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  • 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

  • and uncomfortable.

    常會讓人感到挫折和不舒服。

  • 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,

  • to draw letters.

    繪製文字是我的工作。

  • 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

  • will be able to read the message.

    在另一端的讀者要能夠讀出訊息。

  • 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:

    夢的想法、

  • the idea of dreams,

    混亂的想法、

  • of chaos,

    仙的概念。

  • the concept of wonder.

    文字的排版和形狀

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

    有點像手勢以及語調。

  • and tone of voice.

    以下兩種說法是不同的:

  • It's not the same to say,

    「好多 TEDxRíodelaPlata 的觀眾」, (註:語調平坦)

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

    「好多 TEDxRíodelaPlata 的觀眾」。 (註:語調生氣蓬勃)

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

    手勢和語調都是訊息的一部份。

  • Gestures and tone are part of the message.

    把形狀賦予文字,

  • By giving shape to the letters,

    我就可以精確地決定

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

    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,

  • became an engine

    這語言的限制變成動力引擎,

  • 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,

  • No more, no less.

    並且用我要的語調和手勢來說故事。

  • That's why I combine colors,

    不多不少,要很精準。

  • textures

    那就是為什麼我結合了顏色、

  • and of course, letters,

    紋理、

  • which are the heart.

    當然還有文字,

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

    文字是這一切的心臟。

  • and exquisite.

    那就是為什麼我總是希望

  • Telling stories by drawing letters --

    文字能有真正很美、很精緻的形狀。

  • that's my job.

    透過繪製文字來說故事──

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

    是我的工作。

  • to wake them up somehow,

    工作上,我期待讀者的反應,

  • to make them dream,

    以某種方式喚醒他們,

  • make them feel moved.

    讓他們作夢,

  • I believe that if the message is important,

    讓他們感動。

  • it requires work and craftsmanship.

    我相信,如果訊息很重要,

  • And if the reader is important,

    它就需要努力和技藝。

  • they deserve beauty and fantasy as well.

    如果讀者很重要,

  • (Applause)

    他們也應該得到美麗與夢幻。

Translator: Camille Martínez Reviewer: TED Translators admin

譯者: Lilian Chiu 審譯者: Helen Chang

字幕與單字

影片操作 你可以在這邊進行「影片」的調整,以及「字幕」的顯示

B1 中級 中文 美國腔 TED 文字 麵包 語調 字母 形狀

【TED】瑪蒂娜-弗洛爾:字母設計的祕密語言 (字母設計的祕密語言(英文字幕)|瑪蒂娜-弗洛爾) (【TED】Martina Flor: The secret language of letter design (The secret language of letter design (with English subtitles) | Martina Flor))

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    Zenn 發佈於 2021 年 01 月 14 日
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