《品尊》雜誌訪問 | 書籍藝術:思與形的居所

House of Thought and Shape

Arranged:Felicity Cheng
Photo:Courtesy of Chan Hei Shing

C:陳曦成(Chan Hei Shing)

P: As a place you grew up in, how has Hong Kong influenced your work?

C: I belong to the post-80 generation of Hong Kong. After graduating from PolyU’s Visual Communication, I studied Book Arts in London. Hong Kong was where I first learned design, and London was an inspiring place for me to digest and procee what I have learnt.

Life in London was like life in front of a shining mirror. Under the different cultural context, I saw my own body, soul and identity in a clearer light. My graduation artwork moon. under. alone. drink. was inspired by Li Bai’s work Drinking Alone with the Moon. The five books and posters narrated my unique story in London.


C:我是在香港出生長大的 80 後,畢業於香港理工大學視覺傳達設計系。及後到英國倫敦進修「書籍藝術」(Book Arts)碩士。我起初在香港接觸設計,設計上與文化上,香港也對我很大的影響。而倫敦讓我沉澱和消化知識,讓我「開竅」。倫敦的生活就像站在被擦亮的鏡子前,我可以清晰地看到在異文化映襯下的自我形象,重新感覺靈魂與身體的存在感,亦重新覓得自我身份。我的畢業書藝作品〈月下獨酌〉取材自李白的同名詩——五件像雕塑般的書及五張字體海報,訴說我的英倫故事。

P: Who inspired you the most these years?

C: I once went to an exhibition called “Vibrant Books: Methods and Philosophy of Kohei Sugiura’s Design”. Frankly, I was awe-struck by Mr. Sugiura’s works. His designs in the 60’s and 70’s were way ahead of time, and they seem contemporary even now. His design philosophy, feel for books and hands-on approach were really impressive.

Esther Liu, my teacher in PolyU, always emphasized on the flow, rhythm and design space of books. Flow between page and page is particularly important. Only with the correct flow could we sense the rhythm of books when we flip through them.


C:我曾到日本參觀杉浦康平先生的「脈動之書——設計的手法與哲學特別展」與其講座。看著一本又一本杉浦先生的作品,就讓人很驚嘆。六、七十年代,他的設計是「前瞻」,現在仍是那麼 contemporary。他的書籍意識、設計哲學、實踐手段、印刷規範都是東、西方混合思考的結果。

廖潔連女士(Esther Liu)是我在香港理工大學的老師,她造的書講求流動性、節奏感、彈跳力、流白的空間感與破格的建築味。她說過一本書的流動性(flow)很是重要,特別要注意頁與頁之間的連繫與互動的關係。一本書在翻閱的過程需要高低起伏的節奏力。

P: How is book design different from other kinds of design?

C: Book design is a comprehensive and multi-dimensional design method. People always think of book design as two-dimensional design, which is obviously wrong. Book design is as much about the materiality, physics and space of books than it is about graphic design. After we understand the four dimensions of books, we could truly understand book design. The relationship between language, word styles, message, images, color and geometry is of course important; but they must interact with the choice of material, paper and method of narration. Ultimately the author, designer, publisher and printer must collaborate well to produce a good book.


H:「書籍設計」(book design)是一個全方位、立體思考的創作行為,常被歸入平面設計,以為只注重平面設計便可設計一本好書,這是誤解,忽視了「物質性」、「物理結構」與「書作為立體」的考量。「書」是一個三次元甚至四次元(三維空間加上時間)的物件,它是一個切切實實的書「物」。要認清這一點,才可以理解何謂「書籍設計」。而「全方位」的設計考量還牽涉到文字、語言所表達的信息與字體學的運籌,到圖像、色彩、幾何元素與平面空間的適當配合,物料和紙張的選取,敍事方法,以上種種的合理運用和互動,再加上與作者、出版社、印刷廠等的通力合作,才可設計出一本好書。


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Hei Shing

書就是… A Book is…


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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