Archive for the 'talk' Category

【誠品對談】台港設計視野,談裝幀之美

【誠品閱讀美學祭——裝幀設計展】
【講座】台港設計視野,談裝幀之美

日期 | 2015年3月15日(日)
時間 | 7-8:30pm
地點 | 香港誠品書店 9F Forum

主講 |
彭星凱(2014金蝶獎銀獎/銅獎得主) | 台灣
陳曦成(書籍設計師) | 香港

主持 | 毛灼然(Milkxhake設計工作室創辦人)

當日的講座完滿結束,非常高興認識Fi與Javin Mo,他們也是對設計與出版非常有心之人。台港書籍設計確實還有很多可以聊,Fi也還有很多見解沒有發表呢。我下星期出發去台灣,其中會再訪問一下空白地區Fi,敬請期待我們的訪談啊。

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I haven’t given a public design talk in English for a long time, since 2010. Wish me luck~!

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誠品閱讀美學祭_ My Talk & Workshop

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【誠品閱讀美學祭——裝幀設計展】

01_ 【講座】台港設計視野,談裝幀之美

日期 | 3月15日(日)

時間 | 7-8:30pm

地點 | 香港誠品書店 9F Forum

主講
彭星凱(2014金蝶獎銀獎/銅獎得主) | 台灣
陳曦成(書籍設計師) | 香港

主持 | 毛灼然(Milkxhake設計工作室創辦人)

二位設計師將和讀者分享文本轉化為視覺的過程脈絡、如何在商業與藝術之間取得平衡,以及台港二地出版文化之相異。他們也會分享各自作品背後的故事。

02_ 【工作坊】製本體驗工作坊——科普特裝訂法

日期 | 3月21日(六)

時間 | 3-5:30pm

地點 | 香港誠品書店 9F Forum

主講 | 陳曦成(書籍設計師)

學費 | HK$350(含材料費)

報名請按這報名

若果想要明白「書」是怎麼一回事,必須親手裁剪紙張、摺疊、打孔縫綴;有了這樣的親身體驗,才會明白一本書是如何製成的,也會知曉書是有厚度的一個立體,絕不止是平面設計。此工作坊主要教授科普特裝訂法(Coptic stitch binding),是一種古式縫綴裝訂法。作為入門學習,此法相當不錯;只要有針、線、紙便可動手,一堂就能完成。

※ 此工作坊名額十人,需預先繳費報名(HK$350,含材料費),額滿即止。

3月對談&工作坊@誠品書店

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為了推廣閱讀美學,香港誠品書店將於3月份舉辦首次的裝幀設計展——誠品2015閱讀美學祭。他們會於期間展出眾多的跨類別出版物,也希望把重視設計的出版社,出色的書籍設計師等,帶到香港讀者面前,讓他們能體驗書本「由外到內」的美好,從而喜愛閱讀。

本次的策展,除了邀請本地設計團隊「Milkxhake」共同策劃,注入香港設計視野外,還邀請了內地文化媒體《Design360》作交流,道出雜誌類別的美學觀點。最後,這次誠品書店更希望可以邀請到兩岸三地出色的設計師進行對談,將其在設計上的理念,對兩岸三地裝幀文化的看法,分享予讀者。

我就被邀請在3月15日(日)與台灣的書籍設計師彭星凱(空白地區・Fi)對談,討論「台港設計視野,談裝幀之美」。有興趣的朋友,要來啊!

另外,我也在3月21日(六)(3-5:30pm)於誠品舉辦另一場【製本體驗工作坊】,教授「科普特裝釘法」(Coptic Stitch Binding),這次不在PMQ,換一換場地,未學過而有興趣的朋友,也不要錯過呢!

【製本體驗工作坊】詳情與報名,請Click這裡!

「觸本・感藝」講座@PolyU

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在上星期三(2015年1月21日),我到母校香港理工大學設計學院作演說,與學生們分享了關於書籍設計與藝術的經驗。

「觸本・感藝」——顧名思義,我們觸摸一本書,便能感受設計師的技藝,與書本的藝術價值所在。作為書籍設計師,同時為書籍藝術家的雙重身份,我一直渴望打破傳統書籍藝術與當代書本設計的界限,把相互的長處結合,造出更富愉閱感的書本設計予讀者。

在約一小時的演說中,我重新整理之前的資料與內容,概括了了六點書籍美學觀,配以六本我所造的書作例證,闡釋怎樣把設計理論實踐;讓整個演講的結構鮮明,內容易懂。

【美學觀 01】
書感,取決於概念發展、物料選取、裝釘手法、顏色配搭,圖文互動等。
名師引言:書的表達需要五感,即視覺、聽覺、觸覺、嗅覺、味覺。——杉浦康平
書籍實例:《月下獨酌》

【美學觀 02】
書身,把靈魂與肉體錯配,表現那難以言喻的疼痛。
名師引言:如果我將一本最標準的書拆散開,主要會有三個部件,分別是內容、書脊及頁面。內容指的就是圖案與文字,但其實它是一把聲音,可能是作者的聲音。而身體就是書脊及頁面,即是脊骨及皮膚。——孫浚良
書籍實例:《友達之詩》

【美學觀 03】
書口,是疊頁成面的小劇場,置於切口的兩幅圖像,互動說故事。
名師引言:Whereas a book is three dimensional. It has volume (space), it is a volume (object), and some books emit volume (sound).——Keith A. Smith
書籍實例:《老舍之死》

【美學觀 04】
翻頁,讓書角上演一齣跳脫的小動畫。
名師引言:Flip books are an obvious use of speed.——Keith A. Smith
書籍實例:《京劇六講》

【美學觀 05】
封面設計,並不需要無中生有,只要選料與剪裁得宜,亦能從內容生出美麗。
名師引言:中國古代觀相術可以通過人臉解讀身體的狀況。我想要創作「觀相術」般的封面,讀者從封面可以看出書的內容。——杉浦康平
書籍實例:《棟方志功:美術與人生》

【美學觀 06】
作家是把概念文字化的人,編輯是把文字完美化的人,設計是把成稿實體化的人。一本書的誕生,三者缺一不可。
名師引言:We had too much information. We needed an editor… to take what mattered and throw out what didn’t matter.——Malcolm Galdwell
書籍實例:《築覺:閱讀香港建築》

這次在理大的演講,預先留座的有150人,最後約100人到場參與。我很慶幸還有這麼多學生對書籍設計有興趣,證明我一直推動及宣傳這書籍設計、藝術、手造書的文化是沒有錯的。我相信,只要專心努力做一件事,總會做到成果的。

最後,非常感謝香港理工大學設計學院助理教授Keith Tam邀請作今次的演講!

[相片提供:Ding ~ 謝謝!]

【PolyU Design Public Lecture】觸本.感藝

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【Communication Design Public Lecture】

觸本.感藝——探索書籍設計與藝術之美

陳曦成主講〔粵語〕
1月21日(星期三)
下午五時半
香港理工大學TU201張安德演講廳

歡迎師生校友,敬請預留座位
http://www.eventbrite.hk/e/15216161950

【講座簡介】
書本總是被形容為概念建構與敘述故事的載體。書籍設計則是全面的方法論,這不只是平面版式設計,更是講求物質性、物理結構、以及空間比例的運用與實踐。

書籍設計師陳曦成一直渴望打破傳統書籍藝術與當代書本設計的界限,突破固有的思維。藝術家總是集中在書籍裝幀與訂裝的純工藝發展,忽略了當代審美意識及排版設計的重要性。相反地,設計師只專注於電腦前雕琢版式,完全無視了書本作為三維物體的物質性存在。

在新時代之始,我們應嘗試融合彼此的優點,從而設計一些更富愉悅感的精神食糧予讀者了。

【曦成簡介】
陳曦成,書籍設計師/書籍藝術家。2006年畢業於香港理工大學視覺傳達設計系,獲一級榮譽學士學位。同年,獲 YIC 青年設計才俊大獎及獎學金。及後,到英國留學深造。2008年獲倫敦藝術大學坎伯韋藝術學院書籍藝術一等碩士學位。2009年曾出版《英倫書藝之旅》一書。2010年憑書籍藝術作品《月下獨酌》奪得德國 Swatch Young Illustrators Award 2010 – Book Art 大獎。回港後,曾任三聯書店書籍設計師。2014年憑《老舍之死:口述實錄》獲「香港設計師協會環球設計大獎2013」(HKDAGDA)書籍設計類優異獎。愛書,愛體驗書的好質感,更愛文化造書的過程。

【BODW 2014】Irma Boom講座RECAP

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“I think of my work as being commissioned
by ‘commissioners’ rather than by clients:
a collaboration on equal terms in freedom and trust.”

——by Irma Boom, Book Designer

去年12月初,我出席了Business of Design Week (BODW) 的 Communication Design Session講座,其中一位我非常渴望能現場一睹其風采的講者是——荷蘭著名女書籍設計師Irma Boom。當天她竟與聶永真同台演講,機會千載難逢,真的不可錯過呢!

Irma Boom是全球知名的書籍設計師,我很久以前就已經留意她及其作品了,雖然說不上是偶像,但作為一個書籍設計師能做到此等級數,確實讓我非常敬佩,也是很值得學習的對象。在此以前,我經常閱讀與她相關的報導、在Youtube看她的講座、在歐洲買很多她所造的書、看她的展覽等;上次更在阿姆斯特丹找她找到摸門釘。一路以來就是差點機會沒有見過其真身,這次她終於來到香港了,於是找緊機會去見見她!

聽她的講座的確感覺非常有趣動聽,觀眾會感覺到她的高傲、自信、串咀、以及風報幽默。就是因為她擁有自己獨有的情緒,有血有肉,會說「love, hate, fuck!」等人話,不會像某些學者演講時偽客觀離地到與觀眾十萬丈遠。她說話的直接與平易近人,就好像在你耳邊講每本書背後的故事給你聽一樣,沒有什麼距離感,好易入耳,好想多聽她與Commissioners們「交戰」的故事啊~!

當場我還把她的講座錄了音,回去再細聽。以下是我翻聽後所節錄出來的講話,值得思考:

I will now recap in English.

01_

In Holland, we have a very interesting graphic industry. But it’s a pity that a lot of companies like binders and printers are closed down almost every week because all the books are printed in China. It’s of course very bad for us but good for China and Hong Kong.

02_

Everybody said it’s the end of the book. People just don’t buy books. I don’t think the book is short of that. I think the book has a great future. Because of the internet, I think it’s more interesting to make books, especially the internet is flex of information. If you talk about books, the book is solid, it’s not changeable. I think we have a hunger for a thing which has edited. The book is edited, the internet is not edited. It’s too much information. So that’s why I think that the urge from the relevant and the assistance of the books. The book is more and more an issue. I also don’t think the book is dead. It’s the same what they do in England. If the king is dead, they said, ‘the king is dead, long live the king’. I think it’s the same with books. The book is more live than ever.

03_

Here you see me at the University Library. Here is my living archive. Here are over 300 books. If you make so many books, not all books are a success. Many Books are in failure. I think to make failure and mistake is really important because it’s a experiment. For me, making books is not routine, it’s a life. Every book is different.

04_

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This is a book I made for Chanel, a fashion brand. It’s about the Chanel No. 5. It’s a perfume. I brought it with me here. The whole book is about perfume No. 5. It’s totally white. It has no ink. The image is embossed. You can only feel it basically. You cannot really see it. For me, in a way, it’s an ultimate book because you need ink, of course, to communicate and too share information, but I found a way for Chanel to tell a story by almost invisible. It’s like I wear Chanel No. 5 at the moment which you cannot see it. I think that’s the same with this book. When I make books, I’m very very close to the subject. I don’t want to invent too much, I mean “interpretation”. I also think that I’m really a bad designer. So, I want really really stare, as close as possible, to the idea and contents.

There is a story why Chanel could made No. 5 as it is. It’s a very Avant Garde perfume. The bottle is more Avant Garde. I research and I know why she could make it because she was surrounded by those Avant Garde artists. In this way, if you compare it with other perfume at that time, you can see it’s really Avant Garde. So I think to make an Avant Garde book was very important. But to make a book with all embossing is really difficult. If you cut the book in the end and you bind it and you have to press it. Then all embossing is gone. So I have to find a new technique how to bind books.

05_

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For me, it’s a really big issue. I can never walk outside, as everyone said you make a terrible logo. That is not true. If you are a graphic designer, you are not famous. Try to be a football player. To be a famous person. As a graphic designer, no one cares. You make a logo, nobody, nobody!

06_

All the time I asked, why do you want to make a book? There is website. Yeah, the book is more steady than the website. The website everyone can make. To make a book is something else.

07_

For me again, everybody said the book is dead. I think the book, again, is more alive than ever.

08_

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The whole idea of the book changes. Of course, apart from distributing information, it’s also a piece of art. The cover and the edges are printed with the artwork of De Volkskrant, a very good Dutch artist. You can hang the book on the wall. It’s my favourite book.

09_

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This is the only book I have my name on the cover. This book for Onno Blom. It’s the first time my name is on the cover. If I make a book, I think I’m also a part of the editorial board as well, an author. But no one ever asked me to put my name on the cover. This specific case, the author Onno Blom said we both on the cover, which we worked both for the book. I thought it was really amazing!

10_

If I make books, it’s always a 3 or 4 years projects. It’s always very long long long time.

11_

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We could ever say a book is a manifesto. Manifesto for the book is this book. It’s a book for an American textile artist Sheila Hicks living in Paris.

(Sheila Hicks這富其代表性的故事,我之前已寫了一篇專文〈訊息雕刻時光〉詳盡闡釋,在這裡不再冗述了。)

12_

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I made a book for Ferrari Engines. And Ferrari, of course, is an Italian car company. I’ve seen many Ferrari already in Hong Kong in the day I’m here. In Holland, you don’t see Ferrari because we have too tiny country for too fast car.

When they sent me email, I thought it was spam. Why a company from Italy called a Dutch Female designer to work for them? I couldn’t believe it. I didn’t reply in the first time.

I finally replied the email. They said, “We really want you to work for us!” and I said, “Well, Okay, I can come tomorrow.” They said, “We can pick you up.” Well, I couldn’t believe it. I thought it was a joke. There were so many designers in Italy.

The next day I was on my way to Maranello. I flew to Bologna. At the airport, a very nice blue metallic Modena 360 and a driver was waiting for me. It was a very first time a sportscar. Such beautiful car! The driver only asked me “fast or slow?” I thought it was so funny. Why asked me when you are driving a Ferrari? “Fast” of course. It was fantastic.

They showed me the factory. I’m so in love with Ferrari.

13_

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I think this thick book, SHV Think Book, which I worked for 5 years. It was very exciting of this unsexy company. There was a very interesting CEO. They commissioned me to work for 5 years to make something unusual. They only said, “make something unusual!” I think, since this book, if there is no trust and no freedom, I cannot work anymore. I’m so spoiled with the condition. I think it should be, for all of you, only can work in trust and freedom.

IRMA BOOM 簡介(刊於BODW場刊):

Boom於恩斯赫德的AKI藝術學院唸平面設計,畢業後於海牙之荷蘭政府出版及印刷局工作。自1992年起,Boom於美國耶魯大學任資深評論家,她設計的書籍獲獎無數,而她更成為著名「古騰堡獎」最年輕的得主。

1991年創辦Irma Boom Office,為荷蘭國內外文化及商業界服務,其客戶包括阿姆斯特丹國立博物館、Paul Fentener van Vlissingen、紐約現代藝術博物館、泰特現代藝術館、Prince Claus基金、Prada基金會、法拉利、瑪莎拉蒂及香奈兒。

Boom是阿姆斯特丹的平面設計師,專門製作書籍,她設計的書籍達250本。她眾多作品中的成名作,要算是她為慶祝荷蘭企業SHV Holdings成立一百周年而設計並厚達2,136頁的書籍《SHV Think Book 1996-1896》。

Boom has studied graphic design at the AKI Art Academy in Enschede, the Netherlands. After graduation, she worked at the Dutch Government Publishing and Printing Office in The Hague. Since 1992, she has been a senior critic at Yale University in the United States. She has won a multitude of awards for her book designs and is the youngest-ever laureate to receive the prestigious Gutenberg prize for her complete oeuvre.

Established Irma Boom Office in 1991, working nationally and internationally in both the cultural and commercial sectors, her clients include commissions for the Rijksmuseum Amsterdam, Paul Fentener van Vlissingen, Museum of Modern Art New York, Tate Modern, Prince Claus Fund, Fondazione Prada, Ferrari, Maserati and Chanel.

Boom is an Amsterdam-based graphic designer specialised in book-making and has made over 250 books. One of her most famous titles is the 100th anniversary book of the Dutch conglomerate SHV, “SHV Think Book 1996-1896”, spanning at 2,136 pages.


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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