Hi. (Laughter)
Zdravo. (Smeh)
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.
Ovo sam uradio iz dva razloga. Prvo, hteo sam da ostavim dobar vizuelni prvi utisak. Ali glavni razlog što sam ovo uradio je taj što mi se to dešava kad sam prisiljen da nosim nepristojni Lejdi Gaga mikrofon.
(Laughter)
(Smeh)
I'm used to a stationary mic. It's the sensible shoe of public address.
Navikao sam na fiksiran mikrofon. To je "udobna obuća" javnog obraćanja.
(Laughter)
(Smeh)
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 kad mi prikačite ovo na glavu, nešto se dogodi i jednostavno, postanem nepristojan. (Smeh) Žao mi je zbog toga. I već sam skrenuo s teme.
(Laughter)
(Smeh)
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 ilustrovanju knjiga. ("Da, KNJIGE. Znate, ukoričene sveske sa mastilom na papiru. Ne možete ih ugasiti prekidačem. Recite to svojoj deci.") Sve je to počelo kao bezazlena greška, kao penicilin. (Smeh)
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 zaista hteo je da budem grafički dizajner u jednoj od velikih dizajnerskih firmi u Njujorku. Ali po dolasku ovde, u jesen 1986., pošto sam išao na mnogo razgovora za posao, uvideo sam da jedini posao koji mi se nudi je taj da budem pomoćnik umetničkog direktora u Alfred A. Knopfu, izdavačkoj kući. Bio sam glup, ali ne toliko glup da ovo 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.
Nisam imao nikakvu ideju čega to postajem deo i imao sam neverovatnu sreću. Uskoro sam shvatio šta je moj posao. Moj posao je bio da postavim pitanje: "Kako priče izgledaju?" Jer to je Knopf, fabrika priča, jedna od najboljih na svetu. 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.
Te priče mogu biti o bilo čemu, a neke su stvarno istinite. Ali svima je zajedničko jedno: treba na nešto da liče. Svima treba lice. Zašto? Da bi vam dale prvi utisak o onome u šta se upuštate. Ilustrator daje formu sadržaju, ali takođe održava pažljivu ravnotežu između ovo dvoje.
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 moje obuke za grafičkog dizajnera na Državnom Univerzitetu Pen, profesor, Leni Somis, je ušao u prostoriju i nacrtao jabuku na tabli i ispod napisao "jabuka" i rekao:"U redu, lekcija broj jedan. Slušajte." Pokrio je sliku i rekao: "Ili kažete ovo," i onda je pokrio reč, "ili pokažete ovo. Ali ovo ne činite". Jer se tako odnosite prema vašoj publici kao da su moroni. (Smeh) 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 gle, ubrzo potom sam uspeo da testiram ovu teoriju sa dve knjige na kojima sam radio za Knopf. Prvi su bili memoari Ketrin Hepbern, a druga je bila biografija Marlene Ditrih. Knjiga Hepbernove je napisana vrlo razgovornim stilom, kao da je sedela za stolom i sve vam pričala. Knjiga Ditrihove je bila posmatranje njene ćerke; biografija. Tako da je priča Hepbernove u vidu reči, a priča Ditrihove su slike, pa smo uradili sledeće. Eto vidite. Čist sadržaj i čista forma, jedna pored druge. 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)
("Šta je Park iz doba Jure") O čemu se ovde radi? Neko iznova pravi dinosauruse tako što uzima njihov DNK iz praistorijskog ćilibara. Genijalno! (Smeh)
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 Njujorku, gde ima puno dinosaurusa. (Smeh) Tako da sam otišao u Prirodnjački muzej i pogledao kosti, a onda sam otišao u prodavnicu i kupio knjigu. I posebno me je oduševila ova strana knjige, da budem precizan, donji desni ugao.
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 ovaj crtež i stavio ga u fotokopir mašinu (Smeh) i uzeo sam jedan paus papir i zalepio ga preko kopije selotejpom - zaustavite me ako idem suviše brzo - (Smeh) onda sam uzeo rapidograf - objasnite to mlađima - (Smeh) i počeo da rekonstruišem dinosaurusa.
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 šta radim, Nisam imao pojma gde to vodi, ali sam se u nekom trenutku zaustavio - kad je izgledalo da bih mogao da odem predaleko. I ono što sam dobio je bio grafički prikaz onoga kako mi vidimo nastanak ove životinje. Usred smo procesa. i onda sam ubacio neku tipografiju. Osnovna stvar, koja malo podseća na oznake u parku. (Smeh)
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.
Svima u firmi se dopalo i otišlo je kod pisca. Čak i tada, Majkl je bio ispred svog vremena. ("Majkl Krajton odgovara faksom:") ("Vau! Jebeno fantastičan omot") (Smeh) (Aplauz) Bilo je olakšanje videti ovo da izlazi iz mašine. (Smeh) Nedostaje mi Majkl.
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 nedugo potom, neko iz MCA Univerzala je nazvao našu pravnu službu da vidi ako mogu možda da otkupe prava na sliku, za slučaj da žele da je koriste. Pa, koristili su je. (Smeh) (Aplauz)
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)
I bio sam oduševljen. Svi znamo da je to bio zadivljujući fim i bilo je zanimljivo videti kako ta slika postaje kulturni fenomen i videti njene razne permutacije. Ali, ne tako davno, naišao sam na ovo na Internetu. Ne, to nisam ja. Ali ko god da je, ne mogu da ne pomislim da se probudio jednog dana pomislivši: "O Bože, to nije bilo tu prošle noći. Au! Al' sam se napio." (Smeh)
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."
Ali ako razmislite o tome - iz moje glave, u moje ruke, do njegove noge. (Smeh) To je odgovornost. I to je odgovornost koju ne prihvatam olako. Odgovornost ilustratora je trojaka: prema čitaocu, prema izdavaču i najviše, prema piscu. Hoću da pogledate piščevu knjigu i kažete, "U! Moram to da pročitam."
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)
Dejvid Sedaris je jedan od mojih omiljenih pisaca i naslovni esej u ovoj kolekciji je o njegovom putu u nudističku koloniju. Razlog što je išao tamo je zato što se bojao svog izgleda i hteo je da istraži šta je koren tog straha. Za mene je to samo bio izgovor da dizajniram knjigu sa koje ste mogli bukvalno da skinete gaće. A kad to učinite, ne dobijete ono što ste očekivali. Imate nešto što ide dublje. Dejvidu se posebno svideo dizajn jer na potpisivanju knjiga, kojih on ima dosta, može da uzme magični marker i uradi ovo. (Smeh) Zdravo! (Smeh)
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."
Ogastin Barouz je napisao memoare nazvane "Suv", o tome kako mu je bilo na odvikavanju. U svojim dvadesetim, bio je uspešni direktor reklamne agencije i, kao što je rečeno u Ljudima sa Menhetna, težak alkoholičar. On to nije mislio, ali, njegove kolege su se umešale i rekle mu, "Ima da odeš na odvikavanje ili ćemo te otpustiti i umrećeš".
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.
Po meni, ovo je trebalo rešiti tipografski, onim što bih nazvao "suprotno tipu 101". Šta to znači? Obično, na prvom danu Uvoda u tipografiju dobijete zadatak da odaberete reč i napišete je da izgleda kao ono što znači. Dakle, ovo je tip 101. Vrlo jednostavno. A ovo će biti suprotno od toga. Želim da ova knjiga izgleda kao da vas laže, očajnički i beznadežno, onako kako bi to radio alkoholičar.
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 na ovo je bio najniža tehnologija koju možete da zamislite. Odredio sam tip slova, odštampao to na Epsonovom štampaču mastilom koje je rastvorljivo u vodi, zalepio na zid i na to bacio kofu vode. Presto! Kada je otišlo u štampu, štampač je postavio glazuru na mastilo i stvarno je izgledalo kao da teče.
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 potom, Ogastin je napravio zasedu na aerodromu Sakrio se u knjižari i špijunirao ko kupuje njegove knjige. Jedna žena je prišla do knjige i namrgodila se i odnela knjigu do kase i rekla prodavcu: "Ova je uništena". (Smeh) Tip iza pulta je odgovorio: "Znam gospođo, sve su donesene takve". (Smeh) E, to je dobro odrađeno štampanje.
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.
Omot knjige je destilacija. To je haiku, ako hoćete, priče. Ova priča Osame Tezuke je o epskom životu Bude, u osam tomova ukupno. Ali, najbolje je to što kada su sve na polici, imate Budin život na polici, koji ide od jednog doba ka drugom. Sva ova rešenja za omot vode poreklo iz teksta knjige, ali kada ilustrator pročita tekst, onda je on tumač i prevodilac.
This story was a real puzzle. This is what it's about. ("Intrigue and murder among 16th century Ottoman court painters.")
Ova priča je bila prava zagonetka. Evo o čemu je. ("Intriga i ubistvo među dvorskim slikarima otomanskog carstva u 16. veku")
(Laughter)
(Smeh)
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.
Imao sam kolekciju slika i posmatrao sam ih i dekonstrusiao i ponovo ih sastavio. I evo dizajna. I evo prednje korice i hrbata, kad su ispravljene. Ali prava priča počinje kada umotate knjigu i stavite je 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! Nabasali smo na njih - tajne ljubavnike. Hajde da ih izvučemo. Ahh! Sultan ih je otkrio. To mu se neće dopasti. Oho! Sada je sultan u opasnosti. I sada, moramo da je otvorimo da vidimo šta će se sledeće dogoditi. Probajte to da doživite sa Kindlom. (Smeh)
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.
Bolje da ne počinjem. Ozbiljno. Mnogo toga se dobija sa elektronskim čitačima knjiga: lakoća, udobnost, prenosivost. Ali nešto se sigurno gubi: tradicija, senzualno iskustvo, uživanje u opipljivom -
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)
i malo ljudskosti. Znate šta je radio Džon Apdajk kad dobije prvi primerak neke od njegovih novih knjiga iz Alfreda A. Knopfa? On bi ih omirisao. Onda bi prešao rukom preko grubog papira i oporog mastila i grubih ivica. Sve te godine, sve te knjige i nikad se nije od toga umorio. Sada, ja jesam za Ajped, ali verujte, nemate ništa od toga ako ga pomirišete. (Smeh) Sad ljudi iz "Epla" šalju poruke: "Napravite aplikaciju za ispuštanje mirisa." (Smeh)
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.
I poslednja priča koju ću ispričati je baš dobra. Žena po imenu Aomame u Japanu 1984. spuštala se niz vijugavo stepenište uzdignutog autoputa. Kad je stigla do dna, nije mogla da se odupre osećanju da je odjednom kročila u novu stvarnost koja je malo drugačija od one koju je upravo napustila. Vrlo slična, ali drugačija. Tako da, imamo paralelne ravni postojanja, nešto kao omot i knjiga koju obavija.
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.
I kako ovo radimo? Vraćamo se nazad na Hepbernovu i Ditrihovu, ali sada ih spajamo. Imamo različite ravni, različite papire. Ovde imamo poluprovidni gornji sloj. To je jedan deo oblika i sadržaja. A kad je preko donjeg sloja, što je suprotno, dobija se ovo. I da ne znate ništa o ovoj knjizi, prisiljeni ste da vidite jednu osobu u dve ravni postojanja. I sam predmet poziva na istraživanje uzajamno dejstvo, razmatranje i dodir.
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.
Ova knjiga je debitovala na drugom mestu liste bestselera Njujork Tajmsa. To je presedan i za nas izdavače i za pisca. Radi se o knjizi od 900 strana koja je jednako čudna i neodoljiva, sa klimaksom u kome horda malih ljudi izlazi iz usta devojke koja spava i uzrokuje da nemački ovčar eksplodira. (Smeh) Nije baš Džeki Kolins. Bila je 14 nedelje na listi bestselera, imala je osam izdanja, i dalje se dobro prodaje.
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 izdavaštvo kao umetnost, takođe vrlo dobro znamo da je to posao i da, ako dobro radimo svoj posao i ako imamo sreće, ta sjajna umetnost može da bude dobar biznis.
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.
Eto to je moja priča. Nastaviće se. Kako vam ovo izgleda? Da. Može, jeste i biće, ali za ovog ilustratora knjiga, okretača stranica, što pravi "uši" da bi obeležio strane, onog koji piše beleške na marginama, njuši mastilo, priča izgleda ovako.
Thank you.
Hvala.
(Applause)
(Aplauz)