Hi. (Laughter)
Zdravo. (Smijeh)
I did that for two reasons. First of all, I wanted to give you a good visual first impression. But the main reason I did it is that that's what happens to me when I'm forced to wear a Lady Gaga skanky mic.
Učinio sam to iz dva razloga. Prije svega, želio sam vam dati dobar vizualni prvi dojam, no glavni razlog zbog kojeg sam to učinio je zato što je to ono što mi se dogodi kad me se natjera da nosim nepristojni Lady Gaga mikrofon.
(Laughter)
(Smijeh)
I'm used to a stationary mic. It's the sensible shoe of public address.
Navikao sam na stacionaran mikrofon. On je udobna obuća javnih govora.
(Laughter)
(Smijeh)
But you clamp this thing on my head, and something happens. I just become skanky. (Laughter) So I'm sorry about that. And I'm already off-message.
Ali vi ste spojili ovu stvar na moju glavu i nešto se dogodilo. Jednostavno sam postao nepristojan. (Smijeh) Stoga mi je žao zbog toga i već sam skrenuo s teme.
(Laughter)
(Smijeh)
Ladies and gentlemen, I have devoted the past 25 years of my life to designing books. ("Yes, BOOKS. You know, the bound volumes with ink on paper. You cannot turn them off with a switch. Tell your kids.") It all sort of started as a benign mistake, like penicillin. (Laughter)
Dame i gospodo, posvetio sam proteklih 25 godina svog života dizajniranju knjiga. „Da, KNJIGA. Znate, one stvari koje imaju tintu na papiru. Ne možete ih isključiti prekidačem. Recite to svojoj djeci.“ Sve je to nekako počelo kao dobroćudna pogreška, poput penicilina. (Smijeh)
What I really wanted was to be a graphic designer at one of the big design firms in New York City. But upon arrival there, in the fall of 1986, and doing a lot of interviews, I found that the only thing I was offered was to be Assistant to the Art Director at Alfred A. Knopf, a book publisher. Now I was stupid, but not so stupid that I turned it down.
Ono što sam stvarno želio jest biti grafički dizajner u jednoj od velikih dizajnerskih kompanija u New Yorku. No kada sam stigao tamo, u jesen 1986., i išao na mnogo razgovora, shvatio sam da je jedino što mi je bilo ponuđeno to da budem asistent ravnatelja u Alfred A. Knopfu, izdavačkoj kući. Bio sam glup, ali ne toliko glup da to odbijem.
I had absolutely no idea what I was about to become part of, and I was incredibly lucky. Soon, it had occurred to me what my job was. My job was to ask this question: "What do the stories look like?" Because that is what Knopf is. It is the story factory, one of the very best in the world. We bring stories to the public.
Uopće nisam imao pojma dio čega ću točno postati i imao sam nevjerojatne sreće. Ubrzo mi je postalo jasno što je bio moj posao. Moj posao je bio pitati ovo pitanje: „Kako izgledaju priče?“ Jer, to je ono što Knopf zapravo je. To je tvornica priča, jedna od najboljih na svijetu. Mi donosimo priče javnosti.
The stories can be anything, and some of them are actually true. But they all have one thing in common: They all need to look like something. They all need a face. Why? To give you a first impression of what you are about to get into. A book designer gives form to content, but also manages a very careful balance between the two.
Priče mogu biti bilo što, a neke od njih su i zaista istinite. No, sve one imaju nešto zajedničko: Sve trebaju izgledati kao nešto. Svima im treba lice. Zašto? Da vam da prvi dojam onoga u što ćete ući. Dizajner knjiga daje oblik sadržaju, ali također upravlja veoma pažljivim odnosom između te dvije stvari.
Now, the first day of my graphic design training at Penn State University, the teacher, Lanny Sommese, came into the room and he drew a picture of an apple on the blackboard, and wrote the word "Apple" underneath, and he said, "OK. Lesson one. Listen up." And he covered up the picture and he said, "You either say this," and then he covered up the word, "or you show this. But you don't do this." Because this is treating your audience like a moron. (Laughter) And they deserve better.
Prvog dana mog treninga za grafički dizajn na Sveučilištu u Pennsylvaniji, profesor, Lanny Sommese je došao u predavaonicu i nacrtao jabuku na ploči, napisao riječ „Jabuka“ ispod toga i rekao, „U redu. Prvo predavanje. Slušajte.“ Pokrio je sliku i rekao, „Ili kažete ovo,“ a zatim pokrio riječ, „ili pokažete ovo. Ali ne radite ovo.“ Jer ovo tretira vašu publiku kao idiote. (Smijeh) A oni zaslužuju bolje.
And lo and behold, soon enough, I was able to put this theory to the test on two books that I was working on for Knopf. The first was Katharine Hepburn's memoirs, and the second was a biography of Marlene Dietrich. Now the Hepburn book was written in a very conversational style, it was like she was sitting across a table telling it all to you. The Dietrich book was an observation by her daughter; it was a biography. So the Hepburn story is words and the Dietrich story is pictures, and so we did this. So there you are. Pure content and pure form, side by side. No fighting, ladies.
I malo pomalo, dovoljno brzo sam bio u mogućnosti staviti tu teoriju na testiranje na dvjema knjigama na kojima sam radio za Knopfa. Prva je bila monografija Katharine Hepburn, a druga biografija Marlene Dietrich. Hepburnina knjiga je bila napisana veoma razgovornim stilom, kao da je sjedila preko puta vas i sve vam to pričala. Dietrichina knjiga bila su zapažanja njene kćeri; to je bila biografija. Dakle, Hepburnina priča su riječi, a Dietrichina priča su slike, pa smo učinili ovo. Evo vam. Čist sadržaj i čist oblik, jedan do drugog. Bez svađe, dame.
("What's a Jurassic Park?") Now, what is the story here? Someone is re-engineering dinosaurs by extracting their DNA from prehistoric amber. Genius! (Laughter)
„Što je Jurassic Park?“ Kakva je priča ovdje? Netko radi obrnuti inženjering na dinosaurima tako što vadi njihov DNK iz prapovijesnog jantara. Genij! (Smijeh)
Now, luckily for me, I live and work in New York City, where there are plenty of dinosaurs. (Laughter) So, I went to the Museum of Natural History, and I checked out the bones, and I went to the gift shop, and I bought a book. And I was particularly taken with this page of the book, and more specifically the lower right-hand corner.
Srećom po mene, živim i radim u New Yorku gdje imamo mnogo dinosaura. (Smijeh) Stoga sam otišao u Muzej prirodne povijesti i pogledao kosti, otišao sam u poklon dućan i kupio knjigu. I bio sam naročito obuzet ovom stranicom knjige, točnije donjim desnim kutem.
Now I took this diagram, and I put it in a Photostat machine, (Laughter) and I took a piece of tracing paper, and I taped it over the Photostat with a piece of Scotch tape -- stop me if I'm going too fast -- (Laughter) -- and then I took a Rapidograph pen -- explain it to the youngsters -- (Laughter) and I just started to reconstitute the dinosaur.
Uzeo sam ovu shemu, stavio ju u stroj za fotokopiranje, (Smijeh) uzeo komad papira za precrtavanje, zalijepio ga preko stroja za fotokopiranje komadom selotepa -- zaustavite me ako sam prebrz -- (Smijeh) i onda sam uzeo Radiograph olovku -- objasnite mlađima -- (Smijeh) i jednostavno počeo rekonstruirati dinosaura.
I had no idea what I was doing, I had no idea where I was going, but at some point, I stopped -- when to keep going would seem like I was going too far. And what I ended up with was a graphic representation of us seeing this animal coming into being. We're in the middle of the process. And then I just threw some typography on it. Very basic stuff, slightly suggestive of public park signage. (Laughter)
Nisam imao pojma što radim, nisam imao pojma kuda idem, ali u nekom sam trenutku stao -- kad bi se nastavljanje činilo kao da idem predaleko. Završio sam na kraju s grafičkim prikazom nas kako gledamo kako ova životinja dolazi u život. Mi smo usred procesa. I onda sam samo bacio malo tiska na to. Veoma osnovne stvari, malčice nametljivije od javne parkirne signalizacije. (Smijeh)
Everybody in house loved it, and so off it goes to the author. And even back then, Michael was on the cutting edge. ("Michael Crichton responds by fax:") ("Wow! Fucking Fantastic Jacket") (Laughter) (Applause) That was a relief to see that pour out of the machine. (Laughter) I miss Michael.
Svi u kući bili su oduševljeni, i tako je to poslano autoru. I čak tada, Michael je bio najnapredniji. „Michael Crichton odgovara faksom“: „Wow! Prokleto fantastična jakna“ (Smijeh) (Pljesak) Bilo je olakšanje vidjeti kako to izlazi iz aparata. (Smijeh) Nedostaje mi Michael.
And sure enough, somebody from MCA Universal calls our legal department to see if they can maybe look into buying the rights to the image, just in case they might want to use it. Well, they used it. (Laughter) (Applause)
I sasvim sigurno, netko iz MCA Universala zove naš pravni odjel kako bi vidjeli mogu li otkupiti prava na sliku u slučaju da je možda požele upotrijebiti. Pa, upotrijebili su je. (Smijeh) (Pljesak)
And I was thrilled. We all know it was an amazing movie, and it was so interesting to see it go out into the culture and become this phenomenon and to see all the different permutations of it. But not too long ago, I came upon this on the Web. No, that is not me. But whoever it is, I can't help but thinking they woke up one day like, "Oh my God, that wasn't there last night. Ooooohh! I was so wasted." (Laughter)
A ja sam bio oduševljen. Svi znamo da je to bio odličan film i bilo je veoma zanimljivo vidjeti kako ulazi u našu kulturu, postaje fenomenom i vidjeti sve različite permutacije toga. Ne toliko davno, došao sam do ovoga na internetu. Ne, to nisam ja, no tko god da je, ne mogu si pomoći da ne mislim kako se jednog dana probudio misleći, „Moj Bože, ovo nije bilo ovdje prošle noći. Ooooohh! Tako sam se napio.“ (Smijeh)
But if you think about it, from my head to my hands to his leg. (Laughter) That's a responsibility. And it's a responsibility that I don't take lightly. The book designer's responsibility is threefold: to the reader, to the publisher and, most of all, to the author. I want you to look at the author's book and say, "Wow! I need to read that."
No, ako razmislite o tome, od moje glave do mojih ruku do njegove noge. (Smijeh) To je odgovornost. I to je odgovornost koju ne uzimam olako. Odgovornost dizajnera knjiga ima tri stavke: prema čitatelju, prema izdavaču i najviše od svega, prema autoru. Želim da pogledate autorovu knjigu i kažete, „Wow! Moram to pročitati.“
David Sedaris is one of my favorite writers, and the title essay in this collection is about his trip to a nudist colony. And the reason he went is because he had a fear of his body image, and he wanted to explore what was underlying that. For me, it was simply an excuse to design a book that you could literally take the pants off of. But when you do, you don't get what you expect. You get something that goes much deeper than that. And David especially loved this design because at book signings, which he does a lot of, he could take a magic marker and do this. (Laughter) Hello! (Laughter)
David Sedaris je jedan od mojih najdražih pisaca, a naslov ovog eseja u ovoj kolekciji je o njegovom putu u nudističku koloniju. Razlog zbog kojeg je otišao tamo je taj što je imao strah od svoje slike tijela i želio je istražiti što se krije ispod toga. Za mene, to je jednostavno bio razlog da dizajniram knjigu kojoj biste doslovno mogli skinuti hlače. No kada biste to učinili, ne biste dobili ono što očekujete. Dobijete nešto mnogo dublje od toga. David je posebno volio ovaj dizajn zato što je na potpisivanjima knjige, kojih ima mnogo, mogao uzeti čarobni marker i napraviti ovo. (Smijeh) Zdravo! (Smijeh)
Augusten Burroughs wrote a memoir called ["Dry"], and it's about his time in rehab. In his 20s, he was a hotshot ad executive, and as Mad Men has told us, a raging alcoholic. He did not think so, however, but his coworkers did an intervention and they said, "You are going to rehab, or you will be fired and you will die."
Augusten Burroughs napisao je monografiju pod nazivom [„Dry“] (*Suh) i radi se o njegovom vremenu provedenom na rehabilitaciji. U svojim dvadesetima, bio je faca i direktor i kako nam je Mad Men rekao, razjareni alkoholičar. On nije tako mislio, no njegovi su suradnici napravili intervenciju i rekli, „Ideš na rehabilitaciju jer ćeš u suprotnom dobiti otkaz i umrijet ćeš.“
Now to me, this was always going to be a typographic solution, what I would call the opposite of Type 101. What does that mean? Usually on the first day of Introduction to Typography, you get the assignment of, select a word and make it look like what it says it is. So that's Type 101, right? Very simple stuff. This is going to be the opposite of that. I want this book to look like it's lying to you, desperately and hopelessly, the way an alcoholic would.
Za mene je ovo uvijek bilo tiskarsko rješenje, što bih nazvao suprotnim od Tipa 101. Što to znači? Obično, na prvom danu Uvoda u tiskarstvo dobijete zadatak da odredite riječ i napravite da ona izgleda kao ono što kaže da je. To je Tip 101, zar ne? Veoma jednostavna stvar. Ovo će biti suprotno od toga. Želim da ova knjiga izgleda kao da vam laže, očajno i beznadno, kao što i alkoholičar izgleda.
The answer was the most low-tech thing you can imagine. I set up the type, I printed it out on an Epson printer with water-soluble ink, taped it to the wall and threw a bucket of water at it. Presto! Then when we went to press, the printer put a spot gloss on the ink and it really looked like it was running.
Odgovor je bila stvar za koju vam uopće ne treba tehnologija. Namjestio sam oblik, isprintao na Epsonovom printeru s tintom topljivom u vodi, zalijepio na zid i zalio kantom vode. Što brže! Nakon toga otišli smo u tisak, printer je dodao sjaj na tintu i zaista je izgledalo kao da nekuda bježi.
Not long after it came out, Augusten was waylaid in an airport and he was hiding out in the bookstore spying on who was buying his books. And this woman came up to it, and she squinted, and she took it to the register, and she said to the man behind the counter, "This one's ruined." (Laughter) And the guy behind the counter said, "I know, lady. They all came in that way." (Laughter) Now, that's a good printing job.
Nedugo nakon što je izašla, Augusten je napadnut iz zasjede u zračnoj luci i skrivao se u knjižari špijunirajući tko kupuje njegove knjige. Došla je jedna žena, prolistala knjigu, odnijela na blagajnu i rekla muškarcu na blagajni, „Ova je uništena.“ (Smijeh) Tip na blagajni je rekao, „Znam gospođo. Sve izgledaju tako.“ (Smijeh) To je dobar tiskarski posao.
A book cover is a distillation. It is a haiku, if you will, of the story. This particular story by Osama Tezuka is his epic life of the Buddha, and it's eight volumes in all. But the best thing is when it's on your shelf, you get a shelf life of the Buddha, moving from one age to the next. All of these solutions derive their origins from the text of the book, but once the book designer has read the text, then he has to be an interpreter and a translator.
Korica knjige je destilacija. Ona je haiku priče. Ova posebna priča Osama Tezuke je njegov epski život Bude i njegovih osam nastavaka sveukupno. No najbolja je stvar kada je na vašoj polici, dobijete život Bude na polici, kad krenete s jedne godine na drugu. Sva ova rješenja vuku podrijetlo iz sadržaja knjige, no jednom kad dizajner knjige pročita sadržaj, onda on mora biti tumač i prevoditelj.
This story was a real puzzle. This is what it's about. ("Intrigue and murder among 16th century Ottoman court painters.")
Ova je priča bila prava slagalica. O ovome se radi. „Spletke i ubojstvo među turskim sudskim slikarima u 16. stoljeću.“
(Laughter)
(Smijeh)
All right, so I got a collection of the paintings together and I looked at them and I deconstructed them and I put them back together. And so, here's the design, right? And so here's the front and the spine, and it's flat. But the real story starts when you wrap it around a book and put it on the shelf.
U redu, skupio sam kolekciju slika na jedno mjesto, pogledao ih, dekonstruirao ih i složio natrag. I evo, ovdje je dizajn, zar ne? Ovdje je prednja strana i kralježnica, no ravna je. No, prava priča počinje kad je omotate oko knjige i stavite na policu.
Ahh! We come upon them, the clandestine lovers. Let's draw them out. Huhh! They've been discovered by the sultan. He will not be pleased. Huhh! And now the sultan is in danger. And now, we have to open it up to find out what's going to happen next. Try experiencing that on a Kindle. (Laughter)
Ahh! Nailazimo na njih, tajne ljubavnike. Nacrtajmo ih. Haaa! Otkrio ih je sultan. Neće biti zadovoljan. Haaa! Sada je sultan u opasnosti. I sada, moramo otvoriti kako bismo saznali što će se sljedeće dogoditi. Pokušajte to doživjeti na Kindleu. (Smijeh)
Don't get me started. Seriously. Much is to be gained by eBooks: ease, convenience, portability. But something is definitely lost: tradition, a sensual experience, the comfort of thingy-ness -- a little bit of humanity.
Nemojte da počnem. Stvarno. E-knjige mnogo toga moraju steći: spokoj, pogodnost, pokretnost. No nešto je svakako izgubljeno: tradicija, tjelesno iskustvo, udobnost stvarnosti -- malo ljudskosti.
Do you know what John Updike used to do the first thing when he would get a copy of one of his new books from Alfred A. Knopf? He'd smell it. Then he'd run his hand over the rag paper, and the pungent ink and the deckled edges of the pages. All those years, all those books, he never got tired of it. Now, I am all for the iPad, but trust me -- smelling it will get you nowhere. (Laughter) Now the Apple guys are texting, "Develop odor emission plug-in." (Laughter)
Znate li što je John Updike radio kada bi dobio prvi primjerak nove knjige iz Alfred A. Knopfa? Pomirisao bi ju. Zatim bi rukom prošao po listovima jetkoj tinti i grubim rubovima stranica. Tolike godine, tolike knjige i još mu to nije dosadilo. Ja sam u potpunosti za iPad, no vjerujte mi -- mirisanje vas nigdje neće dovesti. (Smijeh) Tipovi iz Applea nam pišu, „Stvorite dodatak koji širi miris.“ (Smijeh)
And the last story I'm going to talk about is quite a story. A woman named Aomame in 1984 Japan finds herself negotiating down a spiral staircase off an elevated highway. When she gets to the bottom, she can't help but feel that, all of a sudden, she's entered a new reality that's just slightly different from the one that she left, but very similar, but different. And so, we're talking about parallel planes of existence, sort of like a book jacket and the book that it covers.
Posljednja priča o kojoj ću pričati je poprilična priča. Žena po imenu Aomame, 1984. g. u Japanu se našla raspravljajući na spiralnim stepenicama sa povišenih autocesta. Kad dođe do dolje, ne može si pomoći osim da odjednom osjeća kako je ušla u novu stvarnost koja je malkice drugačija od one koju je napustila, no veoma slična, ali različita. Dakle, govorimo o paralelnim područjima postojanja, nalik na omot knjige i knjigu koju pokriva.
So how do we show this? We go back to Hepburn and Dietrich, but now we merge them. So we're talking about different planes, different pieces of paper. So this is on a semi-transparent piece of velum. It's one part of the form and content. When it's on top of the paper board, which is the opposite, it forms this. So even if you don't know anything about this book, you are forced to consider a single person straddling two planes of existence. And the object itself invited exploration interaction, consideration and touch.
Dakle, kako da to pokažemo? Vratimo se na Hepburn i Dietrich, no sada ih stapamo. Govorimo o različitim područjima, različitim komadima papira. Ovo je poluproziran komad opne. To je jedan dio oblika i sadržaja. Kada je na vrhu kartona, što je suprotno, oblikuje ovo. Čak i da ne znate ništa o ovoj knjizi, prisiljeni ste razmotriti jednu osobu koja opkoračuje dva područja postojanja. A sam predmet je pozvao istraživanje interakcije, razmatranja i dodira.
This debuted at number two on the New York Times Best Seller list. This is unheard of, both for us the publisher, and the author. We're talking a 900-page book that is as weird as it is compelling, and featuring a climactic scene in which a horde of tiny people emerge from the mouth of a sleeping girl and cause a German Shepherd to explode. (Laughter) Not exactly Jackie Collins. Fourteen weeks on the Best Seller list, eight printings, and still going strong.
Ovo je debitiralo na broju dva liste bestselera New York Timesa. To je nečuveno i za izdavača i za autora. Govorimo o knjizi od 900 strana koja je čudna jednako koliko je i neodoljiva, a u kombinaciji s prijelomnom scenom u kojoj gomila sićušnih ljudi izlazi iz usta uspavane djevojke i uzrokuje eksploziju Njemačkog ovčara. (Smijeh) Nije baš Jackie Collins. Četrnaest tjedana na listi bestselera, osam izdanja i još uvijek se dobro drži.
So even though we love publishing as an art, we very much know it's a business too, and that if we do our jobs right and get a little lucky, that great art can be great business.
Iako volimo izdavanje kao umjetnost, znamo da je to i posao i ako učinimo svoj posao kako treba i malo nam se posreći, ta velika umjetnost može biti odličan posao.
So that's my story. To be continued. What does it look like? Yes. It can, it does and it will, but for this book designer, page-turner, dog-eared place-holder, notes in the margins-taker, ink-sniffer, the story looks like this.
To je moja priča. Nastavit će se. Kako izgleda? Da. Može, čini i hoće, ali za ovog dizajnera knjiga, okretača stranica, označivača mjesta na kojem smo stali s čitanjem savijanjem rubova, onoga koji bilježi stvari na marginama, njuškala tinte, priča izgleda ovako.
Thank you.
Hvala.
(Applause)
(Pljesak)