouver","TROUVER art","Washi","パール","新檀紙","檀紙","真珠","竹尾","雲母"],"articleSection":["All","Japan"],"inLanguage":"zh-TW","description":"This is \"Pearl,\" a new product from 2015 in the same series as the previously introduced Shin Danshi Kirara (Shin Danshi - Mica). In addition to continuing the cultural and historical significance of Danshi paper, it adds a luxurious pearl sheen to the surface that does not conflict with tradition. The natural fibers and rough texture of traditional Japanese paper are transformed into a silky softness, which, combined with the play of light and shadow, resembles the pure, flawless white of a princess's dress. The name \"Pearl\" aptly captures its beautiful essence.\n\n\n\n-\n\n\n\n這是之前介紹 Shin Danshi Kirara(新檀紙-雲母)同系列在2015的新作「真珠」，除了延續檀紙所帶來的文化及歷史意義以外，在表面增添了華麗卻又不與傳統衝突的珍珠光澤。將傳統和紙的天然纖維與粗糙感化為絲綢般的柔軟滑順，配合光影的呈現，就如同公主服飾般的潔白無暇，以「真珠」為命名，在感受性落下了美麗的封號。\n\n\n\n-\n\n\n\nこれは以前紹介した「Shin Danshi Kirara（新檀紙-雲母）」と同じシリーズの2015年の新作「真珠」です。檀紙が持つ文化的および歴史的意義を継承しつつ、その表面には伝統と対立しない豪華な真珠光沢が加えられています。伝統的な和紙の天然繊維と粗さを絹のように柔らかく滑らかに変え、光と影の演出によって、まるでプリンセスの衣装のような純白さを持っています。「真珠」という名前の通り、その感性に美しさの称号をもたらしています。"}
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{"@context":"https://schema.org","@type":"ImageObject","inLanguage":"zh-TW","@id":"https://trouver.art/shin-danshi-kirara-sinju#primaryimage","url":"https://trouver.art/wp-content/uploads/2024/07/ST01.jpg","contentUrl":"https://trouver.art/wp-content/uploads/2024/07/ST01.jpg","width":1067,"height":1067,"caption":"SHIN-DANSHI-1"}
{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/%e3%81%84%e7%b9%94%e3%82%8a#article","isPartOf":{"@id":"https://trouver.art/%e3%81%84%e7%b9%94%e3%82%8a"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"い織り","datePublished":"2018-03-29T04:22:00+00:00","dateModified":"2025-12-30T17:58:59+00:00","mainEntityOfPage":{"@id":"https://trouver.art/%e3%81%84%e7%b9%94%e3%82%8a"},"wordCount":164,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"keywords":["Embossed paper","iori","TAKEO","trouver","TROUVER art","い織り","土壁","壓紋紙","稻草"],"articleSection":["All","Japan"],"inLanguage":"zh-TW","description":"Japanese paper company Takeo Co., Ltd. recently introduced a new paper called \"Iori,\" a type of embossed paper characterized by its elegant and delicate plant-like texture.\n\n\n\nThe design inspiration for its embossing is said to come from a traditional technique known as \"Tsuchikabe\" (earthen walls), used in ancient houses. This traditional method involved mixing natural elements like earth and straw and applying the mixture to walls, creating a structure that remained warm in winter and cool in summer while also imparting a pleasant, natural scent to the interior. This technique provided a sense of warmth from the walls and a harmonious coexistence with nature. The texture of \"Iori\" is inspired by this rich historical technique, recreating the straw and earth wall patterns on paper. Additionally, the white \"Iori\" paper has a light coating layer, allowing it to display a refined texture when printing suitable designs, making it a friendly choice for designers looking to experiment with embossed paper for printing and packaging.\n\n\n\n-\n\n\n\n日本紙商 株式會社 竹尾在近期發表了新紙「い織り」，屬於壓紋紙的一種，擁有優雅細膩的類似植物紋理為主要特色。\n\n\n\n據說其壓紋的設計靈感來源為古代房屋所使用的一種為「土壁」的傳統技法，傳統的土壁為混合來自大自然的恩惠「土」以及「稻草」後，塗抹於牆壁能讓房屋有著冬暖夏涼的特性，也能讓屋內有著相當舒服的自然氣味，是一種能感受來自牆壁的溫暖感覺，且與大自然共存的傳統技法；「い織り」的紋路靈感取自如此富有典故的題材，將稻草與泥土的壁面紋理重現於紙上，此外，白色的「い織り」有著輕微的塗佈層，在印刷合適的題材能夠表現出恰如其分的優雅質地，是設計師們嘗試使用壓紋紙進行印刷以及包裝的友善選擇。\n\n\n\n-\n\n\n\n日本の紙商である株式会社竹尾は、最近、新しい紙「い織り」を発表しました。これはエンボス紙の一種で、植物のような優雅で繊細な紋様が特徴です。\n\n\n\nこのエンボス加工のデザインは、古代の家屋で使われていた「土壁」と呼ばれる伝統的な技法からインスピレーションを得たと言われています。伝統的な土壁は、自然の恵みである「土」と「稲わら」を混ぜて壁に塗り込むことで、家屋に冬は暖かく夏は涼しいという特性を持たせ、室内に自然の快い香りをもたらします。この技法は、壁からの暖かさを感じさせ、自然との共存を実現する伝統的な方法です。「い織り」の紋様は、このように由緒ある題材から着想を得て、稲わらと土の壁面の紋理を紙に再現しています。また、白い「い織り」には薄いコーティング層があり、適切なデザインを印刷することで、上品な質感を表現することができます。エンボス紙を使って印刷や包装を試みるデザイナーにとって、非常に使いやすい選択肢です。"}
{"@context":"https://schema.org","@type":"WebPage","@id":"https://trouver.art/%e3%81%84%e7%b9%94%e3%82%8a","url":"https://trouver.art/%e3%81%84%e7%b9%94%e3%82%8a","name":"い織り - trouver.art","isPartOf":{"@id":"https://trouver.art/#website"},"datePublished":"2018-03-29T04:22:00+00:00","dateModified":"2025-12-30T17:58:59+00:00","description":"日本紙商株式會社竹尾在近期發表了新紙「い織り」，屬於壓紋紙的一種，設計靈感來源為古代房屋所使用的一種為「土壁」與大自然共存的傳統技法，土壁為混合來自大自然的恩惠「土」以及「稻草」；此外，白色的「い織り」有著輕微的塗佈層，是設計師們嘗試使用壓紋紙進行印刷以及包裝的友善選擇。","inLanguage":"zh-TW"}
{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/cloud-dragon-paper#article","isPartOf":{"@id":"https://trouver.art/cloud-dragon-paper"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Cloud-Dragon Paper","datePublished":"2015-09-16T04:22:00+00:00","dateModified":"2025-12-30T18:01:02+00:00","mainEntityOfPage":{"@id":"https://trouver.art/cloud-dragon-paper"},"wordCount":86,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"keywords":["Cloud Dragon Paper","CloudDragon","Takaoka-Ushi","trouver","TROUVER art","Washi","三椏","和紙","天然纖維","山棉","手造紙","木漿","構樹","樹皮","白楮","雲龍紙","高岡丑製紙研究所"],"articleSection":["All","Japan"],"inLanguage":"zh-TW","description":"Cloud-Dragon Paper is made from the bark of the paper mulberry, white kozo, mitsumata, mountain cotton, and wood pulp. It is entirely handcrafted, and its unique appearance is determined by the beautiful bark and fibers used as raw materials. In addition to its excellent ink absorption, the paper's natural plant fibers provide durability and breathability, making it widely used for packaging in Japan.\n\n\n\n(Photo reposted from the Facebook page of Takaoka-Ushi Co., Ltd.)\n\n\n\n-\n\n\n\n雲龍紙，以構樹、白楮、三椏、山棉的樹皮及木漿為原料，純手工撈製而成，從原料那美麗的樹皮與纖維開始，就註定了成品獨一無二的樣貌。除了在墨水的吸收性非常良好以外，由於原料皆是植物的天然纖維，紙張具有強韌的表現及透氣的效果，故受到日本廣泛使用於包裝方面。\n\n\n\n（照片轉載自Facebook/（有）高岡丑製紙研究所 Takaoka-Ushi Co.,Ltd.的專頁分享。）\n\n\n\n-\n\n\n\n雲龍紙は、構樹、白楮、三椏、山棉の樹皮および木漿を原料として、純手作業で漉かれた紙です。原料である美しい樹皮と繊維からして、最終的な製品が独特の風合いを持つことが決まっています。インクの吸収性が非常に優れているだけでなく、原料がすべて植物の天然繊維であるため、紙には強靭さと通気性があります。このため、日本では包装用途として広く使用されています。\n\n\n\n（写真はFacebook/（有）高岡丑製紙研究所 Takaoka-Ushi Co.,Ltd.のページから転載されたものです。）"}
{"@context":"https://schema.org","@type":"WebPage","@id":"https://trouver.art/cloud-dragon-paper","url":"https://trouver.art/cloud-dragon-paper","name":"Cloud-Dragon Paper - trouver.art","isPartOf":{"@id":"https://trouver.art/#website"},"datePublished":"2015-09-16T04:22:00+00:00","dateModified":"2025-12-30T18:01:02+00:00","description":"雲龍紙，以構樹、白楮、三椏、山棉的樹皮及木漿為原料，純手工撈製而成，從原料那美麗的樹皮與纖維開始，就註定了成品獨一無二的樣貌。除了在墨水的吸收性非常良好以外，由於原料皆是植物的天然纖維，紙張具有強韌的表現及透氣的效果，故受到日本廣泛使用於包裝方面。","inLanguage":"zh-TW"}
{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/light-up-hong-kong-calendar-2017-2#article","isPartOf":{"@id":"https://trouver.art/light-up-hong-kong-calendar-2017-2"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"LIGHT UP HONG KONG Calendar 2017","datePublished":"2020-02-05T18:17:00+00:00","dateModified":"2025-12-30T17:57:45+00:00","mainEntityOfPage":{"@id":"https://trouver.art/light-up-hong-kong-calendar-2017-2"},"wordCount":947,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/light-up-hong-kong-calendar-2017-2#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2020/02/N-3794-1024x684.jpg","keywords":["Ameba Design Ltd","calendar","Everyone Full of Energy","Fedrigoni","Hong Kong","HONG KONG Calendar","Hong Kong Morning","LIGHT UP HONG KONG Calendar 2017","Sample","trouver","TROUVER art","抽屜式濕裱盒","日曆印刷","第29屆香港印製大獎","賴維鈞設計","賴維鈞設計有限公司","香港","香港早晨 人人精神"],"articleSection":["All","Europe"],"inLanguage":"zh-TW","description":"本次介紹在2017年第29屆香港印製大獎，日曆印刷項目的冠軍作品。\n\n\n\n\n\n由Ameba Design Ltd (賴維鈞設計有限公司 ) 所設計製作，紙張則選用來自義大利造紙廠Fedrigoni的各式美術紙系列。\n\n\n\n\n\n包裝的方式為可完全拉出的抽屜式濕裱盒，在最外層的袖套看起來像個大型的火柴盒，以Offset Printing呈現存放了一段時間略為泛黃懷舊的質感，這裡有個相當具巧思的地方，在袖套的側邊利用Screen printing所增加的厚度與紋路疊上印刷的顏色，模擬近似火柴盒側邊用於點著火柴頭的紅磷，令人印象深刻。\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n盒子打開後是本次月曆的本體，紅色的底座是擁有如天鵝絨般絲滑質地的 Ispira – Rosso Passione 120gsm進行濕裱。封面選擇的紙張是金色帶有珍珠光澤的 Sirio Pearl – Aurum 230gsm，將本來金色的紙張以Offset Printing印上漸層的灰黑色，模擬出光線不同的明暗表現，並且直接地以一根比例接近實體大小，正在閃閃發亮的火柴作為視覺呈現；火柴中心的火焰部分使用碎花雷射橘以及金色兩種金箔進行 Hot Foil Stamping，木柴以及下方的2017撻著香港則以 Embossing 令整體增添了不同的層次，有趣的是，似乎是為了更加強調「Light Up」的主題，環繞著火柴以俗稱局部光(Spot Varnish)的方式製作大面積的放射狀光芒，在不同的光線反射之下，確實感受到香港的自信與光輝。\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n在二月的頁面選擇了帶著水彩紙毯紋的 Stucco Tintoretto = Gesso 320gsm ，以Offset Printing 印刷雞公碗盛著滿滿米飯佐著數句廣東話作為主要視覺，可能會有不少台灣的朋友會好奇，為什麼碗上要畫一隻公雞呢？\n\n\n\n雞公碗是一個很「香港」或是廣東省的物件，早期香港經濟還未起飛時，由於價格實惠帶點俗氣卻又很有精神的手繪圖像，不同於一般白瓷碗的無趣，象徵著庶民與平民的生活，它就是老香港日常生活拿來盛裝米飯的碗，也因為多次出現在周星馳的電影中而被廣為人知，作為香港具有代表性的文化之一。\n\n\n\n在米飯的部分使用了特別的珠光雷射金箔以外，為了呈現米飯的圓弧顆粒形狀，使用了浮雕版進行了 Embossing 的加工，相當別緻。但我特別喜歡上面寫著「香港早晨 人人精神」這八個大字，這很接近我對於香港朋友們匆忙著工作，但又總是充滿精神著過著每一天的生活態度。\n\n\n\n四月則是使用了雪白色並帶有珍珠光澤的 Sirio Pearl – Ice White 300gsm，在上方蓋了一張藉由Screen Printing印上許多消光白色圓點的透明PET片，未被白圓點遮蔽的地方看起來像是綑綁起來的透明塑膠袋，裡頭裝著一金一紅的兩支金魚，至於為什麼會有金魚的元素呢？\n\n\n\n許多香港人認為金魚長相富貴、色彩豐富，是好兆頭的象徵，在辦公室或家中擺一缸金魚又能美化環境，於是發展出了位於旺角的通菜街（又稱金魚街），在這裡的街道上幾乎清一色販售各種觀賞用魚、水草及水族用品，最大的特色在於這裡的店舖，會將魚分別放入不同的小塑膠袋中並打入氧氣，並且一排又一排的掛在店門口的架子上，如此特殊且炫目的情景就變成了相當具有識別性的香港文化之一，也出現在各類觀光旅遊的景點中。\n\n\n\n七月使用的是 Splendorlux / Embossed – E43 Laser argento 250gsm ，紙張表面帶有珍珠光澤，並隨著光線會有不同層次對比的細緻斜紋線條，而珍珠光澤特有的金屬質地，恰好呼應香港常見店家鐵拉門的金屬質地，以Offset Printing讓油墨分隔了拉門的明暗對比，並將傳統雕花的部分使用Laser Cutting進行細節的雕琢，對於實物的細節上十分考究，以印刷品的方式重現近似的感覺出來。\n\n\n\n紅色的信箱有著大大的誠信兩字，背後則有許多廣東話寫著「誠信」對於做人的重要：「牙齒當金使 最緊要講信」，無論在什麼年代，都是不能忘記的警惕與精神。\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n最後，十月使用的是帶有濃厚牛皮質地的美術用紙 Materica – Kraft 120gsm ，J個很明就是為了裝雞蛋仔la～\n\n\n\n雞蛋仔其實是發源於香港五十年代，雜貨店為了避免浪費運送過程中不小心破裂的雞蛋，就將麵粉與牛油和蛋漿混合一起烘培產生的點心，後來因為起源跟雞蛋實在太有關係了，於是有人製作了像是雞蛋的模具，加上各種口味的改良之後，成為我們今天常見的港味街頭小吃。\n\n\n\n-\n\n\n\nThis project is the Grand Prize winner in the Calendar Printing category at the 29th LIGHT UP HONG KONG Calendar (2017).\n\n\n\nDesigned and produced by Ameba Design Ltd., the calendar uses a wide range of fine art papers from the Italian paper manufacturer Fedrigoni.\n\n\n\nThe packaging takes the form of a fully pull-out drawer-style rigid box with wet mounting. The outer sleeve resembles an oversized matchbox, rendered through offset printing to evoke a slightly yellowed, nostalgic appearance, as if aged over time. A particularly ingenious detail appears on the side of the sleeve: screen printing is used to build up thickness and texture, layered with printed color to simulate the red phosphorus striking strip found on the side of a real matchbox—an instantly memorable and thoughtful touch.\n\n\n\nUpon opening the box, the calendar itself is revealed.\n\n\n\nThe red base is wet-mounted with Ispira – Rosso Passione 120gsm, a paper with a velvety, silk-like surface.\n\n\n\nFor the cover, Sirio Pearl – Aurum 230gsm, a gold paper with a pearlescent sheen, was selected. Gradient tones of gray and black were applied via offset printing to simulate varying light and shadow across the metallic surface. The central visual features a nearly life-sized, glowing matchstick. The flame is finished with hot foil stamping using two foils—laser orange with a floral pattern and gold—while the wooden stick and the text “2017 Light Up Hong Kong” are enhanced with embossing, adding rich dimensional layers.\n\n\n\nTo further emphasize the “Light Up” theme, a large radial burst surrounding the matchstick was created using spot varnish. As light reflects from different angles, the piece conveys a vivid sense of Hong Kong’s confidence and brilliance.\n\n\n\nFebruary — The Rooster Bowl\n\n\n\nThe February page uses Stucco Tintoretto – Gesso 320gsm, a paper with a watercolor-like felt texture. Offset printing depicts a traditional rooster bowl filled with rice, accompanied by Cantonese phrases. Some readers from Taiwan may wonder: Why is there a rooster on the bowl?\n\n\n\nThe rooster bowl is an iconic object in Hong Kong and Guangdong culture. Before Hong Kong’s economic takeoff, it was widely used due to its affordability and lively, hand-painted imagery—slightly gaudy yet full of character, in contrast to plain white porcelain bowls. It symbolizes everyday life among ordinary people in old Hong Kong and gained broader recognition through frequent appearances in Stephen Chow’s films, becoming a representative cultural symbol.\n\n\n\nIn addition to applying a special pearlescent laser gold foil to the rice, embossing was used to express the rounded grain shapes, resulting in an especially refined tactile effect. Personally, I am particularly fond of the phrase printed above:“香港早晨 人人精神” (Good Morning, Hong Kong—Everyone Full of Energy),which closely reflects my impression of Hong Kong people—constantly busy, yet always spirited as they move through daily life.\n\n\n\nApril — Goldfish Street\n\n\n\nThe April page features Sirio Pearl – Ice White 300gsm, a snow-white paper with a pearlescent finish. A transparent PET sheet, screen-printed with numerous matte white dots, overlays the page. The uncovered areas resemble a tied plastic bag, inside which swim two goldfish—one gold and one red. But why goldfish?\n\n\n\nMany Hong Kong people regard goldfish as symbols of prosperity and good fortune, admired for their rich colors and auspicious appearance. Keeping goldfish at home or in offices is believed to enhance both space and fortune. This cultural preference gave rise to Tung Choi Street in Mong Kok, also known as Goldfish Street, where shops sell ornamental fish, aquatic plants, and aquarium supplies. A defining feature is the display of fish individually sealed in oxygen-filled plastic bags, hung in rows outside storefronts—an eye-catching scene that has become one of Hong Kong’s most recognizable cultural images and a popular tourist attraction.\n\n\n\nJuly — Roller Shutters and Integrity\n\n\n\nThe July page uses Splendorlux / Embossed – E43 Laser Argento 250gsm. The paper’s pearlescent surface reveals delicate diagonal lines that shift in contrast under changing light. Its metallic quality echoes the iron roller shutters commonly seen on Hong Kong storefronts.\n\n\n\nThrough offset printing, ink is used to articulate the light-and-shadow divisions of the shutters, while traditional ornamental details are refined using laser cutting. The craftsmanship is highly meticulous, recreating the tactile realism of the original material through print.\n\n\n\nA red mailbox prominently displays the word “Integrity” (誠信). Behind it, Cantonese phrases emphasize the importance of honesty, including:“牙齒當金使，最緊要講信”(Treat your word as gold; honesty matters above all).Regardless of the era, this remains a timeless value and reminder.\n\n\n\nOctober — Egg Waffles\n\n\n\nFinally, October features Materica – Kraft 120gsm, a fine art paper with a strong kraft-paper texture—clearly chosen with egg waffles (雞蛋仔) in mind.\n\n\n\nEgg waffles originated in 1950s Hong Kong, when grocery stores sought to avoid wasting cracked eggs damaged during transport. By mixing flour, butter, and egg batter and baking the mixture, a new snack was born. Given the close association with eggs, egg-shaped molds were later developed. With continuous flavor innovations, egg waffles evolved into the beloved Hong Kong-style street food we know today.\n\n\n\n-\n\n\n\n今回ご紹介するのは、2017年第29回 香港印製大賞（LIGHT UP HONG KONG Calendar 2017）カレンダー印刷部門の最優秀賞（グランプリ）作品です。\n\n\n\n本作品は Ameba Design Ltd（賴維鈞設計有限公司） によりデザイン・制作され、用紙にはイタリアの老舗製紙メーカー Fedrigoni（フェドリゴーニ） の各種ファインペーパーが採用されています。\n\n\n\nパッケージは、完全に引き出せる引き出し式の貼り箱（ウェットマウント）構造。最外層のスリーブは、大型のマッチ箱を思わせるデザインとなっており、Offset Printing によって、長期間保管されたかのような、やや黄変したノスタルジックな質感を表現しています。\n\n\n\n特に印象的なのはスリーブ側面の仕上げです。Screen Printing により厚みとテクスチャーを加え、その上に印刷色を重ねることで、マッチ箱側面に見られる「赤リン（摩擦剤）」を想起させる質感を再現しています。視覚だけでなく触覚にも訴えかける、非常に巧みな演出です。\n\n\n\n箱を開くと、月暦本体が現れます。\n\n\n\n赤いベース部分には、ベルベットのように滑らかな触感を持つIspira – Rosso Passione 120gsm を使用し、貼り加工が施されています。\n\n\n\n表紙には、金色のパール光沢を備えたSirio Pearl – Aurum 230gsm を採用。本来のゴールドの紙色の上から Offset Printing によるグレー〜ブラックのグラデーションを重ね、光の当たり方によって変化する陰影を表現しています。ビジュアルの中心には、実物大に近いスケールで描かれた、きらめく一本のマッチが配置されています。\n\n\n\nマッチ中央の炎部分には、オレンジ系のホログラム箔とゴールド箔の2種を用いた Hot Foil Stamping を施し、木軸部分および下部の「2017 撻著香港」の文字には Embossing を加えることで、豊かな階層感を生み出しています。\n\n\n\nさらに「Light Up」というテーマをより強調するため、マッチの周囲には Spot Varnish（局部ニス） による放射状の光表現が大面積で施されています。光の反射角度によって表情を変え、香港の自信と輝きを強く印象づけます。\n\n\n\n2月のページには、水彩紙のようなフェルト調のテクスチャーを持つStucco Tintoretto – Gesso 320gsm を使用。Offset Printing により、鶏の絵柄が描かれた「雞公碗（ガイコンワン）」に山盛りの白米、そして数行の広東語が描かれています。\n\n\n\n台湾の方の中には、「なぜ碗に鶏が描かれているのか？」と疑問に思う方もいるかもしれません。\n\n\n\n雞公碗は、香港や広東省において非常に象徴的な生活用品です。香港経済がまだ発展途上だった時代、安価ながらも力強く、やや素朴な手描きの図柄が施され、無機質な白磁の器とは異なる存在感を放っていました。庶民の暮らしを象徴する器として日常的に使われ、周星馳（チャウ・シンチー）の映画にたびたび登場したことで、より広く知られるようになった香港文化の代表的アイコンの一つです。\n\n\n\n米粒部分には特別なパール調レーザー金箔が使われ、さらに粒の丸みを表現するため Embossing（浮き出し加工） を施しています。非常に繊細で印象的な仕上がりです。\n\n\n\nなかでも私が特に惹かれたのは、「香港早晨 人人精神」という八文字。忙しく働きながらも、常に活力に満ちて日々を生きる香港の人々の姿勢を、的確に表していると感じます。\n\n\n\n4月のページには、雪のように白く、パール光沢を持つSirio Pearl – Ice White 300gsm を使用。その上に、Screen Printing によってマットホワイトのドットが印刷された透明PETシートを重ねています。\n\n\n\n白いドットに覆われていない部分は、酸素を入れて縛られた透明ビニール袋のように見え、中には金色と赤色の二匹の金魚が描かれています。\n\n\n\n香港では金魚は「富貴」や「吉兆」の象徴とされ、オフィスや家庭に水槽を置くことで空間を美しくし、運気を呼び込むと信じられています。この文化から発展したのが、旺角にある**通菜街（通称：金魚街）**です。\n\n\n\nこの通りでは、観賞魚や水草、水槽用品を扱う店舗が軒を連ね、魚を小さなビニール袋に入れて酸素を充填し、店先にずらりと吊るす独特の景観が見られます。その鮮やかで印象的な光景は、香港を象徴する文化的風景の一つとして、多くの観光ガイドにも取り上げられています。\n\n\n\n7月のページにはSplendorlux / Embossed – E43 Laser Argento 250gsm を使用。紙面にはパール光沢があり、光の角度によって表情を変える繊細な斜めのラインが浮かび上がります。\n\n\n\nこの金属的な質感は、香港の街中でよく見かける店舗の鉄製シャッターを想起させ、Offset Printing によってシャッターの明暗を巧みに再現。さらに伝統的な装飾模様には Laser Cutting を施し、実物さながらの精緻なディテールを印刷物として再構築しています。\n\n\n\n赤いポストには大きく「誠信」の文字が配され、その背景には「誠信」の重要性を説く広東語の言葉――「牙齒當金使 最緊要講信」が記されています。時代が変わっても忘れてはならない、普遍的な価値観を静かに訴えかけます。\n\n\n\n最後に10月には、強いクラフト感を持つMaterica – Kraft 120gsm を使用。……これはもう、一目で「雞蛋仔（エッグワッフル）用」だと分かる紙ですね。\n\n\n\n雞蛋仔は1950年代の香港で誕生したストリートスイーツ。輸送中に割れてしまった卵を無駄にしないため、小麦粉・バター・卵液を混ぜて焼いたのが始まりとされています。その後、卵型の専用モールドが生まれ、味のバリエーションも増え、現在では香港を代表する屋台グルメとして広く親しまれています。"}
{"@context":"https://schema.org","@type":"WebPage","@id":"https://trouver.art/light-up-hong-kong-calendar-2017-2","url":"https://trouver.art/light-up-hong-kong-calendar-2017-2","name":"LIGHT UP HONG KONG Calendar 2017 - trouver.art","isPartOf":{"@id":"https://trouver.art/#website"},"image":{"@id":"https://trouver.art/light-up-hong-kong-calendar-2017-2#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2020/02/N-3794-1024x684.jpg","datePublished":"2020-02-05T18:17:00+00:00","dateModified":"2025-12-30T17:57:45+00:00","description":"本次介紹在2017年第29屆香港印製大獎，日曆印刷項目的冠軍作品，紙張則選用來自義大利造紙廠Fedrigoni的各式美術紙系列。","inLanguage":"zh-TW"}
{"@context":"https://schema.org","@type":"ImageObject","inLanguage":"zh-TW","@id":"https://trouver.art/light-up-hong-kong-calendar-2017-2#primaryimage","url":"https://trouver.art/wp-content/uploads/2020/02/N-3794-scaled.jpg","contentUrl":"https://trouver.art/wp-content/uploads/2020/02/N-3794-scaled.jpg","width":2560,"height":1709,"caption":"Champion of the 29th Hong Kong Print"}
{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/imaginative-colors#article","isPartOf":{"@id":"https://trouver.art/imaginative-colors"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Imaginative Whites","datePublished":"2019-02-20T18:16:00+00:00","dateModified":"2026-03-05T19:36:48+00:00","mainEntityOfPage":{"@id":"https://trouver.art/imaginative-colors"},"wordCount":401,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/imaginative-colors#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2025/12/N-3881-1024x684.jpg","keywords":["COATED","EXTRA","Fedrigoni","Imaginative Whites","paper","paper surfaces","TEXTURED","trouver","TROUVER art","UNCOATED","印刷範例","紙","紙張樣本"],"articleSection":["All","Europe"],"inLanguage":"zh-TW","description":"挑紙順便找靈感的好方法之二「觀察白紙」\n\n\n\n這次要來介紹同樣為義大利造紙廠Fedrigoni所製作的創新紙樣本，Imaginative Colors的姊妹作「Imaginative Whites」。\n\n\n\n延續著對於靈感的探索，從Imaginative Colors多彩的色調選集，返樸歸真地從淺色的紙重新歸類，分別為：有著豐富手感的無塗佈系列(UNCOATED)、印刷後有著優秀效果的塗佈系列(COATED)、古典又優雅的壓紋系列(TEXTURED)、特殊質地的(EXTRA)共四個系列，以及一份A5的印刷範例別冊。\n\n\n\n將紙樣滑開後，不同的白紙會有各種姿態的白度，從冷調到暖調的白，典雅溫潤又適合閱讀的米色，接著各種細緻的紋理所產生的光線對比，與觸覺融合後實在是一份豐盛且滿足的紙樣下午茶。\n\n\n\n而這四個系列是職人們對於開始選紙時的大分類基礎，下列幾種對於印刷品的需求狀況可以作為挑選的方向：\n\n\n\n\n偏重圖像印刷效果的表現 > COATED系列\n\n\n\n印刷效果與手感取得平衡 > UNCOATED 系列\n\n\n\n以紙的紋理特色為優先考量，印刷效果次要 > TEXTURED系列\n\n\n\n追求紙的特性與印刷效果結合的極致表現 > EXTRA系列\n\n\n\n\n最後附上印刷範例別冊的用意，是為了協助選紙的人們可以直接理解，關於油墨在不同的紙張上表現的各種樣貌，盡可能減少想像力與實際執行後落差的風險。\n\n\n\n透過觀察這張身處百花齊放的女仕，是不是也讓你的選紙困難有所減輕呢？歡迎留言告訴我們下次你想看到什麼類型的內容～如果喜歡本次的內容歡迎分享給你的朋友\n\n\n\n-\n\n\n\nA Good Way to Find Inspiration While Choosing Paper, Part Two: Observing White Paper\n\n\n\nThis time, we introduce Imaginative Whites, a sister collection to Imaginative Colors, both created by the Italian paper manufacturer Fedrigoni. This innovative paper sample set continues the exploration of inspiration through materiality.\n\n\n\nDeparting from the rich spectrum of colors found in Imaginative Colors, Imaginative Whites returns to a more essential starting point—light-toned and white papers, thoughtfully reorganized into four categories:\n\n\n\n\nUNCOATED — uncoated papers with rich tactile qualities\n\n\n\nCOATED — coated papers offering excellent printing performance\n\n\n\nTEXTURED — classic and elegant embossed papers\n\n\n\nEXTRA — papers with distinctive and special material characteristics\n\n\n\n\nThe set also includes an A5 printed sample booklet for reference.\n\n\n\nWhen sliding open the sample set, each white paper reveals a different expression of whiteness—from cool whites to warm whites, and even gentle, elegant beige tones that are particularly comfortable for reading. These are followed by a range of delicate textures, where subtle contrasts of light interact with touch. Together, the experience feels like an abundant and satisfying afternoon tea of paper samples—both visually and tactually enriching.\n\n\n\nThese four categories represent the fundamental framework professionals use when beginning the paper selection process. Depending on the needs of a printed project, the following guidelines can help determine the most suitable direction:\n\n\n\n\nPriority on image reproduction and print quality → COATED series\n\n\n\nBalance between print performance and tactile feel → UNCOATED series\n\n\n\nEmphasis on paper texture, with printing as a secondary consideration → TEXTURED series\n\n\n\nPursuit of the ultimate integration of paper characteristics and printing effects → EXTRA series\n\n\n\n\nThe purpose of including the printed sample booklet is to help those selecting paper directly understand how ink behaves across different paper surfaces, minimizing the gap between imagination and real-world printing results, and reducing the risks that arise during execution.\n\n\n\nAs you observe the woman standing amidst a flourishing field of flowers on the sample print, does choosing paper feel a little less overwhelming now?Feel free to leave a comment and let us know what kind of content you’d like to see next. And if you enjoyed this piece, we’d be delighted if you shared it with your friends.\n\n\n\n-\n\n\n\n紙を選びながらインスピレーションを得る方法 その二\n\n\n\n「白い紙を観察する」\n\n\n\n今回ご紹介するのは、同じくイタリアの製紙メーカー Fedrigoni（フェドリゴーニ） による革新的なペーパーサンプル、Imaginative Colors の姉妹シリーズ 「Imaginative Whites」 です。\n\n\n\n色彩豊かな Imaginative Colors でのインスピレーション探索を経て、本シリーズでは原点に立ち返り、淡色〜白系の紙を軸に再構成されています。内容は以下の4つのカテゴリーに分類され、加えて A5サイズの印刷サンプル別冊 が付属します。\n\n\n\n\n豊かな手触りを持つ 非塗工紙（UNCOATED）\n\n\n\n印刷再現性に優れた 塗工紙（COATED）\n\n\n\n古典的で上品な表情の エンボス紙（TEXTURED）\n\n\n\n特殊な質感を備えた EXTRA シリーズ\n\n\n\n\nサンプルをスライドして広げていくと、同じ「白」でありながら、クールトーンからウォームトーンの白、読みやすく温かみのあるアイボリー調、さらには繊細なテクスチャーが生み出す光のコントラストまで、それぞれ異なる表情を見せてくれます。\n\n\n\n視覚と触覚が重なり合い、まるで**豊かで満ち足りた“紙のアフタヌーンティー”**を楽しんでいるかのような体験です。\n\n\n\nこの4つのシリーズは、紙を選ぶ際に職人やデザイナーがまず行う「大分類」の基本とも言えるもの。以下のような制作ニーズを基準に、方向性を定めることができます。\n\n\n\n\n写真やビジュアル表現を最優先したい場合　→ COATED シリーズ\n\n\n\n印刷品質と手触りのバランスを重視したい場合　→ UNCOATED シリーズ\n\n\n\n紙そのものの質感・表情を主役にしたい場合　→ TEXTURED シリーズ\n\n\n\n紙の特性と印刷効果を極限まで融合させたい場合　→ EXTRA シリーズ\n\n\n\n\n最後に付属する印刷サンプル別冊は、インクが異なる紙質の上でどのように表現されるのかを、実際の印刷結果として直感的に理解できるよう設計されています。想像と実制作とのギャップを、できる限り小さくするための重要なツールです。\n\n\n\n百花繚乱の中に佇むこの女性を観察することで、紙選びの迷いが少し軽くなったと感じていただけたでしょうか？\n\n\n\nぜひコメントで、次に見てみたいテーマを教えてください。今回の内容が気に入っていただけたら、お友達へのシェアも大歓迎です"}
{"@context":"https://schema.org","@type":"WebPage","@id":"https://trouver.art/imaginative-colors","url":"https://trouver.art/imaginative-colors","name":"Imaginative Whites - trouver.art","isPartOf":{"@id":"https://trouver.art/#website"},"image":{"@id":"https://trouver.art/imaginative-colors#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2025/12/N-3881-1024x684.jpg","datePublished":"2019-02-20T18:16:00+00:00","dateModified":"2026-03-05T19:36:48+00:00","description":"從Imaginative Colors多彩的色調選集，返樸歸真地從淺色的紙重新歸類，分別為：有無塗佈系列(UNCOATED)、印刷後有著優秀效果的塗佈系列(COATED)、古典的壓紋系列(TEXTURED)、特殊質地的(EXTRA)共四個系列，以及一份A5的印刷範例別冊。","inLanguage":"zh-TW"}
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{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/the-white-swiss-knife#article","isPartOf":{"@id":"https://trouver.art/the-white-swiss-knife"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"The White Swiss Knife","datePublished":"2023-05-21T17:30:00+00:00","dateModified":"2025-12-30T17:55:39+00:00","mainEntityOfPage":{"@id":"https://trouver.art/the-white-swiss-knife"},"wordCount":320,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/the-white-swiss-knife#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2025/03/image-1024x683.jpeg","keywords":["Arena","Fedrigoni","Material Ink","paperboard","PaperBook","papersample","The White Swiss Knife","trouver","TROUVER art","WhitePaper","美術紙"],"articleSection":["All","Europe"],"inLanguage":"zh-TW","description":"The White Swiss Knife\n\n\n\nCompared to Fancy paper with distinctive features, white paper is more commonly used in visual work for printing and packaging. However, the characteristics of white paper are quite subtle, and it can be challenging to choose materials based solely on visual observation.\n\n\n\nLast year, due to work reasons, I received a new sample called “Arena” from the Italian paper mill “Fedrigoni.” It is a tool book composed of three elements: different thicknesses, roughness levels, and surface whiteness of the paper.\n\n\n\nThe cover design is quite straightforward, using various ink colors to display different levels of whiteness, emphasizing the practicality of a tool book.\n\n\n\nIn terms of presentation methods, I would like to introduce two in particular:\n\n\n\n\ncategorizing the tactile differences influenced by the fiber distribution on the paper surface into three types and then printing the same photo, clearly showing the degree of detail distortion corresponding to each tactile difference.\n\n\n\nprinting the same photo on papers with different levels of whiteness. For such a subtle detail as “whiteness,” it provides a clear and easy-to-compare method, which is quite reassuring.\n\n\n\n\n\nPlease try zooming in on the images and comparing these small but interesting details.\n\n\n\n\nOther common yet important information includes:\n\n\n\nVarious papers ranging from 70 to 580g/m2 are neatly arranged from thin to thick, allowing the thumb and index finger to touch and press, determining the appropriate thickness. At the same time, different colors of metallic ink, fluorescent ink, and foil stamping are used to categorize them based on roughness.\n\n\n\nI believe that, similar to opening a bottle, a can, or trimming nails, white paper, through the creation of books, packaging, cards, posters, and more, is like playing with a Swiss knife. From time to time, through imagination, we switch between different functions with our fingers while contemplating the possibilities of more applications.\n\n\n\n-\n\n\n\n相較具有明顯特色的美術紙來說，白色的紙在視覺工作裡，更常作為印刷以及包裝使用。不過，白紙上的特徵相當細緻，若是只用眼睛觀察，在選擇素材時會是一件相當吃力的事情。\n\n\n\n去年因為工作的緣故，收到了義大利造紙廠“Fedrigoni”寄來的新樣品“Arena”。這是由紙張的不同厚度、粗糙程度、表面白度等三個元素所組合而成的工具書。\n\n\n\n封面設計相當直觀，以多種顏色的油墨展現不同的白度字詞，強調作為工具書的實用性。\n\n\n\n在內容的呈現手法，我想特別介紹兩種：\n\n\n\n第一種，將紙張表面的纖維分佈，所影響的手感差異分為三類，然後印刷同一張相片，清楚的呈現因手感不同，與其相對應的細節失真程度。\n\n\n\n第二種，印刷同一張相片於不同白度的紙，對於”白度“這樣微小的細節，有著一目瞭然的方式比較，實在安心許多。\n\n\n\n以上兩種，請試著放大圖片看看，對比一下這些細小、卻有趣的地方吧。\n\n\n\n其他則是常見，也相當重要的訊息：\n\n\n\n將70~580g/m2的各種紙，從薄到厚的整齊排開，讓拇指與食指透過觸摸、按壓，判斷適合使用的厚度。同時藉粗糙度做為分類，使用不同顏色的金屬、螢光油墨、燙金等效果。\n\n\n\n我想，類似開啟酒瓶、罐頭或修剪指甲，白色的紙也透過製作書籍、包裝、卡片海報等等，像是在把玩瑞士刀，會時不時透過想像，手指間變換不同功能，一邊思考更多用途的可能性吧。\n\n\n\n-\n\n\n\n白いスイスナイフ\n\n\n\n特徴的なデザインを持つファンシーペーパーと比較して、白い紙は視覚的な仕事でより一般的に印刷や包装に使用されます。しかし、白い紙の特性は非常に微妙であり、視覚的な観察だけで材料を選ぶのは難しいことがあります。\n\n\n\n昨年、仕事の関係でイタリアの紙工場「Fedrigoni」から「Arena」という新しいサンプルを受け取りました。このツールブックは、紙の異なる厚さ、ざらつきのレベル、表面の白さの3つの要素で構成されています。\n\n\n\nカバーデザインは非常に明快で、さまざまなインクの色を使って異なる白さのレベルを表示し、ツールブックの実用性を強調しています。\n\n\n\nプレゼンテーション方法として、特に以下の2つを紹介します：\n\n\n\n\n紙の表面の繊維分布に影響を与える触感の違いを3つのタイプに分類し、同じ写真を印刷して、各触感の違いに対応する詳細の歪み度を明確に表示します。\n\n\n\n異なる白さの紙に同じ写真を印刷します。白さという微細なディテールに対して、明瞭で比較しやすい方法を提供し、かなり安心感があります。\n\n\n\n\n\n画像を拡大して、これらの小さなが興味深いディテールを比較してみてください。\n\n\n\n\nその他の一般的で重要な情報には、 薄から厚までのさまざまな重さ（70〜580g/m2）の紙が整然と並べられ、親指と人差し指で触れて圧力をかけ、適切な厚さを判断します。同時に、粗さに基づいて異なる色の金属インク、蛍光インク、箔押しなどを使用して分類します。\n\n\n\nボトルや缶の開け方、爪を整えるように、本やパッケージ、カード、ポスターなどを通じて白い紙はスイスナイフのように遊びます。想像力を働かせながら、指で異なる機能に切り替え、さらなる応用の可能性を考えるのです。"}
{"@context":"https://schema.org","@type":"WebPage","@id":"https://trouver.art/the-white-swiss-knife","url":"https://trouver.art/the-white-swiss-knife","name":"The White Swiss Knife - trouver.art","isPartOf":{"@id":"https://trouver.art/#website"},"image":{"@id":"https://trouver.art/the-white-swiss-knife#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2025/03/image-1024x683.jpeg","datePublished":"2023-05-21T17:30:00+00:00","dateModified":"2025-12-30T17:55:39+00:00","description":"相較具有明顯特色的美術紙來說，白色的紙在視覺工作裡，更常作為印刷以及包裝使用。義大利造紙廠“Fedrigoni”寄來的新樣品“Arena”。這是由紙張的不同厚度、粗糙程度、表面白度等三個元素所組合而成的工具書。","inLanguage":"zh-TW"}
{"@context":"https://schema.org","@type":"ImageObject","inLanguage":"zh-TW","@id":"https://trouver.art/the-white-swiss-knife#primaryimage","url":"https://trouver.art/wp-content/uploads/2025/03/image.jpeg","contentUrl":"https://trouver.art/wp-content/uploads/2025/03/image.jpeg","width":2560,"height":1707,"caption":"The White Swiss Knife-1"}
{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/kuro-kihoushi-c#article","isPartOf":{"@id":"https://trouver.art/kuro-kihoushi-c"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Kuro Kihoushi C","datePublished":"2015-07-20T17:30:00+00:00","dateModified":"2025-12-30T18:02:18+00:00","mainEntityOfPage":{"@id":"https://trouver.art/kuro-kihoushi-c"},"wordCount":292,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/kuro-kihoushi-c#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/08/k-3-1024x1024.jpg","keywords":["FinePaper","HAPTIC","HaraKenya","JostAmman","KURO-KIHOUSHI","paperboard","TAKEO","trouver","TROUVER art","卡紙","原研哉","株式会社竹尾","紙板","黑色氣包紙"],"articleSection":["All","Japan"],"inLanguage":"zh-TW","description":"In 1988, when Kenya Hara took on the role of art director for TAKEO CO., LTD., he selected a woodcut print by master engraver Jost Amman, titled \"The Boy Carrying Paper,\" as the foundation for TAKEO’s overall visual identity (VI) system. This design was applied to black air bubble paper, creating a striking effect. Before diving into this topic, it is essential to first mention the renowned Japanese graphic designer, Kenya Hara.\n\n\n\nKenya Hara’s deep exploration of paper stemmed from the philosophy he advocated in the \"HAPTIC\" exhibition, which emphasized:\"Observe things with the wonder of first encounters, use your five senses to rediscover their uniqueness, and perceive familiar objects with fresh eyes. Approaching design with an open and honest mindset allows us to capture the essence of things—this is the first step of design.\"\n\n\n\nFollowing this principle, I do not begin my graphic design projects by simply picking up a mouse and stylus to create visuals. Instead, I start with discussions and communication to carefully select the most suitable medium to convey the design concept—which, in many cases, is paper.\n\n\n\nFor projects that emphasize impression and material texture, Black Air Bubble Paper C is an excellent choice. This paper comes in two types:\n\n\n\nType C: Undergoes a coating treatment, resulting in a subtle yet refined gloss, delivering a premium black-textured aesthetic that is truly exceptional.\n\n\n\nType U: Allows direct ink printing, featuring a tactile surface with visible fibers and slight texture, making it ideal for conveying a natural and grounded feel.\n\n\n\n-\n\n\n\n這是原研哉先生在1988年擔任株式會社竹尾（TAKEO CO., LTD.）的藝術指導後，選用版畫大師Jost Amman在木刻版畫的作品“搬運紙的少年”作為竹尾整體的 VI 識別系統，並使用於黑色氣包紙上的效果。本篇開始介紹之前，一定要先提起日本平面設計大師 “原研哉” 先生。\n\n\n\n會開始對於紙張的深入研究，是由於原研哉先生所策劃的 “HAPTIC展” 中所倡導的理念：「以初次相遇的驚奇之眼來觀照事物的獨特性，並運用自身的五感去重新感受，將我們已經熟知、習以為常的事物，以一種初視之眼去感受，以率直的心態去重新捕捉事物的本質，乃是設計的第一步」，因此，我在平面設計案件開始，不是拿起滑鼠與筆開始製圖，而是透過事前的討論溝通，來選擇能正確傳達設計理念的媒材，也就是紙。在強調印象與媒材質感為訴求的 “黑色氣包紙 C”，氣包紙目前分為能直接使用油墨印刷的Type U，另一種則是在表面上經過塗佈處理的Type C，在Type U的手感上能清楚感受到纖維與些微的紋路，適合傳達較為樸實穩重類型的手感，而經過塗佈後的Type C表面上形成恰到好處的光澤，在黑色系質感上傳達的感受是一流的。\n\n\n\n-\n\n\n\nこれは、1988年に原研哉氏が株式会社竹尾（TAKEO CO., LTD.）のアートディレクターに就任した際に、版画の巨匠ヨースト・アマン（Jost Amman）の木版画作品「紙を運ぶ少年」を竹尾のVI（ビジュアル・アイデンティティ）システムとして採用し、黒色の気包紙に使用したものです。\n\n\n\n本題に入る前に、まずは日本を代表するグラフィックデザイナー、原研哉氏について触れなければなりません。\n\n\n\n紙に対する深い関心を持つようになったきっかけは、原研哉氏が企画した「HAPTIC展」にあります。彼はこの展覧会で、「初めて出会ったものを驚きの目で観察し、その独自性を見つめ直す。そして、自分の五感を使って再認識することで、私たちが既に知っているものや日常的に接しているものを新鮮な視点で捉え直し、率直な感性でその本質を掴むことこそがデザインの第一歩である」と提唱しました。\n\n\n\nこの理念に強く共感した私は、グラフィックデザインの案件に取り組む際、すぐにマウスやペンを手に取るのではなく、まずは綿密なディスカッションを通じて、デザインコンセプトを正しく伝えるための最適なメディア——すなわち「紙」を選ぶことを大切にしています。\n\n\n\n今回取り上げる「黒色気包紙 C」は、印象や素材感を重視した用紙です。気包紙には、大きく分けて二つのタイプがあります。一つはインクを直接印刷できる「Type U」、もう一つは表面にコーティング加工が施された「Type C」です。「Type U」は、繊維や微細なテクスチャーを指先で感じることができ、素朴で落ち着いた風合いを表現するのに適しています。一方、「Type C」はコーティングにより適度な光沢を持ち、黒の質感をより洗練された印象に仕上げることができます。"}
{"@context":"https://schema.org","@type":"WebPage","@id":"https://trouver.art/kuro-kihoushi-c","url":"https://trouver.art/kuro-kihoushi-c","name":"Kuro Kihoushi C - trouver.art","isPartOf":{"@id":"https://trouver.art/#website"},"image":{"@id":"https://trouver.art/kuro-kihoushi-c#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/08/k-3-1024x1024.jpg","datePublished":"2015-07-20T17:30:00+00:00","dateModified":"2025-12-30T18:02:18+00:00","description":"這是原研哉先生在1988年擔任株式會社竹尾（TAKEO CO., LTD.）的藝術指導後，選用版畫大師Jost Amman在木刻版畫的作品“搬運紙的少年”作為竹尾整體的 VI 識別系統，並使用於黑色氣包紙上的效果。本篇開始介紹之前，一定要先提起日本平面設計大師 “原研哉” 先生。","inLanguage":"zh-TW"}
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{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/crash-ga-fs-coffee#article","isPartOf":{"@id":"https://trouver.art/crash-ga-fs-coffee"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Crash GA-FS / Coffee","datePublished":"2015-07-22T17:30:00+00:00","dateModified":"2025-12-30T18:02:14+00:00","mainEntityOfPage":{"@id":"https://trouver.art/crash-ga-fs-coffee"},"wordCount":122,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/crash-ga-fs-coffee#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2025/03/11537594_393589637494263_4293880501784080022_o-e1519669664680.jpg","keywords":["Coffee grounds","CoffeePaper","Crash-GA-FS","FinePaper","PaperShow2007","TAKEO","trouver","TROUVER art","up-cycle","クラッシュGA-FS","再生紙","咖啡渣","竹尾"],"articleSection":["All","Japan"],"inLanguage":"zh-TW","description":"This is a special textured paper made as a byproduct of the processing stage, rich in natural raw materials that give it unique colors and textures. The paper shown in the image, labeled 「コーヒー」, is a recycled paper made from coffee grounds.\n\n\n\nWhat makes it particularly interesting is the seven different colors below, each corresponding to a different raw material: corn, citrus, hazelnut, coffee, almond, kiwi, and olive. However, due to the nature of these raw materials, the paper has lower processing adaptability. It tends to generate dust, and its color expression is relatively subdued.\n\n\n\nFor best results, it is recommended to use low-viscosity ink for screen printing or opt for die-cutting techniques to highlight its unique characteristics.\n\n\n\n-\n\n\n\n這是自加工過程的副產品製作的特殊觸感紙種，富含天然原料所衍伸的顏色與紋理特徵。而圖片中的「コㄧヒㄧ」是利用咖啡渣製作的再生紙。有趣的地方在於下面有七個顏色分別對應不同的製作原料：玉米、柑橘、榛果、咖啡、杏仁、奇異果、橄欖。不過加工適性比較低，因原料性質容易產生粉塵，在顏色上的表現會較為黯淡，建議使用低黏度的油墨進行網版印刷，或是選擇刀模挖洞之類的表現手法比較適合。\n\n\n\n-\n\n\n\nこれは、加工工程から生まれた副産物を活用して作られた、特殊な触感を持つ紙です。天然素材を含むことで独特の色合いや風合いが生まれています。写真に映っている「コーヒー」は、コーヒーかすを原料にした再生紙です。\n\n\n\n面白いのは、下に並んだ7色がそれぞれ異なる原料を表している点です。トウモロコシ、柑橘類、ヘーゼルナッツ、コーヒー、アーモンド、キウイ、オリーブと、自然由来の成分が紙に活かされています。\n\n\n\nただし、加工適性はやや低めで、原料の性質上、細かい粉塵が発生しやすいため、印刷時の発色がやや控えめになります。そのため、低粘度のインクを用いたシルクスクリーン印刷や、型抜きによるデザイン表現が特に適しています。"}
{"@context":"https://schema.org","@type":"WebPage","@id":"https://trouver.art/crash-ga-fs-coffee","url":"https://trouver.art/crash-ga-fs-coffee","name":"Crash GA-FS / Coffee - trouver.art","isPartOf":{"@id":"https://trouver.art/#website"},"image":{"@id":"https://trouver.art/crash-ga-fs-coffee#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2025/03/11537594_393589637494263_4293880501784080022_o-e1519669664680.jpg","datePublished":"2015-07-22T17:30:00+00:00","dateModified":"2025-12-30T18:02:14+00:00","description":"特殊觸感紙種富含天然原料所衍伸的顏色與紋理特徵。而圖片中的「コㄧヒㄧ」是利用咖啡渣製作的再生紙。","inLanguage":"zh-TW"}
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{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/pachica#article","isPartOf":{"@id":"https://trouver.art/pachica"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Pachica（パチカ）","datePublished":"2015-07-27T17:30:00+00:00","dateModified":"2025-12-30T18:02:10+00:00","mainEntityOfPage":{"@id":"https://trouver.art/pachica"},"wordCount":103,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/pachica#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/08/pachica-1-1024x1024.jpg","keywords":["FinePaper","HAPTIC","pachica","PaperBook","PaperShow2007","TAKEO","trouver","TROUVER art","パチカ","冰晶雪映紙","竹尾"],"articleSection":["All","Japan"],"inLanguage":"zh-TW","description":"“Pachica” HAPTIC by TAKEO is one of the best solutions for processing problems. Formerly, if we want to get the hollow-out effect, except the inaccurate die-cut or the laser engraving with a bit carbonized edge, but do we have a better choice? Besides the fluffy cotton and snow texture, it could be transformed by using hot pressing. The sections being hot pressed will become translucent, just like pyrograph. Because of the fluffy texture, it could be used in the large area and complex embossment.\n\n\n\n-\n\n\n\n竹尾在HAPTIC系列中的 「パチカ (pachica)」是一種針對加工問題相當優秀的解決方案。以往想在紙上做出鏤空字體的特殊效果，除了開刀模但有不夠精準的問題，或是會令邊緣些微碳化的雷射雕刻以外，有沒有其它更好的選擇呢？除了手感鬆厚接近棉質與雪的質感，只需要利用燙金(熱加壓)的方式紙張就會產生變化，接觸金屬板的地方遇熱會溶解變成半透明，形成烙印的效果！由於質地鬆厚的緣故，能應用在大面積與複雜的打凸，視覺上有著極佳的效果！*照片為：TAKEO PAPER SHOW 2007 ” FINE PAPERS “腰封所使用的パチカ (pachica)的熱加壓效果。\n\n\n\n-\n\n\n\n竹尾のHAPTICシリーズに含まれる「パチカ (pachica)」は、加工に関する課題を見事に解決する優れたソリューションです。これまで、紙に透かし文字のような特殊効果を施す方法としては、型抜きを用いるものの精度に限界がある、またはレーザー加工を行うとエッジがわずかに焦げてしまうといった問題がありました。他にもっと良い方法はないのでしょうか？\n\n\n\n「パチカ」は、綿や雪のようなふんわりとした手触りが特徴で、さらにホットスタンプ（熱プレス）を施すだけで紙の表面が変化します。金属板に接触した部分が熱で溶けて半透明になり、まるで焼き付けられたような独特の効果を生み出します。その柔らかく厚みのある質感のおかげで、大面積のエンボス加工や複雑なデザインでも美しく仕上がり、視覚的にも非常に優れた効果を発揮します。\n\n\n\n※写真は、TAKEO PAPER SHOW 2007「FINE PAPERS」の帯に使用されたパチカ (pachica) のホットスタンプ加工例です。"}
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{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/nt-sful-brown#article","isPartOf":{"@id":"https://trouver.art/nt-sful-brown"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"NT Sfu:L – Brown","datePublished":"2015-08-05T17:30:00+00:00","dateModified":"2025-12-30T18:02:06+00:00","mainEntityOfPage":{"@id":"https://trouver.art/nt-sful-brown"},"wordCount":156,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/nt-sful-brown#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/08/NT-SFUL-1-1024x1024.jpg","keywords":["Brown","FinePaper","HAPTIC","NT-SFU:L","Souffle","SUBTLE","TAKEO","TAKEO-PAPER-SHOW-47th","touch","trouver","TROUVER art","UVprint","觸感紙"],"articleSection":["All","Japan"],"inLanguage":"zh-TW","description":"Save dessert for last!\n\n\n\nThe first time I touched this paper was at the \"TAKEO PAPER SHOW 47th 'SUBTLE'\" exhibition, and its unforgettable texture immediately left a lasting impression. Like a fluffy and delightful French dessert soufflé made from meringue, it offers a sweetness that’s just right—not overwhelming. Smooth yet subtly textured, it feels as if your fingers are gliding over cake and cream, bringing a smile to your face. This paper possesses an almost breath-like presence, combining delicacy with substance.\n\n\n\nWhile its tactile appeal is undeniable, it comes with a caveat: just as one must be mindful of calories when enjoying desserts, this paper’s single-sided heavy coating means longer drying times for ink. When using automated sheet-fed printing presses, interleaving sheets may be necessary. UV printing is recommended to achieve the best results.\n\n\n\n-\n\n\n\n甜點要留到最後吃！\n\n\n\n第一次觸摸到這張紙是在「TAKEO PAPER SHOW 47th “SUBTLE”」展覽上，有著令人一摸難忘的特性，像使用蛋白霜製作出蓬鬆美味的法式甜點「Souffle(舒芙蕾)」般的甜而不膩、滑順中又帶著恰到好處的紋路感，彷彿手指滑過蛋糕與奶油愉悅地笑出來，是像呼吸一般具有存在感的紙。觸感雖然令人愉悅，但就像食用甜品要注意熱量一樣；這是屬於單面重塗佈的紙，但需要留意油墨所需的乾燥時間較長，自動進紙的平面印刷機可能視需要插入隔板，建議使用UV印刷。\n\n\n\n-\n\n\n\nデザートは最後に楽しむもの！\n\n\n\nこの紙に初めて触れたのは、「TAKEO PAPER SHOW 47th “SUBTLE”」の展示会でした。一度触れると忘れられない特徴を持ち、まるで卵白を使ったふわふわで美味しいフランスのデザート「スフレ」を思わせるような甘さ控えめで、なめらかさの中に程よいテクスチャーが感じられます。まるで指先がケーキとクリームを滑り、幸せな気持ちで笑顔がこぼれるような感触です。それはまるで呼吸するように存在感のある紙です。\n\n\n\n触感は魅力的ですが、デザートのカロリーを気にするように、注意が必要です。この紙は片面に厚塗りコーティングされたタイプで、インクの乾燥時間が長くなる場合があります。自動給紙式のオフセット印刷機では、必要に応じてインターリーバー（間紙）を挟むことを検討してください。また、UV印刷の使用を推奨します。"}
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{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/tant-select-ts-9-n9#article","isPartOf":{"@id":"https://trouver.art/tant-select-ts-9-n9"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Tant Select TS-9 N9","datePublished":"2015-09-14T17:31:00+00:00","dateModified":"2025-12-30T18:01:28+00:00","mainEntityOfPage":{"@id":"https://trouver.art/tant-select-ts-9-n9"},"wordCount":64,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/tant-select-ts-9-n9#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/08/20150620-ACE_9076-1024x1024.jpg","keywords":["Embossed paper","FinePaper","TAKEO","Tant Select TS-9 N9","TantSelect","trouver","TROUVER art","TS-9 N9","壓紋紙","英倫格紋"],"articleSection":["All","Japan"],"inLanguage":"zh-TW","description":"The double-sided embossed packaging paper features a classic British plaid pattern, with textures and even stitching recreated to mimic the characteristics of woven fabric. Available in two thicknesses and a variety of colors, its standout feature is the timeless British-style plaid embossing. Areas with deeper embossing allow light to pass through slightly, creating a stunning and elegant effect.\n\n\n\n-\n\n\n\n雙面壓紋經典英倫格紋的包裝紙，紋路甚至縫線都再現了近於布織的特性，擁有兩種厚度以及多種顏色可以選擇，特色是不敗的英倫風的格子壓紋，在壓紋較深的地方會半透一些光線，相當美麗。\n\n\n\n-\n\n\n\n両面エンボス加工によるクラシックなイギリス風チェック柄の包装紙は、模様だけでなく縫い目までも布織物に近い特性を再現しています。2種類の厚さと多様な色から選ぶことができ、不変の英国スタイルのチェック柄が特徴です。エンボス加工が深い部分は光をやや透過し、美しい輝きを見せています。"}
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{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/takeo-tant-select-ts-6-r5#article","isPartOf":{"@id":"https://trouver.art/takeo-tant-select-ts-6-r5"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"TAKEO Tant Select TS-6 R5","datePublished":"2015-09-15T17:31:00+00:00","dateModified":"2025-12-30T18:01:18+00:00","mainEntityOfPage":{"@id":"https://trouver.art/takeo-tant-select-ts-6-r5"},"wordCount":95,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/takeo-tant-select-ts-6-r5#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/08/20150630-ACE_9200-1024x1024.jpg","keywords":["Embossed paper","FinePaper","TAKEO","Tant Select TS-6 R5","TantSelect","trouver","TROUVER art","TS-6 R5","壓紋紙"],"articleSection":["All","Japan"],"inLanguage":"zh-TW","description":"Rocks are often associated with an impression of being unbreakable and indestructible. But what kind of transformation occurs when they are combined with soft paper? Through dual-sided embossing techniques, the delicate pores and textures left on the surface of rocks by the passage of time and natural erosion are recreated on soft paper. When light passes through, the intricate perforations convey a gentle impression, distinct from the toughness of rock. This subtly reinterprets the material and sensory experience, blending the essence of resilience with a touch of softness.\n\n\n\n-\n\n\n\n石頭總是有著相當堅不可摧的印象，若與柔軟的紙張結合，會產生什麼樣的變化呢？將石頭表面因為歲月與沖刷留下的的細孔紋路，以雙面壓紋的加工技術重現在柔軟的紙張上，透過光，細緻的孔洞被賦予了有別堅韌的柔和印象，將物質與感官微妙的重新詮釋。\n\n\n\n-\n\n\n\n石は常に非常に堅牢で壊れにくい印象を持っていますが、もしそれが柔らかな紙と融合したら、どのような変化が生まれるのでしょうか？年月や水の流れによって石の表面に刻まれた細かな孔や模様を、両面エンボス加工技術によって柔らかな紙に再現しました。光を通すと、その繊細な孔が硬さとは異なる柔らかな印象を生み出し、物質と感覚の微妙な再解釈が実現されています。"}
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{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/tela-indigo-blue#article","isPartOf":{"@id":"https://trouver.art/tela-indigo-blue"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Tela – indigo Blue","datePublished":"2015-07-16T17:31:00+00:00","dateModified":"2025-12-30T18:02:24+00:00","mainEntityOfPage":{"@id":"https://trouver.art/tela-indigo-blue"},"wordCount":97,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/tela-indigo-blue#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/07/Tela-1-1024x1024.jpg","keywords":["FinePaper","INDIGO-BLUE","TAKEO","TELA","touch","trouver","TROUVER art","アートペーパー","平面印刷","毛皮質感","繊維","薄皮","藝術紙","觸感紙"],"articleSection":["All","Japan"],"inLanguage":"zh-TW","description":"“TELA” in Spanish is “fabric/thin leather”. As the name of it, it got a distinct touch of fur. Besides the earth tone colour, the surface of it has elongated fibre, you could feel the fibres flowing and find out the direction of them. The tactile and visual performance of TELA is quite strong. The silk-like surface texture got most advantages of fabrics but stiffness. You could directly use it with ADF (Auto document feeder) printer. TELA is suitable for boutique catalogues that express the texture of fabric or leather.\n\n\n\n-\n\n\n\n優美的靛色絲絨\n\n\n\n「TELA」一詞源自於西班牙文的「布 / 薄皮」，一如其名，是將毛皮質感極大化的藝術紙，除了偏向自然系的色調以外，表面擁有其他同類型紙所沒有的細長纖維，指尖滑過表面時可以明顯感覺纖維的流動與其紋路方向，在觸覺與視覺上的表現相當強烈。宛如絲絨般的表面質感，也擁有著布料柔軟卻不及的優點，在印刷適性方面由於紙質相當硬挺，可以放心直接使用在自動進紙的平面印刷機，也適用於需要傳達布料或毛皮質感的鞋包相關精品的印刷物上。\n\n\n\n-\n\n\n\n優雅な藍色のベルベット\n\n\n\n「TELA」という言葉はスペイン語で「布」や「薄い皮」を意味します。その名の通り、毛皮の質感を最大限に引き出したアートペーパーです。自然系の色調を基調としつつ、表面には他の同種の紙にはない細長い繊維があり、指先で表面をなぞると、繊維の流れやその方向がはっきりと感じられます。触覚と視覚の両方で非常に強い印象を与えます。まるでベルベットのような表面の質感を持ちながらも、布地の柔らかさを超える特徴があります。\n\n\n\n印刷適性の面では、紙質が非常にしっかりとしているため、自動給紙の平版印刷機にも安心して使用でき、また布地や毛皮の質感を伝えることが求められる靴やバッグ関連の高級品印刷物にも適しています。"}
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{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/savile-row-paper#article","isPartOf":{"@id":"https://trouver.art/savile-row-paper"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Savile Row Paper","datePublished":"2015-09-14T17:31:00+00:00","dateModified":"2025-12-30T18:01:24+00:00","mainEntityOfPage":{"@id":"https://trouver.art/savile-row-paper"},"wordCount":484,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/savile-row-paper#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2015/09/Savile-Row01.jpg","keywords":["Fedrigoni","FinePaper","Italy","Plain","Savile-Row","trouver","TROUVER art","Tweed","リサイクルされた古着","布料纖維","紗蘿紙"],"articleSection":["All","Europe"],"inLanguage":"zh-TW","description":"中文/English/日本語\n\n\n\nSavile Row - 纖維、時間，以及秩序之外的安靜\n\n\n\n有時候，紙與布僅一線之隔。\n\n\n\n以倫敦最知名訂製西服的街道「Savile Row」命名，纖維穿梭於紙的肌理之間，像時裝師手裡的針線，一段段將經緯交疊，為紙裹起層層歲月的時光。這份優雅來自對於材料的自信，並誕生於悠久的歷史文化裡。\n\n\n\n踏入工作室時，總會有一疊紙靜靜地攤在案上。它們沒有聲響，卻以一種不動聲色的姿態，等待手指的探索。有時，對紙的渴望並不是來自於視覺，而是在於那些無法言傳的手感。一如某些櫃內的舊衣，有著歲月淬鍊的餘韻。\n\n\n\n設計是一種行為的留白。紙面上的佈局，並無浮誇，以樸質安放自己的存在。它既非意圖取悅，也不求搶眼，更多是一種介於自然與人工之間的無聲連結。柔軟的紋理不僅是物料，還承載著人與衣服之間漫長的親密時分。一針一線，一頁一層，全都融化在手指與紙面相遇的剎那當中。\n\n\n\n如果將這張紙對應生活，它也像是一段熟悉的步行小徑，有著不需過度修飾的秩序感。設計在這裡不再只是外觀形制，而是讓每一處細節成為觸感記憶的載體。黎明的微光灑進案頭，這些纖維紋理彷彿映照著自然的節律，讓複雜簡化成一種坦然。\n\n\n\n「Savile Row」這樣的紙張，不急於表達自己，卻在觸碰間傳達出一種穩重而溫厚的氣息，纖維密布，像織物般牽動著人與物的記憶，將舊時光的碎片溫柔地鑲嵌進當下，也像河流裡的鵝卵石，在無聲裡演出著簡樸卻又堅毅的故事。\n\n\n\n藉由將20％舊衣纖維與20％棉料融合進紙漿本身，以永續循環做為被創造的使命，讓紙張的本質回歸於初，質樸、穩重，有如友人的陪伴那般誠懇純粹。靜止時是美感，翻閱時即生命。這種平和，不張揚，卻始終存在，每次都俏俏地期許，將其製成印刷品後，能令人們在生活匆促的過程中，捎來一封樸質而溫柔的訊息。\n\n\n\n紙所帶來的體驗，或許不必複雜。以細節構成的和諧，是生活中真誠的禮物。這張紙也是如此，清晰傳達著材料與時光對話後的寧靜與笃定，提醒著我：設計的深度，有時來自於對日常最樸素質地的體會。\n\n\n\nEnglish Ver.：\n\n\n\nFibers, Time, and a Quietness Beyond Order\n\n\n\nSometimes, the line between paper and fabric is barely there.Named after London’s most famous street for bespoke suits, “Savile Row,” the fibers weave through the texture of the paper like a tailor’s thread and needle—binding time and layers of history into the paper. This elegance stems from a deep confidence in the material, born from a long and rich cultural heritage.\n\n\n\nWhenever I step into the studio, there’s always a stack of paper quietly spread across the table. They make no sound, but with a calm presence, they wait for my fingers to explore. Sometimes, my longing for paper isn’t about what I see, but about the indescribable sensation I feel when touching it. It’s similar to the lingering aura of old garments stored away, echoing time’s quiet refinement.\n\n\n\nDesign is an act of creating space for the unknown. The layout on the paper is simple, placing itself with honesty. It neither aims to please nor to stand out, instead offering a subtle connection between the natural and the man-made. The soft textures aren’t just material—they carry the long, intimate moments shared between people and their clothes. Each stitch, each page, every layer—all of it blends into the moment your fingers and the paper meet.\n\n\n\nIf I had to compare this paper to life, I’d say it feels like a familiar walking path—ordered, yet never needing extra ornamentation. Here, design is no longer just about appearances. It’s about making every detail a vessel for tactile memory. As dawn’s light spills over my desk, these textured fibers reflect the rhythms of nature, simplifying complexity into calmness.\n\n\n\nA paper like “Savile Row” isn’t in a rush to show itself. Instead, it quietly reveals a warm and steady air with every touch—densely woven like fabric, pulling up memories between people and things, gently inlaying fragments of the past within the present. Like river pebbles, it tells quiet yet resilient stories without a word.\n\n\n\nBy blending 20% recycled garment fibers and 20% cotton into the pulp, this paper embodies a mission of sustainability, restoring it to its pure essence—honest, steadfast, and sincere, much like the company of an old friend. Still, it radiates beauty. When turned, it breathes with life. This peacefulness is never flashy, yet it lingers—hoping that when made into print, it delivers a simple, gentle message amid the rush of daily life.\n\n\n\nThe experience paper offers needn’t be complicated. Harmony in details is a true gift in living. So it is with this paper—clearly communicating the tranquility and certainty born from its dialogue with time and material. It reminds me that true design depth sometimes springs from appreciating the simple, honest textures of everyday life.\n\n\n\n日本語Ver.：\n\n\n\n繊維、時間、そして秩序を超えた静けさ\n\n\n\n時には、紙と布の違いはほんのわずかです。ロンドンで最も有名なオーダーメイドスーツの街「サヴィル・ロウ」の名を冠し、繊維が紙の肌理の中を行き来する様子は、まるで仕立て師の針と糸のよう。経糸と緯糸が交差しながら、紙に幾層もの時間を積み重ねていきます。この優雅さは、素材への確かな自信と、長い歴史文化に根ざしています。\n\n\n\nスタジオの扉を開けると、机の上にはいつも静かに広げられた一束の紙があります。音はありませんが、何気ない佇まいで、指先に触れられるのを静かに待っています。時に、紙への憧れは視覚から生まれるのではなく、言葉では表現できない手触りによって感じられます。それは、タンスの中にしまわれた古い服が、年月を経て纏う余韻とどこか似ています。\n\n\n\nデザインとは、行為の余白を残すこと。紙面のレイアウトは華美な装飾を避け、質朴に存在を委ねています。誰かを喜ばせようとも目立とうともせず、自然と人工の間に静かに橋を架けます。柔らかな質感は単なる素材ではなく、人と衣服の間に流れる長い親密な時間をも体現しています。一針ごとに、一頁ごとに、すべてが指先と紙が出会う一瞬に溶け合います。\n\n\n\nこの紙を日常にたとえるなら、手入れしすぎない秩序を持った馴染みの小道のよう。ここでのデザインはもはや見た目だけではなく、あらゆるディテールが触覚の記憶を宿す器となります。夜明けの淡い光が机に差し込むと、繊維の文様が自然のリズムを映し出し、複雑なものさえも素直な形へと還してくれます。\n\n\n\n「サヴィル・ロウ」のような紙は、自己主張を急ぐことなく、そっと触れた瞬間に穏やかで温かみのある雰囲気を伝えます。密に織り込まれた繊維は、まるで布のように人と物の記憶をつなぎ、過去の断片を優しく今へと埋め込みます。それは、川の小石のように、静かに、しかし力強く素朴な物語を語っているのです。\n\n\n\n全体の20％を古着繊維、20％をコットンで構成し、サステナビリティという使命を持って生まれたこの紙は、本来の素直さと穏やかさ、まるで友人のような誠実さを宿します。静止した時の美しさと、ページをめくった時の命の息吹。このさりげない平和こそが、主張しすぎず、変わらずそこにあり、印刷物になったとき、忙しい日常の中で素直でやさしいメッセージをそっと伝えてくれるのです。\n\n\n\n紙がもたらす体験は、決して複雑である必要はありません。細部から生まれる調和が、人生の中での本物の贈り物。この紙もまた、素材と時との対話が生み出す静けさと確かさを明確に伝えてくれます。日々の中の素朴な質感にこそ、デザインの深みが潜んでいることを、私にそっと教えてくれるのです。"}
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{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/invercote-black-box#article","isPartOf":{"@id":"https://trouver.art/invercote-black-box"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Invercote Black Box","datePublished":"2017-05-23T17:31:00+00:00","dateModified":"2025-12-30T17:59:27+00:00","mainEntityOfPage":{"@id":"https://trouver.art/invercote-black-box"},"wordCount":534,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"keywords":["Black Box Project","Brunazzi＆Associati","FinePaper","Iggesund","Invercote","Italy","paperboard","pasta","Rotini","Sample","SBS","trouver","TROUVER art","スウェーデン一級カード","一級卡","瑞典壹級卡"],"articleSection":["All","Europe"],"inLanguage":"zh-TW","description":"When Paper Meets Pasta\n\n\n\nInvercote is a paperboard brand launched by Swedish company Iggesund. The paperboard is called ‘瑞典壹級卡(Ruìdiǎn yījí kǎ)’ in Taiwan and is well-known for being made into the thin yet stiff packaging boxes for iPhones.\n\n\n\nThe grades of paperboard can be divided into different levels by raw materials: Solid bleached sulphate (SBS) is a virgin fibre grade and also the supreme grade of paperboard, made purely from bleached chemical pulp; Folding boxboard (FBB) is the middle grade of paperboard, made up of mechanical pulp in between two layers of bleached chemical pulp; White lined chipboard is the lower grade of paperboard, typically made from layers of waste paper or recycled fibers. Invercote is SBS graded, and the paperboards commonly seen in the market are FBB graded.\n\n\n\nInvercote delivers better stiffness, better pressure tolerance, as well as better printability.\n\n\n\nThe Black Box Project challenged designers to fill a simple black box with their out-of-the-box ideas made of Invercote. Combining design thinking and paper structure, the creativity of designers could flourish without any limitations apart from using the unique characteristics of Invercote and the size of the box. This sample was completed by a famous Italian advertising agency Brunazzi & Associati, one of Italy’s pioneers in corporate communications and corporate image. The team used a typical Italian dish: pasta with tomato sauce, as their core design concept responding to the project.\n\n\n\nThe box was made from Invercote coated with a black matte coating in a packaging structure. First thing in sight after opening the box was a paper-made pasta tong and a white box printed with a photo of the colander, making people wonder what else is inside the box?The packaging was a clever use of paper bending, allowing the CD to be perfected stored in the paper structure. In contrast to using plastic boxes, packages made from papers can be printed directly and shaped into the different structure by needs.\n\n\n\nThe manual inside the box is printed with the precise graphics instruction of how to cook pasta using this sample: once the fusilli are boiled, Invercote can take care of the rest!\n\n\n\nInside the white box is a bag of homemade fusilli and a package of powder tomato sauce. So far I’ve never seen a project combining such different elements – food, cooking, and papers – altogether. Perhaps the designers considered design and cooking as the same matter, which both requires time to finish? Using a paper box as a colander for draining? This attempt subverts the common sense of ‘paper cannot cope with water.’ This project presents how well and durable Invercote can perform.\n\n\n\nAmong all creative samples, The Black Box Project is really an eye-opener. Besides the clever use of paper characteristics, presenting the paper box as a cooking tool other than just a commonly seen printed matter, the project astonishingly combines the popular and lovable Italian pasta culture with the well-presented characteristics of Invercote, leaving its audience a deep impression.\n\n\n\n-\n\n\n\n當紙遇上義大利麵 / 瑞典壹級卡 Invercote\n\n\n\n“Invercote” 是來自瑞典的 IGGESUND 公司所生產的紙板產品，在台灣通稱「瑞典壹級卡」，也是我們熟悉用於iPhone那輕薄卻又硬挺的包裝盒。卡紙(紙板) 的等級能依照原料不同分為幾個類別：SBS — 百分百全木漂白硫酸鹽紙漿 (最高級）; FBB — 上下表層是全木漂白硫酸鹽紙漿，芯層則是機械漿、半漂白紙漿等（次級）; 次級以下還有使用回收漿，等級更低。而瑞典壹級卡屬於SBS，一般市面上大量流通的是FBB。\n\n\n\n瑞典壹級卡在同類型卡紙（紙板）的挺度、折壓耐性、印刷適性各項條件，非常出類拔萃，因原料等級不同，在印刷特性有相當大的差異，故以一級卡同名致敬FBB等級紙漿的卡紙類也相當的常見。「Iggesund Black Box Project」為展現瑞典壹級卡的特性，在有限的空間裡，將想法揉合印刷加工的技術，樣本中著墨在設計思維與結構材質的特性介紹，只需要一張好的紙就能令設計者們盡情揮灑，是能在紙上滿載創意極限的一系列樣本設計企劃！本次為義大利知名的 Brunazzi＆Associati 廣告設計公司進行操刀，是義大利企業傳播與形象設計的先驅，將典型的義大利菜餚「番茄肉醬麵」結合樣本的設計中，作為樣本設計的核心理念。\n\n\n\n盒子整體使用了瑞典壹級卡覆上了黑色霧膜，以包裝結構組合而成，打開之後會先看到有一把紙做成的麵夾，以及一個印著濾水鋼盆照片的白色盒子，令人好奇究竟裏頭裝著些什麼有趣的東西？包裝盒是相當聰明的結構，利用紙張彎折的特性將光碟巧妙的收納在紙張中，與塑膠殼不同的是，使用紙張既能直接印刷，也能依照需求做成不同的盒型外觀。\n\n\n\n在說明書中的圖解表示了如何正確使用一份紙樣本來烹飪義大利麵。首先，將鍋子裡的水煮滾之後，倒入義大利螺旋麵，接著輪到瑞典壹級卡上場！打開白色盒子後，內容有一包義大利螺旋麵（Rotini）與番茄醬包，目前為止尚未看過將食物、烹飪與紙張等不同元素的組合，試著往回推測設計者是否認為，設計就跟烹飪一樣，都需要時間去進行料理呢？最後將紙盒作為濾水盆使用？紙與水或許是永遠的難題，可見瑞典壹級卡在紙張特性上，似乎完全可以勝任這相當重要的角色。\n\n\n\n眾多發揮創意的樣本中，瑞典壹級卡的黑盒子計畫實在令人大開眼界。除了巧妙的利用紙張的強韌作為一項烹飪工具使用，而並非熟悉的印刷加工以外，揉合了世界各地都喜歡的義大利麵文化，除了注意別將麵條煮過頭以外，最後我想一邊吃義大利麵的過程中，已將瑞典壹級卡的特性相當完美地詮釋出來。\n\n\n\n-\n\n\n\nスウェーデン一級カード（スウェーデンいっきゅうカード）\n\n\n\n紙とイタリアンパスタが出会うとき\n\n\n\n「インバーコート（Invercote）」は、スウェーデンのIGGESUND社が製造する紙板製品で、台湾では「スウェーデン一級カード」として知られています。iPhoneの軽くて硬いパッケージ箱に使用されていることでお馴染みです。カード紙（板紙）の等級は、原料によっていくつかのカテゴリーに分けられます。SBSは100%木材漂白硫酸塩パルプ（最高級）、FBBは表層が木材漂白硫酸塩パルプで、芯層が機械パルプや半漂白パルプなど（次級）。次級以下には再生パルプを使用したさらに低い等級もあります。スウェーデン一級カードはSBSに属し、市場で大量に流通しているのはFBBです。\n\n\n\nスウェーデン一級カードは、同類のカード紙（板紙）において、剛性、折り耐性、印刷適性などの条件が非常に優れており、原料の違いによって印刷特性に大きな違いがあります。そのため、同じ名前を冠してFBB等級のパルプを用いたカード紙も多く見られます。「Iggesund Black Box Project」は、スウェーデン一級カードの特性を示すために行われたプロジェクトで、限られた空間で印刷加工技術とアイデアを融合させています。サンプルでは、デザインの考え方や素材の特性に焦点を当て、一枚の優れた紙でデザイナーが自由に創造力を発揮できる、一連のクリエイティブなサンプルデザインプロジェクトです。今回は、イタリアの有名な広告デザイン会社Brunazzi＆Associatiが手掛け、イタリア企業のコミュニケーションとイメージデザインの先駆者として、典型的なイタリア料理「トマトミートソーススパゲティ」をサンプルデザインの核心理念として取り入れています。\n\n\n\nこのボックス全体は、スウェーデン一級カードに黒のマットフィルムを貼り合わせてパッケージ構造として組み立てられています。開けるとまず目に入るのは、紙で作られたパスタトングと、濾水用のステンレス製ボウルの写真が印刷された白い箱です。中に何が入っているのか興味をそそられます。パッケージボックスは非常に賢い構造で、紙の曲げ特性を利用して、光ディスクを巧妙に収納しています。プラスチックケースとは異なり、紙を使用することで直接印刷が可能であり、必要に応じて異なるボックス形状に加工することができます。\n\n\n\n説明書の図解では、紙サンプルを使用してイタリアンパスタを正しく調理する方法が示されています。まず鍋に水を沸騰させ、イタリアのショートパスタを入れます。そして、いよいよスウェーデン一級カードの出番です！白い箱を開けると、中にはイタリアのショートパスタ（ロティーニ）とトマトソースのパックが入っています。食べ物、調理、紙など、異なる要素を組み合わせた試みはこれまで見たことがなく、デザイナーは設計が料理と同じように、時間をかけて行うものだと考えたのでしょうか？最終的に紙ボックスを濾水用のボウルとして使用するのでしょうか？紙と水は永遠の課題かもしれませんが、スウェーデン一級カードはこの重要な役割を見事に果たすことができるようです。\n\n\n\n数多くのクリエイティブなサンプルの中でも、スウェーデン一級カードのブラックボックスプロジェクトは、非常に印象的です。紙の強靭さを巧みに利用して、単なる印刷加工ではなく、調理器具として活用するというユニークな試みがなされ、世界中で愛されているイタリアンパスタ文化と融合しています。パスタを茹ですぎないように気をつけながらも、スウェーデン一級カードの特性が見事に表現されています。"}
{"@context":"https://schema.org","@type":"WebPage","@id":"https://trouver.art/invercote-black-box","url":"https://trouver.art/invercote-black-box","name":"Invercote Black Box - trouver.art","isPartOf":{"@id":"https://trouver.art/#website"},"datePublished":"2017-05-23T17:31:00+00:00","dateModified":"2025-12-30T17:59:27+00:00","description":"“Invercote” 是來自瑞典的 IGGESUND 公司所生產的紙板產品，在台灣通稱「瑞典壹級卡」，也是我們熟悉用於iPhone那輕薄卻又硬挺的包裝盒。瑞典壹級卡在同類型卡紙（紙板）的挺度、折壓耐性、印刷適性各項條件。","inLanguage":"zh-TW"}
{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/imagining-from-paper#article","isPartOf":{"@id":"https://trouver.art/imagining-from-paper"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Imagining from paper","datePublished":"2023-05-13T17:38:00+00:00","dateModified":"2025-12-30T17:55:45+00:00","mainEntityOfPage":{"@id":"https://trouver.art/imagining-from-paper"},"wordCount":357,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/imagining-from-paper#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2023/05/image-1024x683.jpeg","keywords":["Colourise","Fedrigoni","italianpaper","papersample","Pearlescent","Savile-Row","trouver","TROUVER art","White&Ivory","珠光","白色","紙張樣本","紙樣","色彩"],"articleSection":["All","Europe"],"inLanguage":"zh-TW","description":"Imagining from paper\n\n\n\nPaper samples are manufactured, by paper mills for different product uses and designed work scenarios. There are samples that showcase various effects using the same series, while others are integrated booklets categorized by usage. Today, I will introduce the latter.\n\n\n\nWhen focusing on how to implement designs on paper, I look at the design drafts on the screen and first filter through my mental database to see which paper mill’s products are suitable for the visual performance this time.\n\n\n\nIf there is a clear target, of course, I will pick up the sample of that paper series and consider the printing and post-processing effects appropriately. Unfortunately, it is not always so smooth, and sometimes it is necessary to filter from a larger database step by step, according to usage or color.\n\n\n\nThis sample is provided by the Italian paper mill “Fedrigoni,” and it is also one of the samples I often use. It categorizes the samples into five booklets: white (White&Ivory), color (Colourise), and pearlescent (Pearlescent), containing almost all products produced until 2017.\n\n\n\nWhen I open the sample booklet, I feel various details from the surface of the paper with my fingertips, such as smoothness, roughness, and rich fiber texture, and the necessary information such as thickness and size is clearly printed on the surface. Even the different combinations of special embossing and colors can be compared at a glance, like holding a deck of cards, and the seeds of inspiration have already begun to sprout.\n\n\n\nPerhaps compared to the samples of a single product series, it may seem more plain, but the charm of this type of sample is the ability to quickly and intuitively find the suitable paper type.\n\n\n\nThe function of paper samples is to help people find the appropriate carrier for printing. Nowadays, there are also various tool works stacked with processing, as well as various attractive techniques.\n\n\n\nBut I am still a bit old-fashioned, and I prefer to start with the appearance of the carrier: paper, and then build the structure called inspiration.\n\n\n\n-\n\n\n\nImagining from paper – 來自紙的想像\n\n\n\n紙張的樣本，是造紙廠為了不同的產品用途、和依照設計師們的工作情境裡設想，所被製造出來的。\n\n\n\n因此，有著以同一系列所進行各種效果表現的樣本，也有著以用途作為區分的集成小冊，今天向各位介紹的樣本是屬於後者。\n\n\n\n當聚焦於如何將設計落實在紙上時，我同時看著螢幕上的設計稿，先從腦海裡的資料庫先篩選一番，哪一間造紙廠的產品比較適合這一次的視覺表現。\n\n\n\n若是馬上就有明確目標，理所當然的會拿起該紙張系列的樣本，對於印刷與後加工的效果適度的考量一番。但很可惜的，不是每次都這麼順利，還是存在著必需從較大範圍的資料庫，逐步從用途或是顏色篩選的情況。\n\n\n\n這一次的樣本，由義大利造紙廠 “Fedrigoni”提供，也是我時常使用的樣本之一，以白色(White&Ivory)、色彩(Colourise)、珠光（Pearlescent）作為五本小冊的類別區分。收錄了至2017年有生產的幾乎所有產品。\n\n\n\n推開樣品冊後，指尖感受來自紙張表面的各種細節，光滑的、粗糙的、豐富纖維感的，並且表面清楚印上著不同的厚度、尺寸等必要資訊。即使是特殊的壓紋和顏色的不同組合，藉由近似於手裡拿著鋪克牌，透過一目瞭然的對比之下，靈感的種子已經開始萌芽。\n\n\n\n或許單一產品系列的樣本相較之下比較樸素，但能快速且直覺的找到適合的紙張類型，是這一類樣本的魅力所在。\n\n\n\n紙樣的功能，旨在幫助人們尋找適合印刷的載體，如今，也有各種加工堆疊的工具作品能夠參考，充滿吸引人的多樣技巧。\n\n\n\n但我還是比較老派一些，習慣先從載體的樣貌：紙張開始，再去建構那個名為靈感的建築吧。\n\n\n\n-\n\n\n\n想像は紙から生まれる\n\n\n\n紙のサンプルは、製紙所で様々な用途やデザインのシーンに合わせて作られます。同じシリーズでも様々な効果を表現したサンプルもあれば、用途別にまとめた冊子になっているものもあります。今日は、後者について紹介したいと思います。\n\n\n\n私がデザインを紙に落とし込む際には、画面上のデザイン原案を見ながら、まずは頭の中にあるデータベースから、今回の視覚パフォーマンスに合った製紙所の商品を選別します。\n\n\n\n明確なターゲットがある場合は、その紙シリーズのサンプルを手に取って、適切な印刷や後処理の効果を考えます。しかし、そうスムーズにいくわけではなく、場合によっては用途や色に応じて、大きなデータベースから段階的に選別する必要があることもあります。\n\n\n\nこのサンプルは、イタリアの製紙所「フェドリゴーニ」から提供されたもので、私がよく使うサンプルの一つでもあります。白色（ホワイト＆アイボリー）、カラー（カラーライズ）、パール（パールエッセンス）の3冊に分かれ、2017年までに製造された製品をほぼ網羅しています。\n\n\n\nサンプルの冊子を開くと、私は手のひらで紙の表面の様々なディテールを感じます。つるつる感やざらざら感、そして豊かな繊維の質感などがあり、必要な情報である厚みやサイズも明確に印刷されています。特殊なエンボスや色の組み合わせなども一目で比較できるため、トランプを持っているような感覚で、インスピレーションの種が既に芽生え始めます。\n\n\n\n単一の商品シリーズのサンプルに比べると、地味に見えるかもしれませんが、このタイプのサンプルの魅力は、適切な紙の種類を素早く直感的に見つけることができることです。\n\n\n\n紙のサンプルの役割は、印刷に適したキャリアを見つけることを助けることです。今日では、加工された様々なツールや魅力的な技法が積み重ねられたものもあります。\n\n\n\nしかし、私は少し古風であり、キャリアの外見、つまり紙からインスピレーションの構造を構築することを好みます。"}
{"@context":"https://schema.org","@type":"WebPage","@id":"https://trouver.art/imagining-from-paper","url":"https://trouver.art/imagining-from-paper","name":"Imagining from paper - trouver.art","isPartOf":{"@id":"https://trouver.art/#website"},"image":{"@id":"https://trouver.art/imagining-from-paper#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2023/05/image-1024x683.jpeg","datePublished":"2023-05-13T17:38:00+00:00","dateModified":"2025-12-30T17:55:45+00:00","description":"紙張的樣本，是造紙廠為了不同的產品用途、和依照設計師們的工作情境裡設想，所被製造出來的。這一次樣本由義大利造紙廠 “Fedrigoni”提供，也是我時常使用的樣本之一，以白色(White&Ivory)、色彩(Colourise)、珠光（Pearlescent）作為五本小冊的類別區分。收錄了至2017年有生產的幾乎所有產品。","inLanguage":"zh-TW"}
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{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/paper-box-by-fedrigoni#article","isPartOf":{"@id":"https://trouver.art/paper-box-by-fedrigoni"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Paper Box by Fedrigoni","datePublished":"2025-12-24T17:16:21+00:00","dateModified":"2026-01-01T15:36:23+00:00","mainEntityOfPage":{"@id":"https://trouver.art/paper-box-by-fedrigoni"},"wordCount":79,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/paper-box-by-fedrigoni#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2025/12/NADcai8TWisH_2320x11600-1024x1024.jpg","keywords":["Aldo Novarese","Coated papers","Crystal Salt","Dave Farey","Fedrigoni","Graphic Thought Facility","GTF","Materia Viva","Paper Box","Symbol Matt Plus","Tintoretto Ceylon","trouver","TROUVER art","Uncoated colours","Uncoated whites"],"articleSection":["All","Europe"],"inLanguage":"zh-TW","description":"「一切都應該做到盡可能簡單，但不能再更簡單。」- Albert Einstein\n\n\n\n這句話恰好適用於Paper Box，一個沉穩的黑色「方尖碑」，源自 Fedrigoni 希望打造「單一物件」的全系列合集；一方面，在設計、印刷與製作層面上極具實用性；另一方面，是件極簡設計的經典象徵。\n\n\n\n\n\n\n\n整套Paper Box 由 Graphic Thought Facility（GTF）設計。黑色外盒中的三本樣本書，依序呈現了 Fedrigoni Uncoated whites, Uncoated colours以及Coated papers三種系列紙張。保持簡單但不過度簡化，為每張紙張的體積和觸覺品質提供有形的感受。文字內容標示則是由設計師Dave Farey對原有字體進行的改作，再經Aldo Novarese的指導下，由1968年的Forma字型演變而來，與未印刷的區域相結合，形成了一種獨特但客觀的圖形語言。\n\n\n\n整體設計有別過往各紙張系列的創意展示。GTF為了凸顯紙張特性，刻意避免電腦後製，以超現實主義風格的影像呈現，如同Giorgio de Chirico與Memphis Group的組合，暗示著一絲文藝復興的印象；將「形式」與「比例」的校色依據實體化，藉由放置於牆面與窗戶的場景，展現攝影、繪畫等題材在疊印時所產生的效果，以此回到實用性與可操作性。在紙本書籍中，上個世代，擅長藉由相同題材，不同紙樣的方式，展現其紙張特性及細節變化為考量重點，Fedrigoni更是如此；反觀新世代，以數位重構的角度展現設計與紙張的關聯性，更是未來可以被關注的重點之一。\n\n\n\n\n\n\n\n彩色選用了Symbol Matt Plus，是Materia Viva類別中，採用再生纖維製成的嶄新系列，具備多種色調，包含不同粗糙質地與手感。\n\n\n\n\n\n\n\n黑白則是使用了Tintoretto Ceylon系列中的Crystal Salt，表面帶有些微凹凸及粗糙紋理，其系列色彩，富有著隱晦但典雅精緻的視覺感受。相同的作品，不同的質地，想像著藉由這些紙張所帶給人的物理魅力及拿在手上的溫度，不僅僅是資訊的傳遞，更深切體悟造紙廠對於紙張的堅持與精神。\n\n\n\n\n\n\n\nSource:Fedrigoni pulp實體刊物graphicthoughtfacility https://graphicthoughtfacility.com/paper-box/Fedrigoni Swatch Books: https://vimeo.com/598884283/63d02e8229?share=copyMateria Viva: https://specialpapers.fedrigoni.com/zh-hant/swatchbook/materia-viva/Tintoretto: https://specialpapers.fedrigoni.com/zh-hant/swatchbook/tintoretto/"}
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{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/found-02#article","isPartOf":{"@id":"https://trouver.art/found-02"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Found 02 – Empty / 空白","datePublished":"2025-12-24T17:19:29+00:00","dateModified":"2025-12-30T06:45:29+00:00","mainEntityOfPage":{"@id":"https://trouver.art/found-02"},"wordCount":37,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/found-02#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2025/12/Found-02-1.jpg","keywords":["Empty","Margin","nowhere","paper","paper concept","Poem","space","trouver","TROUVER art","留白","空白","空間","紙","紙意象","詩"],"articleSection":["Found"],"inLanguage":"zh-TW","description":"空白的地方，才看得見光如何移動。\n\n\n\n紙上沒有文字的部分，不是被遺忘，是被保留。\n\n\n\n當所有空間都被填滿，就沒有地方可以停下來。\n\n\n\n留白，是給觀看留的位置。\n\n\n\n-\n\n\n\nWhere empty,we see how light moves.\n\n\n\nUnmarked parts of paperare not forgotten.They are kept.\n\n\n\nWhen all space is filled,there's nowhere left to pause.\n\n\n\nMarginis a place kept for seeing."}
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{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/found-03#article","isPartOf":{"@id":"https://trouver.art/found-03"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Found 03 – Opening / 缺口","datePublished":"2025-12-24T17:22:05+00:00","dateModified":"2025-12-30T05:49:52+00:00","mainEntityOfPage":{"@id":"https://trouver.art/found-03"},"wordCount":34,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/found-03#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2025/12/Found-03-1.jpg","keywords":["Opening","paper","paper concept","Poem","trouver","TROUVER art","紙","紙意象","缺口","詩"],"articleSection":["Found"],"inLanguage":"zh-TW","description":"完整的表面，什麼也進不來。\n\n\n\n紙被切開。邊緣乾淨，沒有猶豫。光從那裡穿過去，在另一側投下形狀。\n\n\n\n內外開始對話。\n\n\n\n破的地方，透得了光。\n\n\n\nFound 03 - Opening\n\n\n\nIntact surfaceslet nothing through.\n\n\n\nPaper cuts open.Edges clean, without hesitation.Light passes there,casting shapes on the other side.\n\n\n\nInside and outside speak.\n\n\n\nWhere broken,light enters."}
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{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/found-04-texture#article","isPartOf":{"@id":"https://trouver.art/found-04-texture"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Found 04 – Texture/紋理","datePublished":"2025-12-25T16:08:06+00:00","dateModified":"2025-12-29T06:08:31+00:00","mainEntityOfPage":{"@id":"https://trouver.art/found-04-texture"},"wordCount":39,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/found-04-texture#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2025/12/Found-04-1.jpg","keywords":["paper","paper concept","Poem","Texture","trouver","TROUVER art","紋理","紙","紙意象","詩"],"articleSection":["Found"],"inLanguage":"zh-TW","description":"遠看，一片白。近看，有山谷。\n\n\n\n指尖滑過去。細小的起伏，柔軟的抵抗。光在紋理上停留，陰影變成了地形。\n\n\n\n走太快的時候看不見。停下來，觸覺醒了。\n\n\n\n紋理，時間走過的路。\n\n\n\n-\n\n\n\nFrom afar, white.Up close, valleys.\n\n\n\nFingertips glide over.Tiny rises, soft resistance.Light rests on texture,shadows become topography.\n\n\n\nMoving too fast, nothing is seen.Stop,and touch awakens.\n\n\n\nTexture,the path time walked."}
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{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/material-matters-01#article","isPartOf":{"@id":"https://trouver.art/material-matters-01"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Material Matters #01 為什麼黑色紙張永遠不會過時？","datePublished":"2025-12-26T18:13:49+00:00","dateModified":"2026-01-08T17:31:17+00:00","mainEntityOfPage":{"@id":"https://trouver.art/material-matters-01"},"wordCount":1767,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/material-matters-01#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/07/DSC07600-scaled.jpg","keywords":["A Brief History of Black Paper","Ambrotype","Black Paper","Fedrigoni Sirio Black","Gmund Baohaus","Gmund Colors Matt","Takeo NT Rasha","trouver","TROUVER art","印刷品","和紙製作","濕版攝影","綾部市","背景","觸感記憶","設計思考","酒吧菜單","酒單","黑紙","黑紙歷史","黑谷"],"articleSection":["All","Journal"],"inLanguage":"zh-TW","description":"一個瞬間\n\n\n在昏暗的酒吧裡，服務生遞來一本黑色的酒單。\n\n\n手指觸碰到紙面的瞬間，能感受到啞光的質地。\n\n\n銀色的文字在微弱的光線下浮現，你需要稍微靠近一點，才能看清那些字句。\n\n\n這不是我們習慣的閱讀經驗。\n\n\n我們習慣的是明亮、清晰、一目了然。\n\n\n但這本酒單要求你放慢速度，專注，甚至調整姿勢。\n\n\n那個觸感、那道光影、那個在黑暗中被照亮的片刻。\n\n\n你記住了這個品牌。\n\n\n手記得那張紙的質地，眼睛記得光如何在黑色表面上移動。這是一種身體的記憶，比視覺印象更深刻、更持久。\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n黑紙的簡史\n\n\n黑色紙張並非現代的產物。\n\n\n在日本京都府綾部市的黑谷，和紙製作已有超過 800 年的歷史。根據傳說，平家戰敗的武士為了逃避追兵，躲藏在黑谷這個隱蔽的山谷中。\n\n\n為了謀生，這些武士開始製作和紙。黑谷和紙以其韌性和耐久性聞名，工匠們將楮樹纖維與山間冷水結合，創造出質地細膩而堅韌的紙張。\n\n\n雖然黑谷和紙本身並非全黑，但日本傳統工藝中確實存在墨染紙——將和紙浸入墨汁，讓纖維吸收黑色，用於書法、繪畫，以及重要文件的封面。黑色在那個時代象徵著莊重與永恆。\n\n\n歐洲的黑紙則多半與攝影有關。19 世紀的攝影師使用黑色卡紙、布料或金屬作為相片的襯底。\n\n\n在 Ambrotype（濕版攝影）的製作過程中，玻璃底片會刻意曝光不足，形成較淡的負像，然後在背面加上黑色襯底，讓影像從黑暗中浮現，如同記憶從遺忘中甦醒。黑色在這裡扮演的角色，是一種「缺席的存在」。它不發聲，卻讓其他事物被看見。\n\n\n到了 20 世紀中期，極簡主義興起。設計師開始追問一個問題：如果我們移除所有多餘的元素，最終會留下什麼？黑色，成為其中一個答案。\n\n\n它不是色彩的選擇，而是一種態度：關於克制、關於沉默、關於讓光說話。\n\n\n留白，是我們熟悉的設計語言。\n\n\n但留黑，是更為激進的選擇。\n\n\n留白創造呼吸的空間，留黑則創造凝視的深度。\n\n\n白色的空無是開放的、邀請的，黑色的空無則是封閉的、沉思的。當設計師選擇留黑，他們不只是在創造視覺上的對比，更是在創造一種心理上的張力。\n\n\n在那片黑暗中，什麼值得被照亮？\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n光的反向邏輯\n\n\n紙張的選擇，往往決定了印刷的邏輯。\n\n\n當背景是白色，印刷是一種「添加」的行為。黑墨、彩墨、圖像，都是往空白的表面填充訊息。設計師在思考的是：我要放上什麼？\n\n\n但當背景是黑色，印刷變成一種「揭示」的行為。燙金、銀墨、白墨；這些工藝不是在添加，而是在從黑暗中喚醒光。設計師被迫思考的問題變成：什麼值得被照亮？什麼可以留在黑暗中？\n\n\n這是一種減法的美學。黑紙強迫你做選擇，強迫你克制。當你只能用光來說話時，每一個字、每一條線、每一處留白，都必須有它存在的理由。\n\n\n這種克制，反而創造了力量。\n\n\n觸感的記憶\n\n\n根據發表於《心理科學》期刊的研究，透過觸摸探索物體能產生詳細且持久的記憶。研究人員讓參與者在蒙眼的情況下觸摸 168 件日常物品，每件物品探索 10 秒。在立即測試中，參與者能以 94% 的準確率辨認出他們觸摸過的物品；即使在一週後的測試中，準確率仍高達 84%。更值得注意的是，即使參與者事先不知道會被測試記憶，在跨模態測試（觸摸後用視覺辨認）中，準確率仍有 73%。\n\n\n這項研究或許可以理解：觸覺記憶不僅持久，而且能夠跨越感官模態。\n\n\n當你觸摸一張黑紙，手指感受到的不只是「紙張」這個概念，而是材料本身的誠實。黑色是一種無法掩飾的顏色。\n\n\n紙張的纖維、油墨的痕跡、加工留下的深淺，在黑色的表面上都會被放大。\n\n\n這意味著，任何選擇使用黑紙的設計，都必須對自己的工藝有絕對的信心。材料會說話，黑紙更是如此。\n\n\n我見過許多品牌使用光面白紙印刷精美的彩色圖像，試圖營造「高級感」。\n\n\n但當你觸摸它時，感受到的往往只是「印刷品」一個被製造出來的表面，光滑、完美、但缺乏質感。\n\n\n觸摸一張真正有質感的黑紙時，感受是不同的。你觸摸到的是「紙」本身它的重量、它的紋理、它的存在感。這是一種實體的經驗，而非僅僅視覺的印象。手會記住這個品牌，因為它不是一張圖片，而是一個物件。\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n品牌的態度：關於留黑的勇氣\n\n\n黑紙從來不是中性的選擇。\n\n\n選擇黑紙，就是在選擇「留黑」；選擇讓某些東西不被看見，選擇讓沉默成為語言的一部分。這需要勇氣。\n\n\n在這個充滿訊息、充滿色彩、充滿刺激的世界裡，選擇黑色，就是在說：我們不需要填滿每一寸空間，我們相信留白的力量，我們相信黑暗能夠襯托光。\n\n\n觀察那些選擇黑紙的品牌：Leica 相機使用黑紙作為包裝材料，呼應著其光學精密與克制美學；高端餐飲、精品咖啡店、獨立書店；這些品牌的共通點，是對細節的執著，對材料的尊重，以及對「少即是多」的信仰。\n\n\n留黑，是一種態度。它在說：我們知道什麼該被強調，也知道什麼該被隱藏。\n\n\n我們不害怕沉默，因為沉默本身就是一種表達。\n\n\n我們不害怕空白，因為空白給了觀看者思考的空間。\n\n\n我們不害怕被誤解，因為我們清楚自己服務的對象。\n\n\n使用黑紙的品牌，通常是有自信的品牌。\n\n\n它們知道，真正的高級不在於堆砌，而在於克制；不在於填滿，而在於留黑。\n\n\n黑紙的陷阱\n\n\n但黑紙並非萬能的捷徑。\n\n\n我見過太多設計師將黑紙視為「高級感的保證」；以為只要使用黑紙搭配燙金，就能自動創造出奢華的氛圍。結果往往適得其反。廉價的黑紙會褪色，有添加碳的黑紙燙金會脫落，整個設計看起來像是「想要高級但預算不夠」的妥協。\n\n\n黑紙是誠實的材料。\n\n\n如果你的設計不夠好，如果你的工藝不夠精細，如果你的預算不夠充足，黑紙會毫不留情地揭穿你。它不會替你掩飾，反而會放大所有的瑕疵。\n\n\n所以選擇黑紙，意味著你同時必須選擇對的供應商、對的印刷廠、對的加工方式。\n\n\n這不是簡單地「把白紙換成黑紙」，而是整個製作邏輯的改變。從設計、選材、印刷到加工，每一個環節都需要重新思考。\n\n\n如何選擇黑紙？\n\n\n市面上的黑紙種類繁多，但核心的差異在於：黑色是如何形成的，以及紙張的表面質地。\n\n\n\n\n\nGmund Colors Matt 黑色\n\n\n這個系列包含 48 種精心調配的顏色，其中的黑色擁有經典的啞光表面。這個系列獲得搖籃到搖籃認證，紙張在紙漿階段染色，確保色彩的穩定性與深度。觸感細膩而不光滑，帶著一種內斂的質地。當你撕開紙張邊緣，內部依然保持均勻的黑色，這是一種從內到外的誠實。\n\n\n\n\n\nGmund Baohaus\n\n\n這個系列體現了包浩斯的設計哲學：現代、直接、化繁為簡。這款紙張的吸引力來自純粹的材料性與高品質。雖然 Baohaus 系列以白色為主，但其設計理念：透過減法原則追求最大簡化；與黑紙的精神不謀而合。紙張表面帶有細微的紋理，觸感溫和而堅實。選擇 Baohaus，是選擇一種關於純粹與克制的態度。\n\n\n\n\n\nTakeo NT Rasha 黑\n\n\nNT Rasha 是日本竹尾在 1949 年推出的經典美術紙，至今仍是日本高級紙張的代表之一。如其名稱所示（Rasha 指的是一種表面有絨毛的厚實羊毛織物），這款紙張質地緻密、觸感溫暖。含有高品質棉漿，賦予紙張柔軟而精緻的手感。NT Rasha 的黑色飽和而深沉，帶著一種靜謐的力量，如同墨色在宣紙上的沉澱。\n\n\n\n\n\nFedrigoni Sirio Black\n\n\n義大利 Fedrigoni 出品的 Sirio Color Black 是無塗佈紙漿染色紙張，表面光滑，具有良好的成型性與清晰度。這款紙張通過 FSC 認證，使用無氯漂白紙漿，並採用耐光性強的染料。Sirio Black 比 Gmund Colors Matt 更厚實，從 80gsm 到 350gsm 都有，能提供不同程度的「份量感」。它的黑色純淨而穩定，表面的微孔結構讓紙張呼吸，觸感介於光滑與細膩之間。\n\n\n選擇哪一種黑紙，取決於你想要傳達的質感、你的預算，以及品牌的調性。但無論選擇哪一種，都要記得：黑紙是配角，設計才是主角。\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n我們如何使用黑紙\n\n\n2023 年，我們為一間台北的酒吧設計了酒單系統。\n\n\n客戶面臨的挑戰是：如何在昏暗的酒吧空間中，創造一個讓客人願意停留、願意探索的閱讀體驗？這不是一個單純的「設計一本酒單」的任務，而是關於如何透過材料與光的互動，在特定的環境中創造一種氛圍。\n\n\n我們選擇了Gmund Colors Matt，一種啞光質地的黑紙。選擇這款紙的原因，不只是因為它的黑，而是因為它的啞光質地能夠在昏暗的光線下吸收多餘的反光，讓銀色的文字成為唯一的焦點。\n\n\n印刷方式我們採用了銀墨數位印刷。與在白紙上印黑色相反，這次是在黑紙上印銀色，光從黑暗中被喚醒。我們巧妙地利用了酒吧中不同角度的光線，讓銀色在微光下若隱若現，創造出一種需要「靠近才能閱讀」的親密感。\n\n\n裝訂方式，我們選擇了銀色線材的線裝，並且刻意讓書脊外露。在昏暗的燈光下，那些穿插在黑紙間的銀線偶爾會吸引目光，增添一些意料之外的驚喜。甚至當光線不足、需要客人用雙手捧著酒單靠近燈光閱讀的情境，這正是我們在設計時期待看見的畫面。\n\n\n我們不只使用了「對的材料」，會這麼作，是出自我們理解材料、光線、空間與使用情境之間的關係。\n\n\n黑紙不是答案本身。\n\n\n理解「為什麼選擇黑紙」，才是。\n\n\n\n\n\n黑紙的未來\n\n\n在這個螢幕主導的時代，黑紙不僅不會消失，反而會變得更加珍貴。\n\n\n當所有品牌都在螢幕上競爭注意力，當所有視覺都在明亮的背景上爭奇鬥艷，那些選擇黑紙的品牌等於在宣告：我們不在那個戰場上。\n\n\n我們在另一個維度；一個關於觸感、關於記憶、關於實體經驗的維度。\n\n\n數位世界是無重量的。\n\n\n你可以無限複製、無限傳播、無限放大。\n\n\n但黑紙提醒我們：有些事物需要重量，需要質地，需要你真實地觸摸、真實地感受。\n\n\n黑紙永遠不會過時，因為它記得光的樣子。\n\n\n設計也是如此。\n\n\nMaterial Matters 系列持續更新。下一篇：《白紙的傲慢》\n\n\n\n\n-\n\n\nEnglish Ver.\n\n\nOn Material, Memory, and Brand\n\n\nA Moment\n\n\nIn a dimly lit bar, the server hands you a black menu.\n\n\nThe moment your fingers touch the surface, you feel its matte texture. Silver text emerges under faint light—you need to lean in slightly to read the words. This isn't the reading experience we're accustomed to. We're used to bright, clear, immediate comprehension. But this menu asks you to slow down, focus, even adjust your posture.\n\n\nThat texture, that light, that moment of illumination in darkness—you remember the brand.\n\n\nHands remember the paper's feel. Eyes remember how light moves across the black surface. This is bodily memory, deeper and more enduring than visual impression.\n\n\nA Brief History of Black Paper\n\n\nBlack paper is not a modern creation.\n\n\nIn Kurotani, Ayabe City, Kyoto Prefecture, washi papermaking has existed for over 800 years. According to legend, defeated Heike clan warriors, fleeing their pursuers, hid in Kurotani's secluded valley. To make a living, these warriors began crafting washi. Kurotani Washi became renowned for its toughness and durability—artisans combined mulberry fibers with cold mountain water to create paper both fine and resilient. While Kurotani Washi itself isn't entirely black, Japanese traditional crafts do include sumi-dyed paper—washi immersed in ink, allowing fibers to absorb black, used for calligraphy, painting, and covers of important documents. Black in that era symbolized solemnity and permanence.\n\n\nEuropean black paper was primarily associated with photography. In 19th-century Ambrotype (wet plate photography), photographers applied black material—paint, varnish, paper, or fabric—behind glass plates to make images emerge from darkness, like memories surfacing from oblivion. Black's role here was one of \"absent presence.\" It doesn't speak, yet makes other things visible.\n\n\nBy mid-20th century, minimalism rose. Designers began asking: If we remove all excess, what ultimately remains? Black became one answer. Not a color choice, but an attitude—about restraint, about silence, about letting light speak.\n\n\nLeaving white is a design language we know well. But leaving black is a more radical choice. White emptiness creates space to breathe; black emptiness creates depth to contemplate. White void is open, inviting; black void is enclosed, meditative. When designers choose to leave black, they're not merely creating visual contrast—they're creating psychological tension. In that darkness, what deserves illumination?\n\n\nThe Reverse Logic of Light\n\n\nThe choice of paper often determines printing logic.\n\n\nWhen the background is white, printing is an act of addition. Black ink, color ink, images—all fill blank surface with information. Designers ask: What should I place here?\n\n\nBut when the background is black, printing becomes an act of revelation. Hot foil, silver ink, white ink—these processes aren't adding but awakening light from darkness. Designers are forced to ask: What deserves illumination? What can remain in darkness?\n\n\nThis is an aesthetic of subtraction. Black paper forces choice, forces restraint. When you can only speak with light, every word, every line, every space must justify its existence.\n\n\nThis restraint, paradoxically, creates power.\n\n\nMemory of Touch\n\n\nResearch published in Psychological Science shows that exploring objects through touch generates detailed, durable memories. Researchers had participants explore 168 everyday objects blindfolded, ten seconds per object. In immediate testing, participants identified touched objects with 94% accuracy; even one week later, accuracy remained at 84%. Notably, even when participants didn't know they'd be tested, in cross-modal testing (touch then visual recognition), accuracy was still 73%.\n\n\nThis research tells us: tactile memory is not only durable but crosses sensory modalities.\n\n\nWhen you touch black paper, fingers perceive not just the concept of \"paper\" but material honesty itself. Black is a color that cannot conceal—paper fibers, ink traces, variations in processing depth all amplify on black surface. This means any design choosing black paper must have absolute confidence in its craft. Materials speak; black paper especially so.\n\n\nI've seen many brands use glossy white paper to print exquisite color images, attempting to create \"premium feel.\" But when you touch it, what you often feel is merely \"printed matter\"—a manufactured surface, smooth, perfect, but lacking texture.\n\n\nTouching truly textured black paper is different. You touch \"paper\" itself—its weight, its texture, its presence. This is physical experience, not merely visual impression. Hands remember this brand because it's not an image but an object.\n\n\nBrand Attitude: The Courage to Leave Black\n\n\nBlack paper has never been a neutral choice.\n\n\nChoosing black paper is choosing to \"leave black\"—choosing to let certain things remain unseen, choosing to make silence part of the language. This requires courage. In a world filled with information, color, stimulation, choosing black says: We don't need to fill every inch of space, we trust the power of emptiness, we trust darkness to set off light.\n\n\nObserve brands choosing black paper: Leica cameras use black paper for packaging, echoing optical precision and restrained aesthetics; fine dining, specialty coffee shops, independent bookstores—these brands share commonality: obsession with details, respect for materials, belief in \"less is more.\"\n\n\nLeaving black is an attitude. It says: We know what should be emphasized and what should be concealed. We don't fear silence because silence itself is expression. We don't fear emptiness because emptiness gives viewers space to think. We don't fear being misunderstood because we're clear about whom we serve.\n\n\nBrands using black paper are usually confident brands. They know true premium lies not in accumulation but in restraint; not in filling but in leaving black.\n\n\nThe Trap of Black Paper\n\n\nBut black paper is no universal shortcut.\n\n\nI've seen too many designers treat black paper as \"premium guarantee\"—thinking black paper with gold foil automatically creates luxurious atmosphere. Results often prove contrary. Cheap black paper fades, foil peels, entire design looks like \"wanting premium but lacking budget\" compromise.\n\n\nBlack paper is honest material. If your design isn't good enough, if your craft isn't refined enough, if your budget isn't sufficient, black paper will mercilessly expose you. It won't cover for you; instead, it amplifies all flaws.\n\n\nSo choosing black paper means simultaneously choosing right supplier, right printer, right processing methods. This isn't simply \"replacing white paper with black paper\" but transforming entire production logic. From design, material selection, printing to finishing—every step requires rethinking.\n\n\nHow to Choose Black Paper?\n\n\nMany types of black paper exist on the market, but core differences lie in: how black forms, and the paper's surface texture.\n\n\nGmund Colors Matt Black\n\n\nGmund Colors Matt series includes 48 meticulously coordinated colors, with black featuring classic matte finish. This series is Cradle to Cradle certified, with paper dyed at pulp stage ensuring color stability and depth. Texture is fine but not smooth, carrying understated quality. When you tear the paper edge, the interior remains evenly black—this is honesty from inside out.\n\n\nGmund Baohaus\n\n\nGmund Bauhaus series embodies Bauhaus design philosophy: modern, direct, reduced to essentials. This paper's appeal comes from pure materiality and high quality. While Baohaus series is primarily white, its design principle—maximum simplification through reduction—resonates with black paper's spirit. Paper surface has subtle texture, touch gentle yet solid. Choosing Baohaus is choosing an attitude about purity and restraint.\n\n\nTakeo NT Rasha Black\n\n\nNT Rasha is a classic fine paper launched by Takeo Japan in 1949, still representing Japanese premium paper today. As its name suggests (Rasha refers to thick plain-weave wool textile with napped surface), this paper is dense and warm to touch. Containing high-quality cotton pulp, it offers soft, sophisticated feel. NT Rasha's black is saturated and deep, carrying quiet strength, like ink settling on xuan paper.\n\n\nFedrigoni Sirio Black\n\n\nItalian Fedrigoni's Sirio Color Black is uncoated pulp-dyed paper with smooth surface, good formation and clarity. This paper is FSC certified, using elemental chlorine-free pulp with lightfast dyes. Sirio Black is thicker than Gmund Colors Matt, available from 80gsm to 350gsm, offering varying degrees of \"weight.\" Its black is pure and stable, surface's microporous structure lets paper breathe, touch between smooth and fine.\n\n\nWhich black paper to choose depends on the texture you wish to convey, your budget, and brand tone. But regardless of choice, remember: black paper is supporting actor, design is protagonist.\n\n\nHow We Used Black Paper\n\n\nIn 2023, we designed a menu system for a Taipei bar.\n\n\nThe client's challenge was: how to create a reading experience in a dimly lit bar space that invites customers to linger and explore? This wasn't merely a \"design a menu\" task, but about creating atmosphere through the interaction of materials and light in a specific environment.\n\n\nWe chose Gmund Colors Matt—a black paper with matte texture. We chose this paper not just for its blackness, but because its matte texture absorbs excess reflection in dim light, making silver text the sole focus.\n\n\nFor printing, we used silver ink digital printing. Opposite to printing black on white paper, this was printing silver on black—light awakened from darkness. We cleverly utilized light from various angles in the bar, letting silver emerge subtly under faint illumination, creating intimacy requiring \"leaning in to read.\"\n\n\nFor binding, we chose silver thread stitching with deliberately exposed spine. Under dim lights, those silver threads interspersed in black paper occasionally catch attention, adding unexpected delight. Even situations where insufficient lighting prompts customers to hold the menu with both hands near light—this was precisely the scene we hoped to see when designing.\n\n\nThis wasn't just about using the \"right material.\" It came from understanding the relationships between material, light, space, and usage context.\n\n\nBlack paper isn't the answer itself. Understanding \"why choose black paper\" is.\n\n\nThe Future of Black Paper\n\n\nIn this screen-dominated era, black paper won't disappear—it will become more precious.\n\n\nWhen all brands compete for attention on screens, when all visuals vie on bright backgrounds, brands choosing black paper are declaring: We're not on that battlefield. We're in another dimension—one about touch, about memory, about physical experience.\n\n\nThe digital world is weightless. You can infinitely copy, infinitely distribute, infinitely scale. But black paper reminds us: some things need weight, need texture, need you to truly touch, truly feel.\n\n\nBlack paper never goes out of style, for it remembers light.\n\n\nSo does design.\n\n\nMaterial Matters series continues. Next: \"The Arrogance of White Paper\""}
{"@context":"https://schema.org","@type":"WebPage","@id":"https://trouver.art/material-matters-01","url":"https://trouver.art/material-matters-01","name":"Material Matters #01 為什麼黑色紙張永遠不會過時？ - trouver.art","isPartOf":{"@id":"https://trouver.art/#website"},"image":{"@id":"https://trouver.art/material-matters-01#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/07/DSC07600-scaled.jpg","datePublished":"2025-12-26T18:13:49+00:00","dateModified":"2026-01-08T17:31:17+00:00","description":"黑色紙張並非現代的產物。在日本京都府綾部市的黑谷，和紙製作已有超過 800 年的歷史。日本傳統工藝中確實存在墨染紙——將和紙浸入墨汁，讓纖維吸收黑色，用於書法、繪畫，以及重要文件的封面。歐洲的黑紙則多半與攝影有關。19 世紀的攝影師使用黑色卡紙、布料或金屬作為相片的襯底。","inLanguage":"zh-TW"}
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{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/material-matters-02-white-paper#article","isPartOf":{"@id":"https://trouver.art/material-matters-02-white-paper"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Material Matters #02 白紙的傲慢","datePublished":"2025-12-30T13:35:11+00:00","dateModified":"2026-01-10T11:20:08+00:00","mainEntityOfPage":{"@id":"https://trouver.art/material-matters-02-white-paper"},"wordCount":5,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/material-matters-02-white-paper#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2024/08/S-3136.jpg","keywords":["black text on white background","Branding","Material Matters","Poem","trouver","TROUVER art","white paper","品牌","影印紙","白底黑字","白紙","白色","筆記本","習慣","詩"],"articleSection":["All","Journal"],"inLanguage":"zh-TW","description":"一個沒有被問出口的問題\n\n\n\n\n影印機的紙匣裡，永遠是白色的。\n\n\n\n辦公桌上的筆記本，是白色的。書店裡成排的空白日記，也是。\n\n\n\n當走進印刷廠，沒有人會問你：「要用什麼顏色的紙？」他們會問：「要用哪一種紙？」\n\n\n\n而這個問題所指，預設就是白色的紙。\n\n\n\n從來不需要理由。黑紙需要，牛皮紙需要，任何帶著顏色的紙都需要。但純白不用。\n\n\n\n這就是白紙的傲慢。\n\n\n\n不是最美的選擇，不是最特別的選擇，\n\n\n\n但它是那個不需要被質疑的選擇。就在那裡，像空氣一樣。你不會注意到它，直到它不見了。\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n預設的權力\n\n\n\n它如何成為預設？\n\n\n\n這不是一夜之間發生的。\n\n\n\n早期的紙張，顏色取決於原料。楮樹、竹子、稻草，這些植物纖維本身帶著淺褐色、米黃色、灰白色。純白，需要漂白。那是昂貴的技術，是奢侈品。\n\n\n\n但印刷術改變了一切。\n\n\n\n黑色墨水在純白表面上形成最高的對比度。文字清晰、易讀、不費力。這不是美學，是效率。\n\n\n\n到了工業革命，漂白技術成熟，成本下降。不再是奢侈品，而是標準品。辦公室、學校、政府機關，所有需要大量文件的地方，都選擇了它。\n\n\n\n不是因為最好。是因為最便宜、最穩定、最容易取得。\n\n\n\n但當一個選擇成為標準，就不再只是技術問題。成為文化。\n\n\n\n它成為「正常」，其他顏色成為「特殊」。成為「中性」，其他顏色成為「有態度」。成為「專業」，其他顏色成為「實驗」。\n\n\n\n這種預設，賦予了它一種隱形的權力。\n\n\n\n不需要證明自己。因為就是那個標準。\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n白紙的優勢\n\n\n\n必須承認，它確實有理由。\n\n\n\n色彩最接近設計師的想像。CMYK 四色印刷，是建立在白色底面的假設上。當你在螢幕上看到的紅色，印在純白表面，才會是你預期的紅色。印在黑紙上，那個紅色幾乎不存在。印在牛皮紙上，會偏橘、偏暖。\n\n\n\n它是中性的背景。不干擾，不疊加，不改變。讓墨色如實呈現。\n\n\n\n閱讀也是。\n\n\n\n人類的眼睛，習慣白底黑字。數千年的書寫歷史，從羊皮紙到紙張，都是淺色底面配深色文字。這不只是習慣，還有生理基礎。\n\n\n\n純白反射光線，減少眼睛的疲勞。長時間閱讀，比深色紙張更舒適。\n\n\n\n供應鏈也是。\n\n\n\n生產規模龐大，供應穩定，價格透明。無論你在台北、東京還是倫敦，都能輕易取得品質一致的白紙。\n\n\n\n特殊紙張需要訂製，交期長，成本高。而且每一批的顏色可能都有細微差異。\n\n\n\n所以這個預設地位，不全然是傲慢。有它的理性。\n\n\n\n但理性，不等於唯一。\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n白紙的透明性\n\n\n\n它是透明的。\n\n\n\n這聽起來矛盾。白色怎麼會透明？\n\n\n\n但在設計的語境裡，確實如此。\n\n\n\n當你拿起一份印刷品，你看到的是文字、是圖像、是訊息。你不會「看到」紙張本身。\n\n\n\n它退到背景。是容器，不是內容。讓別的東西說話，自己保持沉默。\n\n\n\n這在大多數情況下是優點。但有時候，也是限制。\n\n\n\n因為有些訊息，需要材料本身成為語言的一部分。\n\n\n\n當你想傳達「溫暖」，純白可能太冷。當你想傳達「手工感」，可能太工業。當你想傳達「神秘」，可能太明亮。\n\n\n\n適合說明，但不一定適合暗示。適合展示，但不一定適合隱藏。效率是它的強項，氛圍不是。\n\n\n\n這是理性的選擇。但設計不只是理性。\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n當所有人都用白紙\n\n\n\n當所有人都選擇它時，對比來自內容本身。\n\n\n\n你必須用更大的字體、更鮮豔的色彩、更複雜的排版，來吸引注意力。這往往導致視覺上的擁擠。\n\n\n\n但當你選擇一張深色的紙，對比已經存在。一行簡單的白色文字，在黑紙上就足夠有力。\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n它是安全的但安全，有時是平庸的另一個名字。\n\n\n\n選擇白紙，不會出錯。但不出錯，不等於出色。\n\n\n\n這種材料讓我們以為，設計只關乎表面的視覺。而忘記了材料本身，也在說話。\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n何時打破白紙？\n\n\n\n那麼什麼時候應該選擇它，什麼時候應該打破？\n\n\n\n沒有標準答案。\n\n\n\n但可以這樣想：\n\n\n\n當內容是主角時，選擇白紙。如果你的重點在於圖像、文字、色彩的精準呈現，它是最好的選擇。雜誌、攝影集、型錄，這些以內容為核心的印刷品，往往最合理。\n\n\n\n當材料是語言的一部分時，打破。如果你的品牌本身就在訴說「克制」「深度」「不同」，那麼材料的選擇不只是技術問題，而是表達的一部分。\n\n\n\n當你想創造記憶時，打破。純白是熟悉的，所以容易被忽略。特殊的紙張是陌生的，所以容易被記住。\n\n\n\n手會記得那張紙的質地。眼睛會記得那個顏色的深度。\n\n\n\n這是它無法給予的。\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n白紙的未來\n\n\n\n它不會消失。\n\n\n\n技術優勢、經濟效益、文化地位，都確保會繼續作為主流選擇。\n\n\n\n但我們可以開始質疑它的「理所當然」。\n\n\n\n每次選擇時，問自己：我選擇白紙，是因為它真的是最好的選擇？還是因為我沒有想過其他可能？\n\n\n\n傲慢，來自我們的不質疑。\n\n\n\n當我們開始質疑，就不再傲慢。只是眾多選擇中的一種。\n\n\n\n這時候，才真正變得謙遜。\n\n\n\n不再是預設值。而是一個經過思考的決定。\n\n\n\nMaterial Matters 系列持續更新。下一篇：《紋理的語言》"}
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{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/gmund-colors-matt#article","isPartOf":{"@id":"https://trouver.art/gmund-colors-matt"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Gmund Colors Matt – 顏色的文法","datePublished":"2026-01-01T19:11:56+00:00","dateModified":"2026-03-03T07:17:33+00:00","mainEntityOfPage":{"@id":"https://trouver.art/gmund-colors-matt"},"wordCount":28,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/gmund-colors-matt#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2026/01/gcm-03-300x300.jpg","keywords":["Colors","gmund","Gmund Colors","Matt","Matt 10 Ebony","Matt 49 Wedding White","Matt 50 Fluorescent White","Matt 87 Licorice Black","trouver","TROUVER art","德國造紙廠"],"articleSection":["All","Europe","Journal"],"inLanguage":"zh-TW","description":"1928 年，德國造紙廠 Gmund 開始生產有色紙張。將近一個世紀後的今天，Colors 系列展開成一個兩頁的網格。\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n48 個顏色，不多，也不少。這個數字背後，藏著關於選擇的哲學。\n\n\n\n48 個正方形，展開成兩頁。左頁屬於無彩色。從 Matt 50 的亮白開始，經過灰、米、棕灰，一路向下，抵達 Matt 10 的純黑 Ebony。\n\n\n\n右頁屬於有彩色。從淺色的粉藍、粉紅、黃綠開始，穿過飽和的藍、紅、橙、綠，沉入最深的黑綠與黑棕。\n\n\n\n橫向是色相的展開。縱向是明度的遞減。\n\n\n\n網格像一個座標系統。48 個顏色，從最淡到最深，從克制到鮮明。\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n兩個黑。10 號 Ebony，經典黑。87 號 Licorice Black，稍淺的黑。黑色也不是黑色。是深度的不同層次。兩個黑之間的距離，足以撐開整個視覺系統的縱深。\n\n\n\n\n\n\n\n兩個白。49 號 Wedding White。50 號 Fluorescent White，最明亮的白。白色記得紙的起點，也暗示著極限。\n\n\n\n\n\n\n\n\n\n\n\n將顏色以網格區分的意義在於限制。當 Gmund 在開發概念說「任意兩色都能協調」，這句話改變了對於配色的想像。\n\n\n\n問題不再是「世界上有無限種顏色，我該選哪一個」？變成了「這 48 個顏色之間，如何組合才能寫出適合的篇章」？\n\n\n\n\n\n\n\n想像一個棋盤。64 個格子，32 顆棋子。規則的限制不會削弱遊戲，從克制而生，創造了更多可能性。Gmund Colors 的 48 個顏色也是。\n\n\n\n限制創造語言，也建立了對於顏色的基準共識。\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nMatt 表面吸收光。啞光的意思，是拒絕反射。顏色不過度渲染，不爭奪目光。\n\n\n\n讓顏色回到本質，尋找合適的位置。觀看的是色彩本身，不是光澤。我們透過眼睛觀看的是色彩本身，並非光澤。\n\n\n\n表面紋理留下製造的痕跡。紙張記得壓榨，記得纖維被壓平的過程，也記憶著歐洲造紙廠的濕度。\n\n\n\n指尖會提示觀者：這些顏色存在於物質世界。\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n配色時常遇到的困難，或許來自選擇太多。螢幕上可以顯示 1670 萬種顏色。印刷可以混合出無數階調。\n\n\n\n面對無限，關於色彩的決策就能陷入困境。Gmund 以 48 個顏色回答了這個問題。用48 個顏色建立了秩序。\n\n\n\n兩頁之間，是色彩從克制到鮮明的過渡。上下之間，是明度從淺到深的漸層。組合不是隨機，是有文法的對話。\n\n\n\n無彩色的 Matt 50 配有彩色的粉藍，是輕盈。左頁的灰配右頁的紅，是張力。10 號 Ebony 配 50 號 Fluorescent White，是對比的極致。\n\n\n\n每個組合都能在座標中找到自己的位置。\n\n\n\n\n\n\n\n\n\n\n\n關於產品的壽命Gmund 承諾至少供應到 2030 年\n\n\n\n今天為品牌選的顏色，五年後依然能買到。為客戶建立的識別系統，不會因為紙張停產而瓦解。\n\n\n\n商業承諾背後，是對設計者的尊重。顏色系統的價值，最終在於信任。\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n將網格譬喻為詩的格律。五言絕句有 20 個字的限制，但唐詩三百首沒有一首相同。十四行詩有嚴格的韻腳規則，但莎士比亞寫了 154 首，每首都是獨特的。\n\n\n\nGmund Colors 的 48 個顏色，像 48 個音符。\n\n\n\n限制夠清楚，組合才有意義。框架夠穩固，創作才能自由。\n\n\n\n在這個經過深思的座標系統裡，每一次配色都是有文法的句子，落成優美的行句，寫做設計的筆。"}
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{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/carta-e-pianeta%ef%bd%9cpaper-and-planet#article","isPartOf":{"@id":"https://trouver.art/carta-e-pianeta%ef%bd%9cpaper-and-planet"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Carta e pianeta｜Paper and Planet – Fedrigoni","datePublished":"2026-01-10T13:52:22+00:00","dateModified":"2026-03-02T06:55:10+00:00","mainEntityOfPage":{"@id":"https://trouver.art/carta-e-pianeta%ef%bd%9cpaper-and-planet"},"wordCount":22,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/carta-e-pianeta%ef%bd%9cpaper-and-planet#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2026/01/pulp_supermundane@300x-100-300x300.jpg","keywords":["Carta e pianeta","Chiara Medioli","Fedrigoni","Rob Lowe","Supermundane","trouver","TROUVER art","永續性","環保議題","環境與責任","紙張生命週期","造紙產業"],"articleSection":["All","Europe","Journal"],"inLanguage":"zh-TW","description":"FEDRIGONI pulp 「廚師不只關心食材與烹調方式，也會顧及賓客是否能夠消化所端上的食物。」 - Chiara Medioli\n\n\n\n文章中所擷取的插畫作品，為藝術家Rob Lowe（Supermundane）以Fedrigoni受訪與合作的身份，為其提供插畫與封面等視覺創作。以幾何圖形、平塊色彩及規律和錯位的圖案為主要元素，展現樹木在製作時的轉變過程，透過平面與視覺錯視效果，營造強烈的節奏感。這樣的視覺語言，不僅描繪材料從自然走向工業的過程，也將紙張生命週期的概念轉譯為可閱讀的圖像系統，回應了本篇對「環境與責任」的核心。\n\n\n\nFedrigoni的副總裁Chiara Medioli在接受訪談的過程中，表示「在疫情危機後，對永續性的觀念變得更加強烈」，探討在選擇與使用紙張時，環境議題所帶來的挑戰。許多時候，未回收的原生紙張是書籍或藝術型錄的最佳選擇，因其有著易長期保存的特性；反觀其他情況，對於使用後立刻丟棄的包裝而言，再生紙反而是更合理的選項。往往我們在設計思維中，都會產生出只要選用最好的原料就足夠的想法，但如果部分結果變得無法回收再利用，那就會在流程的下游，成為他人的真正問題。藉由理解紙張的組成，才能理解原料在整體生態系統中的角色。\n\n\n\nFedrigoni在製造紙張時，亦花費了不少心思，針對環保議題分別在可被重複使用、淨化並回收的『水』、在塗佈紙中較為常見，成分多半是碳酸鈣或研磨後的石頭所形成的高嶺土『礦物質』，以及樹木的『植物纖維』等三大要素下功夫。這三者的比例與處理方式，間接影響了紙張的結構強度、壽命與環境足跡，也是造紙工藝中最關鍵的技術平衡。\n\n\n\n而Fedrigoni 的技術實驗室進行了大量摺疊與壓痕測試，證實使用來自良好管理森林的新纖維製成的紙張，在反覆摺疊上的耐受性明顯更高。而回收纖維需透過脫墨、再次浸泡與再製，經混合新舊纖維才得以延續使用，也就是我們俗稱的再生紙，顏色則呈現灰色或棕色為主；至於爲什麼不再漂白，原因在於若以強烈漂白方式使紙張變白，將導致性能下降與更高的環境衝擊，原因包括更多運輸流程、更高的用水量，以及因去除油墨所使用的化學物質而造成的污染。\n\n\n\n應用層面而論，回收纖維比例越高，紙張性能就越低。而回收比例高的再生紙適合用於運輸箱或鞋盒紙板，其市場規模甚至遠大於特殊紙張市場。 儘管造紙產業本身對於永續性這項議題已經有了新的認知和改變，對於環保的議題仍不應盲目，因果關係的循環都在我們的思考過程中，產生著變化。使用回收原料，或許是最簡單的永續行為，但這可能在品質、可用性、性能與美學層面衍伸新的問題，不妨深入些探討著整件事情的脈絡，相信不論對環境乃至於對人，都將會有新的可能性。"}
{"@context":"https://schema.org","@type":"WebPage","@id":"https://trouver.art/carta-e-pianeta%ef%bd%9cpaper-and-planet","url":"https://trouver.art/carta-e-pianeta%ef%bd%9cpaper-and-planet","name":"Carta e pianeta｜Paper and Planet - Fedrigoni - trouver.art","isPartOf":{"@id":"https://trouver.art/#website"},"image":{"@id":"https://trouver.art/carta-e-pianeta%ef%bd%9cpaper-and-planet#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2026/01/pulp_supermundane@300x-100-300x300.jpg","datePublished":"2026-01-10T13:52:22+00:00","dateModified":"2026-03-02T06:55:10+00:00","description":"幾何圖形、平塊色彩及規律和錯位的圖案為主要元素，展現樹木在製作時的轉變過程，透過平面與視覺錯視效果，營造強烈的節奏感。將紙張生命週期的概念轉譯為可閱讀的圖像系統，回應了本篇對「環境與責任」的核心。","inLanguage":"zh-TW"}
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{"@context":"https://schema.org","@type":"Article","@id":"https://trouver.art/imaginative-colors-2#article","isPartOf":{"@id":"https://trouver.art/imaginative-colors-2"},"author":{"name":"Fran","@id":"https://trouver.art/#/schema/person/79c55f0c59ce4155aaa1568a82c334eb"},"headline":"Imaginative Colors","datePublished":"2019-02-19T19:40:00+00:00","dateModified":"2026-03-05T20:14:18+00:00","mainEntityOfPage":{"@id":"https://trouver.art/imaginative-colors-2"},"wordCount":343,"commentCount":0,"publisher":{"@id":"https://trouver.art/#organization"},"image":{"@id":"https://trouver.art/imaginative-colors-2#primaryimage"},"thumbnailUrl":"https://trouver.art/wp-content/uploads/2026/03/N-3866-1024x684.jpg","keywords":["COOL","Fedrigoni","NATRUAL","NEUTRAL","paper","paper surfaces","trouver","TROUVER art","WARM","印刷範例","紙","紙張樣本","義大利造紙廠"],"articleSection":["All","Europe"],"inLanguage":"zh-TW","description":"挑紙順便找靈感的好方法「色調選紙」\n\n\n\n\n我們平常在挑紙的時候，比較正規的方式通常都是以某個耳聞過或是已知的紙款來翻閱紙樣，再來依照厚度、質感、顏色等等訊息來選擇。\n\n\n\n除此之外，世界上的紙張種類何其多，在尋找未知的新紙時，大多只能靠著盲翻的方式來進行探索，有沒有更有趣的方式呢？\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n義大利造紙廠Fedrigoni在近年推出了非常創新的紙樣本「Imaginative Colors」，令「選紙」不再只是面對排排站整齊的紙條，能夠從過程中獲得創作靈感，進而幫助設計師與業主們挑選最適合的紙張。\n\n\n\nImaginative Colors顧名思義，是將Fedrigoni造紙廠內的紙，以我們熟悉的：暖色(WARM)、冷色(COOL)、自然(NATRUAL)以及中性(NEUTRAL)，不論厚度與壓紋，單純以色系分為四類。\n\n\n\n將紙樣攤開後，指尖滑出的就是美麗的顏色漸層，以及各種壓紋所感受的觸覺，很直觀從欣賞開始帶入愉悅的心情，來進行選擇紙張這件重要的事情。\n\n\n\n順著色調的排序以及分類，未來對於眾多紙張的選擇困難症，似乎也減輕了不少，更多了一份期待下次再來挑紙的好心情。\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n在科技發達的年代，這是少有在紙本所給我們的啟發，也喚回了當初摸到各種不認識的新紙，那份好奇並想要探索的初心。\n\n\n\n如果你也有紙張選擇困難症，歡迎留言告訴我們如何選紙你會更開心～如果喜歡今天的內容歡迎分享給你的朋友\n\n\n\n-\n\n\n\n\"Tone-Based Paper Selection\" — A Great Way to Pick Paper and Find Inspiration\n\n\n\nWhen we usually pick paper, the more conventional approach is to browse through paper samples starting from a brand or type we've already heard of, then narrow down our choice based on weight, texture, color, and other information.\n\n\n\nBeyond that, there are countless types of paper in the world, and when searching for unknown new papers, most people can only explore by flipping through blindly. Is there a more interesting way to do this?\n\n\n\nIn recent years, Italian paper manufacturer Fedrigoni released a highly innovative paper sample book called Imaginative Colors, making paper selection no longer just a matter of facing neatly lined-up paper strips. The process itself can spark creative inspiration, helping designers and clients choose the paper that suits them best.\n\n\n\nAs the name suggests, Imaginative Colors organizes Fedrigoni's papers into four familiar categories — Warm, Cool, Natural, and Neutral — sorted purely by color tone, regardless of weight or texture.\n\n\n\nWhen you spread out the samples, your fingertips glide across beautiful color gradients and feel the varied textures of different embossings. It's an intuitive, visually pleasing experience that naturally puts you in a good mood for the important task of choosing paper.\n\n\n\nFollowing the sequence and categories of color tones, the overwhelming difficulty of choosing from so many papers seems much more manageable — and it even leaves you looking forward to the next time you come back to browse.\n\n\n\nIn this age of advanced technology, it is rare to find such inspiration from something physical and paper-based. It also recalls that original sense of curiosity and desire to explore when you first touched an unfamiliar new paper.\n\n\n\nIf you also struggle with paper indecision, feel free to leave a comment and tell us what would make paper selection more enjoyable for you! If you liked today's content, share it with your friends.\n\n\n\n- \n\n\n\n「色調で選ぶ紙選び」— 紙を選びながらインスピレーションを得る方法\n\n\n\n普段、紙を選ぶ際の一般的なアプローチといえば、聞いたことのある、あるいは既知の紙の種類からサンプルをめくり、厚さ・質感・色などの情報をもとに選んでいくことがほとんどです。\n\n\n\nしかし、世界には無数の種類の紙が存在し、未知の新しい紙を探すときはほとんどの場合、手当たり次第にめくっていくしかありません。もっと楽しい方法はないのでしょうか？\n\n\n\nイタリアの製紙メーカー・Fedrigoniは近年、非常に革新的な紙のサンプルブック「Imaginative Colors」を発表しました。これにより、「紙選び」はもはや整然と並んだ紙の帯を眺めるだけの作業ではなくなり、そのプロセス自体からクリエイティブなインスピレーションを得ることができ、デザイナーやクライアントが最適な紙を選ぶ手助けをしてくれます。\n\n\n\nその名の通り、Imaginative ColorsはFedrigoniの紙を、誰もが馴染みのある暖色（WARM）・寒色（COOL）・ナチュラル（NATURAL）・**ニュートラル（NEUTRAL）**という4つのカテゴリーに、厚さやエンボス加工に関わらず、純粋に色調のみで分類しています。\n\n\n\nサンプルを広げると、指先には美しい色のグラデーションと、さまざまなエンボスの触感が広がります。視覚的に楽しみながら直感的に、そして心地よい気分で、大切な紙選びに臨むことができます。\n\n\n\n色調の順序と分類に沿って選んでいくことで、膨大な紙の中から選ぶ「選択困難」がずいぶんと和らぎ、次回また紙を選びに来るのが楽しみになります。\n\n\n\nテクノロジーが発達した時代において、紙というアナログなものがこれほどのインスピレーションを与えてくれることは稀有なことです。そしてそれは、初めて見知らぬ新しい紙に触れたときの好奇心や、探求したいという初心を呼び覚ましてくれます。\n\n\n\nあなたも紙選びに迷うことがあれば、ぜひコメントでどんな選び方が嬉しいか教えてください！今日の内容が気に入ったら、ぜひお友達にもシェアしてみてください。"}
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