Martina Flor: The secret language of letter design (with English subtitles) | TED

Translator: Camille Martínez Reviewer: TED Translators admin

譯者: Lilian Chiu 審譯者: Helen Chang

Can you imagine what the word "TED" would have looked like

你們能不能想像如果 「TED」這字存在於羅馬時期

if it had existed during the Roman Empire?

會是什麼樣子？

I think maybe something like this.

我想可能會類似這樣。

An artisan would have spent days in the sun chiseling it into stone.

工匠要花數日的時間 在太陽底下把字鑿到石頭上。

And in the Middle Ages?

在中世紀呢？

A monk, locked in his room,

一個僧侶，鎖在自己的房間裡，

would write T-E-D with his pen.

用筆寫出來的 T-E-D。

And without going so far back in time,

不要回到那麼早的時代，

how would these letters have looked in the 80s?

這些字母在 1980 年代是什麼樣子？

They would have had electric, strange colors,

它們會有強烈、奇怪的顏色，

just like our hairstyles.

就像我們的髮型。

(Laughter)

（笑聲）

If this event were about children,

如果這場活動和孩子有關，

I would draw the letters like this,

我會畫像這樣的字，

as if they were building blocks,

好像積木一樣，

in vivid colors.

用鮮艷的顏色。

And if it were about superheroes instead?

如果這場活動和超級英雄有關呢？

I would do them like this,

我會做成這樣，

inspired by -- in my opinion -- the greatest of all:

我認為靈感來自最偉大的超級英雄：

Superman.

超人。

(Laughter)

（笑聲）

The shapes of these letters talk.

這些字母的形狀會說話，

They tell us things beyond what they represent.

告訴我們的資訊 不限於它們代表的意思。

They send us to different eras,

它們會把我們傳送到不同的年代，

they convey values,

會傳遞價值，

they tell us stories.

會告訴我們故事。

If we think about it, our days are full of letters.

仔細想想，文字充斥在我們生活裡，

We see them on the front of the bus,

到處看得到字母：

on the bakery's facade,

公車前面、麵包店的正面、

on the keyboard we write on,

我們打字的鍵盤、

on our cell phones --

我們的手機──

everywhere.

到處都有。

Since the beginning of history,

從有史以來，

people have felt the need to give language an image.

人們就覺得需要給語言一個圖像。

And rightly so,

確實如此，

because language is the most important communication tool we have.

因為語言是我們最重要的溝通工具。

Without understanding what a word means,

就算不了解字的意思，

we can see certain things it conveys.

我們也可以看出 它所傳遞的某些訊息。

Some letters tell us that something is modern --

有些字會傳遞當代摩登的訊息──

at least it was back in the 70s.

至少在1970 年代是摩登的。

Others verify the importance and monumentality of a place,

有些字則確認某地的重要和紀念性，

and they do so in uppercase.

做法是用大寫字。

There are letters not made to last long --

也有不為持久而寫的字──

and neither is the opportunity they communicate.

它們能用來交流的機會也不持久。

And there are letters made by inexperienced hands

也有沒經驗的手做出的字；

that, whether they mean to or not,

有意與否，

make us imagine what a place looks like inside.

這些字會讓我們產生 對該處內部樣子的想像空間。

When I moved to Berlin, I experienced firsthand

搬去柏林後我親身體驗到

all the impact that drawn letters can have in our day-to-day life.

繪製的文字能在我們日常生活中 造成什麼影響。

I arrived in a new city, which was exciting and novel for me.

到一個新的城市， 對我來說很新奇很刺激。

Now, dealing with an unfamiliar language was at times very frustrating

當時要處理不熟悉的語言

常會讓人感到挫折和不舒服。

and uncomfortable.

I found myself several times at parties clutching my glass of wine,

多次我在派對上拿著一杯酒，

without understanding a single word of what was being said around me.

完全聽不懂周圍的人 對我說的任何一個字。

And of course, I'd smile as if I understood everything.

當然我會微笑，好像我全聽懂了。

I felt limited in my ability to say what I thought,

我覺得受到限制， 沒辦法說出我的想法、

what I felt,

我的感受、

what I believed.

我的信念。

Not only did I not understand the conversations,

不只無法了解交談的內容，

but the streets were full of signs and text that I couldn't read.

街道上滿是我看不懂的標誌和文字。

But the shapes of the letters gave me clues;

但文字的形狀讓我能有點頭緒；

they would open up a little window

它們能打開一扇小窗子，

to understanding the stories enclosed in those shapes.

來了解那些形狀所包含的故事。

I recognized places where tradition was important.

我能知道有些地方很重視傳統。

[Bakery Pastries Café Restaurant]

〔麵包酥皮點心咖啡餐廳〕

Or I'd know when someone was trying to give me a signal,

當有人試著給我信號時，我會知道，

and my gut would tell me it was better to stay away.

直覺會告訴我最好閃遠一點。

[No trespassing!]

〔不得擅自進入〕

I could also tell when something was made to last forever.

我也能分辨出有些東西 是為了永久留傳而做的。

The shapes of letters helped me understand my surroundings better

文字的形狀協助我 對身處的環境多一點了解，

and navigate the city.

為我在城市中指路。

I was in Paris recently,

不久前我在巴黎

and something similar happened to me.

也有同樣的經驗。

After a few days in the city,

在該城市待了幾天後，

I was on the lookout for something tasty to take back home.

我去尋找美食帶回家吃。

So I walked and walked and walked until I found the perfect bakery.

我一直走，一直走，一直走， 直到我發現了一間完美的麵包店。

The sign said it all.

招牌全說出來了。

[Bakery]

〔麵包店〕

I see it, and even today, I imagine the master baker

即使現在我還看得到畫面， 想像得出麵包師傅，

dedicating the same amount of time to each loaf of bread

投入在每一條麵包上的時間，

that the craftsman dedicated to each letter of this word.

和工匠投入在每個 字母上的時間一樣長。

I can see the bread, with just the right ingredients,

我能想像那麵包用的是理想的原料，

being kneaded softly and carefully,

被輕柔、小心地捏製，

in the same way the craftsman drew the ends of the letters

就像工匠繪製這些字母末端時一樣，

with smooth and precise curves.

有著滑順且精確的弧線。

I see the master baker placing the buns over a thin layer of flour

我看見麵包師傅把麵包 放在薄薄的一層麵粉上，

so the bottoms don't burn.

這樣底部才不會烤焦。

I think of the craftsman putting the mosaics in the oven one by one,

我想著工匠把那些鑲嵌裝飾 一個一個放到爐中，

being careful to not let the ink run.

非常小心不要讓墨水滲開。

The love for detail that the master baker has

麵包師傅對於細節所投入的愛，

is reflected in the attention that went into creating this sign.

反映在創造這個招牌的注意力上。

Without having tried their bread, we already imagine it tastes good.

還沒有嚐過他們的麵包， 我們就已經想像會很美味了。

And I can vouch for it; it was delicious.

我可以發誓，真的很好吃。

I'm a letterer; that's my job --

我是文字書寫員，

繪製文字是我的工作。

to draw letters.

Just like when you make bread, it requires care in its preparation,

就像當你做麵包時， 在準備工作上就需要用心，

just the right amount of ingredients

原料的量要恰到好處，

and love for the details.

對細節要投入愛。

Our alphabet is at the same time my raw material and my limitation.

我們的全套字母， 既是我的原料，也是我的限制。

The basic structure of the letters is for me a playing field,

對我來說，字母的基本結構 就是我的遊樂園，

where the only rule is that the reader, at the end of the road,

唯一的規則是

在另一端的讀者要能夠讀出訊息。

will be able to read the message.

Let me show you how I work,

讓我展示一下我如何工作、

how I "knead my bread."

我如何捏製我的麵包。

A while back, I was commissioned to design the cover of a classic book,

不久前，我受委託 設計一本經典書籍的封面，

"Alice in Wonderland."

《愛麗絲夢遊仙境》。

Alice falls in a burrow

愛麗絲落入兔洞中，

and begins an absurd journey through a world of fantasy, remember?

在一個奇幻世界中開始了 一段荒唐的旅程，記得嗎？

In this situation, the title of the story is my raw material.

在這個情況中，書名就是我的原料。

At first glance, there are elements that are not very important,

乍看之下，有些元素不怎麼重要，

and I can decide to make them smaller.

所以我決定把它們變小。

For example, I'll write "in" on a smaller scale.

比如，我會把介係詞 “en el” 用小型的字來寫。

Then I'll try some other ideas.

接著我會嘗試其他的想法。

What if, to communicate the idea of "wonder,"

比如，要傳達「仙」的想法，

I used my best handwriting,

我用最棒的手寫字，

with lots of curleycues here and there?

到處加上一些花飾，如何？

Or what if I focused more on the fact that the book is a classic

或是我更著重這本書的經典性，

and used more conventional lettering,

用比較慣常的寫法，

making everything look a little more stiff and serious,

讓一切看起來比較拘謹和嚴肅，

like in an encyclopedia or old books?

就像百科全書或古書，如何？

Or how would it look, considering this book has so much gibberish,

如果考量到這本書有多麼胡扯，

if I combined both universes in a single arrangement:

我可以用單一的安排 來結合兩個宇宙：

rigid letters and smooth letters living together in the same composition.

堅硬的字和滑順的字共存在一起。

I like this idea, and I'll work on it in detail.

我喜歡這個點子，開始處理細節。

I use another sheet of paper to work more comfortably.

我用另一張紙，更舒適地工作，

I mark some guidelines,

我標示出一些參考線，

delimiting the framework where the words will be.

用框架界定出這些字的位置。

There, I can start giving form to each letter.

我讓每個字在那裡開始成形。

I work carefully.

我很小心、很仔細地做，

I dedicate time to each letter without losing sight of the whole.

花時間畫每個字， 同時不忘記看整體。

I draw the ends of the letters methodically.

我有條理地繪製出這些字的末端。

Are they square or round?

末端是方的還是圓的？

Are they pointy or plump and smooth?

末端是尖的還是豐滿滑順的？

I always make several sketches,

我通常會畫很多張草稿，

where I'll try different ideas or change elements.

會嘗試不同的點子或是改變元素。

And there comes a point when the drawing turns into precise forms,

到了一個時間點， 把描繪轉變為精確的形式，

with colors, volumes and decorative elements.

有顏色、有體積、有裝飾性的元素。

Alice, the celebrity here, is placed at the front

故事中的主角愛麗絲被放在前端，

with volume in her letters.

她的字立體、有體積。

Lots of points and lines playing in the background

背景有很多的點和線，

help me convey that in this story, lots of things happen.

協助我傳達一個訊息： 在這個故事中發生很多事。

And it helps to represent the feeling it generates,

點與線也代表著它引起的感覺，

as if you had your head in the clouds.

好像你的頭正在雲霧中。

And of course, there's Alice, looking at her wonderland.

當然還有愛麗絲看著她的仙境。

Drawing the letters of this title, I recreate the text's atmosphere a little.

繪製書名時我稍稍重現文字的氣氛，

I let the reader see the story through a peephole in the door.

讓讀者透過門上的窺視孔 來看這個故事。

To do that, I gave shape to concepts and ideas

我讓已經存在於我們想像中的 概念和想法具體成形：

that already exist in our imagination:

the idea of dreams,

夢的想法、

of chaos,

混亂的想法、

the concept of wonder.

仙的概念。

The typography and the shape of letters work a bit like gestures

文字的排版和形狀

有點像手勢以及語調。

and tone of voice.

It's not the same to say,

以下兩種說法是不同的：

(In a flat tone of voice) "TEDxRíodelaPlata's audience is huge,"

「好多 TEDxRíodelaPlata 的觀眾」， （註：語調平坦）

as it is to say (In an animated voice), "TEDxRíodelaPlata's audience is huge!"

「好多 TEDxRíodelaPlata 的觀眾」。 （註：語調生氣蓬勃）

Gestures and tone are part of the message.

手勢和語調都是訊息的一部份。

By giving shape to the letters,

把形狀賦予文字，

I can decide more precisely what I mean to say and how,

我就可以精確地決定

要說什麼和如何去說，

beyond the literal text.

超越了字面的文字。

I can say my favorite swear word in a very flowery way

我能把自己最喜愛的髒字用花式裝飾，

and be really corny when I talk about love.

我也可以用老掉牙的方式來談愛。

I can talk loudly and in a grandiose way

我可以用宏偉的方式大聲說話，

or in a soft and poetic voice.

或是用輕柔有詩意的聲音。

And I can communicate the difference between Buenos Aires

我可以傳達出布宜諾斯艾利斯

and Berlin,

和柏林的差別，

two cities I know very well.

我對這兩個城市都很了解。

It was precisely in Berlin where my work became more colorful,

正是在柏林，我的工作 開始變得更多姿多采，

more expressive,

更傳神，

more precise at telling stories.

把故事說得更精準。

Everything I couldn't say at those parties,

我手拿酒杯站在派對裡時，

standing there holding my glass of wine,

說不出來的所有話語，

exploded in shapes and colors on paper.

都在紙上以形狀和顏色爆發出來。

Without my realizing it, this limitation that language has

不知不覺中，

這語言的限制變成動力引擎，

became an engine

that propelled me to perfect the tools with which I could express myself.

驅策我讓工具更臻完美， 然後用這些工具來表述我自己。

If I couldn't say it by speaking,

如果我無法口說表達，

this was my way of talking

這就是我和世界交談、

and telling things to the world.

訴說事情的方式。

Since then, my big quest has been to find my own voice

從那以後我的一大目標

and to tell stories with the exact tone and gesture I want.

是找到自己的聲音，

並且用我要的語調和手勢來說故事。

No more, no less.

不多不少，要很精準。

That's why I combine colors,

那就是為什麼我結合了顏色、

textures

紋理、

and of course, letters,

當然還有文字，

which are the heart.

文字是這一切的心臟。

And that's why I always want them to have shapes that are truly beautiful

那就是為什麼我總是希望

文字能有真正很美、很精緻的形狀。

and exquisite.

Telling stories by drawing letters --

透過繪製文字來說故事──

that's my job.

是我的工作。

And with that I look for a reaction in the reader,

工作上，我期待讀者的反應，

to wake them up somehow,

以某種方式喚醒他們，

to make them dream,

讓他們作夢，

make them feel moved.

讓他們感動。

I believe that if the message is important,

我相信，如果訊息很重要，

it requires work and craftsmanship.

它就需要努力和技藝。

And if the reader is important,

如果讀者很重要，

they deserve beauty and fantasy as well.

他們也應該得到美麗與夢幻。

(Applause)

（掌聲）