本体創造:新生代書籍設計展

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本次展覽活動為探索當代華文書籍裝幀設計,不單以封面設計為主要參考更是把整本書體為評鑑依據,選輯來自世界各地新生代華人書籍設計師及其代表作品作為展示,其中包括文學、傳記、藝術設計、攝影畫冊、獨立出版物等不同領域之書籍,希望通過設計師們精心策劃設計的形式結構,裝訂方式,使用材質,以及內頁圖文排版等窺出當代書籍創作之新意,展露新生代做書人(Book Artist)的靈感。

「本体創造」書籍設計展
YOUNG GUNS OF CHINESE BOOK DESIGN COLLECTIVE

華文書籍設計

新生代發現展

展期_ 2016年8月17日 – 8月23日,10:30 – 22:00

地點_ 衡山・和集 My Black Attitude 3F | 上海市徐匯區衡山路880號

策劃_ 文化力研究所 Business of Culture

呈現_ 衡山・和集 The Mix Place

參展藝術家_

陳曦成、CK Cheang、非白工作室、付禹霖、顧磊、廖韡、連傑&部凡、彭星凱、彭振威、邵年、孫曉曦、迷盒、沈方敏、湯承勳、Unitag、霧室、硃砂、左佐

(按姓氏拼音首字母排列)

An Extract from Jul/Aug issue of Perspective

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Chan Hei Shing
Founder
Hei Shing Book Design | Hong Kong
http://www.heishing.wordpress.com

Chan Hei Shing’s enthusiasm for art and design can be seen in his works, which focus on multicultural diversity — an appreciation which developed during his time studying in both Hong Kong and the United Kingdom.

He graduated from the Hong Kong Polytechnic University and went on to further his studies in London, where he earned a Master’s degree from the Camberwell College of Arts, University of the Arts London, in 2008. Chan has won several international and local design awards, including the YIC Young Design Talent Award (HKDC), Guardian Student Media Award, Young Writers’ Debut Competition, HKDA Global Design Awards and the Swatch Young Illustrators Award. He has also exhibited his works in London, Berlin, Brussels and Hong Kong. Currently working as an independent book designer, Chan is also a visiting lecturer at School of Design, the Hong Kong Polytechnic University teaching courses in book design.

要自己勇敢再勇敢

每年的五月之約,Mayday總能給我一點能量!

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勇敢(國語版)

作詞:林夕
作曲:怪獸

可能庸碌一生 長短都一樣
也許熬到明天 厭倦了希望

眼看一直忍讓 變成擅長
不斷遺憾 不斷遺忘
冷血 熱汗 晾不乾
天的光 太暗

如果這個時代 不歡迎理想
莫非想活下去 只好撒點謊

撫心自問 頑抗還是投降
不管倔強 還是堅強
既然隨遇更不安
無論螻蟻螳螂 我都不做命運的囚犯

也不問贏得慘淡 輸得燦爛 向世界挑戰
有時候招惹麻煩 也會慌亂 也想過躲藏

也不管這條路上 少人來往
聽從內心的呼喚
膽量也會成長
要自己勇敢再勇敢

如果徬徨人間 只能走一趟
寧願我的名字 叫作不自量

哭的理直氣壯 笑的心酸
心中坦蕩 不怕跌宕
一字一淚也不枉
一步一生一世 一定不做命運的囚犯

也不問贏得慘淡 輸得燦爛 向世界挑戰
有時候招惹麻煩 也會慌亂 也想過躲藏

也不管這條路上 少人來往
聽從內心的呼喚
膽量也會成長
要自己勇敢再勇敢

風無情 浪無常 不輸給風浪
人在做 天在看 不在乎目光
這種孤獨 不會孤單 有你來作伴

也不問贏得慘淡 輸得燦爛 向世界挑戰
有時候招惹麻煩 也會慌亂 也想過躲藏

也不管這條路上 少人來往
聽從內心的呼喚
膽量也會成長
我們要勇敢再勇敢

40 UNDER 40 AWARDS 2016

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“Ask not what design can do for you, ask what you can do for design.”

I am very pleased to receive this special award by Perspective Global as one of the 40 creative talents under 40 years old.

Perspective, Asia’s leading architecture and design magazine, proudly presented the tenth edition of its annual 40 Under 40 Awards.

Every year, Perspective selects 40 creative stars under the age of 40 from the fields of art, architecture, interior design, graphic design and new media, product design, and fashion and accessories, whom we believe will shape the design world in the decades to come. The final 40 were chosen based on professional achievements, contributions to the industry, and potential for future development and growth. Consideration was also given to any awards won, participation in industry events at a speaker, panellist, or judge level (where applicable) and contributions to society.

【《青雲路》訪問】書籍設計的位置

撰文_ 曾志恒
攝影_ 劉宇軒(部分圖片由被訪者提供)

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當你踏入書店,看到一本書時,吸引你拿起它會是書名?包裝?作者?又是甚麼促使你將它買回家呢?俗語說人靠衣裝,其實書亦需要靠包裝,作為書藉包裝,作為書藉設計師的陳曦成,認為好的書藉設計能加添讀者閱讀的樂趣,也是增加書藉銷量的好方法。曦成表示香港的書藉設計能加添閱讀的樂趣,也是增加書藉銷量的好方法。曦成表示香港的書藉設計很有發展的潛力,在出版業應佔有一個重要的位置。

不少人會認為書籍設計師的工作是設計封面,但這只是一部分,曦成說:「一本書其實有六面,設計師要思考點利用呢啲空間去傳意,設計上包含字體、字形大細、行距、紙質、選色及排版等各個方面;另外,仲要講求實際,好似文字嘅排列對於閱讀過程嘅影響好大,要考慮本書嘅讀者群主要係咩人,如果係年紀大嘅讀者,字型就唔可以太細。」

曦成是一名書藉設計師,也是香港理工大學設計學院書籍設計課程的客席講師。這三年來,他曾與三聯書店(香港)、天窗出版社、香港理工大學賽馬會創新設計院、香港設計大使、文化葫蘆、信和藝術等不同機構合作,設計書籍,「構思設計前我會先閱讀文本,然後同編輯及作者溝通,一開始會有個製作預算,我要喺預算內盡量發揮,另外定價都會係一個考慮因素,好似一本全彩色厚二百頁嘅書,售價至少要$120或以上。」

讀大學奠下基礎

在香港理工大學修讀視覺傳達設計系期間,奠定曦成對書籍設計的熱愛,「讀書時對攝影、動畫、廣告、排版、字體設計等都有涉獵,發覺自己對中英文嘅Typography及書籍設計最有興趣。加上帶我嘅教授 Esther Liu係擅長書籍設計,我嘅Final Year Project做咗有關中文字體及書嘅設計,亦令我想成為書籍設計師。」

2006年大學畢業後,曦成獲得同年的 YIC青年設計才俊大獎及獎學金,去了英國的倫敦藝術大學坎伯韋藝術學院修讀書籍藝術,「書藉藝術係利用書本製作出藝術品,同書藉設計唔同,但有助我對書嘅美感展現有更多了解。」

2007年,修畢書籍藝術的曦成,留在倫敦做平面設計的工作,期間他寫了《英倫書藝之旅》,成為香港三聯與新鴻基舉辦「第二屆年輕作家創作比賽」的得獎作家,得到出版機會,「文本同書藉設計都由自己操刀,算係一次難得嘅實踐機會。」

自由身發揮大

2011年,曦成回港後,找到全職書籍設計師的工作,工作了 3年半,他想與更多不同的機構及作者合作,於是變成了自由工作者,「之前打工,同上司可能會各有睇法,有時要作出退讓,或者重新做過令雙方都滿意嘅作品。做咗幾年,想自己接工作,自由度會較大,搵我嘅機構都係鍾意我嘅作品,所以合作都幾順利,有更大嘅發揮空間。」

修讀書籍藝術,讓曦成更善於利用書本的各個空間,「好似設計《老舍之死:口述實錄》時,我將老舍嘅愛好抽煙及寫作印喺書口,書首採用模仿老舍投湖前,喺湖邊凝望湖水到逐漸閉起雙眼嘅相,再回到文本,就有啲倒敘嘅感覺。另外喺《京劇六講》上,喺書角加咗京劇動作嘅連環圖,加深人對京劇嘅認識。」《老舍之死:口述實錄》讓曦成獲得「香港設計師協會環球設計大獎 2013」( HKDAGDA)書籍設計類優異獎。

好的設計增加銷量

曦成認為好的書藉設計可以令一本書變得吸引,從而增加書本的銷量,「曾經設計過一本《吃掉社會:走出廚房看世界》,本書講述食物與社會學嘅關係,出版社最初評估呢本書較專業性,銷量未必太好,而我將本書遊戲化,好似將食物設計成可愛Icon,成本書以黃黑色作主調,好似芒果雪糕,甜甜地吸引讀者,最後出嚟第一版係賣晒要再版,可以話好過預期。」

2015年,曦成獲邀到香港理工大學設計學院擔任客席講師,教授書籍設計課程,「設計系嘅教授搵我開班教書藉設計做選修科,我覺得係一個唔錯嘅機會,其實返嚟香港後,我一直有搞手縫記事本工作坊,同出席講座,目的係想令更多人明白咩係書藉設計,香港係有發展書藉設計嘅潛力,只係大家未了解,我希望可以藉教育,令大眾及出版社都明白書藉設計有一定嘅位置。」

編輯阿丁(格子盒工作室出版社):

「之前有留意曦成嘅作品,覺得佢設計幾靚,我搵咗佢合作設計《書店日常》,好欣賞佢將啲相變晒湖水綠色,本身啲相唔係專業攝影師影,色水唔係太靚,但經曦成一變,不但掩蓋當中嘅問題,仲增加咗小清新嘅氣息。」

【後記】外表美麗

曦成表示自己是一個愛買書的人,「去旅行時見設計靚嘅書就會買返香港,雖然搬運行李時會重好多,但有時真係忍唔住買。」其實記者也是一個愛買書的人,見封面靚就買回去,但觀察所得,外觀設計得好的小說,內容未必好看,作者應多謝用心設計書本的人,起碼吸引到記者買多一本書。

給速食時代的忠告

近來,我正埋首書寫我的第二本書《台北書藝之旅》,一邊聽錄音、一邊寫作,然後反覆回去做資料搜集,再不斷推翻之前的脈絡與詞彙,反覆的思考與修改。而每個訪問的錄音也三、四個小時,不斷重複的去聽,認真的聽受訪者的每一句話,把表面的話與內裡想表達的意思聽得透徹,再在文章的剪接上運用出來。這其實真的很花時間,但又不能假手於人,一定要自己來做。有時一天聽得太多真的聽到頭暈,時時刻刻的想著他們的話,他們的聲音。

而我並非專業作家,所以也要醞釀寫作心情,凝聚思緒,才能順暢地把想要講的話寫下來。對我來說,並不簡單。我有時會覺得自己寫得太慢,但不這樣慢慢的精雕細琢,又不能夠寫得出有意義的文章來。

在這個速食的年代,我曾聽林日曦說:「現在網民說,凡是過了24小時的水不能抽。」現在的資訊是多麼的快捷便利,受眾是多麼的敏感尖銳。我想,當我完全不懂寫每秒更新的抽水圖文的時候,我只能花更長的時間與工夫,默默耕耘,寫好每一篇能讓讀者深度閱讀的故事,再以「書籍」這個比較緩慢的載體去呈現。

由於這陣子在做大量的資料搜集,無意中給我發現日本知名時尚雜誌編輯菅付雅信的想法跟我的很接近,讓我在這裡分享一下。

對於現今這個以速度定勝負的社會,菅付先生有這樣的忠告:「編輯雜誌要有相當的速度感。可是就速度感來說,雜誌又不敵報紙、電視廣播等電子媒體,當然也比不過網路。因此我認為現在應該編輯不以速度感為競爭條件的東西,就是專心致力於做書。」

我非常認同,給所有專心一意造書的人共勉。

【HKDI訪問】 愛書造書 承傳文化

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文字無價,說來動聽。在講求包裝的年代,利用書籍設計將文本商業化。吸引讀者購買,是否貶低了文字的價值呢? 本地書籍設計師陳曦成坦言,書本是商品,當書本被買回去閱讀,其價值才得以發揮,但書本不只是商品, 更是「文化的傳承,知識的載體。」

在大學時期,就讀視覺傳達設計的曦成,已經視當時的天窗出版社美術總監孫浚良為偶像,幾經努力後獲得以自由身的身份,為該出版社設計書籍,可惜其時孫浚良已離開天窗,但幸得總編輯為曦成穿針引線,促成他與偶像合作。總編輯將由孫浚良擔任設計總監、湯禎兆著的《整形日本》交由他設計。曦成指是次經驗令他獲益良多,「我覺得好amazing(了不起)!孫浚良的設計完全打破印刷業的routine(常規),讓我發現其實書可以有無限可能性。」

設計藝術 也可互相融和

工作不久後,曦成決心要成為一名專攻書籍設計的設計師,外人覺得他局限了自己,但他卻認為,書籍設計還有無窮無盡的探索價值。

零七年,曦成到英國進修書籍藝術碩士課程,學習用不同結構、方式和材料立體呈現「書」。「『造書』與雕塑、繪畫等藝術形式沒太大分別,都是藝術家對世界感知轉化而成的藝術品,只是載體不一樣。」 曦成從此多了一個書籍藝術家的身份,深入研究和發掘更多書的可能性。

對於被問及藝術家與書籍設計師之別,曦成認為前者的創作空間相對較大,由構思到完成過程,均一手包辦,後者則較為被動,需要配合作者、編輯及出版商的要求。

曦成曾在著作《英倫書藝之旅》提問:「設計與藝術之間的界線,真的要畫得這麼清楚嗎?」在接觸和發掘愈多後,他發現兩者雖有不同,卻可互相融和,以大眾藝術作為書的表現媒界,透過美學,將文本的主題更立體地延伸。

精心設計 提升文本價值

曦成認為「做靚本書」是設計師的基本責任,「但更重要的是,要透過書籍設計為文本add value(提升價值)。」 曦成習慣先消化整本書的文字,然後萃取最重要的部份,再構思最合適的方式表達,而非單單為書籍「包裝扮靚」。

榮獲HKDA「環球設計大獎2013」優異獎的《老舍之死:口述實錄》是曦成設計過最滿意的商業作品。此書透過訪問老舍身邊的人,口述老舍於太平湖自盡一事,從而探索其心路歷程。作品以黑白灰作主調,並透過視覺歷程帶領讀者進入老舍一生的傷感情懷,「書的首頁是太平湖的黑白照,湖的景象在接下來的三個對版逐頁收窄,將老舍由眼望太平湖到逐漸閉眼,至跳進湖中的過程影像,呈現在讀者眼前;續以相片鋪陳出他臨終前大量flashback(回閃影像),包括出生、結婚、生兒育女、與藝文好友相聚等;繼而一片嫣紅,代表死亡, 然後才進入十五萬字的訪談。」

以身作則 推動書籍設計

曦成在籌備《台北書藝之旅》的過程中,專訪了多位台灣的書籍設計和書藝達人。他坦言,香港書籍設計的美感質素比台灣的落後,加上書籍設計在本港相對「較難搵食」,未必吸引到精英入行,形成一個惡性循環,因此激發起曦成的使命感,盼望一點一滴改變現況。「首先當然要做好自己,提升自己的設計質素,最重要是鍾意,鍾意就自然做得好,做得好就自然『搵到食』啦!」

另外,曦成也花一半時間做教育推廣的工作,透過教學與講座,讓更多人了解書籍設計和書籍藝術。曦成在香港各大院校教授書籍設計課程和書籍裝訂工作坊,學生作品時常為他帶來驚喜,「當中不乏一些奇形怪狀的設計,不斷刺激大家的思維。」他享受教學的過程,「因為這不單是技巧與知識傳授,更是與學生共同探索書的價值的好機會。」

在網絡發達、資訊爆炸的年代,電子書發展熾熱,然而實體書仍能屹立不倒,因為書本並非單一的平面,而是實在、立體、有深度的載體,可以釋放無限想像、無限可能性。

Book Design Intelligence in Cultural Inheritance

Words are priceless. How true is this from the reality? We live in an era that outer-beauty always comes first. There is no exception when it comes to books. Using book design to attract consumers is said to be a commercialisation of books. Does this degrade the value of words? Local book designer Chan Hei-shing believes the value of words can only be recognised when a book, as a commodity for sale, was read. However, he uttered, “a book is not only a commodity but cultural inheritance and a medium for knowledge.”

Hei-shing, majored in Visual Communication Design at university, has always been regarding Les Suen as his idol. Knowing his idol was the Art Director of Enrich Culture, Hei-shing was dying for a job at the same company and succeeded at last as a freelance book designer for it. Unfortunately, by the time he got in, Les had left the company. The editor-in-chief had been very helpful to give him a chance to design a book called “Shaping Japan” by Tong Ching-siu of which Les was the design director. Hei-shing said he had learnt a lot from the experience, “This is so amazing! Les Suen’s design is a breakthrough from routine and this inspired me that books can have boundless possibilities.”

Integrating book art into design

Shortly after he started working, Hei-shing decided to become a designer specialising in book design. “People thought I have limited myself too soon but I believe that book design is an area which can be explored endlessly.” Hei-shing went all the way to the UK in 2007 for a master programme in book art in which he learnt to use different structures, forms and materials to make books. “There is no difference between books and other art forms such as sculptures and paintings. They are all art pieces created through the sensational experiences of artists. The only difference is the medium.” He has gradually become a book artist and continued to deepen his understanding of book art so as to unearth every possibility. The most common question that goes to Hei-shing is the difference between his two identities. He thinks that book artists have more room for creative ideas as they can involve in the creation process from brainstorming ideas to crafting the actual pieces. Book designers, however, may not enjoy this freedom as they are bounded by the content of books and need to take care of requests from authors, editors and publishers.

In one of Hei-shing’s books “POPUP LONDON: exploring the secret of Book Arts” published in 2009, he mentioned his doubt, “Do we have to draw a clear line between design and art?” As he explores more, he realises book art can be integrated into book design even if there are fundamental differences between the two. Through aesthetic presentation, the book content can be solidly developed and emphasised by pop art, the new medium.

Design to add value

It is a basic responsibility of a book designer to “make books beautiful”. “Yet, most importantly, a book designer should add value to the content.” Hei-shing has developed a habit to digest all the words of a book, extract the essence and find the most suitable way to present the book content. He does more than an ordinary packaging task, which is making the books “pretty”.

Among all his commercial works, The Death of Lao She, awarded Merit (book) in HKDA Global Design Awards in 2013, is Hei-shing’s favourite. It is a book that records the oral history about Lao’s suicide at Taiping Lake, reported by people surrounding him. Through the series of interviews, Lao’s mentality of his last stage of life is explored.

Black, white and grey are used as the main colour tone. Through sequence of paper, he leads readers to the Lao’s sentimental life. “Turning into the first page, it shows a black and white photo of Taiping Lake where Lao committed suicide. By shrinking the pictures of the Lake in the next three folds, visual images from Lao’s perspective of approaching the Lake from closing his eyes to actually jumping in are shown. This is further comprehended by other photos of the famous writer, flashing back his life including birth, marriage, his children and moments with his friends. This introduction is concluded with a red double page spread and the content of interviews follows.”

Role model in promoting book design

During the preparation of “BOOK ARTS TAIPEI”, Hei-shing interviewed many Taiwanese book designers and book artists. He admitted that compared to Taiwan, Hong Kong’s book design is lagging behind. Worse still, potential elites are not attracted to the industry due to the low pay, which developed a vicious cycle. This stimulates Hei-shing’s sense of mission to improve the current situation as he said, “It all starts from myself which I always enhance my own designs. This shows how much I love the industry and when you love what you are doing, you will do a great job.”

Apart from that, Hei-shing also spends half of his time on educating people about book design and book art though lectures and talks. He teaches book design courses and book binding workshops in various local education institutes. The works from his students often surprise him as he said, “Among those, there are unconventional designs that provoke your thought.” He enjoys teaching as he believes it is not only about passing on skills and knowledge but also a good opportunity to explore the value of books with students.

_ Hong Kong Design Institute Interview


Contributor

Hei Shing
chanheishing@gmail.com

書就是… A Book is…


一片紙不但表現時間,也表現空間。而一片片的紙張組合起來的書就是一個高深的容器,盛滿文字,既能從中不斷汲取智慧,又能裝入無限的智慧。

A piece of paper reflects not only time but also space. Books are formed by binding papers together to become containers of words that serve as a reservoir as well as a spring of wisdom.

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