El minimalismo vuelve a estar presente en Visualmente. Esta vez llega desde Suecia, con el diseñador Viktor Hertz. Él no ha tenido mejor idea que traducir a imágenes ciertas canciones de rock, en su mayoría, y algunas de otros géneros musicales como podría ser el jazz. El resultado es interesante si se tiene en cuenta que Hertz trabaja con un sólo color (con la excepción de “Get Lucky” de los franceses Daft Punky), en la mayoría de los casos, con una sola imagen. Esto hace que sus piezas se conviertan en algo más parecido a un ícono, realmente minimalista y conceptual.
En su momento, te presentamos al diseñador sueco cuando había utilizado las típicas imágenes para identificar el género en los baños (que algunos departamento de infografía utilizan para ejemplicar la cantidad de muertos en una catástrofe) para hacer unos afiches de cine. En aquel momento, nadie lo había entrevistado, aunque todos los blogs habían copiado y pegado sus versiones de famosas películas. Hoy aumentamos la apuesta y no solo te presentamos los “Pictogram Music Posters”, sino que entrevistamos a Viktor Hertz, por segunda vez, en exclusiva para Visualmente.
1) How the idea for “Pictogram music posters”?
A long time ago, I had an idea of making posters out of songs, but not by using pictograms. I never made these posters, and then my mom actually told me I should make music posters, and I thought the most appropriate way to do them was using pictograms.
2) How you relate to your previous Pictogram Movie Poster?
It’s the exact same idea, but song titles instead of movies. That’s it. I wanted these to differ from the movie posters, though, so I just experimented with a different texture and background. I did keep the centered Helvetica font, continuing with the simple approach and aesthetics.
3) How did you get your version of Highway to hell?
It began with being reminded of the song, or maybe I was just looking at the symbol for the autobahn, I can’t really remember now, actually. But it seemed appropriate, so I played around with different versions of a trident, and finally came up with this draft. I thought the best symbol depicting hell was a trident, in this case.
4) Which of all the new posters was the most complicated?
It was actually ‘Highway to hell’, which I described in the previous question. It took quite a while to get it right, making the trident look good, and not get too far away from the original pictogram. It was also the most fun to make, and even one of the posters I am most happy with. So, it was worth the effort, I guess.
5) How long did it take to make the posters?
I’ve had them finished on my computer for quite a while, going back and polishing from time to time. Some of the posters are done very quickly, because the idea behind it didn’t need that much work to get it realized. But in general, they are all made quite quickly, they are not advanced, most of the time behind them are put on coming up with an idea for a poster that could be fun. So, it’s hard to tell exactly how much time each takes. Sometimes, I think about the ideas quite long before I put myself in front of the computer and make them, and sometimes I just stare at pictograms and play around with them, until something cool comes up in my head.
6) You make a pencil sketch and then do it in Illustrator to finish it in Photoshop?
No, I make my sketches directly in Illustrator, almost all the time. It happens that I use a sketchbook, but that’s just when I don’t have access to my laptop. I finish it in Illustrator, too, using texture layers on top of my design.
7) Why did you choose this kind of aesthetic, almost infographic for these posters?
Because I like that style, myself. And I think my strength is to make simple stuff, focusing on an idea, rather than making a cool poster filled with all kinds of stuff. I will try to leave the pictograms some time, and develop other ideas, of course, but for now, I really can’t give up on them. I’m stuck with pictograms, at the moment. But I love it.