很久沒做夢了 Undreaming

週六的台北下午，在細雨之間的空檔決定鑽進中山捷運站的某個巷口。

一踏進荒花，擺買整櫃整牆的各種zine與創作海報用極為清新的方式慢慢的浸透創作能量到我全身。而異星図鑑 A Field Guide to the Unknown的展覽就靜靜地在店面後的空間裡，像是另一個星球正運轉著，放射出不知名的化學物質，穿透每一個觀者的腦袋，好像我們也住在他的漫畫裡。

In the afternoon in Taipei City, between the pause of continual rains, I’ve decided to sneak into one of the alleys nearby Zhongshan Metro Stop.

As soon as I stepped into Wild Flower Bookstore, the abundance of zines and posters on walls and all kinds of platforms made me feel like bumped into a world of creation. And the exhibition A Field Guide to the Unknown laid quietly on the back of the store, which is like an another planet orbiting solely in this universe, emitting anonymous chemical substances, and penetrating the visions and brains of the visitors. It feels like we are living in his comics.

才離開學生生活不久，全天投入職場之後，常常覺得生活少了一些什麼東西，對一些東西又少了什麼東西；常常被生活吞噬、吐出來全身黏踢踢的、又被吞下去、又濕搭搭的趴在地上。

「這個好」、「這個不好，但也許沒那麼糟？」

「阿，隨便啦，反正就是這樣。」

「今天吃青菜了嗎？」

「奇怪，最近有什麼電影可以看？」

很久沒做夢了。

在日安焦慮的展覽裡頭展示了幾篇收錄於日安zine的作品，用最簡單的手稿紙，以釘子釘在木條上，一頁一頁的排列，慢慢形成一面牆的漫畫與感到焦慮的、淺意識般的故事內心。展出的手稿分別來自《恐竜図鑑》、《ROAD TO NOWHERE 世界邊緣之旅》以及《SOLUTION》這三件出版品，觀者可以在現場跟著每一個畫面的細節與手稿痕跡，感受著作者塗寫與擦拭之過程，不知不覺地進入主角內心，進入一個個像是夢的情境。

Not long after I left student life, I couldn’t help but feel like having been already losing something day by day; and the something is missing something as well. The anxious comes from also the feeling of being swollen by life, spitted out, swollen, and spitted out over and over again.

“This is good.,” “Not this one, but perhaps not too bad?”

“Whatev.”

“Have I eaten any veggie today?”

“What are the latest movies?”

I haven’t dreamed for a long, long time.

In the exhibition by cartoonist Morning Anxiety displays some of his works from zines. By using manuscripts fixed onto wood stripes, aligning pages by pages, the author created a wall full of comic stories and the inside of anxiety and subconscious self. The manuscripts come from his works in DINOSAUR FIELD GUIDE, ROAD TO NOWHERE, and SOLUTION. Visitors can easily dive into the cartoonist’s mind through every details and traces on each of the manuscript, and walk into dreams scenarios.

或許那些恐龍、沒有臉的生物、以及外型多層次的山嶺們，都是白天的無奈及過不去的難關，在我們心中種下一個奇幻的種子，一些變成食人花、一些成為了數不清眼睛的生物，在我們的腦袋裡開闢出另一個星球的樣子。

這次的展覽，似乎成為了一面鏡子，讓我們都對生活不再遲鈍，並看見自己腦袋裡的星球模樣。

Perhaps the dinosaurs, creatures with no face, and mountains with multiple layers are what we face in daytime, which together planted a magical seed in our hearts. Some might turn into Cannibal flower, some become monsters having billions of eyeballs. They form what we are like on planet we don’t even know of.

The exhibition is like a mirror that makes us stop being numb to our surroundings, and see the planet in our heads clearly.

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

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.

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.