字體絕對怪異 Definite Weird Type

你有想過字體在空間中的運用嗎？

這篇來介紹設計師一定會超愛的一款App叫做Weird Type，此為美國藝術家Zach Lieberman協同夥伴Molmol Ku開發之應用程式；裡頭不但讓你自由選擇字體內容及互動方式，更讓你隨時隨地、隨心所欲地創造藝術。

在設計領域中，字體學佔了很大一部分；而短短的200年設計歷史以來，2D的程度上，字體的發展雖然堪稱蓬勃、成熟，然而，在3D空間中，設計師們多以2D形式應用在3D空間中，例如字體在餐廳中的指示及應用、或是機場的指標系統等等，這樣的限制一直沒有太大的突破。

Weird Type將字體從2D空間提升到3D及AR程度，讓受眾能更感受到畫面的張力及動能；加上操作簡易，有別於在博物館、美術館裡人與藝術品之間的關係，此類操作讓人們跟藝術的距離更為拉近了；作者Zach Lieberman也希望能透過這款應用程式，將看似難以觸碰的科技以AR形式接觸到一般大眾，也提醒創作者要時時跟環境對話、一同創作及設計。

到藝術家Zach Lieberman的instagram裏，我們可以看見許多充滿實驗性質、非常有趣的藝術創作，而這款App主要為Apple’s AR Kit跟Openframeworks所創造出之程式語言所構成，假如還沒有碰過程式語言的設計師們，不坊到這兩個程式裡看看，畢竟不論領域，程式語言即將成為個體基本能力之一；而Zach Lieberman藉由這個應用程式開了個頭，讓筆者對於陌生的程式語言有了興趣，並也相信它若應用在設計上，將會有不一樣的樣貌及設計方向。

People Watching Bad News

德國威斯巴登雙年展前天落幕，留下的除了還沒撤完的展覽外，還有當地居民以及全球各地討論的聲音。

The Wiesbaden Biennale just ended couple days ago, which left not only the exhibits that haven’t been removed but the voices from people around the world.

期望成為作者之間對話平台的雙年展，本來是從1992年開始的Neue Stücke aus Europa衍伸而來，當時的歐洲社會有一些動盪，而這個活動成為了以自由為前提的對話場域。新一代的年輕策展人Martin Hammer和Maria M. Ludewig將這樣的形式重新設計，以歐洲人的視角出發，而成為了這次所介紹的威斯巴登雙年展。

今年2018為第二屆的威斯巴登雙年展，第一次在2016年以THIS IS NOT EUROPE為主題，策劃了一連串的視覺及活動，今年則是BAD NEWS。在上個月的記者會上，如真實報紙般一捆一捆的丟在現場，人手一報，大家都在看著封面大大寫上BAD NEWS的報紙，裡頭以假新聞的形式介紹出這次展覽的所有活動，不論是活動視覺或是當場的整體效果皆非常有力。

In an eye to become a platform for discussions among authors, the biennale was actually from Neue Stücke aus Europa back in 1992, when Europe was going through a time of upheaval. Thus, the activity has became a dialogue on the premise of freedom speech. The new generation of curators, Martin Hammer and Maria M. Ludewig, redesigned the original form and started from the perspective of Europeans, which formed what we see today as the Wiesbaden Biennale.

Before this year’s biennale, the second year, in 2016, the title was designated THIS IS NOT EUROPE above a series of visuals and activities. BAD NEWS is the title of 2018. On the press conference last month, the program handouts were designed like real newspapers with piles and piles stacked together, randomly thrown onto the ground; people were reading the handout like newspapers entitled BAD NEWS. The newspaper was composed of programs covered up in the form of fake news. It goes without saying that both event visuals and overall live atmosphere were as striking as they could be.

兩屆的主題雖然不同，但都是由同樣的策展精神及視覺設計師所建構而出。Fons Hickmann是幕後的設計師，到他的instagram上，我們可以看見他在活動策劃早期對這個主題下的不同視覺定義，而建構出的不同主視覺。而背後都有不同的設計想法與脈絡。這些海報其實在他的圖片敘述裡，都叫做「sketch」草稿而已。從這些草圖裡的色彩計畫到最後的回歸黑與白的設計，我們看見的是風格更為反叛、直接的風格，這更貼切地呼應了威斯巴登雙年展的理念與宗旨。

Although the titles differ from each other, the spirit of curating and visual designer are the same. Fons Hickmann is the guy. If we browse through his instagram, we can see different key visuals derive from various definitions he came up with during the early phase of preparation, which have a variety of design thinkings and thread of thoughts. In fact, these posters are illustrated “sketch” in the text boxes on the platform. From the color scheme in these drafts to black-and-white final poster appearance, we see a more dissident and direct style transformation, which fits perfectly to the concept of Wiesbaden Biennale.

他們的網站也設計得非常的帥 Go check out their awesome website：http://www.wiesbaden-biennale.eu/en/

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.

Spotify的綠是哪種綠？ Spotify logo evolution

耳機已經變成現代人不可或缺的配備，那耳機裡的音樂哪裡來的呢？如果你對這個logo有印象，那相信妳一定曾在這個應用程式裡播放過某個你喜愛的明星的單曲，或者是為了知道這首歌的製作故事而加入spotify家族，甚至因為它的視覺非常強烈大膽，而選擇了這個音樂平台。不論是哪種原因，相信Spotify的logo已深植在大家心中。

在Spotify現任CEO Daniel Ek當時要正式推出這個品牌時，設計師Christian Wilsson非常快速的設計出了一套識別系統，logo為主要的襯線字體並加上三條聲音符號在O上，並以三種色調作為變化，而成為了最初的視覺設定。

Earphones has become a necessity for citizens. Where does the music in your earphones come from? If you are familiar with the logo, then you must’ve played on some music produced from your favorite artist, for the behind lyrics, or even simply because of its bold identity and comp to join the Spotify family. No matter what reason you hold, Spotify is undoubtedly already an icon for the public.

Right about the time when the recent CEO Daniel Ek was about to lauch the product, Christian Wilsson, the designer of Spotify, had designed an identity system within a short period of time. The logo was made up of a main serif font and three wave symbols added on top of the O, with three color combinations being made to the primary visual preset.

往後，Christian Wilsson與公司內部重新審視了logo，並與紐約一家顧問公司合作，於2013年重新推出了目前我們所看到的標誌外觀：無襯線字體加上一個綠色圓形裡包覆著三條簡化過、並且加粗的音波造型。

2015年，圓圈的綠色做過些微調整（詳見新標誌之規範：https://developer.spotify.com/branding-guidelines/），從原本偏向青草之高亮度綠色變成明度較低的綠色(#1DB954 R30 G215 B96/C80 M0 Y80 K0)。這個轉變在當時造成了一些討論；雖然僅有少數人表達支持新顏色的誕生，但或許討論之激烈，也正代表了Spotify在大眾心中的地位：它不只是一個音樂交流品牌，更是有著一個自由、年輕與熱情的性格，在地鐵上、捷運、回家的路途上陪伴我們，讓我們擁有重新相信自我的價值的機會。又或許更是因為這樣的品牌價值，才造就了Spotify日益壯大的影響力。

Afterwards, Christian Wilsson revised the logo with a consultant company in New York, and announced the logo with what we ca see right now: Sans-serif font with a green circle surrounding three simplified and bolded wave symbols.

In 2015, the green was adjusted from a brighter green to a neo-like one. (#1DB954 R30 G215 B96/C80 M0 Y80 K0) The alteration caused several discussions on the Internet with only a few supporting voices online. The fierce debates happened at that time, however, that it means the importance of this brand for the users: it has surpassed mere brand but embedded a free, young, and enthusiastic symbol, which company us on subways, MRT, and the way back home; it enables us to believe in our own values via music. Or perhaps it is the bran value that makes Spotify who it is today.

See the identity system: https://developer.spotify.com/branding-guidelines/

更多與Spotify設計師訪談，請看這裡：

See more process details in the interview below:

http://www.howdesign.com/how-magazine/how-winter-2015/design-spotlight-the-transformative-journey-of-spotify/

Two-Dimensional Man: A Graphic Memoir

::: 設計閱讀計畫 ::: Design Reads :::

Two-Dimensional Man: A Graphic Memoir

來自紐約的OOPS (Office of Paul Sahre) 平面設計工作室，其設計師 Paul Sahre 在去年出了這本回憶錄，內容闡述生長背景，到之後開始平面設計的心路歷程、及生活種種。而家庭在這本書裡佔了非常大一部分，或許這對應了在創作路上所經歷的種種，看似毫無關聯，卻也默默地影響著他的作品。

去年的冬天，UCONN的老師 Mark Zurolo 邀請了 Paul Sahre 來學校演講。那是我第一次知道這個人。班上好幾個美國同學睜大眼早早就佔了位子，買好書，準備在會後請設計師簽名。一問之下才發現是樂團 They Might Be Giants 的專案設計師；粉紅色的坦克車不只拓印在專輯封面，更出現在街頭：一個巨型的紙板坦克車。在演講中，他介紹了幾個自己做過的書封、專輯等等專案，除了作品非常精彩之外，他所強調的動手做更是體現在裡頭。他唸了一段這本書裡的序文，是關於他媽媽把自己青少年的惡魔畫作掛在家一進門之處，他們的心理疙瘩與家庭成員的情感。

作者除了是平面設計師，更是定義自己為作家。身為設計學習者，透過此書，在 Paul Sahre 的幽默中，我們可以透過此書重新獲得一些前進的力量。

The design studio based in NY, OOPS, aka Office of Paul Sahre, its designer Paul Sahre published this memoir last year, talking about his background in family, graphic design and life. Family becomes a great part in this book, which perhaps corresponds his way through graphic design, and seems unrelated but subconsciously affecting.

During the winter last year, my instructor at UCONN, Mark Zurolo, invited Paul Sahre to give a speech on campus. It was the first time I heard of him. Some of my classmates were already sitting on chairs with their eyes widely-open, holding this books in their arms, expecting the designer to show up. I soon knew that he was the project designer of the band They Might Be Giants: The pink tank not only appeared on their album cover, but also literally on street, with the size of a giant tank made of cardboards. In the speech, he introduced to us some of the book covers, albums, and works he made over the years. Apart from the great works, the spirit of craftsmanship also was emphasized during the process. He read part of the preface on the spot, of why his mom put a devil drawing of his of teenage onto the wall of front door, of their mindsets and affections connected to one another.

Paul Sahre not only is a graphic designer, but a writer by his definition. As a design learner, by walking through his words, sometimes humorous tone, we are able to gain strength to carry on and believe more in our choices.

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建議購買處（全球免運費）

Suggested purchase point:

https://www.bookdepository.com/Two-Dimensional-Man-Paul-Sahre/9781419724152?ref=grid-view&qid=1534652187878&sr=1-1

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

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

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