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一日工作室 A Day in Da Studio x Thonik

March 26, 2019

 

第一集的一日工作室,設計週刊來到了荷蘭的阿姆斯特丹,並邀請到Thonik創辦人及創意總監:Thomas Widdershoven與我們對談
 
第70屆的荷蘭藝術節視覺過程,竟然是用最科技也最不科技的方法完成?!Thomas同時也公開他們的設計流程與客戶之間的關係,以及11個Thonik設計的核心概念。

 

 

TW: Thomas Widdershoven

JT: Design Weekly設計週刊採訪者

 

 

 

TW: 兩年前是荷蘭藝術節的70週年,在那之後,我們又做了一年的視覺。

JT: 另一年的視覺?

TW: 事實上,我們這次做的是再設計。這次藝術節的總監換了一個人,因此我們利用視覺的變化作為下一個階段的溝通象徵。這是我們做的第一個新視覺。新的總監是Anett,前一位是Ruth。在Ruth的帶領下,我們傾向較為瘋狂、大膽的風格,而現在換成Anett後,我們認為可以走較為輕巧、細緻的路線,也因此加入了字重的變化,整體的感覺因而更為輕盈。之前我們跟Ruth合作了4年,而現在我們繼續跟Anett工作,才有了這次的風格變化。

這個是今早剛從印刷廠出來的,我忍不住秀給你看。

 

 

TW: It is the 70th birthday two years ago. After that, we did another one.

JT: Another one?

TW: Actually, we went on for a redesign. Because the Artistic Director changed. So we went on to the next phase of the communication.

This is the first one of the new style. With the new director, which is Annett. So before it was Ruth. Ruth we went for a more cranky, bold type. With Annett, we felt that to go for a bit of a lighter version of it. So we now have more weights in terms of typography. We focus on the lightest weight of the typography. So it’s a lot lighter. We had four years with Ruth, and now we will continue with Annett. And that’s why we made this change. This just came from the printer today. I have to show it.
 

 

 

 

TW: 這個視覺比起我們往常的風格,較為平靜也更細緻。Thonik的設計常常是較為強烈的,而這個則是存在另一種風格的平衡中。

JT: 通常你們怎麼運作關於影像在視覺中的比例,像是你們常駐有攝影師?或是另外找專家合作呢?

TW: 大多數的案子中,我們都是在工作室中產出圖像,但如果我們需要攝影的話,我們會另外請攝影師來與我們合作,但這不常見,我們喜歡做單純的平面圖。

 

 

TW: It’s a bit more clam and refined than we normally do. Thonik is always very much in your face, and this one is a little bit more in another balance.

JT: How do you normally develop the image part?

TW: Quite often we do graphic work and then we do it in-house. But if we do use photography, we get photographers to do it for us, which is not so common. We like to do graphics.

 

 

 

JT: 我注意到這個改版的顏色也是走比較飽和度低的路線,另外在邊角有紅色蠻特別的,有什麼用意嗎?

TW: 這個紅色讓我想到在東方面孔中會出線的眼影顏色,大部分都是紅色。在西方的話,紅色則常會出現在嘴唇及臉頰處。但在傳統的中國式妝容中,你可以看見白色的臉龐上,紅色出現在眼睛的上方。

 

 

JT: 荷蘭藝術節對你來說,是有著什麼樣的定位呢?而你又是如何用這個定位去設計策略?

TW: 一方面來說,荷蘭藝術節是一個歷史悠遠的活動,所以他們有著一群很忠誠、並且每年都會去參與的客群,像我自己也是其中一位,我是這個藝術節的目標受眾,而這也是為什麼我們喜歡跟他們合作。我自己超過35年持續地參加荷蘭藝術節,也就是說我從年經就開始參加,而我還是每年都會去。所以不論你想要如何操作這個視覺,你必須要與那群忠實的觀眾有所連結。除此之外,你也必須嘗試吸引新客群,因為你當然希望年輕人也知道這個藝術節的存在。

 

 

JT: I’ve noticed that the redesign tends to be less saturated. There are even corners in red, which is really special. Are there any reasons for the design?

TW: I thought the red in it, also reminds me of the Asian eye shadow, which are quite often red. Normally in the West, we have red on the lips or on the cheeks. But in traditional whitish face makeup of the Chinese, you have the red upon the eyes.

 

JT: How do you position Holland festival, and what are your strategies based on that?

TW: One the one hand, Holland Festival is an old festival, so they have strong core of people who go there every year, like myself. I’m the audience to the festival; that’s also why we really like to work with them. I’ve been going to the Holland Festival for like, I think, over 35 years. So I was young when I started going there, and I still go. So whatever you do, you should connect the people who already know the festival. And then on top of that, you should try and attract new audience, because of course you want young people to understand that it’s there. The ones you know you don’t lose them easily, and the ones you don’t know, how to reach them?

 

 

TW:我們事實上做了一件很簡單的事情:因為我們把HF連結在一起了,而這個HF是這些忠實觀眾所熟知的荷蘭藝術節,並將全名與此連結一同建構在同一語言中。我們在當時得以接觸到新客群、並且對於老客群有著極清晰的識別度。所以這是我們的兩個策略:如何讓HF有趣到得以成為一個視覺指標。因為當你把一個隨便的logo丟到海報上,觀者並不會有所連結。當他是一個有趣的平面影像的時候,人們會投射其中。而當影像的基礎是HF的時候,人們馬上會了解、並覺得自己跟藝術節有著連結;再加上一些平面圖時,讓荷蘭藝術節更為完整,這時你就能接觸到新族群。

 

TW: For that, we actually do a very simple thing, since not only we connect the letter HF, which everyone knows as Holland Festival who knows Holland Festival, but we connected with the long word Holland Festival in the same language. We were able to reach new audience, and were able to have a very clear recognizability for the existing audience. So that was actually the two strategies that we had: How to made the HF so interesting that they could be the image. Because if you throw a logo on a poster, people will not feel connected; but if it’s an interesting graphic image, people will feel connected. And if the basis of that image is HF, then people understand immediately and feel connected to the festival; but if you add a same kind of graphics, you make the Holland Festival complete, then you reach all the new.

 

 

影片訪談 Interview Video :https://www.youtube.com/watch?v=gPvcSmfU3qM

 

 

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