---从其它影评的摘录,纯碎是纪录下---- David Carson 说:"Helvetica没有表现力。无论它写的是什么,就像一个很平凡的人在那里很平淡地say Hello一样。……一件东西可读并不意味着传达了信息,更重要的,并不意味着正确传达了信息。反过来讲,有些刚开始难以阅读的东西,也许表达了完全不同的信息并且值得读者花更多时间去参与。”
Helvetica was a real step from the nineteenth-century typefaces. 相对于19世纪的那些字体,Helvetica 是一个非常重要的突破 lt was a little more machined, 稍微有一点机械的味道 it was doing away with these manual details in it, 没有太多人工的痕迹 and we were impressed by that, because it was more neutral. 它给我们留下很深的印象,因为它更为“中性” And neutralism was a word that we loved. 而中立主义,是我们喜爱的一个字眼 it shouldn't have a meaning in itself. lt should . . . 它本身不应该包含任何含义,它应该... the meaning is in the content of the text, not in the typeface. 含义应该来自于文本的内容中,而非字体的表象
Governments and corporations love Helvetica 政府和企业喜欢 Helvetica because on one hand it makes them seem neutral and efficient, 因为一方面它令他们看上去中立和有效率 but also the smoothness of the letters makes them seem almost human. 柔和的字形也让他们看起来更人性化 That is a quality they all want to convey 这一直是他们试图传达的质素 because of course they have the image they are always fighting 因为他们一直想改变他们的形象: that they are authoritarian they're bureaucratic, 独断、官僚、 you lose yourself in them, they're oppressive. 让人失去理性、压迫 So instead, by using Helvetica 然而,改用 Helvetica they can come off seeming more accessible, transparent, and accountable, 就可以使他们看起来亲切、透明、可靠 American Apparel uses Helvetica and it looks cheeky. 美国服饰 用Helvetica 显出随意 American Airlines uses it and it looks sober. 而美国航空 用 Helvetica 显出稳重 And it's not just a matter of the weight they use and the letter spacing and the colors. 这不仅仅因为他们所使用的字重,字距,和颜色 There's something about the typeface l think really invites this sort of open interpretation. 还因为字体本身就支持开放性的释读
It's always changing, time is changing, 世界永远在变,时代在变 the appreciation of typefaces is changing very much. 对字体的欣赏也在发生很大的改变 You are always child of your time, and you cannot step out of that. 人永远都是时代的孩子,无法跳出你所处的时代
2 ) 永远经典永远现代 The Typeface of Modernism: Helvetica
My Favorite Quotes from Helvetica: ===========================
On Typeface Selection: ------------------------------- Typefaces express a mood, an atmosphere. They give words a certain coloring. The sort of classical modernist line on how aware a reader should be of a typeface is that they shouldn't be aware of it at all. It should be this crystal goblet there to just hold and display and organize the information. But I don't think it's really quite as simple as that. I think even if they're not consciously aware of the typeface they're reading, they'll certainly be affected by it, the same way that an actor that's miscast in a role will affect someone's experience of a movie or play that they're watching. They'll still follow the plot, but, you know, be convinced or affected. I think typography is similar to that, where a designer choosing typefaces is essentially a casting director.
On Helvetica: ------------------ A neutral typeface which invites open interpretation and indicates Inherent rightness.
Everywhere you look you see typefaces. But there's one you probably see more than any other one, and that's Helvetica. You know, there it is, and it seems to come from no where. You know, it seems like air? It seems like gravity? And it's hard to evaluate it. It's like being asked what you think about off-white paint. It's just... it's just there. And it's hard to get your head around, it's that big. Helvetica has almost like a perfect balance of push and pull in its letters. And that perfect balance sort of is saying to us - well it's not sort of, it *is* saying to us - "don't worry, any of the problems that you're having, or the problems in the world, or problems getting through the subway, or finding a bathroom... all those problem aren't going to spill over, they'll be contained. And in fact, maybe they don't exist."
On Simplicity: ------------------- Don't confuse legibility with communication. Just because something is legible doesn't mean it communicates and, more importantly, doesn't mean it communicates the right thing. There is a very thin line between simple and clean and powerful and simple and clean and boring.
Miscellaneous: --------------------- Life of a designer is a life of fight, fight against the ugliness. You're always a child of your time, and you cannot step out of that.
My Favorite Moment in the Documentary: =============================== Michael Bierut making his passionate statement: “In Helvetica, period!!!”
--细节与语录-- "Helvetica是完美的...好的字体,不仅体现在有墨迹的地方,更体现在它的空白之处...像美妙的韵律"——Massimo Vignelli "Helvetica无处不在,让人察觉不到它的特别存在。它就像空气、重力,一样自然...当任何一种东西被用滥了,它都会显得枯燥乏味。"——Michael Bierut "没有限制我们什么都做不了。限制越多,我们越开心。"——Manuel Krebs and Dimitri Bruni of Norm "Helvetica没有表现力。无论它写的是什么,就像一个很平凡的人在那里很平淡地say Hello一样。" ——David Carson "Helvetica总是让我记起我凌乱的房间,它就像我妈妈一样,总是在提醒我该去打扫房间了。" ——Paula Scher Paula Scher在访谈中多次抒发了对Helvetica的不忿,甚至还跟她的政治观点挂上了钩。她认为使用Helvetica的都是支持越战的,同时在当年的一个封面设计上,以支持各州里根的票数,来近似该州喜欢Helvetica的人数==b 当问及Helvetica对伊拉克战争有什么影响时,她笑言就是Helvetica惹的祸,意思貌似是这些人都是战争爱好者。。。 "我认为,有些美的东西不该被糟蹋了(shouldn't be messed up with)。" ——Michael C 他是Helvetica的爱好者,在回答时,他的猫(啊~ 好漂亮啊!很想知道是什么品种呢~)也不时地闯入镜头,还秀秀它漂亮的尾巴~~哈 接下来,就是我自爱的字体Tahoma和Verdana的设计师Matthew Carter啦~ 他讲的那句“你是字体设计师?我还以为他们都死了呢。。。”特逗。相比起Helvetica,Tahoma和Verdana是sans-serif的后起之秀,随Windows95版发布(不得不服MS在人机交互、界面设计方面还是很有远见的...)。个人最爱9pt的Tahoma,看文本很舒服,如果看代码的话,五颜六色的,更舒服~
--关于电影本身-- Indie风格的纪录片,与大厂牌的作品风格迥异。BBC拍摄的"Are you sitting comfortably",一部讲述座椅设计近百年历史的纪录片,应算是后者的典范。有趣的情节设计、角色扮演,为纪录片加了很多调料以杜绝干涩无味;制片人在片中游走四方,还有画外音的旁白,都为影片穿针引线。于是,当我惊异于"Helvetica"中丝毫没有露面的访问者(甚至连他提得问题都难以辨认==||)之时,也诧异于影片的连贯和流畅。虽说画面的剪接和音乐的搭配功不可没,导演用受访者的回答来讲故事的设计更是巧妙。
Helvetica 对于我来说,就是冷静、清晰、精准的代言词。能简单,绝对不要复杂。不要有任何情感,每一个细节无可挑剔。
journalism课上放的。还算有趣。
在科普之后非常辩证地分析了Helvetica背后的意义,本质上非常像(Helvetica代表的)现代主义与后现代主义之间的碰撞。H的中立、简洁、秩序感代表着一种风格,受到一部分设计师的推崇,也就不可避免地被另一群人认为是乏味的、缺乏个性的。潮流即是不断在变化的,经典虽是经典,只是不要盲目崇拜便好。
detail matters
Helvetica,拉丁语“瑞士的”,完美的现代主义字体设计,读起来看起来都好舒服。原来身边存在那么多Helvetica设计,惊讶于设计师可以用如此充沛的词汇来描述形容一款字体。字体和空间的关系,字体本身的正负关系和结识的矩阵体系,神奇的美学。大师说,真正算得上好的字体大概有一打,他常用的只有两三
想到关山最爱的大标宋
70年代时,年轻一代都追捧迷幻剂一样的字体,到了80年代,他们的思想完全乱成一团,他们不知道在乎什么,但他们知道要反对什么,那就是 Helvetica。当字体排印设计终于陷入了不可挽救的混乱中,设计师们在90年代末能做的就是回归了,回归到早期的设计方式,并用一套新的理论来支持它。
http://www.helveticafilm.com/ | Download Helveticafilm here: http://www.mininova.org/tor/1018081. + Chinese subtitles here: http://tinyurl.com/4xkv72 | 这篇讲Arial和Helvetica的文章很有学术味道,写作方式也很学术。什么是我们真正需要的英文字体——由Arial和Helvetica 的比较引发的思考。 http://snurl.com/25f
so cool
为一个字体拍一部纪录片,真是难得。每天都在用这个字体,知道它名字的又有多少。实用主义的理性和美学的结合,它真的很耐看。
現代主義與後現代主義!
用了有几年,从来没用心看过它的名字到底怎么念
字体也有大学问。
Helvetica用了这么多年的字体 哎 很好的片子 很直观的表达
认识和了解这一伟大的无衬线字体。后现代主义典范,纯粹,理性,权威。中文字体感觉唯有微软雅黑有此份量但也望尘莫及。片末的主题升华很不错,从字体到设计,学问很多。
不错,远不只是关于Helvetica。OL:http://www.jlpfans.com/player/a99880d39e5daec3-1-0.html
里面那些字体设计师一个个都是大毒舌,听他们骂人可真是丰富了表达词汇呢。
很直观、丰富、中性、有教益的纪录片。Helvetia=瑞士/Helvetica=瑞士的
非常骄傲呀~西文字体盛大YY~
平等理性的看待海尔外提卡 睡前我想了一下 这是哲性问题 先是人们需要一种新的事物打破现在的混沌 然后新的来了 一窝蜂的赞美和普及 然后又权威混沌垄断了 有人维护经典 有人开始质疑权威 有人认为已经到达顶端 有人固步自封 有人认为这是另一个混沌 有人还不知道这一切