From Wood to Print to Pixels
In the fall of 2018, Brian Yap and Lidia Lukianova spent 200 hours in a 10'x10' room inside the Adobe San Francisco office. They went through sheet after sheet of wood veneer and so much Super glue that Lukianova temporarily lost her sense of smell. The end result: a 3'x3'x2' sculpture that, when photographed, became the poster celebrating Beck’s performance at the 2018 Adobe MAX conference.
“There's a beautiful unpredictability with analog materials,” Yap continues. “When you work in digital, you envision what something should look like and you produce it in the app. But when you’re shaping with your hands, unexpected things happen, and you may realize that it’s not a mistake—it actually looks cool. You reach a place that you’d never get to otherwise.”
Although Yap and Lukianova normally plan every step of a project, the physical limitations of the material forced them to improvise. “The material was almost like another art director,” says Yap. “It kept changing our minds along the way. Certain things just started to fit better than others, and you wouldn’t know until you started to work on it.”
After they had bolted the letters onto the back panel, they began to build the surrounding jungle. They cut almost all of the pieces by hand, although if you look closely, you’ll see an occasional sphere they bought ready-made.
Two unexpected qualities of the wood veneer were its color variations and subtle shine. Both characteristics enhanced the overall composition.
As they built up the scene, they took test photos to gauge whether individual elements worked in context. Some parts, such as the waves in the front, looked too dominant in photos, so Yap and Lukianova reduced their size and softened their curves. “Because the sun and branches and leaves are sharp and spiky,” Lukianova explains, “we needed some rounder shapes to add more of a flow.”
Through the test photos, they also realized that to get the correct aspect ratio for the printed poster, they would have to cut out some of the foreground. Instead, they decided to expand the sculpture by adding sides and continuing the lush decoration.
“It didn't get tedious at any point,” says Yap, “because it was such an exciting thing to try.” But eventually, the poster printing deadline—and a shrinking stock of veneer—forced them to declare the sculpture finished.
Now Yap and Lukianova were ready to work on lighting the sculpture for the photo that would become the poster. Rather than take the sculpture to a photo studio, they improvised a studio in the same 10"x10" room.
ADDING AUGMENTED REALITY
In the past several years, the printed MAX posters have also had a digital component; for example, after installing an augmented-reality app, you can point your phone at the poster and watch parts of the artwork move on the phone’s screen. Yap and Lukianova wanted to continue that tradition with the Beck poster.
“An AR component almost always makes sense,” says Yap. “There always seems to be a reason to want to add more content, but you don’t want the printed piece to be too busy. And then, the idea of having static graphics come to life still feels a little bit like sorcery. It’s exciting to play with.”
At one point, they considered stop-motion animation, but it would have required more time than they had. In the end, they chose a direction that resonated with Beck himself, whose albums, videos, and stage shows range from quiet to vibrant sounds and colors.
November 16, 2018