WEEKLY

THE OTHER SIDE OF POSTERS
海報背後

編者按:走在地鐵站放眼望去,音樂會或表演活動的海報林立兩旁,彷彿與周遭的環境渾然一體。不過,好的海報往往能令人駐足數秒,用眼睛記下活動詳情。其實「吸睛」的設計不一定需要華麗的矯飾,即便是看起來素雅的海報,設計師也可憑其功力勾勒主題,讓人在倏忽間感受到音樂會或活動的氛圍。這一回,棋人香港的創作總監Aramis Yeung將會分享他的設計經驗與想法,引領我們躍入海報設計的世界。

********************************************************************************************************************

這所公司本就懷著娛樂的血脈面世,業務上部分案子當然是會來自娛樂圈,大部分都是演唱會或表演活動的海報,而我卻本是對娛樂圈不太熱衷。但這並沒有衝突的,盜用Paul Rand的名言:「Everything is Design, Design is Everything」,甚麼都需要人設計,不熟識也不能成為逃避的理由,況且愈熟識愈易墮入理所當然之中,就做點不一樣的吧。

公司在香港成立至今製作了二十多幅海報,當中有大部分都是跟同一位監製合作的。他是康家俊先生,他是一個頭腦清晰,很有內涵和智慧的人,我更認為他是少數視音樂為「藝術」而非「娛樂」的人。他會為每一場音樂會灌注生命、灌注靈魂,從他身上有太多值得學習的地方。我一直認為他是因為工作需要而被迫跟我合作(笑)。話雖如此,至少我想我跟他應該同樣地希望可以做點不一樣的東西,可能是因為這一點,以致我們每次合作的過程都很暢順。他是我遇過最會尊重設計師的人,肯聽我這無名小卒的想法全因為他自己的道行十分高,跟他合作過的海報設計,從過程到成品都讓我感到滿足。

我是這樣想的,一幅音樂會海報的作用理應是要讓人意識到音樂會的內容,或表現表演者的本身,所以我並不會有「我喜歡這樣做」的想法。因為這不是我自己的音樂會,我希望做到的是把表演者的內在都放進海報上。設計師的個人喜好絕對不會對事情有幫助,我只想人們從海報可以看見的是表演者自己。所以,我認為如果人們從海報上可以感覺到設計師的風格的話,這不是海報本身的原意。

通常海報的內容不是我獨自的想法。我們會透過腦震盪找到適合的方向,然後構思海報上應該出現的是一幅怎樣的相片,隨即再構思整幅海報的構圖。每幅海報的門面就是構圖,然後一層層地閲讀內容。若門面做得不好,莫說海報上細節的内容,人們會連看第一眼的動機都沒有,雜亂、沒有重心的畫面通常會被眼球忽略。其實這個構圖的步驟已經大概預視到成品的模樣,因為這個步驟的同時已包括了預算接下來每個步驟的可行性。

當然,即使我認為構圖非常重要,但也可能只是我的一廂情願。對娛樂行業裏的大部分人來說,最重要的當然是歌手或藝人的樣子。當畫面上不只出現一個人物的時候,這個慣性問題就必然會發生──那一個應該大點、那一個應該放在中間位置,甚至會希望全都在當眼位置。當人物之間的角力完了,接著就輪到贊助商的角力,每一個贊助商都希望自己的商標可以在一個最奪目的位置,這個我是十分理解的,但總不會有一個位置能讓所有商標都同時間奪目。從物理學上我是沒能力滿足他們的,只可説笑把海報印大十倍就可把所有商標放大十倍了。

我印象中,多數演唱會海報都比較嘈吵,難得做了一幅素淨的,對我來說是一個小突破。小肥的《談情一世音樂會》擁有了這般的素淨。如果懂得繪畫的人應該會知道畫一棵西蘭花比畫一隻雞蛋來得容易,因為雞蛋擁有對稱且完美的弧線。同樣地,沒有堆砌的設計是很難表現到一種完整感。在這個音樂會之前,小肥進行了一個長達一年的《睡前服》網上直播計劃,所以直至構思這幅海報時,留在我腦海中的仍然是夜晚一角燈火的畫面,我便利用了一大片黑色,在海報上營造這種氣氛了。然後就是標題的配置,看似是純粹隨意地把標題擺放於左上角,但其實這是用了小肥雙眼的水平線來呼應標題的位置。就是這樣,在畫面上有大片黑色於主角與標題之間亦能呈現了完整感。

最難忘是陳慧敏的《我們叫傻瓜演唱會》海報,這其實是一件大膽之作,回想起亦會為自己的大膽行為而驚訝,因為整幅海報都是由我自己畫出來的,當中有很多不同的角色,所有角色都是陳慧敏的樣子。這對我來說是很高難度的,因為我沒有純正的畫師技巧,幸好主題是「傻瓜」的關係,畫得孩子氣一點也不會有問題,那就可讓我減低了一丁點的壓力。在我開始落筆的時候,我邀請了陳慧敏本人為海報作畫標題,始終這是她的演唱會海報,有她參與會更美好,加上她也是一位畫家兼設計師,有何不可?但我知道有點為難了她,因為當時澳門碰巧遇上颱風天鴿,全市的人都苦不堪言,哪有心情畫畫呢。我也不好意思追她的稿,但她到最後亦堅持趕及畫起標題給我,真的辛苦了她。

雖然二十多幅海報不算多,但每一幅都投放了感情,每一幅都讓我及設計師們經歷不一樣的事,每次都需要洗去舊有的思維再重新學習。縱使每一次也有不同的問題需要解決,我們都不怕心力花多了,因為「理所當然」不是設計應有的態度。

撰文:Aramis Yeung
編輯:Elok Wong
美術:Aramis Yeung

Editor’s Note: Wandering around the MTR stations, you will find that you are surrounded by a myriads of posters, as if they are blended in with the environment unnoticeably. Yet, a well-designed poster can get people to stop by and read the details of the concert or performance. What defines an attractive design? It might be an extravagant design, but a simple, neat poster can also convey the message about the events, depending on the artistry of the designer. This week, our creative director, Aramis Yeung, will share with us his experiences and thoughts on designing concert and event posters.

********************************************************************************************************************

This company was established carrying the blood of entertainment industry, and therefore we would certainly work on jobs that are related to the industry, such as concert posters and posters of other performance events. I personally am not quite enthusiastic about this industry, but there is no conflict between them. Allow me to quote the words of Paul Rand, “Everything is Design, Design is Everything”. Everything needs to be designed. Being unfamiliar with something does not mean we can escape from it, and what’s more, sometimes we would even fall into the trap of the feeling of “being familiar”. So just do something different.

Since its establishment in Hong Kong, our company has designed around 20 posters so far, and a majority of them were created in cooperation with the same producer. He is BFSH, a clear-headed, cultivated and intelligent person. I even think he is an exception among all producers, for he considers music as an art but not merely an entertainment. He would instill every concert with liveliness and soulfulness, which makes him a role model to learn from. I always think he is forced to work with me because the jobs require it (just kidding). That said, at least I believe we both wish to create something out of the ordinary, and thus the whole process is smooth and efficient each time. He is the person who pays the most respect to designers, among all people that I have met. He is willing to listen to the ideas of a nobody like me just because he is already very experienced and sophisticated. I feel very satisfied for every poster that was designed in cooperation with him, from the process to the final products.

Here is what I think: the purpose of a concert poster is to allow readers to envisage the content of the concert or show the character traits of the performer. Thus, I would not design concert posters with a thought like “I like to do it this way”. It is because the concert is not mine, and all I want to do is to show the inner side of the performer on the poster. The preference of a designer cannot help. I just hope the readers can see the true face of the performer. For this reason, I think if people can feel the style of the designer when they look at a poster, then the purpose of a poster is not fulfilled.

Usually, the posters are not created solely by me. We would first have a brainstorm together to find the appropriate direction for the poster design. Then, we would try to give a whole picture of how it should appear like, followed by the composition of the poster. Composition has a great influence to the appearance of the poster as it is the first thing to be looked at. If the composition is not attractive enough, people would lose their interest in discovering more about the details. Posters with messy compositions, lack of focus are more likely to be neglected. In fact, the composition already gives us a preview of the final product, as it opens up the possibility of the later steps we take to make the poster.

Of course, even though I personally think the composition is of paramount importance, it might be just my wishful thinking. To most of the people working in the entertainment industry, the photos of the artistes are the most important. Problems occur each time when there are more than one artiste—they all wish their photos can be the largest, also being put at the center of the poster. After that, it is the tensions between sponsors. Again, they all hope their logos can be put in the most conspicuous place on the poster. This is totally understandable, but not quite feasible. I cannot fulfill their needs in terms of physics, so I will just make a joke about it and say that all the logos can be 10 times larger if I can print the poster out 10 times larger.

As far as I remember, most of the concert posters appear to be a bit messy and scrappy. Therefore, making a plain and neat poster feels like a breakthrough to me. The poster of Siu Fay’s “Love for the Entire Life” concert exudes a sense of plainness and neatness. For someone who has the drawing ability, he or she would probably know it is easier to draw a broccoli than an egg, because an egg has a perfectly symmetrical curve. Similarly, posters with excessive details can hardly present a feeling of completeness. Before the concert is held, Siu Fay carried out a one-year music project called “Siu Fay's Bedtime Stories”. So when I started to think about how to make the poster, the image that popped up in my mind was a silent night with a bundle of light rays. I used black color as the background to create this atmosphere. For the position of the concert name, it might seem to be randomly placed at the upper left corner. But indeed, the position of the names echoed with the eye level of Siu Fay. In this way, the large proportion of black color used in the background, between Siu Fay and the concert name, brings a great sense of completeness.

The poster of Vivian Chan’s “We Are Silly” concert is the most unforgettable one that I have designed. It was an audacious piece of work, and I am always surprised by my audacity whenever I think of this poster. All parts of the poster were entirely drawn by me. There are many different characters in the poster, and they are all Vivian. Since I am not an illustrator with professional drawing techniques, it was a very difficult task for me. Thanks to the theme of the concert, I could draw the pictures in a “childlike” style, which helped alleviate my pressure. After I started to draw the poster, I invited Vivian to help with the drawings. It is her concert, so I think it would be better to include her in the process of making the poster, and she is also illustrator and a design too. However, I know it was a tough work for her—the Typhoon Hato struck and all citizens of Macau were suffering from a misery back at that time. Who can get out of the bad mood and spare time to draw? Because of this, I did not urged her to submit the draft. At last, she insisted to give me the draft on time, and I am grateful for what she did.

Although I have only made about 20 posters so far, I involved my own feelings and emotions in every piece of work. Designing posters not only allows me to experience different things, but it also requires me to change the old mindset and learn something new each time. We were willing to make an endeavor in tackling different problems, because we designers should never take things for granted.

Text: Aramis Yeung
Edit: Elok Wong
Art: Aramis Yeung

ISSUE #219

THE OTHER SIDE OF POSTERS

 

TEL +853 2833 6288
FAX  +853 2833 6266
Info@chessman.com.mo 
R.de Pequim, Edf. Com. Kong Fat. 9/AB, Macau

TEL +852 2180 4188
 FAX +852 2180 9615
 Info@chessman.com.hk
 Unit 2703-04, 9 Chong Yip Street, Kwun Tong, Kowloon, Hong Kong

All right reserved ® CHESSMAN