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一日工作室 A Day in Da Studio x BOND

(work pictures provided by BOND)

這次設計週刊到了愛沙尼亞首都塔林,拜訪BOND這個跨國的工作室。四個來自不同國家的成員們在這樣充滿韻味的公寓中經營的塔林分部,彷彿另一個世外桃源,用設計為視覺世界帶進不同的活力與氣息。 以字體作為主視覺的魅力及優勢為何?!

這次與我們會談的設計師Ivan,主要操刀2018年Balticbest Festival識別,這個鼓勵創業者的競賽找上BOND做識別標誌,Ivan卻以「不做區別化」的概念去作識別設計?!

JT: Design Weekly interviewer

IV: Ivan Khmelevsky (BOND creative)

JT: 2018年的 Balticbest Festival 背後的視覺策略是什麼?

IK: 回到最初的構想,我們想要做、想達到的事情是盡可能地去跟廣大的民眾對話。所以視覺本身必須同時讓設計師及廣告業者都能有所連結。最初的概念是要能以大量印製為主要訴求,也因此,這並不是單純的設計,而是傳達這個多面向的活動價值。



JT: 我還蠻好奇的,你們所對的窗口(客戶)是哪一方呢?

IK: 以這個案子而言,窗口是一家愛沙尼雅最大的媒體公司,專注於所有市場、與商業有關的創意領域事務。他們之前操作過除了Balticbest之外類似的活動經驗,同時也舉辦一些演講及工作坊,也就是專注於創意、並找到行銷的新方法。因此(在這個案子中)我們沒有因為這樣的創意概念而被刁難,因為這些人已經在這領域耕耘了一段時間,他們也知道什麼是好設計、而這樣的好設計可以如何帶品牌更上一層樓。

JT: What is the strategy behind Balticbest 2018's visual identity?

IK: Getting back the initial idea and the brief itself, what we were trying to do and to achieve is to speak to a wide spectrum of people. So it had to be something that both designers and advertising people could relate to. The initial idea was that this identity should be somehow copy-driven, so we’re not showing pure design stuff, but instead convey a sense of this festival being multifaceted.

It’s not only about design, but also advertising.

We came up with this small copies, that kinda all relate to the Balticbest of its doubled B in almost every piece of communication. It actually only needed a very simple solution to get this idea across. If we had made this more complicated, it would’ve cluttered the overall visual language, and also would’ve made the copy weaker in a way. And we wanted to emphasize the copy side of the project. So it’s all about how we say about things, and what we actually say. So being super neutral and choosing only black and white as the primary color palette was perfectly in-sync with this copy-driven idea we had in the first place.

JT: I was quite curious that who is the client the you proposed the idea to?

IK: In this case, it was the media outlet, which is the biggest one in Estonia when it comes to marketing and all these business-related creative fields. And they run several related festivals, Balticbest not being the only one. They also do talks and workshops; So trying to focus on creativity and find new ways of marketing. It’s not that we had any troubles introducing this kind of identity for this sort of festival, because the people have been working on this field for quite a long time, so they know what a good design is and what it can do to bring things to a new level.

JT: 在一個成功的專案中,客戶通常是扮演什麼角色呢?

IK: 我認為在工作室每一個成功的案子背後,一半的功勞都要歸功給客戶,亦「成功是共同努力的成果」– 案子是你跟客戶必須攜手跨上的旅程。所以當他們(客戶)相信你以你的眼光去產出時,通常這樣的結果會比原先的好100倍。但這過程除了信任以外,更必須了解事情如何能有成效、以及好設計跟設計思考可以在很多方面在商業上獲利。我會覺得,即使愛沙尼雅是一個較小的市場及產業結構,有些工作室及代理商仍然能產出很令人印象深刻的作品,尤其是在跟政府、政府相關部門合作的案子中;大概歸功於政府及產業不斷的對話。這是一件好事。

JT: What is the client's role in making a project succesful?

IK: I think that in every single good project that a studio does, half of the credit has to go to the client, as it is a joint effort – it’s a journey you have to take together with the client. So if they trust you doing thing in how you see, the outcome is mostly 100 times better. But it’s not only about trust but also understanding how things work, and that good design and good design thinking can benefit the business in many ways. I would say that even though Estonia is kinda small market and the industry is quite small, some studios and some agencies produce quite impressive works especially for the government or these governmental institutions. And there’s probably constant dialogue between the state and the industry, so that’s a good thing.

JT: BOND在赫爾辛基、塔林、倫敦及杜拜這四個不同城市中都有著獨立的辦公室,那你們之間會如何合作呢?

IK: 我們現在以一種全球化的公司作為一種經營心態。我們當然也做當地的專案,但與此同時,若我們去看專案的全貌,每一個專案都需要一個特定的技能。因此這樣的分工可以運作,是因為我們可能會有在赫爾辛基分部的寫手、加上塔林辦公室的平面設計師、杜拜產出的策略,這就是我們如何能為客戶打造一個獨特的定位:以客戶為中心,每一個團隊都能滿足其需求。也因此,我們總努力地挖掘國際社會中的人才,並且我們所能及的最好方式做這些事情。

JT: 而在BOND中你們有來自不同國家的成員?

IK: 這同時也呼應了我們的願景而去以這樣國際化的方式去招募新成員。我記得BOND總共有來自11個國家的成員,像是來自芬蘭、俄羅斯、瓜地馬拉,幾乎是來自每一個世紀的角落。而我們也不只是國際化,在每個層面而言,更是一個有開放心態的公司。

JT: BOND has its studios spread in different cities, Helsinki, Tallinn, London, and Dubai, how

do you collaborate among the studios?

IK: We now work as a global agency. Obviously we do some local projects too, but at the same time, in bigger picture, every project needs a certain skillset. And it just works so that we might have a writer from Helsinki but then a graphic designer from the Tallinn office, and then strategy being done in Dubai, so this is what makes the proposition unique in a way that every single team is built around the client and to match the client’s needs. So we’re always trying to source the best talent that we have from this international pool of talent, and just to do the things the best way we can.

JT: And also you have team members from the different countries?

IK: It also adds to the picture to have this somewhat intentional approach into hiring new people. I think there are 11 nationalities of people working in total at BOND, like from Finland, from Russia, from Guatemala – almost any part of the world. So we’re definitely not only an international, but also open-minded agency. In every way.

訪談影片 See video interview here

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