在不只是圖書館入口處的地方，小小的長方形空間擺著一張桌子，三面牆上掛著用中文字排成的實驗性畫面展板，每一個展板的都像是一個故事，將觀眾的注意力吸進無止盡的畫面衝擊感中。看似狹小的空間，卻是充滿動態跟能量的展場。
這個由Circle設計雜誌、Not Just Library主辦的展覽，以Emil Ruder這位瑞士國際主義先驅所研究之歐文字體編排理論出發，特別針對 Typography 這本書內容以12項討論方向做漢字設計的實驗。Circle雜誌一直都是我非常喜歡的設計雜誌，第一次購買時是他們出資訊圖像化的專題（準確名稱有點忘記了），還有字體的魔鬼細節，都是我在還沒正式進入設計學習前的催化劑；這次以Emil Ruder字體實驗為題，的確非常有趣，我想設置這展覽有一大部分的目的是向這位大師致敬吧。
Emil Ruder是國際主義的重要人物。這裡的國際主義的概念是指承接了現代主義巔峰，以「國際通行性」、「標準、規格化」為主要目標，以威爾姆以及包浩斯學校為兩大派別，此兩所學校可以說是以教育學領域的觀點切入國際主義概念最佳例子。而Emil Ruder特別強調空白之於畫面節奏的關聯，影響了往後瑞士的設計師們，例如之前提到的 Lars Müller，在現代主義的影響下，他特別重視畫面中的「空氣感」。（詳見野生的Lars Müller）而字體在畫面中的可讀性也是Emil Ruder在實驗字體之餘不忘強調的重點。
總體而言，我們所說「瑞士設計」，不外乎是以下這幾個特色：齊左排、不對稱欄位、網格、無襯線字體，另外在此風氣下的「閱讀性」更是被大師強調，要如何看得快、資訊清楚、看起來舒服，從以上幾點我們可以看出瑞士設計可謂國際主義的中心觀點之一。
字體是一門大學問。不只是留白空間，粗細與大小控制著畫面的灰度，並給予畫面的深淺；在講座上，講者提到，檢驗灰度可以用「瞇著眼睛看」的方式找到。以其中「韻律」跟「動線」兩個方向切入為例來討論，字跟字的編排，將會跟方塊排列的效果相仿，也就是說，字體編排就像在設計不同灰度的色塊，而字體如何帶動視覺動線，我們叫做「字塊」，字塊孰重孰輕則會根據字體本身粗細、大小而有所變化及做不同的處理：同樣字重normal的8級字跟82級字，8級字的字腔較為緊密，整體空間小，可能是作為畫面中較不重要之資訊；而82級的則讓容易聚集第一眼的注意力，字腔可以感受到空氣在流竄其中，因此，若是同樣82級這樣的大小，有一個以上的漢字並列（例如標題），則需要留有更多空隙讓觀者可以呼吸、消化此資訊。
歐文屬於外來語，非大眾最熟悉的語言，但因為許多設計概念多學習西方理論為標準，讓我們對於歐文反覺得親近，也時常為了平衡畫面而加入意義極小的歐文字串。但回到設計理論中的內容(content)，畫面中的元素都應該是要有充足的理由才被選擇置入，就像在工作坊時，洋蔥設計負責人黃家賢在critic的時候問了我某個元素放在哪裡有沒有理由？或者是你用這樣的粗細、大小的意義何在？是為了強調？是閱讀動線？他提醒了我設計要時時回頭看並檢視content，不要被形式而有所框架。
比起歐文，中文在設計上的應用似乎稍微缺少了一些準則，而西方用羅馬字母所發展出的設計法則卻無法完全套用以方塊為單位的中文字型。這次展覽Circle以實際操作中文版的Emil Ruder字體實驗，除了證明在Typography一書裡的原則外，更是發掘了中文字在畫面中的可能性。
In the front space of Not Just Library, there is a long table sitting on the ground within the narrow open space. Three walls are hanging works of experimenting Chinese characters with the method of Emil Ruder. Each work tells a specific story, which pulls people into the dynamic feeling that it creates. The space is filled with the energy of creating.
Held by Circle Magazine and Not Just Library, the exhibition extracts one of the theories that Emil Ruder, the pioneer of International Typographic Style, wrote considering typography rules, and specifically showcases the 12 principles from the book Typography. Circle Magazine has always been one of my favorite readings. This time, Circle Magazine themed at the type experiment from Emil Ruder, which is surely an interesting idea. I guess the tribute is there.
Emil Ruder is one of the most important roles when it comes to the Swiss Style, also known as the International Typographic style. It is also highly concentrating on the negative spaces within a canvas, which influences Swiss designers greatly under the trend of modernism, Lars Müller, who we discussed in our previous post is a great example.(see our previous blog From the Wild Lars Müller)Swiss style holds on to the peak of Modernism, and is aimed at the universality and standardization in design, which is divided into two main streams to ULM School of Design and Bauhaus respectively.
They are the best examples regarding how Swiss Typographic Style emphasizes the aspect of education.The emphasis in negative spaces also influenced designers believing in and learning such method.
Overall, the style contains no more than the following characteristics: Align Left, Asymmetry, Grids, and Sans Serif. Other than that, the readability and legibility is also two of the core elements in Swiss Style.
Roman alphabets are foreign systems for Taiwanese people. However, because the typography theories and systems are more sound and well-equipped in western countries, it has become closer to design learners in Taiwan. Therefore, we often add some short Roman words or sentences just to balance the whole picture. Going back to the CONTENT we learned in design theories, however, we are acknowledged that every element should be appeared for its right reasons: Why the font size? For emphasizing the information? Or for the good reading flow? We should always look back and examine the content and not being abducted by form.
Compared to Roman system, Chinese characters seems like the principles are in vague. The typographic theories, however, couldn't fully apply to the squared characters. The Chinese experiment conducted in the exhibition not only proves Emil Ruder's principles in Typography, but discover more potentials within a frame.
