The Hero Behind the Scenes: Art Director Syu Ying-guang
The Hero Behind the Scenes: Art Director Syu Ying-guang
◎Written by Li Guei-sian
◎English translation by Lin Yu-ciao
◎Photos by Huang Jing-wen
The 2022 Taiwan Lantern Festival in Kaohsiung invited Mr. Syu Ying-guang, a veteran art director and Golden Bell award-winner, to create a work of art at Weiwuying Metropolitan Park. His luminal movie scene-like work uses light and shadow to tell stories, drawing the audience into a dazzling fantasy.
With more than 30 years devoted to the film and television fields, Mr. Syu’s set-dressing techniques have won many plaudits. Among the projects he has worked on are A Touch of Green and Sequalu: Formosa 1867. In each, he has made actors’ performances more convincing and vivid, while giving audiences an immersive experience.
Sequalu: Formosa 1867 has been much discussed since its debut. Mr. Syu and the crew spent a year and a half conducting artistic and textual research on the primitive settlements of Longkiauw during the Cing Dynasty. They built nearly a hundred houses to recreate the appearance of that era’s indigenous communities. Sequalu: Formosa 1867 director Mr. Tsao Jui-yuan has said: “The costumes, props, and scenes of a play must grasp the atmosphere of the times, otherwise it makes the scene look fake.”
Mr. Syu explains that everything that appears on the screen, whether it is food or clothing, falls within the responsibilities of the art director. “Art isn’t only about color matching and coordination. It needs to be natural and realistic. In addition, it must bring imagination to the viewers while at the same time keeping their focus on the plot,” he adds.
Mr. Syu’s illuminated lantern work for the 2022 Taiwan Lantern Festival is titled “Kaohsiung Imagery.” When doing his military service in Kaohsiung, he was especially impressed by the city’s maritime scenery. As the art designer of the TV series A Touch of Green, he worked within a military dependents' village in Kaohsiung’s Gangshan District and nearby Japanese-style houses. He also reconstructed the appearance of a military dependents' village at Ciaotou Sugar Refinery in Kaohsiung. He has integrated these Kaohsiung images into his contribution to the Lantern Festival.
Those viewing “Kaohsiung Imagery” will see, in the space of two photo studios, familiar Kaohsiung sights such as fishing boats, parks, and oceans. Through the projection of light and shadow, the glistening waves in the harbor sparkle, radiating romance and fantasy. Visitors can also take pictures with the photo frame at the scene to create a sense of nostalgia.
Mr. Syu says that: “The glow of light at night will give you a feeling of happiness. I hope that through this Lantern Festival, everyone will feel the warmth of Kaohsiung and a sense of belonging. We’re bringing the public an immersive light and shadow experience at Weiwuying Lantern Zone!”
從斯卡羅到臺灣燈會 實境推手許英光
◎文／李瑰嫻
「2022臺灣燈會在高雄」邀請榮獲金鐘獎的資深美術指導許英光先生在衛武營公園，打造電影場景般的燈光藝術，用光影說故事，邀請觀眾領略的美麗幻境。
投入影視美術工作超過30年，許英光場景塑造功力備受讚譽，作品《一把青》、《斯卡羅》搭建時代場景，讓演員的角色更具說服力，同時帶給觀眾沉浸感體驗。
引爆話題的臺灣大河劇《斯卡羅》，許英光和劇組歷時1年半的美術考據清治時代瑯嶠的原始聚落，搭建將近百間房子還原斯卡羅部落、社寮、柴城、府城等場景。斯卡羅導演曹瑞原說：「一部戲的服裝、道具、場景，必須要掌握時代的氛圍，否則都是假的。」
「只要是螢光幕前出來的畫面，無論是用的吃的穿的，都跟美術指導有關係。」許英光指出：「美術工作除了色彩要搭配協調、看起來自然真實以外，還必須帶給觀眾想像力，卻又不能搶走看戲的目光。」
許英光應邀於2022年臺灣燈會在高雄衛武營公園打造燈光藝術作品「映象寫真館」。在高雄服兵役，讓許英光對高雄的海洋印象深刻，擔任電視劇《一把青》美術設計時，在岡山眷村與日式屋舍取景拍攝，並在高雄橋頭糖廠重建眷村場景。他將這些高雄意象融合入作品「映象寫真館」中，兩座照相攝影棚的空間內，彷彿可以看到熟悉的高雄漁船、公園和海洋，透過光影投射，港都的瀲灩水波映照搖曳，十分浪漫夢幻。現場還準備了照相框，讓參觀的民眾可以拍出懷舊的老照片。
許英光說：「晚上的燈光會有幸福的感覺，希望藉這次燈會，讓大家感受高雄的溫暖和家的感覺。這次將在衛武營會場帶給民眾沉浸式的光影體驗。」
閱讀中文版：
從斯卡羅到臺灣燈會 實境推手許英光
https://takao.kcg.gov.tw/article/703