字幕表 動画を再生する 英語字幕をプリント Jonathan Hoefler: "Typefaces aren't merely about forms they're about design systems. They have to do with the way things relate to one another." Paula Scher: "It's the joy of what happens with color and form and information." Eddie Opara: "Fonts are clothes in a sense. They help visualize and externalize your identity to the world." "It's about tension, it's about special arrangement, it's about texture it's about the dynamics." Jonathan Hoefler: "Typefaces not toys. They are tools, they're designed to solve problems. Some people say there are two kinds of type designers: there are those whose voice is always detectable in the work that they do and those whose voice is never detectable in the work that they do. Tobias and I try to conceal our handiwork in typefaces. I would love people to recognize our work to respond to it in an emotional way, but again for it to play second fiddle to the message. Tobias Frere Jones: "A lot of the conversations that we have are bizarre. We are trying to figure out what is the 'gray flannel suit' version of this form?" Jonathan Hoefler: "This too Tom and Jerry. It needs to be more Don Draper." Tobias Frere-Jones: "It is exactly what we are talking about. Oh you're right!" Jonathan Hoefler: "Letters are everywhere. and that's one of the things that makes typography so interesting to people these days." Tobias Frere-Jones: "It is such a pervasive part of our day. You need type again and again and again. To get through your day. To live your life." Paula Scher: "I landed in the music industry in the '70s. It was completely lucky. I loved record covers The albums that people would know were things like Bruce Springsteen 'Darkness on the Edge of Town' or the Boston album. but I was more interested in typography. so I used to experiment with typography on jazz albums I determine how I design something based on the audience and what the audience will bear. Evoke the response you want while pushing the audience to see something perhaps in a new way. My goal, when I started designing for the public theater, was to create a visual language as opposed to a logo for the theater. And 'Bring in the da Noise, Bring in da Funk' is the best use of that visual language because it used this wood type in a very provocative way. It was type that talked to you, it was type that rapped, it was type that tapped. It was the only Broadway show that didn't have a logo. Everything is about identity. Everything is about expressing individuality of places, businesses, organizations, people. The ultimate goal is to have as much uniqueness and understanding in every communication as you can have. Eddie Opara: "Quite weirdly, I always think typography is a little bit like a carpet. I kind of look at it from the point of view of texture and how readable that texture actually is. One of our clients is Studio Museum of Harlem. I had thought about 'Invisible Man.' He talks about in a sense of identity as an African-American and being black um... the idea of being noticed and unnoticed. What we did was create a form similar to a stealth bomber i took some text and applied it to a paper format utilizing optical illusion and that's how stealth became whole. It is not a normal poster which is flat. It is very sculptural. UCLA came to me and asked us to look at their poster series. We utilized a standard font, fedra, and manipulated it through code into irregular dynamic structures which were still fonts. You need attractors. Too much text, not enough textual form or intention. Dynamics. And so when you see a poster that is entirely different to other posters you see around you then you're going to be attracted to it, whether you hate it or you like it. and that is basically doing its job." Deroy Peraza: "If you look back two hundred years infographics being used to map cholera cases in London. Fast forward and you have magazines like Wired putting an emphasis on info graphics. Wired influences publications like Good who take this online. So the Opportunity Gap is a piece that we did for Good magazine. It's really ultimately about education. It's about how poverty rates and access to health care create a discrepancy in the opportunities available to students of different races. The most challenging part of organizing an infographic is taking all of the available data and deciding what is the most important bit of information that we need to communicate. Infographics are just about the typography getting out of the way of the message." Julia Vakser: "Our process is to be able to distill the information to a very key point. We try to be as expressive as you can possibly be with the limitations we have." Deroy Peraza: "Infographics are like hot science. It is fun and interesting. It is absporbing." Paula Scher: "Because of the computer people are really aware of typography like they've never been before." Deroy Peraza: "Typography is kind of finally free on the web." Jonathan Hoefler: "It is amazing everybody can do this. The tools are there. They are on your phone, which is extraordinary." Eddie Opara: "This is just something that should be enjoyed." Paula Scher: "Words have meaning and type has spirit and the combination is spectacular."