TEDxSanFrancisco
Douglas Thomas: How a typeface helped launch Apollo
道格拉斯·托马斯: 字体如何帮助发射阿波罗
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1969年人类首次登陆月球时，Futura 字体就一直伴随着他们。在这段引人入胜的印刷术发展史介绍中，设计师道格拉斯·托马斯（Douglas Thomas）分享了 Futura 在发射阿波罗11号宇宙飞船中所扮演的角色，以及它是如何成为世界上使用最多的字体之一的故事。
Douglas Thomas - Designer, writer and historian of typography
Douglas Thomas's research explores the power of fonts at the intersection of design and culture. Full bio
Douglas Thomas's research explores the power of fonts at the intersection of design and culture. Full bio
Double-click the English transcript below to play the video.
00:12
In 1969 in July,
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1969年7月，
三位美国人被发射至太空。
00:15
three Americans launched into space.
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他们抵达了月球的表面，
00:18
Now, they went to the surface of the moon,
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完成了人类举世瞩目的一跃。
00:20
they famously made
the great leap for mankind.
the great leap for mankind.
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巴兹·奥尔德林，尼尔·阿姆斯特朗
在月表行走，
在月表行走，
00:24
Buzz Aldrin, Neil Armstrong,
they walked on the surface,
they walked on the surface,
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他们插上了这面旗帜。
00:27
they planted this flag.
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这是一个值得全美国庆祝的胜利时刻。
00:28
It's rightly celebrated as a moment
that in America we say is a triumph.
that in America we say is a triumph.
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我们认为这是一个了不起的成就。
00:34
We think it was this
amazing accomplishment.
amazing accomplishment.
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他们留下的不仅是这面旗帜。
00:37
They didn't just leave behind
this flag, though.
this flag, though.
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他们也留下了一块登月纪念牌。
00:39
They also left behind a plaque.
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这个纪念牌很漂亮，
00:40
This plaque is a beautiful object,
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我想和你们谈谈。
00:42
and one that I want to talk to you
a little bit about.
a little bit about.
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首先，你可能注意到有两个球状图案，
00:45
First, you might notice
that there's two globes,
that there's two globes,
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代表整个地球。
00:47
representing all of earth.
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然后是这段优美的描述：
00:48
And then there's this beautiful statement:
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“我们为全人类的和平而来。”
00:50
"We came in peace for all mankind."
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首先，这是非常富有诗意的语言，
00:52
Now, at first, this is just
nice poetic language,
nice poetic language,
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其次它的字体也非常适合那个时刻。
00:55
but it's also set in a typeface
that's perfect for this moment.
that's perfect for this moment.
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它看起来是工业化的，
经过精心设计的。
经过精心设计的。
00:59
It seems industrial, it seems engineered.
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这也是你能想到的用来描述
01:02
It also is the best possible name
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月球上的东西的
最好名字：Futura（未来）。
最好名字：Futura（未来）。
01:04
you could come up with
for something on the moon: Futura.
for something on the moon: Futura.
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现在，我想和你们谈谈字体，
01:08
Now, I want to talk to you about fonts,
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以及为什么这个字体
非常适合这个时刻。
非常适合这个时刻。
01:09
and why this typeface is perfect
for this moment.
for this moment.
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这不仅仅是仪式。
01:12
But it's actually more
than just ceremonial.
than just ceremonial.
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01:15
Now, when all of you arrived here today,
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你们所有人今天来到这里时，
都需要考虑字体。
01:18
you actually had to think about fonts.
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你们可能没有意识到这点，
01:20
You might not realize it,
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但你们在潜意识中都是排版专家。
01:21
but you're all unconscious
experts on typography.
experts on typography.
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排版是研究字体以什么方式
存在于我们的世界的。
存在于我们的世界的。
01:24
Typography is the study
of how fonts inhabit our world,
of how fonts inhabit our world,
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他们是我们使用的文字的视觉化语言。
01:29
they're the visual language
of the words we use.
of the words we use.
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01:34
Here's the thing
that's funny about this, though.
that's funny about this, though.
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但有趣的事情是，
我知道你们可能不像我，
你们不是字体迷，
你们不是字体迷，
01:36
I know you're probably not like me,
you're not a font nerd,
you're not a font nerd,
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可能有些人是，
但如果你不是，也没关系，
但如果你不是，也没关系，
01:39
maybe some of you are,
but if you're not, that's alright,
but if you're not, that's alright,
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因为我可能每天都要花上几个小时
01:41
because I might spend hours every day
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去为最合适的物体
挑选最合适的字体，
挑选最合适的字体，
01:43
trying to pick the perfect typeface
for the perfect project,
for the perfect project,
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我也可能每年要花费成千上万美元，
01:46
or I might spend thousands
of dollars every year,
of dollars every year,
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试着找到符合我要求的字体。
01:49
trying to get ones
with the right features.
with the right features.
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但其实你们所有人每天都花了
数个小时在评估字体。
数个小时在评估字体。
01:51
But all of you actually spend hours
every day, evaluating fonts.
every day, evaluating fonts.
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如果你不信，想想
你是如何到这儿的。
你是如何到这儿的。
01:54
If you don't believe me,
think about how you got here.
think about how you got here.
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每个人都要判断标志，
01:56
Each of you had to judge by the signs
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甚至你手机上的标志，
01:58
and maybe even on your phone,
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该相信哪个符号，忽略哪个符号。
02:00
which signals to trust
and which to ignore.
and which to ignore.
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这时你就是在评估字体。
02:03
You were evaluating fonts.
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或者可能当你刚买了个新产品时，
02:04
Or maybe when you're just
buying a new product,
buying a new product,
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你得考虑东西是贵
02:07
you have to think about
whether something is expensive
whether something is expensive
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还是便宜，或者很难获得
还是容易找到。
还是容易找到。
02:09
or cheap or hard to get or easy to find.
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有趣的事情是，
02:13
And the funny thing about it is,
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这在你看起来并不奇怪，
02:15
this may not seem extraordinary to you,
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但一旦你看到的事情错位了，
02:16
but the moment you see
something out of place,
something out of place,
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你立马就能认出来。
02:19
you recognize it right away.
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（笑声）
02:20
(Laughter)
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我爱排版的一点是，
02:23
The thing I love about typography,
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以及我为什么喜欢字体，
尤其是 Futura 字体的原因是，
尤其是 Futura 字体的原因是，
02:24
and why I love fonts
and why I love Futura,
and why I love Futura,
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对我而言，我的研究对象无处不在。
02:27
is that, for me,
what I study is everywhere.
what I study is everywhere.
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我走过的每一条街道，
我拿起的每一本书，
我拿起的每一本书，
02:30
Every street that I walk down,
every book that I pick up,
every book that I pick up,
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我阅读的任何事物都
充满了我热爱的东西。
充满了我热爱的东西。
02:33
every thing that I read
is filled with the thing I love.
is filled with the thing I love.
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02:38
Now, once you understand the history
and what happens with typography,
and what happens with typography,
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一旦你理解了排版的演变过程，
你面前的每件事的历史
都摆在了你的面前。
都摆在了你的面前。
02:43
you actually have a history
of everything before you.
of everything before you.
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这是 Futura 字体。
02:46
And this is the typeface Futura.
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正如之前所讨论的，
这是现代主义的缩影。
这是现代主义的缩影。
02:48
As previously we've discussed,
this is modernism in miniature.
this is modernism in miniature.
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这是现代主义渗透到
这个国家的一种方式，
这个国家的一种方式，
02:52
This is a way in which modernism
infiltrated this country
infiltrated this country
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也可能是20世纪最流行的，
02:55
and became perhaps the most popular,
or promiscuous typeface,
or promiscuous typeface,
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或混杂的字体。
02:58
of the twentieth century.
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“少即是多”是现代主义的格言。
03:00
"Less is more," right, these are
the aphorisms of modernism.
the aphorisms of modernism.
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在视觉艺术领域，
同样的事情也发生了。
同样的事情也发生了。
03:03
And in the visual arts,
the same thing happened.
the same thing happened.
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让我们关注本质，关注基本形状，
03:05
Let's focus on the essentials,
focus on the basic shapes,
focus on the basic shapes,
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关注几何。
03:08
focus on geometry.
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这实际上就是 Futura 字体的核心。
03:09
So Futura actually holds this to its core.
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你可能会注意到
Futura 字体固有的形状
Futura 字体固有的形状
03:12
You might notice that the shapes
inherent in Futura
inherent in Futura
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有圆形，正方形，三角形。
03:15
have circles, squares, triangles.
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有些形状都是基于圆圈的，
03:16
Some of the shapes
are all based on circles,
are all based on circles,
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比如O、D和C，
03:19
like the O, D and C,
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有些则带有三角形的尖顶点。
03:20
or others have this pointed
apex of the triangle.
apex of the triangle.
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其他的看起来就像是用尺子
03:23
Others just look like
they might have been made
they might have been made
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或圆规做的。
03:26
with a ruler or a compass.
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它们看起来感觉像依照几何形状
或数学公式计算过的，十分精确。
或数学公式计算过的，十分精确。
03:27
They feel geometric,
they feel mathematic, precise.
they feel mathematic, precise.
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事实上，这种字体的设计方法
03:30
In fact, this whole system
carries through with the way
carries through with the way
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贯穿整个系统，
03:32
that the typeface was designed.
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要让它看起来和其他
字体不同，要有新意。
字体不同，要有新意。
03:34
To not look like it was made
like other typefaces, to be something new.
like other typefaces, to be something new.
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这是它的细体，常规和粗体的样子。
03:37
Here it is in the lightweight,
the medium weight and the bold weight.
the medium weight and the bold weight.
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整个字体家族都有
不同的推崇之处。
不同的推崇之处。
03:41
The whole family has
different things to commend to it.
different things to commend to it.
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这是对过去的一次有意识的突破，
03:44
This was a conscious break from the past,
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是一种看起来像是由机器
而不是手写生成的东西。
而不是手写生成的东西。
03:46
something that looked like it was made
by a machine, and not by hand.
by a machine, and not by hand.
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我说不是手写的意思指的就是这个。
03:50
When I say not made by hand,
this is what I mean.
this is what I mean.
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这是当你用毛笔
03:52
This is what we think about maybe,
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或钢笔写字时有可能呈现出的字体，
03:54
when you might create something
with a calligraphic brush or a pen.
with a calligraphic brush or a pen.
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笔画之间会有粗和细的差别。
03:57
That there's thicks and thins.
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即便是更传统的字体，
比如加拉蒙字体，
比如加拉蒙字体，
03:59
And even more traditional typefaces,
say like a Garamond,
say like a Garamond,
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也保留着这个旧系统的痕迹，
04:02
holds vestiges of this old system
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比如在这里你可以看到
A 的上半部笔画划较细，
A 的上半部笔画划较细，
04:04
in which you can see the A
where it get little bit thinner at the top
where it get little bit thinner at the top
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而下半部分较粗，
04:07
and thicker down below,
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因为这是在试图让它
看起来像手写的。
看起来像手写的。
04:09
because it's trying to look like
someone had made it by hand.
someone had made it by hand.
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但 Futura 字体与之相反，
04:11
But Futura, in contrast,
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设计得就像跟人工全无关系，
04:13
is designed to look like
no one had touched it at all,
no one had touched it at all,
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它是由机器书写的，
04:15
that this was made by a machine,
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对应着机器时代，工业时代。
04:17
for a machine age, for an industrial age.
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这里其实有1927年
04:19
There's actually a sleight of hand here
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设计这幅画的设计师
保罗·雷纳隐藏的一个花招。
保罗·雷纳隐藏的一个花招。
04:21
that Paul Renner, the designer
who made this in 1927, employed.
who made this in 1927, employed.
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如果你观察
04:25
If you look at the way in which
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圆与竖连接的方式，
04:26
the circular shape
joins with the vertical shaft,
joins with the vertical shaft,
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你会注意到它变得稍微细了一些。
04:29
you'll notice that it tapers
just every so slightly.
just every so slightly.
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这是把字体设计得
04:33
And this is one of hundreds of ways
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几乎在几何上完美的
数百种方法之一，
数百种方法之一，
04:34
in which this typeface was designed
to look geometrically perfect,
to look geometrically perfect,
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尽管它在数学上不完美。
04:37
even though it's mathematically not.
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这就是字体设计师每天
04:39
And this is what typeface
designers do all the time
designers do all the time
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围绕字体所做的工作。
04:42
to make typefaces work, every day.
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04:44
Now, there were other designers doing this
at the same time in Europe and America.
at the same time in Europe and America.
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同期在欧洲和美国也有
其他设计师做类似的事。
其他设计师做类似的事。
这是来自欧洲的其他一些优秀的例子，
04:48
These are a few other
excellent examples from Europe,
excellent examples from Europe,
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大家在努力为新时代，
新阶段创造一些新的东西。
新阶段创造一些新的东西。
04:51
trying to create something new
for the new age, a new moment in time.
for the new age, a new moment in time.
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这是德国的其他一些
04:54
These are some other ones in Germany
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看起来非常类似 Futura 的字体，
04:56
that in some ways
look very similar to Futura,
look very similar to Futura,
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可能只有高腰或低腰或不同比例之别。
04:58
maybe with higher waist or lower waist
or different proportions.
or different proportions.
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那为什么 Futura 会风靡世界呢？
05:01
Then why did Futura take over the world?
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在这个案例中，
如果你能看清一些字体的名字，
如果你能看清一些字体的名字，
05:03
In this case, if you can read
the titles there,
the titles there,
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其中有些不是很能脱口而出：
05:06
some of these names
don't quite roll off the tongue:
don't quite roll off the tongue:
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Erbar, Kabel Light,
Berthold-Grotesk, Elegant-Grotesk.
Berthold-Grotesk, Elegant-Grotesk.
05:08
Erbar, Kabel Light,
Berthold-Grotesk, Elegant-Grotesk.
Berthold-Grotesk, Elegant-Grotesk.
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这些都不是家喻户晓的名字，对吧？
05:14
These aren't exactly
household names, are they?
household names, are they?
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所以当你将它们跟 Futura 做下对比，
05:16
And so when you compare that to Futura,
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就会意识到这是营销团队
做出的一个很好的选择。
做出的一个很好的选择。
05:19
you realize that this was a really
good choice by the marketing team.
good choice by the marketing team.
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这个名字最妙的地方在于——
05:22
What's amazing about this name --
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这个名字的含义
05:24
you know, what's in this name
is that this is a name
is that this is a name
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实际上唤起了人们
对未来的希望和想法。
对未来的希望和想法。
05:27
that actually invokes hope
and an idea about the future.
and an idea about the future.
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这个词在德语中并不是未来的意思，
05:30
And this isn't actually the word
for future in German,
for future in German,
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它不是一个德语词，
05:33
it wasn't a German name,
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他们其实上选择了一些
05:34
they actually picked something
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能够面向更广泛，更庞大，
全球性的观众群体的东西。
全球性的观众群体的东西。
05:36
that would speak to a wider,
larger audience, a universal audience.
larger audience, a universal audience.
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当你比较同时期的美国字体时——
05:39
And when you compare it
to what was being done in America --
to what was being done in America --
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这些是美国1920年代，
05:42
these are the typefaces
from the same period
from the same period
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也就是同时代的字体，
05:44
in the United States in the 1920s,
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粗旷，傲慢，浮夸。
05:45
bold, brash, braggadocios.
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你几乎可以把这想象成20世纪20年代
05:47
You almost think of this as exactly
like what the stock market looked like
like what the stock market looked like
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股市疯狂时的样子。
05:50
when they were all
going nuts in the 1920s.
going nuts in the 1920s.
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于是你意识到 Futura 在做的
是革命性的事情。
是革命性的事情。
05:52
And you realize that Futura
is doing something revolutionary.
is doing something revolutionary.
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我想退一步谈谈字体的使用用例。
05:55
I want to step back and talk
about an example of the typeface in use.
about an example of the typeface in use.
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这是一本我们今天可能都知道
的杂志，《名利场》。
的杂志，《名利场》。
06:00
So this is a magazine that we all
probably know today, "Vanity Fair."
probably know today, "Vanity Fair."
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这是它1929年夏季的一个版面。
06:03
This is what it looked like
in 1929, in the summer.
in 1929, in the summer.
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在很多方面，这个设计都没有问题。
06:06
And in many ways, there's
nothing wrong with this design.
nothing wrong with this design.
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这绝对是1920年代的典型设计。
06:10
This is absolutely typical of the 1920s.
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这是张重要人物的照片，
06:12
There's a photograph
of an important person,
of an important person,
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也就是富兰克林·罗斯福，
当时的纽约州州长。
当时的纽约州州长。
06:14
in this case Franklin Roosevelt,
then-governor of New York.
then-governor of New York.
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居中排版，左右对称。
06:17
Everything seems centered,
everything seems symmetrical.
everything seems symmetrical.
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这里仍然有一些装饰，
06:20
There's still a little bit
of ornamentation,
of ornamentation,
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所以这可能仍然有些
艺术修饰的痕迹，
艺术修饰的痕迹，
06:22
so this is still maybe having
some vestiges of the painted lady
some vestiges of the painted lady
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不完全是现代主义的。
06:25
and not fully modernistic.
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但一切似乎都很合理，
06:26
But everything seems kid of solid.
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甚至还有下拉大写字母
来引导你进入文本区域。
来引导你进入文本区域。
06:28
There's even drop caps
to help you get into the text.
to help you get into the text.
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但这些变化得非常之快，
在1929年10月，
在1929年10月，
06:30
But this all changed very quickly
and in October of 1929,
and in October of 1929,
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一位来自柏林的设计师
重新设计了《名利场》。
重新设计了《名利场》。
06:33
a Berlin-based designer came
and redesigned "Vanity Fair."
and redesigned "Vanity Fair."
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这是用 Futura 字体印刷的样子。
06:36
And this is what
it looks like with Futura.
it looks like with Futura.
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这次不是州长，
06:39
Instead of the governor
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现在我们有了一张抽象的，
美丽的背景照片，
美丽的背景照片，
06:41
now we have a photograph
of an abstract, beautiful setting,
of an abstract, beautiful setting,
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在这个例子中，是海洋。
06:44
in this case, the ocean.
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除了首字母下沉外，
并没有什么特别之处。
并没有什么特别之处。
06:46
Instead of drop caps,
there's nothing at all.
there's nothing at all.
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取代中心布局的是不对称。
06:48
And replaced with a centered
layout is now asymmetry.
layout is now asymmetry.
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你越仔细翻阅这本杂志，
你会发现这种变化越明显，越激进。
你会发现这种变化越明显，越激进。
06:52
And it gets even more radical
the further you enter the magazine.
the further you enter the magazine.
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在这个例子中，甚至
有更明显的不对称。
有更明显的不对称。
06:55
In this case,
even more dramatic asymmetry.
even more dramatic asymmetry.
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其中毕加索的插图横跨过页面，
06:57
In this case, illustrations
by Pablo Picasso, moving across the page
by Pablo Picasso, moving across the page
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打破了两页的沟槽。
07:01
and breaking the gutter of the two pages.
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还有更激进的东西。
07:04
And there's something even more radical.
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如果你仔细观察 Futura，
你可能注意到一些东西。
你可能注意到一些东西。
07:06
If you look closely at the Futura,
you might notice something.
you might notice something.
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你可能一开始没有注意到，
07:09
You might not pick it up at first,
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但是这一页的标题和说明中
没有大写字母。
没有大写字母。
07:11
but there are no capital letters
in the title or the captions on this page.
in the title or the captions on this page.
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你可能不会觉得这个有多激进，
07:15
You might not think that's very radical,
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但随手拿起任何杂志，
图书或打开任何网站，
图书或打开任何网站，
07:17
but pick up any magazine,
any book or go to any website,
any book or go to any website,
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我保证，想找到同样的设计并不容易。
07:19
and I guarantee, you are not
going to find it very easily.
going to find it very easily.
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这仍然是个很激进的主意。
07:22
This is still a radical idea.
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为什么说它是激进的？
07:24
And why is that radical?
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思考一下大写字母代表什么，
07:26
When we think about
what capital letters denote,
what capital letters denote,
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它们表示的都是重要的东西，
07:29
they denote something important,
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不管是我们的名字还是职位。
07:31
whether it's our names, or our titles.
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或者可能只是我们公司的名字，
07:33
Or maybe even just
the name of our corporations,
the name of our corporations,
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或者我们的商标。
07:36
or maybe our trademarks.
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事实上，在某些方面，
美国是资本主义的发源地。
美国是资本主义的发源地。
07:37
Actually, in some ways,
America's the home of capitalization.
America's the home of capitalization.
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我们喜欢在每件事情上都注入资本。
（注：capitals同时有资本和大写字母的意思）
（注：capitals同时有资本和大写字母的意思）
07:41
We love putting capitals in everything.
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07:43
(Laughter)
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（笑声）
但想想，如果你推出一本
07:44
But think about how radical this would be
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去掉所有大写字母的杂志，
这是多么激进的做法。
这是多么激进的做法。
07:46
to introduce a magazine where you're
taking away all the capital letters.
taking away all the capital letters.
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这可能和我们今天在社会上
07:51
This has maybe had
the same political force
the same political force
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争论发音一样具有政治影响力。
07:53
that we now argue over things
like pronouns in our society today.
like pronouns in our society today.
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在1920年代，
07:57
In the 1920s,
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这样的事就发生在苏联发生
共产主义革命后不久。
共产主义革命后不久。
07:58
this is just shortly after Soviet Russia
had a communist revolution.
had a communist revolution.
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08:04
And for them, this actually represented
a socialist infiltration into America.
a socialist infiltration into America.
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对他们来说，这实际上代表了
社会主义对美国的渗透。
社会主义对美国的渗透。
所有的小写字母代表了一种平均主义，
08:08
All lowercase letters meant
that this was an egalitarian,
that this was an egalitarian,
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把所有的东西都放到一个
平等的竞争环境中。
平等的竞争环境中。
08:12
complete lowering of everything
into one equal playing field.
into one equal playing field.
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今天这仍然是一个很激进的想法。
08:16
Now this is still kind of a radical idea.
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想想你是否经常使用大写来让某段文字
08:18
Think about how often
you do capitalize something
you do capitalize something
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体现更大的权力和声望。
08:21
to have more power or prestige to it.
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所以对他们来说，这是
运用 Futura 的一种方式。
运用 Futura 的一种方式。
08:22
So for them to do this was a way
in which Futura was using this idea.
in which Futura was using this idea.
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其他设计者也在
用 Futura 字体做其他事情。
用 Futura 字体做其他事情。
08:27
Now, other designers
were doing other things with Futura.
were doing other things with Futura.
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他们带来了现代主义的其他想法，
08:30
Others brought other ideas
of modernism with it,
of modernism with it,
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无论是有趣的新插画风格，
08:32
whether it was interesting
new illustration styles,
new illustration styles,
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还是有趣的新拼贴类型的插图，
08:35
or interesting new collage
types of illustration.
types of illustration.
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或者只是新书的封面，
08:37
Or even just new book covers,
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无论它们是否来自欧洲。
08:40
whether they were from Europe.
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但这里有个有趣的事情。
08:42
But here's the funny thing.
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在1920年代，如果你想要使用新的字体，
08:44
In the 1920s, if you wanted
to use a new typeface,
to use a new typeface,
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你无法直接把它下载到你的电脑中。
08:46
you couldn't just go download it
onto your computer.
onto your computer.
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你必须有刻有这种字体的铅块。
08:48
You actually had to have pieces of lead.
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所以对于想要采纳这种字体，
08:51
So for Americans who wanted to adopt this
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并且想要将其作为
他们系统的一部分的人，
他们系统的一部分的人，
08:53
and make it part of their own system,
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08:55
something they could use
in everyday typography,
in everyday typography,
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一种他们每天排版时
都可以使用的东西，
都可以使用的东西，
不管在广告或者其他地方，
08:58
whether in ads or anything else,
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他们必须使用金属字体。
08:59
they actually had to have metal type.
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所以作为优秀的美国资本家，
我们到底是怎么做的？
我们到底是怎么做的？
09:01
So being good American
capitalists, what did we do?
capitalists, what did we do?
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我们制作各种各样的字体副本。
09:04
We made all sorts of copies.
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这些字体和 Futura 这个名字
没有任何关系，
没有任何关系，
09:05
Ones that had nothing to do
with the name Futura,
with the name Futura,
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但是看起来是一样的，
09:08
but looked identical to it,
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无论是 Spartan 字体还是Tempo字体。
09:10
whether it was Spartan or Tempo.
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事实上，到第二次世界大战开始时，
09:11
And in fact, by the time
that World War II started,
that World War II started,
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美国公司一直在抵制纳粹的东西。
09:14
American corporations were actually trying
to boycott Nazi goods.
to boycott Nazi goods.
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但他们说，“去用我们的复制品吧，
09:17
But they said,
"Go ahead and use our copies.
"Go ahead and use our copies.
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用20世纪的东西，使用Spartan,
Vogue, Tempo字体。
Vogue, Tempo字体。
09:20
Use 20th Century, use Spartan,
use Vogue, use Tempo.
use Vogue, use Tempo.
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这些和 Futura 是一样的。”
09:23
These are identical to Futura."
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其实，对大部分人而言，
他们甚至都记不住这些新名字，
他们甚至都记不住这些新名字，
09:25
And in fact, for most people,
they didn't even learn the new names,
they didn't even learn the new names,
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只是简单的将
所有这些字体叫做 Futura。
所有这些字体叫做 Futura。
09:28
they just still called it all Futura.
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所以美国采用了这种字体，
09:30
So America took this typeface in,
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并将它吸纳成自己的字体。
09:32
conquered it and made it its own.
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到第二次世界大战结束时，
09:34
So by the time World War II finishes,
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这种字体开始在美国变得无处不在，
09:37
Americans are using this on everything,
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无论是目录还是地图册，
09:39
whether it be catalogs, or atlases,
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或是百科全书，图表和图片，
09:42
or encyclopedias or charts and graphs,
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或者日历，甚至政治材料都在用。
09:45
or calendars, or even political material.
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连一个正在扩张的足球队
队徽都用到了这种字体。
队徽都用到了这种字体。
09:49
And even the logo for a new
expansion football team.
expansion football team.
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09:53
And in fact, it was used even on some
of the most important advertising
of the most important advertising
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事实上，它甚至被用在20世纪最重要
的一些广告中。
09:56
of the 20th century.
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所以在这种情况下，
09:57
So it's in this context
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当美国政府在二战后为新的地图
09:59
that when the US government
was picking a typeface
was picking a typeface
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和新的项目挑选字体时，
10:01
to use after World War II
for new maps and new projects,
for new maps and new projects,
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他们选了 Futura 字体。
10:04
they picked Futura.
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这不是一个令人震惊的选择，
也不是一个激进的选择，
也不是一个激进的选择，
10:05
It wasn't an astounding choice,
it wasn't a radical choice,
it wasn't a radical choice,
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它跟共产主义没有任何关系。
10:08
it didn't have anything
to do with communism.
to do with communism.
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但在这个例子中，它被用于
一些最重要的地图，
一些最重要的地图，
10:10
But in this case, it was used
on some of the most important maps,
on some of the most important maps,
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比如这张1962年的空军地图，
10:13
so this one, an air force map in 1962,
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或者1966年的越南地图。
10:15
or used for the maps in Vietnam in '66.
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10:18
And so it wasn't a surprise
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所以当宇航员
第一次开展水星计划时，
10:20
that when astronauts
first started the Mercury program,
first started the Mercury program,
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比如约翰·格伦绕地球航行，
10:23
such as John Glenn orbiting the earth,
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他所使用的图表和地图
使用了 Futura 字体并不奇怪。
使用了 Futura 字体并不奇怪。
10:25
that charts and maps
that he was using were in Futura.
that he was using were in Futura.
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事实上，当水星变成阿波罗计划时，
10:27
And in fact, by the time
Mercury morphed into Apollo,
Mercury morphed into Apollo,
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在越来越多的物件上都能见到 Futura。
10:31
it started getting used
more and more for more things.
more and more for more things.
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比如在一个安全计划书中，
10:34
So in this case for a safety plan,
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甚至开始在仪表盘上，
10:37
or even starting to get used
on instrument panels,
on instrument panels,
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或助航设备上使用。
10:39
or navigational aids.
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整个系统的工作原理图表上也会用到。
10:41
Or even on diagrams
to show how the whole system worked.
to show how the whole system worked.
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但这就是神奇之处，
10:44
But here's the amazing thing,
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它不只限于人们彼此传阅的出版物上，
10:45
it didn't just get used for papers
that they handed out to people.
that they handed out to people.
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还开始被用于帮助宇航员
10:49
It started to get used for an interface,
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了解如何操作机器的
10:51
for an entire system
that helped the astronauts
that helped the astronauts
247
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整个系统界面。
10:53
know how to use the machine.
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NASA（美国宇航局）并不是
一切设备的制造者。
一切设备的制造者。
10:54
NASA wasn't just one big corporation
making everything.
making everything.
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3851
这些设备来自数百家承包商——
10:58
There was hundreds of contractors --
250
646708
1851
波音，IBM，麦道——
11:00
Boeing, IBM, McDonnell Douglas --
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他们制造的是不同的机器。
11:03
all making different machines.
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想象一下如果宇航员不得不
在航天飞机上的每一个部件中
在航天飞机上的每一个部件中
11:04
Now imagine if astronauts had to use
different typefaces and different systems
different typefaces and different systems
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使用不同的字体和系统会怎样。
11:08
for each component they had
in the space shuttles.
in the space shuttles.
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这可能根本没法导航，
11:11
This would have been
impossible to navigate
impossible to navigate
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并且会在他们每次
启动一个新系统时，
启动一个新系统时，
11:13
and there would have been
a cognitive overload
a cognitive overload
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造成认知超载，
11:15
every time they had
to open up a new system.
to open up a new system.
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所以在这个案例中，
被用于交互界面的 Futura 字体
被用于交互界面的 Futura 字体
11:17
So in this case, Futura
being used on the interface
being used on the interface
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2642
能够帮助他们应对复杂的系统
并使流程更加清晰。
并使流程更加清晰。
11:20
helped them navigate complexity
and make it more clear.
and make it more clear.
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它不仅是用于标记按钮，
还被用于物件的标签，
还被用于物件的标签，
11:24
And it wasn't just used on buttons,
it was used on labels,
it was used on labels,
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3143
宇航员的食物配给
11:27
and it was used on their food rations,
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和工具包上。
11:29
and it was used on their tool kits.
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2184
Futura 还被用于旋钮和
杠杆上的指导性标语。
杠杆上的指导性标语。
11:31
It was used on knobs and levers
to tell them what to do.
to tell them what to do.
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事实上，也许还会被用于
11:35
In fact, maybe even some of the places
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某些只能容纳少量文字的地方，
11:37
where they needed to have things
that were complex be more simple to them,
that were complex be more simple to them,
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这里的文字说明
完全是用 Futura 字体打印的，
完全是用 Futura 字体打印的，
11:40
instructions were printed
entirely in Futura,
entirely in Futura,
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这样操作说明就变得一目了然。
11:43
so that they could know
what to do with that one moment.
what to do with that one moment.
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2643
他们不需要记住所有事情，
11:46
They didn't have to remember
everything in their head,
everything in their head,
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只需要在必要的时候找地方查看。
11:48
they could have it out there
in the world to see and refer to.
in the world to see and refer to.
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在这个案例中，Futura 使得
11:51
In this case, Futura helped
make that system,
make that system,
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一个本身非常复杂的系统
11:53
which was already
a very difficult and complex system,
a very difficult and complex system,
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简化了很多。
11:57
a little less complex.
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11:59
In fact, the very first or last thing
an astronaut might have seen
an astronaut might have seen
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事实上，当宇航员进出太空船时，
看到的第一个或者最后一个东西
12:02
when they were entering
or exiting the spacecraft
or exiting the spacecraft
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可能也使用了 Futura 字体。
12:04
would have been in Futura.
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我最喜欢的一个关于 Futura
在这方面应用的例子
在这方面应用的例子
12:05
One of my favorite examples
of how Futura worked in this way
of how Futura worked in this way
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其实是这台相机。
12:09
is actually this camera.
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这是一家瑞典公司生产的哈苏相机。
12:10
This is a Hasselblad
that was made by the Swedish company.
that was made by the Swedish company.
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这是一台非常棒的相机，
你们有些人可能用过，
你们有些人可能用过，
12:14
It's a perfectly good camera,
some of you might have used one,
some of you might have used one,
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它被摄影师们誉为
一台伟大的相机。
一台伟大的相机。
12:17
it's prized by photographers
as a really great camera.
as a really great camera.
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如果你多少对相机有些了解，
可能已经注意到，
可能已经注意到，
12:21
And you might notice,
if you know anything about cameras,
if you know anything about cameras,
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这台相机做了改装，
12:24
that there's some
modifications made to it.
modifications made to it.
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用贴纸贴满了胶卷筒，
12:26
In this case, there are stickers
placed all over the film canisters,
placed all over the film canisters,
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或者相机的其他部分。
12:29
or other parts of the camera here.
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NASA 这样做能让
12:32
What this enabled NASA to do,
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宇航员们拍一些
令人惊叹的照片。
令人惊叹的照片。
12:34
was make something really great
out of the astronauts.
out of the astronauts.
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他们不是摄影师，也不是艺术家。
12:37
They're not photographers,
they're not experts in art.
they're not experts in art.
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但贴在相机上的 Futura 标签可以确保
12:40
But they could ensure that they
would know how to use this camera
would know how to use this camera
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他们知道如何使用这台相机，
12:43
because of the labels
placed there in Futura.
placed there in Futura.
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这样一来，
12:45
So in this case,
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Futura 就取得并确保了他们能够掌控
12:47
Futura acquired and made sure
that they had legitimacy
that they had legitimacy
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所使用的东西。
12:51
with the things they were using.
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这个标签说的是在需要曝光之前
不要把胶片取下来。
不要把胶片取下来。
12:52
In this case to not take off the film
before it would expose.
before it would expose.
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也就是说如果没有这个标签，
12:55
Which, in this case,
we would have never had
we would have never had
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我们可能就见不到那些壮观的照片了。
12:57
some of the amazing photos we had
without this label.
without this label.
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当我们看到像这样装饰性的东西，
比如一块仪式性的肩章，
比如一块仪式性的肩章，
13:00
When we see something as decorative
as this, a ceremonial patch,
as this, a ceremonial patch,
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或者像月球上的这块纪念牌，
13:06
or something like this plaque on the moon,
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我们意识到 Futura
不仅仅是一种仪式性的东西，
不仅仅是一种仪式性的东西，
13:08
we realize that Futura was more
than just something ceremonial,
than just something ceremonial,
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不仅仅是因它的设计而被挑选。
13:11
something more than something
that had just been picked for its design.
that had just been picked for its design.
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实际上，Futura 代表着权威，
13:16
In fact, Futura had authority,
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因为这个选择而拥有合法性和权威。
13:18
had legitimacy and had power
because of this choice.
because of this choice.
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我想用另一件事结束我的演讲。
13:21
There's one other thing
I want to talk about in closing.
I want to talk about in closing.
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那就是 Futura 讲述了一个故事。
13:24
And that is that Futura tells a story.
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我爱字体的原因是它们都在讲故事。
13:28
And this is what I love about typefaces,
is that all of them tell stories.
is that all of them tell stories.
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在这个例子中，这个字体
讲了一个关于同化，
讲了一个关于同化，
13:32
And in this case, this typeface
tells a very powerful story
tells a very powerful story
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关于被美国吸收
而成为其文化一部分的
而成为其文化一部分的
13:35
about assimilation, about something
being taken into America
being taken into America
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强大的故事。
13:38
and being made part of its culture.
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这是美国做的最好和最坏的事情，
13:40
And that's one of the best
and worst things America does,
and worst things America does,
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我们把东西带进我们的文化，
然后再把它们吐出来，
然后再把它们吐出来，
13:43
is we take things into our culture
and we spit them out back again
and we spit them out back again
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并声称它们是我们自己的。
13:46
and claim them our own.
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在这种情况下，Futura 准确地体现了
13:48
And in this case, Futura mirrors
exactly what happened with the technology
exactly what happened with the technology
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支撑整个系统的技术演变。
13:51
undergirding the whole system.
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Futura 是一种德国字体，
被吸收后成为了一种美国商品。
被吸收后成为了一种美国商品。
13:53
Futura was a German typeface,
taken in, made into an American commodity.
taken in, made into an American commodity.
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技术也是如此：
13:57
And so were the technologies:
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火箭，所有的科学家都来自德国。
13:59
the rockets, the scientists
all came from Germany as well.
all came from Germany as well.
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所以在某种程度上，
美国纪念牌上的德国字体
美国纪念牌上的德国字体
14:02
So in some ways, this German typeface
on an American plaque
on an American plaque
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完美地体现了这项技术。
14:05
perfectly mirrors what happened
with the technology.
with the technology.
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在这个例子中，
14:07
And in this case,
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当你想到这个故事时，
你会意识到月球上的排版
你会意识到月球上的排版
14:09
when you think about this story,
you realize that typography on the moon
you realize that typography on the moon
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代表着合法性，代表着权威，
14:14
represents legitimacy,
represents authority,
represents authority,
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并给予了宇航员登上月球的力量。
14:17
and this gave them, the astronauts,
the power to get to the moon.
the power to get to the moon.
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谢谢。
14:21
Thank you.
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（鼓掌）
14:22
(Applause)
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Translated by psjmz mz
ABOUT THE SPEAKER
Douglas Thomas - Designer, writer and historian of typographyDouglas Thomas's research explores the power of fonts at the intersection of design and culture.
Why you should listen
Douglas Thomas is is the author of Never Use Futura (Princeton Architectural Press, 2017). His work explores the nexus of typography, design and culture. He specializes in user experience design, publication design and branding. His design work has been featured in Communication Arts, Eye, Design Observer, Print and Graphis. He is assistant professor of graphic design at Brigham Young University.
(Photo: Kei Ito)
Douglas Thomas | Speaker | TED.com