reduce to the essence
21:43 | 23-08-2012 | Culturology, Design, Software | 2 Comments
впрочем, Оливер Райхенстайн и в остальном безмерно интересен — вот, скажем, из другого интервью:
Arriving in Japan without any knowledge of the language, I lived in a world without words, where, almost like a baby, I had to learn everything from scratch. I think the experience of being illiterate and then slowly growing back into society has made me a better designer. When you can’t read or write and you need to interpret everything you encounter by deciphering visual clues, you begin to understand how things and people function behind the words. If, in plus, a lot of the standard mechanical interfaces work differently, it was a magnificent training in basic interface phenomenology.
<…>
Tokyo <…> hypnotised me. I enjoyed the size of Tokyo and the freedom it gives you to be yourself. In a city with 36 million people, no one tries to force you into a certain way of living. Being a foreigner is even easier, because Japanese people mostly think we’re all crazy to begin with anyway. For the first time, I was able to say and do what I felt, and no one tried to correct me back to the “standard” way.
открытие нового мира, не иначе — и то, как одновременно с этим мир постигает тебя.
а вот, например, о традициях:
Working in Japan, I learned to see what I disliked about our design culture — the typical Swiss coldness, the lack of emotion and loveliness, the often clumsy use of color, the loneliness — from a slightly different angle. I learned to see its weaknesses and strengths, and tried to find ways to evolve it.
и тут же в противовес:
Japanese designers grow up drawing Kanji, which lets them develop a much more delicate eye in dealing with white space, gray value, and contrast. Japanese have slightly different color vocabulary and that means: a slightly different sense of color.
а так же о том, из чего собственно и складывается работа с текстом:
Typography is not about making or choosing a nice font. Whether you design or set type, what you do is designing text for optimal performance[1].
именно.
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[1] —
One of my favorite places in Tokyo is the calligraphic museum in Ueno. I went there on my first trip to Japan, and it amazed me that I was able to somewhat guess the broad meaning of some calligraphy solely by looking at the shape. When I started to learn kanji and how signs represent what they mean, I started to see that a lot of our words visually represent the things they describe. The English “dog” looks like a dog sitting, the German “Hund” (same root as “hound”) looks like a dog standing.
еще: http://johnnyholland.org/2010/06/interview-with-ias-oliver-reichenstein/
и еще: http://csswizardry.com/in-focus/oliver-reichenstein/