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  • Hey, this is me home stroll a few days ago.

    嘿,這是我前幾天回家散步。

  • During this walk I noticed something,

    在這次散步過程中,我注意到了一件事。

  • so I started taking pictures of it.

    所以我開始拍它的照片。

  • Eventually I got my co-workers to join in.

    最後,我讓同事們也加入了進來。

  • Mac took this picture,

    麥克拍了這張照片。

  • and Agnes took this one.

    和艾格尼絲把這個。

  • What we all noticed was this font.

    我們都注意到的是這個字體。

  • If you've somehow managed to never see it on a storefront,

    如果你不知道怎麼就沒在店面上看到過它。

  • you've definitely seen it elsewhere.

    你肯定在其他地方見過。

  • Because it's everywhere.

    因為它無處不在。

  • Strip away the candy wrappers,

    剝去糖果包裝紙。

  • movie posters, album covers,

    電影海報,專輯封面。

  • and corner store signs, and you're left with this typeface.

    和街角商店的招牌,就剩下這種字體了。

  • It's called Cooper Black, and the story

    它的名字叫庫珀-布萊克,故事是...

  • of how it became so popular has everything to do with its versatility,

    它之所以如此受歡迎,與它的多功能性有關。

  • because these letters have been around for a century's worth of changes in

    因為這些信件經過一個世紀的變化,在

  • technology

    技術

  • and pop culture.

    和流行文化。

  • To set the stage for the story, I talked to Stephen Heller.

    為了給這個故事做鋪墊,我和斯蒂芬-海勒聊了聊。

  • Bear with me while I move to another part of the apartment.

    在我搬到公寓的另一個地方的時候,請耐心等待。

  • Among other things, he's written like a library's worth of books about design.

    其中,他寫的關於設計的書就像一個圖書館一樣。

  • Okay, I'm back.

    好吧,我回來了。

  • And this is Bethany Heck.

    這位是Bethany Heck.

  • I am a designer who writes about typefaces.

    我是一個寫字體的設計師。

  • She runs the Font Review Journal where she deconstructs the history and design of notable typefaces

    她經營《字體評論》雜誌,解讀著名字體的歷史和設計。

  • like Cooper Black. If you give me like two minutes I can run and find an actual

    像庫珀-布萊克如果你給我兩分鐘的時間,我可以跑去找一個真正的

  • like physical piece of wood type and I can talk through some of this.

    喜歡實物的木頭類型,我可以通過一些來談。

  • While she's doing that, let's travel back in time a hundred years to the city of Chicago

    當她這樣做的時候,讓我們穿越時空回到一百年前的芝加哥市。

  • where our story begins. It's 1919 right after World War 1.

    我們的故事從這裡開始。1919年,第一次世界大戰結束後。

  • Advertising was reaching an early zenith at that point because with the end of

    廣告在那時候達到了一個早期的頂峰,因為隨著廣告的結束

  • the war there was a great resurgence of product and demand. The two dominating

    戰後,產品和需求大為恢復。兩種主要的

  • materials for commercial printing were wood and metal. Wood was cut out of the

    商業印刷的材料是木材和金屬。木頭是用木頭切割出來的。

  • end pieces hard wood, they were usually large size typefaces that were used for

    端件硬木,它們通常是大尺寸的字體,用於處理。

  • large-scale advertising and posters. The bold typefaces you see in old wanted

    大型廣告和海報。你在舊版通緝令中看到的粗體字

  • posters? Those were made from wood type. Metal was the process that was created

    海報?那些都是用木頭類製作的。金屬是創造的工藝

  • by Gutenberg when he designed the type for his Bible. Each individual character

    古騰堡在為他的《聖經》設計字體時。每一個字元

  • was physically formed into words, and those words were cast into tiny lines of

    被物理地形成了文字,而這些文字被鑄成了細小的線條。

  • text. Those molds allowed for smaller more precise blocks of type. That's the

    文字。這些模具允許更小更精確的字體塊。這就是

  • kind of type that was used for most commercial purposes, from book publishing

    鉛字

  • to magazine publishing. By the turn of the 20th century huge Rube Goldberg-like

    到雜誌出版。到了20世紀初,巨大的類似於Rube Goldberg的?

  • machines called linotypes drastically sped up this process.

    被稱為linotypes的機器極大地加快了這一過程。

  • This is the world Oswald Cooper, Chicago's preeminent letterer and

    這就是世界上的奧斯瓦爾德-庫珀,芝加哥最著名的文字學家和。

  • illustrator, lived in. In 1918, after years of making custom hand lettered ads for

    插畫家,住在。1918年,經過多年的定製手寫廣告,為。

  • car companies and banks, he designed a fully-formed

    汽車公司和銀行,他設計了一個完全成型的

  • typeface dubbed Cooper. It took a classic Roman form and softened to the edges.

    被稱為Cooper的字體。它採用了經典的羅馬字體,並對其邊緣進行了柔化處理。

  • Seeing promise in Cooper's design and the prior success of his lettering work, the

    由於看到了Cooper設計的前景,以及他的刻字工作先前取得的成功,美國政府對他的設計給予了高度評價。

  • type foundry Barnhart Brothers and Spindler asked him to make a bold

    字型鑄造廠巴恩哈特兄弟和斯賓德勒要求他做出一個大膽的 "新 "字。

  • display typeface based on the font. Around 1920, Oswald Cooper released

    基於字體的顯示字體。1920年左右,Oswald Cooper發佈了

  • Cooper Black, and it was an immediate hit. It was used for newspaper headlines and

    庫珀-布萊克,並立即受到歡迎。它被用於報紙標題和

  • large-scale posters. It sold cars, cold medicine, music lessons, turntables,

    大型海報。它賣汽車、感冒藥、音樂課、轉盤。

  • and ginger ale. With Cooper Black, it was like somebody took an air pump to a tire

    和薑汁汽水。和庫珀-布萊克在一起,就像有人拿著氣泵去打輪胎一樣。

  • and blew up that tire. I mean this ad for Cooper Black credits the font for

    並炸掉了那個輪胎。我是說這個Cooper Black的廣告將字體歸功於 I mean this ad for Cooper Black credits the font for

  • getting five thousand customers into their client's new store on opening day.

    讓五千名顧客在開業當天進入他們客戶的新店。

  • And in countless reviews, it was considered the most popular typeface

    而在無數的評論中,它被認為是最受歡迎的字體

  • design of the time. So what made it work so well? For one, its curves. Perhaps the

    當時的設計。那麼,是什麼讓它有這麼好的效果呢?其一,它的曲線。也許是

  • most unconventional aspect of the curves are that willingness to be unafraid to

    曲線最不拘一格的地方是,願意不畏懼

  • curve the bottom parts of the letter forms. So if you look at the bottom parts

    曲線的底部部分的字母形式。所以,如果你看一下底部的部分

  • of the stems of the "A" like there's no flat edges on that, which is very strange.

    的莖的 "A "像有沒有平邊上,這是非常奇怪的。

  • If you look at most typefaces, they have flat bottom somewhere. Even Cooper Black's

    如果你看看大多數的字體,它們都有平底的地方。即使是Cooper Black的

  • imitations like Goudy Heavy and Pabst Extra Bold failed to fully break tradition.

    像Goudy Heavy和Pabst Extra Bold這樣的仿製品未能完全打破傳統。

  • You want that consistent line for legibility, and so the fact that Cooper

    你要的是一致的線條,以便於辨認,所以事實上,庫珀... ...

  • doesn't have that means that it's very forgiving to irregularities. Like the

    不具備,意味著它對不規範的行為非常寬容。比如說

  • baseline serif of one character naturally flows right into the curve of

    一個字的基線襯線自然而然地流向了一個字的曲線。

  • another even when the characters are slightly uneven. Those irregularities

    另一個即使在字元稍微不均勻的時候。這些不規則

  • look more like mistakes than quirks in straighter edged designs. The fact that

    在直邊設計中,看起來更像是錯誤而不是怪癖。事實上

  • Cooper doesn't necessarily need to be laid in a straight line to look good is

    庫珀不一定要擺在一條直線上才好看才是

  • an advantage. Let's talk about this weird F. It's an identifiable feature of Cooper

    的優勢。我們來談談這個奇怪的F 這是Cooper的一個可識別的特徵

  • Black. Turns out it's pretty genius. Draw a rectangle around that F, and you have

    黑色的。事實證明,這是很天才的。在F的周圍畫一個矩形,你就有了

  • to think like "okay I've got a draw of really bold F

    想到 "好吧,我已經抽到了一個非常大膽的F。

  • and I only have this rectangle of space to play with." You've got the crossbars,

    而我只有這個長方形的空間來玩。"你已經得到了橫杆。

  • and then you've got the hook at the top, and the serif at the bottom, you're kind

    然後你已經得到了鉤在頂部, 和襯線在底部,你是那種。

  • of like running out of space. The shape of this negative space in the ascender

    的像用盡空間。這個負空間的形狀在上升器上

  • allowed Cooper to make the F as bold as possible for as much as possible while

    允許庫珀在儘可能多的情況下,讓F儘可能大膽的使用,而

  • still maintaining legibility, which wasn't always the case for heavy

    但仍能保持易讀性,這對於重度的 "小米 "來說並不總是如此。

  • typefaces of the time. This is actually a good example, like this is a very bold

    當時的字體。這其實是一個很好的例子,比如這個是一個很粗獷的

  • four, and you can see that like the counter space in there is like really

    四,你可以看到,像櫃檯空間在那裡是像真正的

  • tiny. The tininess is what makes the four look bold and heavy, but that four

    渺小。細小是讓四人看起來大膽而沉重的原因,但這四人的

  • could get sort of like filled up with ink and then essentially vanish. These

    可以得到那種像充滿了墨水,然後基本上消失。這些

  • negative spaces within each character made Cooper Black incredibly light and

    每個角色的負面空間都讓庫珀-布萊克變得非常輕盈,而且他的性格也很好。

  • friendly while still commanding attention. The fact that it worked both

    友好的同時還能引起人們的注意。事實上,它既能

  • big and small was a huge selling point. Every character of Cooper Black has its

    大大小小都是一個巨大的賣點。庫柏黑的每一個角色都有其

  • own little quirks. The G is always the thing that I think about first, it has

    自己的小癖好。G總是我首先想到的東西,它有

  • like this sort of anthropomorphic quality. I think it looks like a duck. Now

    喜歡這種擬人化的品質。我覺得它看起來像一隻鴨子。鴨子

  • that you say that, the Q kind of looks like a snail. Weird. At any rate, I

    你這麼一說,Q就像一隻蝸牛。很奇怪無論如何,我

  • think the letter that shows just how fun and functional Cooper Black can be, has

    認為這封信顯示了庫珀黑可以多麼有趣和實用,已經。

  • to be the O. A lot of typefaces have a vertical stress, so the oval inside would

    很多字體都有一個垂直的應力,所以裡面的橢圓會是

  • just point straight up and down. Cooper's tilts back, and while it looks

    只是指向直上直下。庫珀的向後傾斜,雖然它看起來... ...

  • off-kilter on its own, when placed in a word or phrase it always seems to

    單獨的,當它放在一個詞或短語中時,它總是似乎

  • compliment the letters around it. The central conflict that a type designer is

    與周圍的字母相得益彰。一個字體設計師的核心矛盾是

  • facing is how do I make something that feels cohesive as a whole design system

    面臨的問題是,我如何讓一個東西作為一個整體的設計系統,讓人感覺到凝聚力。

  • as opposed to a beautiful collection of letters. Somehow Cooper achieved both.

    而不是一本美麗的信件集。不知為何庫珀做到了這兩點。

  • Oswald Cooper believed Cooper Black was at its best when there was thin spacing

    奧斯瓦爾德-庫珀認為,庫珀-布萊克的最佳狀態是在間距較小的情況下。

  • between the words and not much leading between the lines. Basically it worked

    字裡行間,字裡行間沒有太多的引導。基本上是這樣的

  • best when the letters were all cramped together. But that sometimes posed a

    當字母都擠在一起時,效果最好。但這有時會造成

  • problem. Even when Cooper Black was first designed, like just the act of squishing

    問題。即使是庫柏黑剛開始設計的時候,就像僅僅是擠壓的行為一樣

  • type together tight was like in some cases extremely difficult or impossible

    緊密結合在一起,在某些情況下是非常困難或不可能的

  • to do. In the 1950s, two dramatically new ways of printing made it easier to push

    來做。在20世紀50年代,兩種戲劇性的新印刷方式使人們更容易推崇

  • letters closer together, and that thrust Cooper Black into the second half of the

    信更接近,這就把庫珀-布萊克推向了下半場。

  • 20th century. There was a basic change in the material of which type is made, a

    20世紀。哪種類型的材料發生了基本的變化,一是。

  • change from lead to paper or film. The first was photo type hot metal

    由鉛改為紙或膠片。第一個是照片型熱金屬

  • typecasting was replaced by film strips in dark rooms and by the early 1960s

    打版被暗室裡的膠片條所取代,到了60年代初

  • machines like the phototypositor were small enough to fit in local print

    像影印機這樣的機器小到足以容納當地的印刷廠。

  • shops the other was the invention of dry rub transfers which just required a

    另一個是發明了乾擦式轉印,只需要在店面裡放上一張紙就可以了。

  • ballpoint pen and a piece of paper it was perfect for customizing headlines

    原子筆和一張紙,它是完美的定製標題。

  • letter set the company that made them marketed it as fast simple and

    信設置的公司,使他們的市場作為快速簡單和。

  • economical these two technologies opened up graphic design to more adventurous

    這兩種技術為更多的冒險者打開了平面設計的大門。

  • compositions something wood and metal had struggled to do and cooper black

    木頭和金屬都難以做到的事情,而庫珀-布萊克卻能做到。

  • flourished it thrived as always in advertising it's friendly curves fit the

    蓬勃發展的它一如既往地在廣告中茁壯成長,它的友好曲線適合於所有的人。

  • tongue-in-cheek aesthetic of the 1960s and 70s but it also showed up in

    60和70年代的詼諧美學,但它也出現於

  • magazines movies and hundreds of album covers Pet Sounds was like the

    雜誌、電影和數百張專輯封面的Pet Sounds就像

  • quintessential setting just look at the way the D works with the E and the Y and

    典型的設置只是看看D與E和Y的工作方式,以及。

  • boys fits so nicely over the oh it it's fluidity is what makes it special

    男生們這麼好的配合,在哦,它的流動性是它的特殊之處

  • and it's boldness makes it special I think all type designers would come in

    我想所有的字體設計者都會來的,它的大膽讓它變得特別。

  • and say like they have an idea of how a typeface is is meant to be used but I

    並說像他們有一個想法的字體是如何使用,但我。

  • think that a typeface doesn't really reach its full potential

    以為字不達意

  • until it's put into somebody else's hands because Cooper black was readily

    直到它被交到別人手中,因為庫珀-布萊克很容易地

  • available in letras at int I posit or catalogs it was no longer just in the

    在IN I posit或目錄的letras中可用,它不再只是在

  • hands of professionals and designers it was in the hands of the DI wires of the

    專業人員和設計師的手中,它是在DI電線的手中。

  • counterculture movement it seamlessly jumped from Burger King to underground

    反文化運動,它無縫地從漢堡王跳到地下的。

  • posters and magazines and became a staple the idea of using something

    海報和雜誌,併成為一個主旋律的想法,使用的東西。

  • that's basic vernacular but using it with intention to make a statement is

    那是基本的白話,但有心算無心嘛

  • something that you see throughout design or cultural history

    貫穿設計或文化歷史的東西

  • these early hip-hop posters are actually the perfect example of Cooper blacks

    這些早期的嘻哈海報實際上是庫珀黑人的完美例子。

  • adaptability and its legacy like take a look at this one it doesn't really

    適應性和它的遺留問題,比如看看這個,它並沒有真正的。

  • matter that these are two lowercase LS because the S fits so perfectly next to

    這兩個小寫的LS沒關係,因為S和旁邊的S非常吻合。

  • them and the types ability to be squeezed as tightly as possible and

    他們和類型的能力,以儘可能緊緊地擠壓和

  • still be incredibly legible holds up even under extreme circumstances it's

    屹立不倒

  • always fun to look at something that's used an assertive lowbrow way and then

    總是有趣的看東西,使用一個自信的低調的方式,然後

  • to realize that this isn't like some cheap tacky thing this is actually like

    意識到這並不是什麼廉價的俗氣的東西,這其實就像。

  • very good that's why Cooper black is just as

    很好 這就是為什麼庫珀-布萊克也是一樣的

  • popular today as it was when it was first made from corner store signs and

    今天的流行,因為它是第一次由街角商店的標誌和。

  • fashion brands to food packaging grassroots movements and hip-hop album

    從時裝品牌到食品包裝的草根運動和嘻哈音樂專輯。

  • covers Cooper's ability to work as like rebel

    涵蓋了庫珀的工作能力,就像反叛者一樣。

  • and letterings and in photo type and as movable type and also now like in

    和字母,以及照片字體和活字版,現在也像在 "我的 "中。

  • digital that's why it's everywhere and that's something that Oswald Cooper

    數字化,這就是為什麼它無處不在的原因,這也是奧斯瓦爾德-庫珀的事情。

  • couldn't have predicted

    豈料

  • you

Hey, this is me home stroll a few days ago.

嘿,這是我前幾天回家散步。

字幕與單字
自動翻譯

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 Vox 字體 庫珀 設計 海報 曲線

Why this font is everywhere

  • 4 1
    林宜悉 發佈於 2020 年 08 月 18 日
影片單字