咦，那個點呢？Where is the dot?

你知道Tumblr換logo了嗎？

不久之前，Tumblr的創意總監Doug Richard宣布了新logo的誕生，此舉除了為品牌的重新整理寫下第一章，更是因應這個世代，多機之視覺通用性的必要。

Have you noticed the Tumblr new logo?

Not long before, Doug Richard, the creative director of Tumblr, has announced the news, which not only turned a new leaf in the identity but also in corresponding to the multi media era we are living in.

位於瑞士的字體工作室DINAMO，則成為了這次品牌重塑的幕後功臣。除了進行這項計畫，DINAMO更是設計了專屬Tumblr的一套字體，強化品牌重塑的企圖，而這個字體叫做Favorit-Tumblr，其字母的x-height（小寫x的高度）跟設計的logo等高，而值得一提的是，除了基本的字重以及粗體斜體以外，更加上了「底線體」，讓這個線上分享平台更在現在的網路使用習慣中，奪得與其他品牌不同之識別度。

拉回來講新的logo設計，我們可以看見t跟r的明顯差異：原本是較偏向圓角的邊緣修正為銳利，並且去掉了許多細微的裝飾或是多餘之細節們，例如r向上彎曲的部分，本來會比直豎還要高一些些（原意是為了人類的視覺平衡而去做調整），經過調整之後，讓字母的邊緣更為銳利並不失其平衡及閱讀性。最後，大概最讓人驚訝的改變就是原本出現在最後的句點：經過團隊內部考量之後，決定去除；其實tumblr的這個句點無意間已成為其品牌定位：怪異、搞怪、創意性等等，這次拿掉，除了是方向調整之外，也是設計師想將這個logo能更無違和地放在網路內容中。

DINAMO, a typography studio based in Switzerland, is the most important team behind the redesign. Apart from the project, DINAMO also designed a type family specifically for Tumblr, emphasizing the intention of polishing the corporation, which is named Favorite-Tumblr, whose x-height is as tall as the logo alphabets. Another detail that worth mentioning is that apart from several font weights and sizes, Lining figures are featured in this family as well, which makes Tumblr to gain identification among the sea of brands.

Getting back to talk about the logo itself, we can easily observe the differences in t and r: the old one with more roundness are adjusted to sharp edges; a lot of slight details are also reduced, like the terminal of r, it is common default to be designed higher than x-height in order to be optically-balanced; after the adjustment, the edge are polished and maintains its balance in overall. Last but not least, the dot in the end of the logo is probably the most unexpected change. The dot actually has became part of the brand representing quirkiness, scanky personality, and creativeness, besides with the purpose of repositioning in its brand direction, designers aim to make the logo fit in online texts.

前面提到增加在logo多機使用下的閱讀性，就是在說現代人之使用網路的媒介多樣，大至液晶電視、桌上型電腦，小至個人的手機螢幕，也因此，品牌該如何在不同大小顯示器下能夠維持一樣的閱讀性，成為了極為重要之考量點。這個也帶到近幾年來歐美國家大品牌大規模改造自家logo識別，其中包括mastercard、airbnb、google等等，從先前之較為細緻、充滿細節或是運用襯線字體為主要識別，轉而成為無襯線字體，有些搭配簡單之幾何圖形。有些討論提到這樣的品牌重塑反而讓品牌更失去特色？事實上，或許有可能，但是總體而言，這樣的趨勢是可預見其他品牌跟進的，相信主要原因是剛剛提到的：使用者多機性使用習慣，讓logo必須重新思考自己的定位：要細節卻有使用者看不見，從而失去注意力的時刻；或是清晰簡單之線條圖形，使用者能輕易閱讀使哪個品牌，但卻有降低品牌辨識度的可能性。

As mentioned in the previous paragraphs, the new logo enhances the readability in the multi-media reading environment in this era, which includes the size from TV, personal computer, to your phone screen; consequently, whether a brand logo can be easily recognized and read in a short period of seconds couldn’t be overemphasized more. This brought us to recall the redesigning in well-known companies such as MasterCard, Airbnb and Google, they all came from a more delicate, full of details, or serifs to sans-serifs with basic vector shapes. There have been discussions about whether it enables the unity of logos and loses the specific identity for each company? In fact, it could happen, however, brands are likely to follow the trend. It is mostly because of the change for user experience in terms of media, which forces them to rethink their position: how to remain unique under the alteration in their clean, newly-designed logo?

更多有關tumblr的字體細節及改造過程，請見DINAMO官網

Please see more details for the Tumblr new logo via DINAMO’s website

https://www.abcdinamo.com/projects/tumblr

遊走灰色地帶的設計工作室 A studio works in a grey area of design

一放這張圖，大家就知道是英國歌手Ed Sheeran的上一張專輯➗Divide視覺。從Ed上一張X到這張，我們可以發現，他總是著重一個較為明亮、飽和的色彩當作主色，並在淺意識中成為大家的印象點。

這一張賣了將近70萬張實體專輯，線上收聽超過千萬的專輯，已經達到你不會其中一首歌，都不應該的熱門程度。而就隨著這張專輯讓更多人看到、聽到，視覺就更廣為人知。背後操刀的是來自英國的工作室Adult Art Club，2015年由設計師Jonny Costello創立，並主要著重藝術指導之工作。剛好筆者最近回去聽這張去年發行之專輯，回想起第一次在網路上看到首播時，這個藍色、充滿手感的視覺緊緊的抓住我們注意力：一個這麼簡單的除號標誌，卻可以被玩得這麼耐看，又不失這張專輯的個性與藝人的形象。

一開始，亞特蘭大唱片注意到Adult Art Club為樂團ARC所製作的Everything Everything封面，並因此而印象深刻，而開始跟工作室聯繫上，造成這次的合作機會。而大家可以注意到主視覺的背景，有一圈藍色的放射狀顏料，這個效果是Ed Sheeran用藝術家朋友的旋轉繪畫機器所畫成的，是一幅非常巨大的畫作，也因此，上面充滿了吸引人的細節，讓Jonny Costello非常喜歡這樣的效果。而為了後續的專輯電子產出，他們還特地用數位為基底的中畫幅相機，盡可能捕捉到全部的細節。

關於其中創作過程，相信大家都非常好奇！以下附上 Jonny Costello 在 It’s Nice That 的訪談，我們可以藉此得知Adult Art Club怎麼延伸出➗的概念，以及該如何跟另外一位插畫家合作，又維持整體視覺風格呢？

Upon posting this cover here, we’ve predicted your recognition of this KV of Ed Sheeran’s album Divide. From the last album X to this one, we can discover the similarity that the artist tends to emphasize on one bright, saturated color serving as the main tone, which subconsciously sneaks into people’s mind without using obvious method.

This album has sold over 700,000 in stores, and over 10 billion online; it is an album that you should feel embarrassed if you don’t know any of the songs. With the album is seen by more and more people, the visuals become well-known. Adult Art Club, the creative studio behind the cover, is founded by Jonny Costello in 2015 in England, and it focuses mainly on art directing. I happened to go back and listen the whole album, couldn’t help but memorize the first time streaming the music, this blueish, craftsmanship-like visual caught my eyes: A simple character as ➗ is able to make its way through a platinum record, showing its strength without sacrificing the artist’s style.

At first, Atlantic Record noticed the album Everything Everything from ARC and adored the front cover design that made by Adult Art Club, and left quite an impression on the elements. They called the studio and started the cooperation. As you can notice, the background of the record is made of a huge spin, which was made by Ed Sheeran himself using an enormous spinning machine. It is a massive work. Which is why Jonny Costello likes the effect so much, for it has attractive details.

As for other process during the cooperation, including how Adult Art Club extends the idea of the album, and the art directing with another outstanding illustrator, please go to the following interview made by It’s Nice That:

Art directing a monster hit record: Adult Art Club on designing Ed Sheeran’s Divide

Type Matters!

::: 設計閱讀計畫 ::: Design Reads :::

Type Matters!

常常被朋友問到有沒有推薦什麼字體相關的書籍，除了上次閱讀計畫推薦的Stop Stealing Sheep & Find Out How Type Works以外，這本由Jim Williams 集結在英國Staffordshire University 18年字體教學經驗所撰寫的Type Matters!，除了封面用仿皮革外衣配以黑底白字，也就是純粹typography為主體的設計概念之外（另外一位以字體為設計主體的設計師，詳見野生的Lars Müller），裡面的內容也多以紅黑字體作為主要色調，用極為親切的口吻，簡潔集結字體的基本知識。當然，這本書封面就說明了「日常的字體小撇步」，因此這本內容不會到非常艱澀，但閱讀此書卻會感受到作者滿滿的誠意，並且也會被內頁舒服的排版所駐足。

I am often asked by friends whether I have book recommendations for typography. Apart from the last Design Reads: Stop Stealing Sheep & Find Out How Type Works, Type Matters! is written by Jim Williams, who has been teaching in Staffordshire University in England for 18 years and has collected his typography knowledge and experiences into this book. Besides using a faux leather cover with white type on black background, a typography-based design (See other designers holding similar design thoughts From the Wild. Lars Müller ), the book is mainly set to both red and black being the main color combination. With narrating soft contents and its fantastic layout, the book gives people an easier way to approach typography.

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建議購買處（全球免運費）

Suggested purchase point:

https://www.bookdepository.com/Type-Matters-Jim-Williams/9781858945675?ref=grid-view&qid=1533956406924&sr=1-1

用灑了一地的番茄醬畫畫吧！ Drawing over spilt ketchup!

來自西班牙的設計師/插畫家兄弟檔 Borsmind，這次來到華山的展間公開巴塞隆納的工作室模擬原貌擺設、帶來了手稿、以及特地為這次台灣巡迴展覽的展品以及可供參觀者玩耍的遊戲機台及滾輪車，讓參觀者的確不只玩得盡興、更是在無形中體驗到兄弟倆的創作經驗及孩童般的想像力。

在Brosmind的作品裡，我們總是可以看見明亮的色彩充斥其中，就像巴賽隆納的陽光，總是帶給人們外放和愉悅的感受。

設計週刊這次很榮幸邀請到Brosmind抽空接受我們的訪談（詳見Brosmind訪談第一彈！），在第一次見面時，幾乎團隊裡所有人都對兄弟倆臉上大大的笑容以及言行舉止間有趣、隨和的態度深深吸引著，或許這樣的人格特質影響了他們作品的產出，也因此讓客戶及觀眾更能感受到那份誠意，而情不自禁的愛上他們的作品吧。

Brosmind, illustrators and designers from Spain, now moves their studio demo from Barcelona to Huashan Creative Park in Taipei, and brings their manuscript, products and exhibits tailored specifically for this exhibition in Taiwan. There are also video games that makes visitors not only have a lot of fun but experience their process and childlike imagination.

In Brosmind’s works, we can always see bright colors. It is like the sun in Barcelona, which brings outgoing atmosphere and joyfulness for people. Design Weekly are really honored to invite Brsmind for a little talk about their career, interests, and creation process. (See full interview part 1) On the first time we saw Juan and Alejandro, we were impressed by how they altered the interview room into a vibrant, interesting space. Maybe it’s the characteristic that affects their production, which draw everyone’s attention and fallen into their world of creation.

兄弟成長在1990年代的動畫及電影氛圍裡，因此你可以看見一面黏滿玩具、公仔的白色大牆面出現在入口不遠處，那是他們所有創作的起源，不論經歷多少設計風潮與不同的商業案子，對Juan跟Alejandro來說，那都代表了童年時那份為了好玩而創作的熱忱。

少了一般展覽自然而然存在的寧靜，相反地，在Brosmind的展覽，你可以聽見人們的大笑、對某個人物的大聲讚美或是評論，當然笑聲佔了很大一部分，因為這是一個會讓你發自內心快樂的展覽。遊走在不同展間，逛展覽的人一定能發現，展示的眾多漫畫手稿及插畫用具，都是再平凡不過的設備以及品牌，卻在一紙一筆中能畫出充滿活力的角色性格。

The brothers grew up in the world made of animations and movies in the 90s. Therefore, you can see a wall with toys and movie posters just around the exhibition entrance. Those are the staring point for Brosmind; no matter how many design trends and different projects came by, for Juan and Alejandro, they stay as the symbol of creating just for fun.

Instead of the tranquility that normal exhibition might have naturally, on the contrary, in Brosmind’s exhibition, you can easily hear people laughing. Hard. They are either delightful encounters with some specific charters or comments, but mostly the laugh that comes from pure happiness. Take a walk in the exhibition rooms, you will definitely find their drawing tools are so normal in brands and colors, but the world they create are so much more colorful and energetic.

龐大的立體機器人、巨大的三明治，都讓兄弟兩人在這次的台灣巡迴之旅下深刻的印象。對他們來說，在整個專案中，可以讓自己的作品跟觀眾互動，是最令人興奮的部分。或許這更說明了他們的創作核心：為了自己開心而畫，而希望觀眾能看得開心。而Brosmind在我心中，是就算打翻番茄醬也不會皺起眉頭來的人，而是反而趴在地上，用手沾取番茄醬，然後把整個地板變成全世界最好玩的遊樂場，繪出一個個在這樣的小意外誕生的角色們。對於現實，他們憑藉著童年的那股熱忱擄獲了全世界的心。

Huge robot and sandwich impress the brothers in their trip in Taiwan. For them, during a whole project, having the opportunity to let their works interact with the audiences is the most interesting part. Maybe it emphasizes more of their core concept: Draw for own happiness, and wish others might enjoy the works as well. And Brosmind are people who wouldn’t frown even though the ketchup is knocked over; instead, they probably will stay on the ground, dipping their fingers in the ketchup, and paint the whole floor into the funnest playground in the world. Regarding to the attitude facing the reality, they have conquered everyone’s heart with the enthusiasm comes from childhood.

更多訪談影片 More interviews

第一集Borsmind的創作源頭 First episode of interview：https://www.youtube.com/watch?v=U8eFav-b9aI

第二集Brosmind設計師登大人養成 Second episode：https://www.youtube.com/watch?v=J8vCjY1Z5ic

Brosmind台北訪談第二彈！Brosmind interview in Taipei pt.2

Brosmind兩兄弟Juan和Alejandro以Design Weekly的精彩訪談開啟在台北的旅程，
讓我們來看看究竟兩兄弟會和Design Weekly 擦出什麼火花？？？

Q1: 最喜歡的獨立專案跟商業專案?

A: 幾乎所有的個人專案對我們來說都非常特別。在創作個人專案時，我們得以嘗試不同的形式、媒材等等，所以這讓我們非常興奮。這次在台北的展覽物品就是其中一個讓我們很驕傲的獨立專案。

J: 因為我們都在是在工作之餘進行這些創作，所以當每次完成一樣，對我們來說，都是工作室裡的一次成功。因為我們得以運用這些空暇時間去實現自己的想法。

J: 我們同時也很喜歡這個商業案子，他是一家美國連鎖餐廳叫Beefsteak，專門供應健康餐點，而這些角色都是從蔬菜變化出來的。

A: 對，當我們給他們角色圖片時，餐廳把他們應用在空間中，包括牆面以及各種玻璃等等的平面上。所以你可以看見你的作品晉升到另一個層次，人們可以跟他們用不同的方式互動。也因為他是在一個空間，所以這些互動都是實體的，人們真的可以碰觸到他們，這真的非常有趣。Beefsteak是一個品牌，一個連鎖餐廳，這很令人興奮，因為我們常常在想：當我們不在了以後，這些角色會活得比我們還久。這樣的想法讓我們很開心，因為我們創作了很多角色。有一些會消失，不是因為我們沒空再創造更多背後的故事，便是沒興趣了。所以當你在這樣的條件下創作時：就是你給他們一些角色，而他們給這些角色展現的機會時，這樣的經驗讓我們很興奮。

Q1: Favorite personal project and commercial one?

A: Almost all the personal projects are special for us. We can try different forms and media, so this is really exciting for us. We are also really proud of the exhibition, you can say it’s our favorite personal project.

J: We create these projects in out spare time, so, every time we finished one of them, it’s a success in the studio, because we have time to build our personal ideas.

J: We also like this commercial one, it’s a restaurant in the States, called Beefsteak, it is specializing in healthy food. And the collection of the characters are from vegetables.

A: We gave them the pattern of the characters, then they applied it to the space: they have the walls in the restaurant, then they applied to the glass or different products. So you see your characters going to the next level, right? People can interact with them in different, many ways. It’s a space, so it’s something that’s physical. People actually can touch them, and this is really interesting. Since it’s a brand, and it’s a one of those chain stores; it’s really exciting that because we always think that after we die, our characters will last longer than us. These things make us happy, because we’ve created so many characters, and some of them just disappear, because we don’t have either more time to create more stories about them, or it’s no interests in them. So when you work on a project on this level, just give them characters and they give them the opportunities, it’s exciting for us.

Q2: 會不會擔心觀眾不了解他們插畫背後的意義?

J: 我們其實一直避免在我們的作品意義上過於表面。在此同時，我們也喜歡把更多詮釋加在作品本身。

A: 我們將近花了一生的時間在建立這個Brosmind風格，而這個風格是我們童年經驗的總和，因此這個非常私人。每一個工作、每一個專案中，都好像仍在我們的童年時期，所以我們想讓自己先獲得快樂；假如其他人也因此得到快樂，那非常棒。因為，假如你做這件工作，只是為了讓別人快樂，那你可能就已經走上創作的歪路了。

Q2: Have you ever worried whether the audience might not get what you’re implying?

J: We always tried to not being to literal on the meanings. At the same time, we really like to add more levels of understanding there.

A: We’ve been developing this style for our whole life, and it’s a combination for our kid’s life. So it’s actually really personal. Every work, every project, it’s like we ‘re little kid, so we want to make us happy first. And if someone enjoy it, great, we’re happy, it’s gonna be better. Because if you do the things only to make people happier, not yours, then you’re gonna find yourself in a really weird path.

Q3: 跟客戶意見不合怎麼辦？

A: 現在，通常當客戶找上門，通常是他們已經花了一些心力，找過其他創作者，所以當他打電話來，就是對我們的風格非常喜歡，而且他們信任你。這個並不那麼常發生，有時候他們找一些人因為喜歡他們的風格，但是想嘗試不一樣的東西，這個時候你就要學會拒絕。在一開始，這對我們來說是極為困難的決定，但總有那麼時機，你會需要斬釘截鐵地拒絕一些人，因為他們的風格跟你不符。

A: 有時你會害怕，因為怕人家不會再打給你了，總是會有許多疑惑，因為你害怕親手搞砸自己的事業。但事實是，你必須忠於自己，即使是進行中的案子，假如有什麼地方你覺得行不通，你最好提出來。

Q3: How would you deal with the problem that clients don’t agree with you?

A: Nowadays, when they come to us, they had made a previous effort to look for different people; when they call you, it is because they really like your style, and they trust you. Doesn’t happen all the time. Sometimes they will reach out people that they like your style but they want you to do something different, then you gotta learn to say no. That was a really tough decision for us at the beginning, but there is a point when you gotta reject projects because they don’t fit your style.

A: You’re scared sometimes, you think they’re not gonna call you anymore. There are like a lot of doubts there, because you think you’re gonna ruin your business. But the truth is that, you gotta be loyal to yourself. Of it’s in the middle of the project, and if there’s something that isn’t working, you’d better say it.

更多設計師登大人，趕快點進影片裡看看吧！

https://www.youtube.com/watch?v=J8vCjY1Z5ic

什麼 !? 動物園裡也有平面設計？Designs in Zoos.

「動物園」跟「平面設計」，在一般人聽來是兩碼子不相干的事兒，不過當我提到「視覺指標設計」，大家可能就能有一個模糊的想像了。

我猜正在看文章的你，已經好一陣子沒有去動物園走走了，更不用說對動物園中的「平面設計」有印象。以臺北的動物園的平面設計為例，它大致上是Logo、指標、地圖、標誌、警示等視覺設計，當然還包括解說牌，不過解說牌則歸類在「解釋設計」(interpretation design)，細節以後有空再來講講。

Zoos and graphic design, two things that people might considered unrelated in common sense. When I bring up, however, the way finding designs, people might have a rather ambiguous imagination.

A guess you, who’s reading the article right now, might haven’t been to any zoo for a long while, let alone having any impression on graphic designs in zoos. Take that in Taipei Zoo for example, it is basically an application for visual logo, wayfindingr, signage, warning, etc. Of course there is the interpretation board outside every exhibiting area, but that belongs to interpretation design. We will get to that in other discussion.

視覺指標設計重視資訊的順暢、顏色、辨識度、美感…，更可以定義空間、身份以及人群。不論在哪個領域，平面設計從不僅是裝飾，它更是品牌的展現方式。內含著品牌的個性、調性、質感、定位，除了滿足原本的「功能性」需求，還應該賦予更高的期待與要求。

Wayfinding system emphasizes mostly on the flow of information being read, colors, legibility, and the visual pleasantness. It can also define the space, identity, and the crowd. No matter which field it is discussed, graphic design is never merely a decoration, it is the disclaim for a particular brand. And it includes the personality, quality, and goals, which implies that apart from the aspect in function, it should be expected to have a higher goal and destination.

Lance Wyman

講一個有意思的動物園視覺設計，地點在美國的明尼蘇達動物園 (Minnesota Zoo)。園內的視覺指標是由美國人蘭斯維曼 (Lance Wyman) 設計，他最著名的設計還有1968墨西哥奧運會的主視覺、華盛頓地鐵圖等。他圖形中強烈的風格使他的作品極易辨認，也使他的地位在設計圈內屹立不搖，反正就很有名啦！

It is a really interesting visual design in a zoo in Minnesota, US. The way finding system in the zoo is designed and prganized by Mr. Wyman, whose other popular projects include the KV for 1968 Olympics in Mexico, and metro map for Washington State. The strong style in his works has became a trademark that makes him super famous in this field.

蘭斯維曼在1975年即設計過國家動物園的識別系統，所以當國家動物園的副園長被調往明尼蘇達動物園後馬上聯繫了蘭斯維曼，邀請蘭斯為園內製作視覺溝通的設計，希望能與先前他為國家動物園做的設計相坊。

Lance Wyman had already designed identity for National Zoo back in 1975; as a result, as the vice chairman of previous National Zoo was transferred to Minnesota Zoo, he instantly called Lance to work on the visual design within the zoo, hoping to achieve the level of his previous work.

相信有搜尋過「動物園指標」的人一定看過藍斯維曼的作品，嗯，我知道搜尋過的人很少。近日也有看到臺灣設計師設計的動物園視覺指標，在其中也可以看到蘭斯維曼的影子。

I believe people who have googled “zoo wayfinging system” must’ve seen his works. Well, I’m aware that there are only few people who have done that. I’ve seen from some Taiwanese designers who have the similar outcome nowadays.

Logo中融合了麋鹿與Minnesota的M，非常有創意地表達了動物園與在地動物的連結，也創造了難忘的視覺語言。同樣的概念也可以在其他動物園發現，例如臺北市立動物園的Logo就是臺北的「北」與梅花鹿結合。其實蘭斯維曼一開始選用的動物是角馬，不過沒多久就換成麋鹿了。麋鹿的意義不只是當地原生的物種，牠們更是明尼蘇達州最大的野生動物，明尼蘇達也是美國少數幾個還可以看到麋鹿的州，在物種的選用上跟在地形成非常強烈的連結。明尼蘇達動物園在定位上偏重於「北方物種」的展示及保育，其他不少動物園是利用「熱帶非洲風格」做為主視覺設計，相比之下顯得格外有特色及「接地氣」。

In the logo, we can see the M is derived from the moose, which exquisitely combines the zoo and regional characteristic, and also leaves an unforgettable visual impression. Similar concept can also be found in other zoos, such as Taipei Zoo in Taiwan, which has a logo with the form of a Chinese character and sika. Actually, in the beginning, Lance Wyman used Connochaetes instead, but soon changed it to moose. The meaning not only represents that it is a local species but the biggest wildlife animal in Minnesota, which in this case, the design gives a stronger connection between the decision of the animal and local residents. Minnesota Zoo is defined as a place displaying northern species among the system, while other zoos take tropical weather as main elements in such design, which in comparison, makes them more localized.

藍斯維曼也利用動物的icon來代表動物園中的不同區域，更厲害的是，他更將這些icon與數字連結，為地圖帶來更好的辨識效果。白鯨代表了「1.海洋區」、大犀鳥是「2.熱帶區」、水獺是「3.明尼蘇達區」、日本獼猴是「4.探險區」、雙蜂駱駝則是「5.北方區」。

Lance Wyman also uses icons in different animals to represent different areas in the zoo. What’s more, he also connected the icon with numbers to give to map a better understanding for visitors. Beluga represents 1 Oceanic region, hornbill for 2 tropical one, otter for 3 Minnesota, Japanese macaque for 4 adventurous, and bactrian camel for 5 northern area.

除了剛剛講的那些，蘭斯維曼還設計了一整套標準字，用在所有相關的平面設計上面。在之後幾年間也設計了動物園的海報，他先前是極少在設計中運用相片，格外具代表性。

Besides what I’ve mentioned, Lance Wyman also designed a set of typography, which is applies to all related graphic designs. He is one of the rare ones that uses photos in design, chi h makes him stand out form others.

這款視覺指標也被時代雜誌票選為1981年的最佳設計，不過現在明尼蘇達動物園再擴大與更新之後，視覺設計也改成由 Zubasti Interactive 所設計的老虎版本了。雖然在用色、字體的選擇上提升整體的視覺質感，不過似乎沒有之前蘭斯維曼那款設計來得有趣及經典。

The visual wayfaring system is awarded for Time Magazine for best design in 1981; however, after the expansion and renew of Minnesota Zoo, the design swaped to the tier version designed by Zubasti Interactive. Although its color and typography choices upgraded overall quality, it lost the fun and classic atmosphere.

補充一件有趣的事，在明尼蘇達動物園的臉書等地方仍然時常可見到原先蘭斯維曼的設計）

Note: in Minnesota Zoo, you can still see Wyman’s works.

資料來源 data：

Minnesota Zoo logo sketches

https://www.itsnicethat.com/features/lance-wyman-unit-editions

http://www.lancewyman.com/projects?id=159

維基百科

作者為設計系大學生，長期關注動物園設計

The author is a college student studying design, and is constantly concerning about zoo design.

Go to his Blog 前往往他的個人網誌

Brosmind台北訪談第一彈！Brosmind interview in Taipei pt.1

Brosmind兩兄弟Juan和Alejandro以Design Weekly的精彩訪談開起在台北的旅程，
讓我們來看看究竟兩兄弟會和Design Weekly 擦出什麼火花？？？

Q1: 你們認為有什麼樣的設計形式、設計師影響你們最深或是成就今天的Brosmind?

J: 很難只選一個影響我們的人或事物，我們受80、90年代的流行文化、美國文化影響很深，而且我們認為那段時期是小孩的黃金時期，像是

80年代那些令人驚奇的電影、公仔、玩具等等，那段時間讓我們覺得整個世界充滿了驚奇感。
A: 例如我們第一次看到玩具外有很特別的包裝，而打開包裝的後發現不只有玩具，包裝後面還有附上故事或小漫畫。

J: 因此我們的創作並不全受到藝術性的影響，有時反而是被製作的精神鼓舞，所以你可以在我們的作品中找到「樂觀主義」、「為了好玩而創作」、「只是提供人們更多快樂」等等的精神。至於設計師，我們其實沒有受到設計師的影響，因為設計對那時的我們來說還是未知領域。當時我們都還是小孩，但那時Brosmind的種子就已經種下，因為我們已經在創作了。

A: 另外展覽會場裡有一面牆，牆上有各種產品、電玩、玩具、電影，因為這些對我們來說非常重要，我們是看著這些電影長大的。

J: 在我們的作品中，我們總是試著把小時候的那些好玩、自由的感覺找回來。

A: 而我們喜歡在不去擔心他人怎麼評論，或是人們喜歡與否的前提下創作，我們就是自由地創作東西。例如看了一本漫畫，但下一集還沒到手，我們便會創作自己的漫畫，或是在電影院裡看電影，即使電影沒那麼經典，或是沒那麼好，但那些電影最精采的部分都在腦中留下一些東西，成為我們創作的養分。至於影響我們的人則是包含西班牙的卡通畫家、日本的七龍珠卡通畫家鳥山明Akira Toriyama。

Q1: What design trends’ or designers’ influences have made you who you are today?

J: Well, it’s hard to choose only one reference, but we were really influenced by the popular cultures of the 80s and the 90s. We grew up in that age that was considered the golden era of entertainment for kids. Like those amazing movies, or action figures of the 80s.

A: Like the first time toys were in a really special packaging. So when you opened the toy, you have the little toy and a little comic with the story behind. So it was really a great time.

J: We are not really influenced in an artistic way, but the spirit of those productions. And I think you can find that in our works, that optimism, creating things just for fun, or to make people happier. We don’t really have influences from other designers, because we didn’t know that field at that time, because we were kids. And I think, at that time was when Brosmind was born, or the seeds of Brosmind. We’re creating.

A: As you can see in the exhibition, there are a wall with some products, as you can see, there are some video games, toys, and movies, it was because they are really important for us. We were growing up on seeing those movies.

J: In our work, we always try to bring back the feeling we have when we were kids, like the playfulness.

A: We were like creating things with not being worried about what people would say on Instagram, or people will like it or not. We were just like freely creating things inspired by those movies. We read a comic, since we didn’t have the next session, we just created our own comic. So you watched the movie, which might not be considered that good, those movies were leaving something in your brain, such as the best parts in the movies. Back then, there was this Spanish cartoonist and Japanese illustrator Akira Toriyama, who created Dragon Boy, who have influenced us greatly.

Q2: 從先前的你們的訪談中我們可以知道你們有做很多自己的創作，你們會不會遇到「自己創作可以有自由發揮的空間，但商業廣告可以更貼近大眾」這樣的兩難?

A: 工作室剛成立時，我們接了很多廣告的案子，但當時並沒有固定的風格，因為我們還沒發展出Brosmind的風格。後面我們開始做自己的作品，並且定義出了屬於Brosmind的風格，我們開始努力讓自己把廣告案的風格拉到與個人作品相近的風格。但其實一直都會遇到這樣的難題。一開始非常難在廣告案與個人作品當中取得平衡，我們想要用個人作品賺錢，但卻很難用自己的作品去說服顧客買單，因為有時顧客來找我們，是他們喜歡我們過去做過的案子，但他們不想冒險去做新的嘗試。所以直到你開始有自己一個非常穩定、強烈的風格之後，客戶才會打電話來找你做這樣的作品。

所以後來我們會想：好，那這些是Brosmind Style。但這時也會很難讓顧客會因為喜歡我們獨特的風格而打電話來。

現在我們在兩者之間的平衡其實蠻好的，但在廣告這一塊永遠有遺憾，因為廣告案其實有很棒的地方，可以觸及很多人，可以跟很酷、很棒的品牌合作，但是就必需要配合預算或是遵從一些必要的規定來完成廣告案子。

J: 雖然我們比較喜歡自由創作，但廣告案仍然是我們必須做的工作，客戶要求我們的產出，而個人創作則是純粹因為好玩，並滿足較為藝術性的那一面。另外在廣告案中，我們大多畫插畫，個人創作卻可以讓我們得以實驗不同的方法，嘗試使用不同的媒介去創作。所以這個其實是個沒有答案的問題。

Q2: From previous interviews, we know that you have made some personal projects. Have you ever encountered the dilemma that personals are more free, but commercials can reach more people?

A: When we opened the studio, we were doing many commercial, with no a style, because we hadn’t really developed our Brosmind style. But once we started to develop our own projects, and to design one of the Brosmind style, we really pushed hard to make the commercials similar to the personal ones. So there is always this dilemma, because in the beginning, it was really tough to have this balance, about doing personals and commercials. Because you want to do the money for the personals, but it’s really hard to convince client to hire you for that. Sometimes they came because they saw a project you did in the past, and don’t wanna risk to make new ones. So it’s not until you have a proper, solid style, like a very strong one, and they started to call you only for that, right?

So you think: OK. Those are the rules for Brosmind style. It’s hard to convince people and call you for that.

Now, the balance is really equal, but there is always some misses with the client, with commercials, because there are a lot of people involved. Commercials are great, because you get to work with a lot of people, they are also great because you will ova a chance to work with cool, great brands, which perhaps is always what we wanted to work with, but there are things like budget you have to follow in order to make the commercial.

J: Commercial is still a job. You have to do it because the client asked for something. And personals are just for fun, because you need to fulfill the artistic needs. In personal projects, we can experiment with different disciplines, which is very important. So this is actually a question with no answer,

更多精彩的問答，請點進影片連結觀賞: https://youtu.be/U8eFav-b9aI

Watch the full interview here: https://youtu.be/U8eFav-b9aI

訪談第二集：設計登大人應變大全，身為設計師的你絕對不能錯過！

Watch the second episode of the interview!

請點進連結觀賞：https://www.youtube.com/watch?v=J8vCjY1Z5ic

這樣也可以？！漢字視覺實驗展 Experimental type in Chinese exhibition

在不只是圖書館入口處的地方，小小的長方形空間擺著一張桌子，三面牆上掛著用中文字排成的實驗性畫面展板，每一個展板的都像是一個故事，將觀眾的注意力吸進無止盡的畫面衝擊感中。看似狹小的空間，卻是充滿動態跟能量的展場。

這個由Circle設計雜誌、Not Just Library主辦的展覽，以Emil Ruder這位瑞士國際主義先驅所研究之歐文字體編排理論出發，特別針對 Typography 這本書內容以12項討論方向做漢字設計的實驗。Circle雜誌一直都是我非常喜歡的設計雜誌，第一次購買時是他們出資訊圖像化的專題（準確名稱有點忘記了），還有字體的魔鬼細節，都是我在還沒正式進入設計學習前的催化劑；這次以Emil Ruder字體實驗為題，的確非常有趣，我想設置這展覽有一大部分的目的是向這位大師致敬吧。

Emil Ruder是國際主義的重要人物。這裡的國際主義的概念是指承接了現代主義巔峰，以「國際通行性」、「標準、規格化」為主要目標，以威爾姆以及包浩斯學校為兩大派別，此兩所學校可以說是以教育學領域的觀點切入國際主義概念最佳例子。而Emil Ruder特別強調空白之於畫面節奏的關聯，影響了往後瑞士的設計師們，例如之前提到的 Lars Müller，在現代主義的影響下，他特別重視畫面中的「空氣感」。（詳見野生的Lars Müller）而字體在畫面中的可讀性也是Emil Ruder在實驗字體之餘不忘強調的重點。

總體而言，我們所說「瑞士設計」，不外乎是以下這幾個特色：齊左排、不對稱欄位、網格、無襯線字體，另外在此風氣下的「閱讀性」更是被大師強調，要如何看得快、資訊清楚、看起來舒服，從以上幾點我們可以看出瑞士設計可謂國際主義的中心觀點之一。

字體是一門大學問。不只是留白空間，粗細與大小控制著畫面的灰度，並給予畫面的深淺；在講座上，講者提到，檢驗灰度可以用「瞇著眼睛看」的方式找到。以其中「韻律」跟「動線」兩個方向切入為例來討論，字跟字的編排，將會跟方塊排列的效果相仿，也就是說，字體編排就像在設計不同灰度的色塊，而字體如何帶動視覺動線，我們叫做「字塊」，字塊孰重孰輕則會根據字體本身粗細、大小而有所變化及做不同的處理：同樣字重normal的8級字跟82級字，8級字的字腔較為緊密，整體空間小，可能是作為畫面中較不重要之資訊；而82級的則讓容易聚集第一眼的注意力，字腔可以感受到空氣在流竄其中，因此，若是同樣82級這樣的大小，有一個以上的漢字並列（例如標題），則需要留有更多空隙讓觀者可以呼吸、消化此資訊。

歐文屬於外來語，非大眾最熟悉的語言，但因為許多設計概念多學習西方理論為標準，讓我們對於歐文反覺得親近，也時常為了平衡畫面而加入意義極小的歐文字串。但回到設計理論中的內容(content)，畫面中的元素都應該是要有充足的理由才被選擇置入，就像在工作坊時，洋蔥設計負責人黃家賢在critic的時候問了我某個元素放在哪裡有沒有理由？或者是你用這樣的粗細、大小的意義何在？是為了強調？是閱讀動線？他提醒了我設計要時時回頭看並檢視content，不要被形式而有所框架。

比起歐文，中文在設計上的應用似乎稍微缺少了一些準則，而西方用羅馬字母所發展出的設計法則卻無法完全套用以方塊為單位的中文字型。這次展覽Circle以實際操作中文版的Emil Ruder字體實驗，除了證明在Typography一書裡的原則外，更是發掘了中文字在畫面中的可能性。

In the front space of Not Just Library, there is a long table sitting on the ground within the narrow open space. Three walls are hanging works of experimenting Chinese characters with the method of Emil Ruder. Each work tells a specific story, which pulls people into the dynamic feeling that it creates. The space is filled with the energy of creating.

Held by Circle Magazine and Not Just Library, the exhibition extracts one of the theories that Emil Ruder, the pioneer of International Typographic Style, wrote considering typography rules, and specifically showcases the 12 principles from the book Typography. Circle Magazine has always been one of my favorite readings. This time, Circle Magazine themed at the type experiment from Emil Ruder, which is surely an interesting idea. I guess the tribute is there.

Emil Ruder is one of the most important roles when it comes to the Swiss Style, also known as the International Typographic style. It is also highly concentrating on the negative spaces within a canvas, which influences Swiss designers greatly under the trend of modernism, Lars Müller, who we discussed in our previous post is a great example.(see our previous blog From the Wild Lars Müller)Swiss style holds on to the peak of Modernism, and is aimed at the universality and standardization in design, which is divided into two main streams to ULM School of Design and Bauhaus respectively.

They are the best examples regarding how Swiss Typographic Style emphasizes the aspect of education.The emphasis in negative spaces also influenced designers believing in and learning such method.

Overall, the style contains no more than the following characteristics: Align Left, Asymmetry, Grids, and Sans Serif. Other than that, the readability and legibility is also two of the core elements in Swiss Style.

Roman alphabets are foreign systems for Taiwanese people. However, because the typography theories and systems are more sound and well-equipped in western countries, it has become closer to design learners in Taiwan. Therefore, we often add some short Roman words or sentences just to balance the whole picture. Going back to the CONTENT we learned in design theories, however, we are acknowledged that every element should be appeared for its right reasons: Why the font size? For emphasizing the information? Or for the good reading flow? We should always look back and examine the content and not being abducted by form.

Compared to Roman system, Chinese characters seems like the principles are in vague. The typographic theories, however, couldn’t fully apply to the squared characters. The Chinese experiment conducted in the exhibition not only proves Emil Ruder’s principles in Typography, but discover more potentials within a frame.

Stop Stealing Sheep & find out how type works

::: 設計閱讀計畫 ::: Design Reads :::

Stop Stealing Sheep & find out how type works

從英文字母形體的觀察到考量其在段落中的可讀性皆敘述詳盡。假如你的工作幾乎每天都會用到文字排版，特別是歐文排版，那你一定不能錯過這本書！假如你已經有幾年的排版經驗，那這本書將成為你很好的檢視跟借鏡！

From detailed observing in shapes of alphabets of various types to the flow of legibility in either paragraphs or just a line of words.
If you, in any ways, are using typography in your daily lives(at work or just interested), definitely cannot miss this book. Highly recommended.

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建議購買處（全球免運費）

Suggested purchase point:

https://www.bookdepository.com/Stop-Stealing-Sheep-Find-Out-How-Type-Works-E-M-Ginger/9780201703399?ref=grid-view&qid=1532178547785&sr=1-1

教科書可以有多美 The most beautiful Textbook in the World

在展場周圍，像是戴著紅色泳帽的藍色呼嚕呼嚕怪獸潛伏在周圍。它像是一個得以自由出入於水坑的變形生物，埋伏在我們的世界裡，默默控管著時間的推移與人們的生活

教育似乎就是如此，在淺移默化中形塑出如今的社會。

世界最美的教科書是哪裡的書呢？

回頭想想，或許太習慣，抑或太遲鈍，在受教育當下的我們的確不太注意到書的美醜。教育除了將知識傳遞到年輕的族群外，「如何做」以及「為什麼做」更是應該要被廣泛討論的事情之二。這跟我們所知道的設計思考大同小異：先決定內容的詮釋，再決定如何呈現。以這次展覽內容舉例，日本的教育極度倡導「終身學習」──這個概念應用之年齡範圍較為廣泛，若應用在書系上，其設計應避免掉特別擄獲某一族群的元素，而採用通用之設計，例如考量明確、簡單之風格、字體大小、內容規劃等等。有了以上的思考，交予適合的執行團隊，到了觀眾手上，才更能符合使用者需求，並有機會被歸類為「美」的教科書了。

以「學制與其內容」這個大方向來看，小學至高中的內容皆由少變多，尤其高中內容有突然爆量的狀況，而這當然也能在這次展出的日本書中看見。但話說回來，為什麼大方向不變，日本跟台灣的狀況卻有所不同呢？為什麼他們的教科書比較美？其中關鍵是資訊設計的著重與否。

資訊量爆炸、版面大小有限這狀況，對圖文編排確實為極大的挑戰之一。以下列舉三點觀察到之基本教科書編排原則：首先，如何決定單行字數多寡？一行太多字，學生閱讀疲乏，太少反而發散注意力；再來是如何調和來源不同之圖片，或許從色彩去調整，則考慮以相近色系為並排元素，也或許從統一尺寸大小下手，主要目的為避免圖片之間讓閱讀分心；最後，如何融合圖文內容並作合宜的配置，如同以下擷取其中一本高中歷史課本內頁，適當的照片組合方式將能把對立、合作等等的課文烙印在學生腦海中。

其實新一代的台灣人非常幸運，有一群美感教科書的團隊，注意到了一些問題，知道教科書美化的必要性，正在為之後入學的種子準備肥美的土壤。或許，「教科書如果可以好看一點，那該有多好！」的想法，也會如種子般散佈在台灣的土地上，提醒大眾設計的必要性吧。

On the windows surrounding the exhibition area, a blueish monster-like creature is hiding beneath. It makes its way through all kinds of ponds freely, and controls time and the lives of human beings.

It seems like education is all about this that cultivates and forms today’s society.

Where do the most beautiful textbooks come from?
Besides the goal of bringing knowledge to the youngsters, educators should also consider the How and Why before putting into production. For example, a series of books were categorized as lifelong learning by Japan government, which contains crafts, housing, marriage, and so on. It is designed with no tendency towards any audience; overall, the design is elegant, clean, and can be added for more categories without losing its style.

In terms of the content, it goes without saying that it grows over time, especially in high school, when the content tripled all of a sudden, which can also be observed in the textbooks from Japan. But what makes the difference? Why is Japan considered outstanding? The vital reason should be the information design. Under such circumstance of huge volume of information, from deciding the length of the texts to combine photos extracted from different sources, the layout becomes way more difficult.

I couldn’t envy more of the new generation in Taiwan. A group of people are now dedicating themselves to the improvements of textbooks, including not just the content but design. It is my sincerest hope that questions such as “wouldn’t it be great if our textbooks are beautiful?’’ can be asked from every one of us.