By Perrin Drumm
佩林·德鲁姆(Perrin Drumm)
Just say her name and most graphic designers will inwardly ooh and ahh: Annie Atkins, that art department star of some of the most visually rich films and series made today (Joker, Bridge of Spies, Isle of Dogs, The Grand Budapest Hotel, The French Dispatch, West Side Story). But she didn’t start there. Her film world roots stretch back to her school days, when she studied to be a director. It wasn’t until she discovered that she had more of an affinity for finessing a film’s minute details than say, working with actors and running a set, that she rerouted her career. Now, she spends her days making graphic props: from major movie moments and hero props (like the Grand Budapest hotel sign) that vie for screen time with the actors, to the ephemeral minutiae of the everyday that lend a fictional world real-world credibility.
Ĵ乌斯说她的名字和大多数图形设计师将向内户外和稀释 ： 安妮阿特金斯 ，当今一些制造( 小丑，间谍之桥，狗岛，布达佩斯大饭店视觉上最丰富的电影和一系列艺术系的明星，法国派遣，西区故事) 。 但是她没有从这里开始。 她的电影世界可以追溯到她上学的那段日子，当时她学习当导演。 直到她发现，她对细化电影的微小细节具有更多的兴趣，而不是说与演员合作并制作场景，才改变了自己的事业。 现在，她花了很多时间来制作图形道具：从与演员争夺银幕时间的主要电影时刻和英雄道具(例如大布达佩斯酒店的招牌)，到每天赋予虚拟世界真实性的短暂细节， 。
Her enthusiasm for the graphic design niche she has carved out for herself, the obvious pleasure she takes in honing her craft, and the sense of both humor and wonder that she approaches every project with radiates from her when she speaks — it’s hard not to catch it. If you have the pleasure of seeing Atkins talk about her work at a conference, you will inevitably file out of the room afterwards amidst hundreds of excited whispers, everyone wondering how they can get in on some of that Atkins action. She makes it sound that exciting. Now, she’s written a book, Fake Love Letters, Forged Telegrams, and Prison Escape Maps: Designing Graphic Props for Filmmaking. In it, she chronicles some of her biggest projects and offers insights into a lesser known nook of filmmaking along the way (should you want to follow in her footsteps).
她热衷于为自己打造的平面设计利基市场，对磨练Craft.io的明显愉悦感以及幽默感和好奇感，使她在讲话时会从自己的作品中辐射出每个项目，这是很难忘的。它。 如果您很高兴看到阿特金斯在会议上谈论她的工作，那么您不可避免地会在数百场激动的窃窃私语中离开会议室，每个人都想知道如何参与到阿特金斯的某些行动中。 她听起来很激动。 现在，她写了一本书，《 伪情书》，《伪造的电报》和《越狱地图：为电影设计图形道具》 。 在其中，她记述了一些她最大的项目，并提供了对电影制作中鲜为人知的一面的见解(您应该跟随她的脚步)。
Read on for the stories behind some of her most exciting props and prop-making methods.
阅读有关她最激动人心的道具和道具制作方法背后的故事。
1.仅仅因为相机看不到它，并不意味着它不存在 (1. Just because the camera doesn’t see it, doesn’t mean it’s not there)
Case study from Bridge of Spies (2015, dir. Steven Spielberg)
间谍桥的案例研究 (2015年，史蒂芬·斯皮尔伯格导演)
“Most of the graphic props created for a film aren’t necessarily hero pieces but rather sheets of paperwork used as background dressing. [We created a] collection of documents for various scenes in Bridge of Spies. Although it’s unlikely that much of it was ever seen in close-up, the hawk-eyed prop master, Sandy Hamilton, and set decorator, Rena DeAngelo, still pored over every detail.
“为电影制作的大多数图形道具不一定都是英雄作品，而是用作背景装饰的纸片。 [我们为间谍之桥中的各种场景创建了一个文档集合。 尽管不太可能在特写镜头中看到很多照片，但鹰眼的道具大师Sandy Hamilton和布景设计师Rena DeAngelo仍然仔细研究了每个细节。
“We used real, legible copy on the “top sheets” (the pieces that sit on the top of the stacks), actual typewritten notes, rubber stamps, and carefully selected paper types, which can all add up to create a more authentic experience for both the cast and the audience.”
“我们在“顶页”(位于纸叠顶部的部分)上使用了真实，清晰的副本，实际的打字笔记，橡皮图章和经过精心挑选的纸张类型，所有这些加在一起便可以创造出更加真实的体验对于演员和观众而言。”
2.有时道具会讲故事 (2. Sometimes the props do the storytelling)
Titanic menus from Titanic: Blood and Steel (2012, mini-series)
泰坦尼克号的《泰坦尼克号》菜单 ：《钢铁与血腥》 (2012，迷你系列)
“The caveat stamped on the bottom of the third-class menu — that you could report ‘any complaint respecting the Food supplied, want of attention or incivility’ — might not fill you with confidence about the quality of the gruel and pickles you were about to receive or reassure you that, in the unlikely event of an emergency, it wouldn’t be your lot who’d be left to drown below decks. The three replicas shown here were made without the printed photographs of the ship as they appear on the originals — we just didn’t have the budget to pay the licensing fee.”
“在三等菜单的底部刻有警告，您可以举报'任何关于所供应食品，缺乏关注或不文明行为的投诉'–可能会使您对所要食用的粥和酱菜的质量充满信心接收或向您保证，在不太可能发生的紧急情况下，被淹死在甲板下的不是您的全部。 此处显示的三个副本是在没有原始照片的情况下制作的，但没有船上的打印照片-我们只是没有预算支付许可费用。”
3.连续性是关键 (3. Continuity is key)
Love Letters from The Tudors (2009, Showtime)
都铎王朝的情书 (2009，Showtime)
“Script breakdowns and nervous breakdowns go hand in hand. Every spreadsheet I compile, I start out excited at the prospect of all the new, interesting pieces I’ll have to create and end up wondering how I’m going to achieve any of it in the given time frame. Shooting a film in story order is almost unheard of, although there are some famous exceptions: E.T. was shot almost completely in chronological order, as Steven Spielberg wanted his young cast to be able to express the emotional arc of making and saying goodbye to a friend. The Shining was scheduled for a one-hundred-day shoot but ended up taking 250 days — Stanley Kubrick shot chronologically so that he could add and make changes to the story as he went.
脚本故障和神经故障并存。 每次编译电子表格时，我都会对所有必须创建的有趣新作品的前景感到兴奋，最终想知道如何在给定的时间内实现其中的任何一个。 按故事顺序拍摄电影几乎是闻所未闻的，尽管有一些著名的例外： ET几乎完全按时间顺序拍摄，因为史蒂芬·斯皮尔伯格希望史蒂文·斯皮尔伯格希望他的年轻演员能够表达出与朋友说再见的情感弧度。 。 《闪灵》原定为期100天的拍摄，但最终耗时250天-斯坦利·库布里克按时间顺序拍摄，以便他可以在故事进行时添加和更改故事。
“Usually, it isn’t cost-effective or efficient to repeatedly move a film crew, setting up all their rigs and lights time and time again. Instead, the assistant directors schedule every shot in the entire movie prioritizing (a) location and (b) actor availability. All the hotel scenes, for example, will be shot in one go over several weeks no matter what kind of action is scripted. Then the entire crew will relocate to another set (a “unit move”) and shoot all the prison scenes there. This lumping together of what can be quite varied scenes — often chronologically far apart in a story — can be confusing, and personally I would not want to be a script supervisor or an assistant director for all the money in the world.
“通常，反复移动电影摄制组，一次又一次地设置其所有装备和照明装置并不划算，也没有成本效益。 相反，助理导演安排了整个电影中的每一个镜头，将(a)位置和(b)演员的可用性放在优先位置。 例如，无论采用哪种行动脚本，所有酒店场景都将在几周内一次性拍摄。 然后，全体人员将被转移到另一地点(“单位移动”)，并在那里拍摄所有监狱场景。 将各种场景(通常在故事中按时间顺序相距很远)融合在一起可能会造成混淆，并且我个人不想成为世界上所有钱的剧本监督或助理导演。
“In turn, I’m pretty sure the one thing the assistant directors don’t give a second thought about when they’re scheduling a movie is graphic design: we are at the bottom of the food chain. I learned this the hard way on my first job, on the set of the third season of The Tudors, when a last-minute schedule change meant that the antique maps I was having flatbed printed on vellum in England wouldn’t arrive in Ireland by courier in time. The maps were crucial to the scene — Henry VIII was scripted to be poring over them, deciding how to invade France — but looking back, I’m not entirely sure what possessed me to take this issue to the First Assistant Director while he was coordinating a noisy medieval court scene on the set of “Westminster Palace.” I explained the situation about the vellum, the courier, the flat-bed printing, and then waited for him to say he would change the schedule accordingly. He didn’t, of course. I quietly printed the maps locally on heavy paper instead and made a mental note never to bother an A.D. about a prop again.”
“反过来，我很确定助理导演在安排电影上映时不会再考虑的一件事是图形设计：我们处于食物链的最底层。 我在第一份工作，即《都铎王朝 》第三季的开场时就学到了这道艰辛的路，当时最后一刻的时间表发生了变化，这意味着我在英格兰的牛皮纸上平板印刷的古董地图不会在爱尔兰到达爱尔兰。及时快递。 这些地图对现场至关重要-亨利八世的脚本被要求仔细研究它们，决定如何入侵法国-但回头看，我不确定是什么让我把这个问题带给了第一副局长，当时他正在协调威斯敏斯特宫(Westminster Palace)场景中嘈杂的中世纪宫廷场景。 我解释了有关牛皮纸，快递，平板印刷的情况，然后等待他说他将相应地更改时间表。 他当然没有。 我改为在安静的地方用厚纸悄悄地打印地图，并记下了永远不会再困扰广告的一项心理提示。”
4.很少会犯错，但有时会犯错 (4. It is rarely — but sometimes — okay to make mistakes)
The Mendl’s box from The Grand Budapest Hotel (2014, dir. Wes Anderson)
The Grand Budapest Hotel 的Mendl's box (2014， dir。Wes Anderson)
“The pink Mendl’s boxes appeared, at some point, in almost every set in the 1930s chapters of The Grand Budapest Hotel. The prop master, Robin Miller, had hundreds of pieces fabricated, using a specialist box maker in Berlin, while… the screenprinter silk-screened the patisserie’s emblem onto each one in bright red ink. The graphic was all rendered manually: the word ‘MENDL’S’ by our illustrator and the rest of the lettering and filigree by myself, which, because it never went through a digital spell check, meant that the extra ‘T’ I’d inadvertently included in the word ‘pâtisserie’ went unnoticed until about halfway through the shoot. I was embarrassed to have made such a glaring error on a hero prop, especially because at that point we’d already shot on hundreds of boxes. But the producers were pragmatic about it: the mistake would be fixed in post-production, at least on any boxes that were legible to the audience.
“在某些时候，粉红色的Mendl盒子出现在1930年代布达佩斯大酒店章节中的几乎所有场景中。 道具大师罗宾·米勒(Robin Miller)使用柏林的专业盒子制造商制作了数百件作品，而……丝网印刷者用鲜红色的墨水将法式蛋糕店的标志丝网印刷到每个徽章上。 图形全部是手工绘制的：插图画家使用“ MENDL'S”字样，我自己使用其余的字母和花丝，这是因为它从未进行过数字拼写检查，这意味着我会无意中添加了额外的“ T”字“pâtisserie”一词直到拍摄的一半左右才被注意到。 在英雄道具上犯下如此明显的错误令我感到尴尬，特别是因为那时我们已经在数百个盒子上射击了。 但是制片人对此非常务实：错误会在后期制作中得到解决，至少在观众可以辨认的任何盒子上都可以解决。
“Months later, after the movie’s release, imitation Mendl’s boxes began to appear for sale on eBay. Some of these weren’t too far off from the original–although the particular shades of red and pink and the very specific texture of the ribbon were hard to match exactly. It could always be confirmed, though, if a box had really made an appearance in the movie–it had that extra ‘T’ in ‘pâtisserie.’”
“几个月后，电影上映后，仿制的Mendl的盒子开始在eBay上出售。 其中一些与原件相距不太远-尽管红色和粉红色的特殊阴影以及色带的特定纹理很难精确匹配。 不过，如果在电影中确实出现了一个盒子，那总是可以得到证实的-它在“糕点店”中有多余的“ T”。”
5.使您的研究脱机 (5. Take your research offline)
From Atkins’ personal archives: Goods invoice for a fabric dying company; Manchester, England, 1936
来自Atkins的个人档案：一家织物垂死公司的货物发票； 1936年，英格兰曼彻斯特
“References for vintage lettering design can show up on the strangest objects. Scouring flea markets, antiques shops, and your grandmother’s attic might offer up more interesting results than keying search terms into Google.
“老式字体设计的参考文献可能会出现在最奇怪的物体上。 搜寻跳蚤市场，古董店和您祖母的阁楼可能会提供比将搜索字词输入Google更有趣的结果。
“Even the most ordinary office documents can be surprisingly beautiful resources for imitating paperwork from a pre-digital time. This invoice from a fabric dyer in Manchester shows at least six different printing methods, including an elaborate copperplate engraving of its factory’s smoking chimneys. (Clearly, something to have been proud of, in 1930s Northern England.) Pieces like these provide invaluable inspiration for methods in making any paper prop feel more finished: rubber-stamped dates, pencil signatures, two different pens, typewritten notes, and even the holes punched into the paper for binding are a different size than the ones we’re familiar with today.
“即使是最普通的办公文档，对于从数字化前时代开始模仿文书工作而言，也可能是令人惊讶的精美资源。 曼彻斯特一家织物染色厂的发票显示了至少六种不同的印刷方法，包括对其工厂的烟囱进行精心雕刻的铜版雕刻。 (显然，在1930年代北英格兰，这是一件值得骄傲的事情。)此类作品为使任何纸质道具感觉更精美的方法提供了宝贵的灵感：橡胶印章，铅笔签名，两支不同的笔，打字笔记，甚至是打在纸上用于装订的Kong的尺寸与我们今天所熟悉的Kong不同。
“The red lines were the product of the Shaw Pen Ruling Machine, a large wooden and brass loom operated by two people at a time, “automatically” drawing lines onto pages that were then bound into ledgers and copybooks. Multiple pens were set at different points across a bar at the front of the machine, with ink-saturated cloths positioned just above, dripping ink onto sheets as they were fed through the machine. This process would need to be repeated up to four times, depending on the specific pattern of the lines designed for the sheet. The machine printed about one thousand sheets every half hour: a huge improvement on earlier methods, which typically involved drawing each line by hand with a ruler and a red pen.”
“红线是邵氏笔划机的产品，它是由两个人一次操作的大型木制和黄铜织机，将线自动“画”到页面上，然后装到分类帐和抄本中。 在机器前部的横杆上的不同点处设置了多支笔，墨水饱和的布恰好位于其上方，当墨水通过机器送入时，将墨水滴到纸张上。 根据为纸张设计的线条的特定图案，此过程最多需要重复四次。 该机器每半小时打印约一千张纸：这是对早期方法的巨大改进，以前的方法通常包括用尺子和红笔手工绘制每条线。”
6.成为自己的档案管理员 (6. Be your own archivist)
From Atkins’ personal archives: “Diary of a young German girl,” 1920s
摘自阿特金斯的个人档案：1920年代的《德国少女的日记》
“In the very early days of The Grand Budapest Hotel, when the crew was still stationed at Studio Babelsberg, I trawled a Berlin flea market one weekend with Robin Miller, the prop master. While he hunted for treasures–spectacles, watches, ashtrays, wallets–I searched for trash, and found that all sorts of paper rubbish could be traded for cold hard cash: used train tickets, canned food labels, old passports belonging to long-dead strangers. In a crate full of old books at a market on Arkonaplatz, I found my own treasure: a 1920s diary that had belonged to a German girl, who had used the journal to collect pages of poems and well-wishes, all handwritten by various friends and relations. Why was she collecting these writings? Was she moving away? Sick? Dying? I try not to get too sentimental about these things: her diary is now my go-to reference manual for all the varied cursive handwriting styles of the early 20th century. You just couldn’t get a result like this using Google image search.”
“在布达佩斯大酒店的早期，当工作人员仍驻扎在Studio Babelsberg时，我一个周末与道具大师罗宾·米勒(Robin Miller)一起在柏林的跳蚤市场拖网捕鱼。 当他寻找宝藏(眼镜，手表，烟灰缸，钱包)时，我搜寻了垃圾，发现各种各样的纸屑垃圾都可以用来换来冷钱：二手火车票，罐头食品标签，属于长途旅行的旧护照陌生人。 我在Arkonaplatz的一个市场的箱子里装满了旧书，发现了我自己的宝藏：一本1920年代的日记，该日记属于一个德国女孩，她用这本日记收集诗集和祝福，全部由不同的朋友手写和关系。 她为什么要收集这些著作？ 她要走了吗？ 生病？ 快死了 我尽量不要对这些事情太感伤：她的日记现在是20世纪初所有不同草书手写风格的常用参考手册。 使用Google图片搜索无法获得这样的结果。”
7.历史上的准确并不总是令人信服 (7. What’s historically accurate isn’t always believable)
From Atkins’ personal archives: “The white fiver,” 1700s
摘自阿特金斯(Atkins)的个人档案：1700年代的“白人”
“Britain’s first five-pound note was issued in 1793. Nicknamed the ‘white fiver,’ the note was in circulation for more than 150 years, not replaced with the modern fiver until 1957. Printed beautifully and simply with black ink on white paper, at 12 x 19.5 cm (4.7 x 7.7 inches) the banknote was much bigger than today’s equivalent of 7 x 13.5 cm (2.8 x 5.3 inches). When you hold one in your hands, the biggest design surprise is that there’s nothing printed on the reverse–impossible to know when you’re looking at a scan of the printed side of the note online. Still, some set decorators prefer to use double-sided notes in films: even when it’s accurate historically, a blank back can sometimes look a bit too ‘proppy.’”
“英国的第一张5磅钞票是1793年发行的，昵称是'白色Fiver'，该钞票流通了150多年，直到1957年才被现代Fourr所取代。在白纸上用黑色墨水精美美观地打印，钞票尺寸为12 x 19.5厘米(4.7 x 7.7英寸)，比今天的7 x 13.5厘米(2.8 x 5.3英寸)大得多。 当您手持一个时，最大的设计惊奇就是背面没有印刷任何东西，当您在线查看票据印刷面的扫描时就无法知道。 尽管如此，一些布景装饰者还是更喜欢在电影中使用双面笔记：即使从历史上讲它是准确的，空白的背面有时也会显得过于“活泼”。
8.学习如何动手 (8. Learn how to work with your hands)
A note on staining and aging paper
关于纸张老化的注意事项
“There’s nothing quite as satisfying as sinking a piece of crisp white paper into a tray of tea and watching it turn a lovely antique brown. Tea staining is a staple of art departments, used to make piles of paperwork look old. It also makes the paper look like it was once dropped in a puddle, so we have to choose the right stock and give everything a good iron to try to flatten things back out again. (Some coated papers will never flatten properly again, but handmade textured papers absorb water well without any crinkling.)
“没有什么比将一张酥脆的白纸沉入茶盘中并看着它变成可爱的古董棕色让人满意的了。 茶渍是艺术部门的必备品，用于使成堆的文书工作显得陈旧。 这也使纸张看起来像曾经被扔在水坑中，因此我们必须选择正确的库存并给所有东西以良好的烙印，以尝试再次压平东西。 (某些涂布纸将永远不会再次变平，但手工纹理纸可很好地吸收水分而不会产生皱纹。)
“Tea can be substituted with instant coffee granules — if you’re working in a country outside Ireland or the UK where cheap, stringless teabags are less readily available. The color is comparatively the same, although the result is a much lighter stain that requires a longer steep. Lemon juice can strip the color from some darker papers, making them look blotchy and sun bleached. Actual bleach can take that even further — just don’t let it soak too long. Potassium permanganate crystals can create a sprinkled, stained effect; burnt edges immediately conjures up a pirate ship.
“茶可以用速溶咖啡颗粒代替-如果您在爱尔兰或英国以外的国家工作，那里便宜的无绳茶袋就不那么容易了。 颜色是相对相同的，尽管结果是污渍更浅，需要更长的陡峭度。 柠檬汁可以使深色纸张上的颜色剥落，使它们看起来斑点和阳光漂白。 实际的漂白剂甚至可以使这种情况更深-不要让它浸泡太久。 高锰酸钾晶体会产生散落的，染色的效果； 烧焦的边缘立即使海盗船变幻。
“The key to staining paper is to experiment for each individual prop, keeping a careful log of recipes. If we’re called to remake a document for a reshoot, continuity of tone can be tricky if we don’t have ratios and timings written down. An old recipe used for staining a last will and testament, a document that was meant to look like it was written in 1886, calls for ten tea bags steeped in one kettle of water for five minutes.
染纸的关键是对每个道具进行实验，并仔细记录食谱。 如果要求我们重新制作文档以进行重新拍摄，则如果我们没有写下比率和时间安排，则音调的连续性可能会很棘手。 用来染色遗嘱和遗嘱的旧食谱，该文件的原本看起来像是1886年写的，它要求将十个茶包浸入一个水壶中浸泡五分钟。
“Of course, not every document in a period movie needs to be aged: many of the pieces we make are supposed to be brand new in a script’s storyline. Still, giving graphic props a slight patina can help convince an audience that they belong to a different time — and weren’t actually printed in a film’s art department the day before the shoot.”
“当然，并不是定期电影中的每个文档都需要老化；在剧本的故事情节中，我们制作的许多作品都应该是全新的。 不过，给图形道具一点铜绿可以帮助说服观众他们属于不同的时间，而且实际上并没有在拍摄前一天在电影的艺术部门印刷过。”
Perrin Drumm is the founder of Eye on Design. Her previous editorial experience includes senior-level roles at Conde Nast, The Sundance Channel, and The Architect’s Newspaper, as well as writing cred at Interview, Art Forum, Cool Hunting, Core77, Vogue, V Magazine, and The Paris Review.
Perrin Drumm是Eye on Design的创始人。 她先前的编辑经验包括在Conde Nast，Sundance Channel和 The Architect's Newspaper 担任 高级职位，并 在采访，艺术论坛，Cool Hunting，Core77，Vogue，V Magazine 和 The Paris Review上发表文章。
翻译自: https://medium.com/aiga-eye-on-design/so-you-wanna-design-for-the-movies-fabec8b6feae
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