Blah blah blah blah blah. Blah blah blah blah, blah blah, blah blah blah blah blah blah. Blah blah blah, blah.
Bla bla bla bla bla. Bla bla bla bla bla bla, bla bla bla bla bla bla. Bla bla bla, bla.
So what the hell was that? Well, you don't know because you couldn't understand it. It wasn't clear. But hopefully, it was said with enough conviction that it was at least alluringly mysterious.
Šta je dovraga bilo ovo? Pa, ne znate jer niste mogli da razumete. Nije bilo jasno. Ali srećom, izrečeno je dovoljno ubedljivo da je bar zvučalo zavodljivo mistično.
Clarity or mystery? I'm balancing these two things in my daily work as a graphic designer, as well as my daily life as a New Yorker every day, and there are two elements that absolutely fascinate me.
Jasnoća ili misterija? Radeći kao grafički dizajner, balansiram između ovo dvoje svakodnevno, kao i u mojoj njujorškoj svakodnevici, svaki dan i postoje dva elementa koja me potpuno oduševljavaju.
Here's an example. Now, how many people know what this is? Okay. Now how many people know what this is? Okay. Thanks to two more deft strokes by the genius Charles M. Schulz, we now have seven deft strokes that in and of themselves create an entire emotional life, one that has enthralled hundreds of millions of fans for over 50 years. This is actually a cover of a book that I designed about the work of Schulz and his art, which will be coming out this fall, and that is the entire cover. There is no other typographic information or visual information on the front, and the name of the book is "Only What's Necessary." So this is sort of symbolic about the decisions I have to make every day about the design that I'm perceiving, and the design I'm creating.
Evo jednog primera. Sad, koliko vas zna šta je ovo? U redu. Sada koliko vas zna šta je ovo? U redu. Uz pomoć još dva vešta poteza genijalnog Čarlsa M. Šulca, videli smo sedam veštih poteza koji u sebi i sobom sadrže celokupan emocionalni život, onoga koji je očaravao stotine miliona fanova preko 50 godina. Ovo je zapravo korica knjige koju sam dizajnirao o Šulcovom delu i njegovoj umetnosti, koja će da izađe iz štampe ove jeseni, a to je sve što će da bude na korici. Nema dodatnih tipografskih informacija ili vizuelnih informacija spreda, a knjiga se zove: "Samo ono što je nužno". Ovo je na neki način simbolično za odluke koje donosim svakodnevno o tome kako vidim dizajn i kako stvaram dizajn.
So clarity. Clarity gets to the point. It's blunt. It's honest. It's sincere. We ask ourselves this. ["When should you be clear?"]
Dakle, jasnoća. Jasnoća vas vodi do cilja. Otvorena je. Čestita je. Iskrena je. Pitamo se sledeće: ["Kada da budete jasni?"]
Now, something like this, whether we can read it or not, needs to be really, really clear. Is it?
E sad, ovakve stvari, bilo da smo u stanju da ih tumačimo ili ne, moraju da budu zaista, zaista jasne. Jesu li?
This is a rather recent example of urban clarity that I just love, mainly because I'm always late and I am always in a hurry. So when these meters started showing up a couple of years ago on street corners, I was thrilled, because now I finally knew how many seconds I had to get across the street before I got run over by a car. Six? I can do that. (Laughter)
Ovo je skorašnji primer urbane jasnoće koju prosto obožavam, uglavnom jer uvek kasnim i uvek žurim. Pa kad su se ovi znaci počeli pojavljivati pre nekoliko godina na uglovima ulica, bio sam oduševljen jer sam konačno znao koliko sekundi je potrebno da pređem ulicu pre nego što me pregazi auto. Šest? Uspeću. (Smeh)
So let's look at the yin to the clarity yang, and that is mystery. Mystery is a lot more complicated by its very definition. Mystery demands to be decoded, and when it's done right, we really, really want to. ["When should you be mysterious?"] In World War II, the Germans really, really wanted to decode this, and they couldn't.
Zato razmotrimo šta je jin, ako je jasnoća jang, a to je misterija. Misterija je po samoj definiciji daleko komplikovanija. Misterija traži da bude odgonetnuta, a kada se dobro odradi, zaista, zaista to želimo. ["Kada da budete misteriozni?"] U Drugom svetskom ratu, Nemci su jako, jako želeli da odgonetnu ovo, a nisu mogli.
Here's an example of a design that I've done recently for a novel by Haruki Murakami, who I've done design work for for over 20 years now, and this is a novel about a young man who has four dear friends who all of a sudden, after their freshman year of college, completely cut him off with no explanation, and he is devastated. And the friends' names each have a connotation in Japanese to a color. So there's Mr. Red, there's Mr. Blue, there's Ms. White, and Ms. Black. Tsukuru Tazaki, his name does not correspond to a color, so his nickname is Colorless, and as he's looking back on their friendship, he recalls that they were like five fingers on a hand. So I created this sort of abstract representation of this, but there's a lot more going on underneath the surface of the story, and there's more going on underneath the surface of the jacket. The four fingers are now four train lines in the Tokyo subway system, which has significance within the story. And then you have the colorless subway line intersecting with each of the other colors, which basically he does later on in the story. He catches up with each of these people to find out why they treated him the way they did.
Ovo je primer dizajna koji sam nedavno završio za roman Harukija Murakamija, za koga sam dizajnirao sad već preko 20 godina, a ovaj roman je o mladiću koji ima četiri draga prijatelja koji ga iznenada, nakon prve godine fakulteta u potpunosti otkače, bez ikakvog objašnjenja i on je očajan. Imena svih prijatelja na japanskom se odnose na neku boju. Pa imamo g. Crvenog, g. Plavog, g. Belog i g. Crnog. Ime Cukurija Tazakija se ne odnosi ni na jednu boju, pa je njegov nadimak Bezbojni i dok se priseća njihovog prijateljstva, seća se da su bili poput pet prstiju na ruci. Pa sam napravio nekakvu apstraktnu predstavu ovoga, ali mnogo toga se dodatno dešava ispod površine priče i još mnogo toga se dešava ispod košuljice. Četiri prsta se pretvaraju u četiri tračnice u tokijskom podzemnom sistemu, koje imaju značenje unutar priče. A tu je i bezbojna podzemna tračnica koja seče sve druge boje, što on zapravo i radi, kasnije u priči. Susreće svakog od ovih ljudi pojedinačno kako bi otkrio zašto su se tako poneli prema njemu.
And so this is the three-dimensional finished product sitting on my desk in my office, and what I was hoping for here is that you'll simply be allured by the mystery of what this looks like, and will want to read it to decode and find out and make more clear why it looks the way it does.
Dakle, ovo je trodimenzionalni gotov proizvod koji stoji na stolu u mojoj kancelariji, a očekivao sam da ćete prosto biti privučeni misterijom izgleda knjige i da ćete poželeti da je pročitate, da odgonetnete, otkrijete i da vam bude jasnije zašto tako izgleda.
["The Visual Vernacular."]
["Vizuelni žargon."]
This is a way to use a more familiar kind of mystery. What does this mean? This is what it means. ["Make it look like something else."] The visual vernacular is the way we are used to seeing a certain thing applied to something else so that we see it in a different way.
Na ovaj način koristite nešto poznatiji vid misterije. Šta to znači? Evo šta znači. ["Neka izgleda kao nešto drugo."] Vizuelni žargon je način na koji ustaljeni pogled na određene stvari primenjujemo na nešto drugo, kako bismo to videli drugačije.
This is an approach I wanted to take to a book of essays by David Sedaris that had this title at the time. ["All the Beauty You Will Ever Need"] Now, the challenge here was that this title actually means nothing. It's not connected to any of the essays in the book. It came to the author's boyfriend in a dream. Thank you very much, so -- (Laughter) -- so usually, I am creating a design that is in some way based on the text, but this is all the text there is. So you've got this mysterious title that really doesn't mean anything, so I was trying to think: Where might I see a bit of mysterious text that seems to mean something but doesn't? And sure enough, not long after, one evening after a Chinese meal, this arrived, and I thought, "Ah, bing, ideagasm!" (Laughter) I've always loved the hilariously mysterious tropes of fortune cookies that seem to mean something extremely deep but when you think about them -- if you think about them -- they really don't. This says, "Hardly anyone knows how much is gained by ignoring the future." Thank you. (Laughter) But we can take this visual vernacular and apply it to Mr. Sedaris, and we are so familiar with how fortune cookie fortunes look that we don't even need the bits of the cookie anymore. We're just seeing this strange thing and we know we love David Sedaris, and so we're hoping that we're in for a good time.
To je pristup koji sam hteo da primenim na knjigu eseja Dejvida Sedarisa, koja je tada imala ovaj naslov: ["Sva lepota koja će vam ikad trebati"] Sad, izazov je bio u tome što ovaj naslov zapravo ne znači ništa. Nije povezan ni sa jednim esejom u knjizi. Javio se piščevom momku u snu. Mnogo vam hvala, dakle - (Smeh) - dakle, obično osmišljavam dizajn koji je na neki način u vezi s tekstom, ali ovo je bio sav tekst koji sam imao. Dakle, imate ovaj misteriozni naslov koji zaista ne znači ništa, pa sam počeo da razmišljam: gde se može videti misteriozni tekst koji izgleda smisleno, ali je besmislen? I naravno, ne zadugo, jedne večeri nakon kineskog obroka, ovo je stiglo i ja sam pomislio: "Ah, cvrc, ideogazm!" (Smeh) Uvek su mi se sviđali urnebesno misteriozni tropi kolačića sreće koji izgledaju kao da imaju izuzetno duboko značenje, no kada razmislite o tome - ako uopšte razmišljate o tome - zaista nemaju. Ovaj kaže: "Skoro da niko ne zna koliko dobijamo ignorisanjem budućnosti." Hvala. (Smeh) Ali možemo da uzmemo ovaj vizuelni žargon i da ga primenimo na g. Sedarisa i toliko nam je poznato kako izgledaju kolačići sudbine da nam više ni ne trebaju komadići kolača. Prosto ugledamo ovu neobičnu pojavu i jasno nam je da volimo Dejvida Sedarisa i nadamo se da će nam biti zabavno.
["'Fraud' Essays by David Rakoff"] David Rakoff was a wonderful writer and he called his first book "Fraud" because he was getting sent on assignments by magazines to do things that he was not equipped to do. So he was this skinny little urban guy and GQ magazine would send him down the Colorado River whitewater rafting to see if he would survive. And then he would write about it, and he felt that he was a fraud and that he was misrepresenting himself. And so I wanted the cover of this book to also misrepresent itself and then somehow show a reader reacting to it.
["'Prevarant', eseji Dejvida Rakofa"] Dejvid Rakof je bio divan pisac i svoju prvu knjigu je naslovio "Prevarant" jer su ga časopisi često slali na zadatke da radi stvari za koje nije bio obučen. Dakle, on je bio maleni mršavi urbani momak, a časopis GQ ga je slao niz reku Kolorado na rafting brzacima kako bi videli da li će preživeti. A on bi potom pisao o tome i osećao se kao prevarant koji se pogrešno predstavlja. Pa sam želeo i da se korica ove knjige takođe pogrešno predstavlja i da potom nekako isprovocira čitaoca.
This led me to graffiti. I'm fascinated by graffiti. I think anybody who lives in an urban environment encounters graffiti all the time, and there's all different sorts of it. This is a picture I took on the Lower East Side of just a transformer box on the sidewalk and it's been tagged like crazy. Now whether you look at this and think, "Oh, that's a charming urban affectation," or you look at it and say, "That's illegal abuse of property," the one thing I think we can all agree on is that you cannot read it. Right? There is no clear message here. There is another kind of graffiti that I find far more interesting, which I call editorial graffiti. This is a picture I took recently in the subway, and sometimes you see lots of prurient, stupid stuff, but I thought this was interesting, and this is a poster that is saying rah-rah Airbnb, and someone has taken a Magic Marker and has editorialized about what they think about it. And it got my attention.
Ovo me je dovelo do grafita. Mene grafiti fasciniraju. Mislim da se bilo ko ko živi u urbanom okruženju susreće sa grafitima sve vreme i postoje razni grafiti. Ovo je fotografija koju sam napravio na Donjem Ist sajdu, radi se prosto o transformatoru na trotoaru koji je ispisan kao lud. Sad, bilo da gledate ovo i mislite: "Oh, ovo je šarmantna urbana impresija", ili ovo posmatrate i kažete: "Ovo je nazakonita zloupotreba poseda", možemo se složiti u jednom, a to je da ga ne možemo pročitati. Je li tako? Ovde nema jasne poruke. Postoji drugi vid grafita koji smatram daleko interesantnijim, a koje zovem uredničkim grafitima. Ovo je fotografija koju sam nedavno napravio u podzemnoj i ponekad vidite gomilu lascivnih gluposti, ali ovaj mi je bio interesantan, a to je poster koji nam kaže: ra-ra arbnb, a neko je uzeo flomaster i izneo je stav šta misli o tome. I to mi je privuklo pažnju.
So I was thinking, how do we apply this to this book? So I get the book by this person, and I start reading it, and I'm thinking, this guy is not who he says he is; he's a fraud. And I get out a red Magic Marker, and out of frustration just scribble this across the front. Design done. (Laughter) And they went for it! (Laughter) Author liked it, publisher liked it, and that is how the book went out into the world, and it was really fun to see people reading this on the subway and walking around with it and what have you, and they all sort of looked like they were crazy. (Laughter)
Pa sam počeo da mislim kako da to primenim na knjigu? Pa sam dobio knjigu te osobe i počeo da je čitam i razmišljam: ovaj lik nije ono što kaže da je; on je prevarant. Izvadio sam crveni flomaster i isfrustrirano sam naškrabao ovo na pročelju. Dizajn je gotov. (Smeh) I oni su ga prihvatili! (Smeh) Piscu se svideo, izdavaču se svideo i tako je knjiga izašla u svet i bilo je zabavno gledati ljude kako je čitaju u podzemnoj i kako šetaju s njom i šta sve ne i svi su nekako izgledali kao ludaci. (Smeh)
["'Perfidia' a novel by James Ellroy"] Okay, James Ellroy, amazing crime writer, a good friend, I've worked with him for many years. He is probably best known as the author of "The Black Dahlia" and "L.A. Confidential." His most recent novel was called this, which is a very mysterious name that I'm sure a lot of people know what it means, but a lot of people don't. And it's a story about a Japanese-American detective in Los Angeles in 1941 investigating a murder. And then Pearl Harbor happens, and as if his life wasn't difficult enough, now the race relations have really ratcheted up, and then the Japanese-American internment camps are quickly created, and there's lots of tension and horrible stuff as he's still trying to solve this murder. And so I did at first think very literally about this in terms of all right, we'll take Pearl Harbor and we'll add it to Los Angeles and we'll make this apocalyptic dawn on the horizon of the city. And so that's a picture from Pearl Harbor just grafted onto Los Angeles. My editor in chief said, "You know, it's interesting but I think you can do better and I think you can make it simpler." And so I went back to the drawing board, as I often do. But also, being alive to my surroundings, I work in a high-rise in Midtown, and every night, before I leave the office, I have to push this button to get out, and the big heavy glass doors open and I can get onto the elevator. And one night, all of a sudden, I looked at this and I saw it in a way that I hadn't really noticed it before. Big red circle, danger. And I thought this was so obvious that it had to have been done a zillion times, and so I did a Google image search, and I couldn't find another book cover that looked quite like this, and so this is really what solved the problem, and graphically it's more interesting and creates a bigger tension between the idea of a certain kind of sunrise coming up over L.A. and America.
["'Perfidia', roman Džejmsa Elroja"] Džejms Elroj je sjajan krimi pisac, dobar prijatelj, sarađivao sam s njim dugo. Verovatno je najpoznatiji kao pisac "Crne dalije" i "Poverljivo iz L. A." Njegov poslednji roman je ovako nazvan, to je veoma misteriozan naslov, siguran sam da mnogi znaju šta znači, ali mnogi i ne znaju. A to je priča o japansko-američkom detektivu iz Los Anđelesa, iz 1941. koji istražuje ubistvo. A potom se Perl Harbor desi i kao da mu život nije dovoljno komplikovan, sada rasni odnosi zaista donose preokret, i japansko-američki kazneni kampovi se brzo prave i mnogo je napetosti i groznih stvari dok on i dalje pokušava da reši ubistvo. Pa sam prvo o ovome razmišljao bukvalno, u redu, uzećemo Perl Harbor i dodaćemo ga Los Anđelesu i napravićemo ovo apokaliptično praskozorje na horizontu grada. Dakle, ovo je slika Perl Harbora prosto nakalemljena na Los Anđeles. Moj izvršni urednik je rekao: "Znaš, interesantno je, ali mislim da ti možeš bolje i da možeš to da uprostiš." Pa sam se vratio tabli za crtanje, kao što obično i radim. Ali kako takođe osluškujem svoje okruženje, radim u neboderu u Midtaunu i svako veče, pre nego što napustim kancelariju, moram da pritisnem ovo dugme da bih izašao i onda se velika, teška, staklena vrata otvaraju i mogu da uđem u lift. Jedne noći sam, iznenada, pogledao to i video na način na koji to ranije nisam zapažao. Veliki crveni krug, opasnost. I pomislio sam da je to tako očigledno da mora da je iskorišćeno zilion puta, pa sam pretražio slike na Guglu i nisam pronašao nijednu koricu koja je imalo ličila na ovo, dakle, ovo je zaista rešilo problem i grafički je interesantnije i stvara snažniju tenziju kod ideje o naročitom vidu praskozorja koji se javlja iznad L.A. i Amerike.
["'Gulp' A tour of the human digestive system by Mary Roach."]
["'Gutljaj' - Obilazak ljudskih organa za varenje od Meri Roač."]
Mary Roach is an amazing writer who takes potentially mundane scientific subjects and makes them not mundane at all; she makes them really fun. So in this particular case, it's about the human digestive system. So I'm trying to figure out what is the cover of this book going to be. This is a self-portrait. (Laughter) Every morning I look at myself in the medicine cabinet mirror to see if my tongue is black. And if it's not, I'm good to go. (Laughter) I recommend you all do this. But I also started thinking, here's our introduction. Right? Into the human digestive system. But I think what we can all agree on is that actual photographs of human mouths, at least based on this, are off-putting. (Laughter) So for the cover, then, I had this illustration done which is literally more palatable and reminds us that it's best to approach the digestive system from this end. (Laughter) I don't even have to complete the sentence. All right.
Meri Roač je sjajna spisateljka koja uzima naoko svakodnevne naučne subjekte i od njih pravi nešto nesvakidašnje; pretvara ih u nešto zabavno. U ovom slučaju, radi se o ljudskom sistemu za varenje. Pa sam ja pokušavao da dokučim kako bi korica mogla da izgleda. Ovo je autoportret. (Smeh) Svako jutro se pogledam u ogledalu na ormariću za lekove kako bih proverio da li mi je jezik crn. A ako nije, dobro sam. (Smeh) Preporučujem da svi ovo radite. Ali sam takođe počeo da razmišljam da je ovo naš uvod. Je li tako? Uvod u ljudski sistem za varenje. Ali mislim da ćemo se svi složiti da su stvarne fotografije ljudskih usta, barem sudeći po ovome, neprijatne. (Smeh) Pa sam onda za korice napravio ovu ilustraciju koja bukvalno ima više ukusa i podseća nas da je najbolje prilaziti sistemu za varenje s ovog kraja. (Smeh) Čak ne moram ni da završim rečenicu. U redu.
["Unuseful mystery"] What happens when clarity and mystery get mixed up? And we see this all the time. This is what I call unuseful mystery. I go down into the subway -- I take the subway a lot -- and this piece of paper is taped to a girder. Right? And now I'm thinking, uh-oh, and the train's about to come and I'm trying to figure out what this means, and thanks a lot. Part of the problem here is that they've compartmentalized the information in a way they think is helpful, and frankly, I don't think it is at all. So this is mystery we do not need. What we need is useful clarity, so just for fun, I redesigned this. This is using all the same elements. (Applause) Thank you. I am still waiting for a call from the MTA. (Laughter) You know, I'm actually not even using more colors than they use. They just didn't even bother to make the 4 and the 5 green, those idiots. (Laughter) So the first thing we see is that there is a service change, and then, in two complete sentences with a beginning, a middle and an end, it tells us what the change is and what's going to be happening. Call me crazy! (Laughter)
["Beskorisna misterija"] Šta se desi kada se jasnoća i misterija pomešaju? A ovo gledamo svakodnevno. Ovo zovem beskorisnom misterijom. Siđem u podzemnu železnicu - koristim podzemnu često - i ovaj komad papira je zalepljen na stub. Je l' da? I ja sad mislim, uh-oh i voz samo što ne stigne, a ja pokušavam da dokučim šta ovo znači i baš vam hvala. Ovde je deo problema to što su rasparčali informaciju tako da izgleda kao da je od pomoći, ali, iskreno, mislim da uopšte nije. Dakle, ovakva nam misterija ne treba. Potrebna nam je korisna jasnoća, pa sam prosto iz zabave, redizajnirao ovo. Koristeći iste elemente, dobio sam ovo. (Aplauz) Hvala vam. Još uvek čekam poziv iz ministarstva za saobraćaj. (Smeh) Znate, nisam čak ni koristio više boja nego što su oni. Samo se nisu čak ni potrudili da oboje četvorku i peticu u zeleno, te budale. (Smeh) Dakle, prvo što vidimo ovde je da je došlo do promene u redu vožnje i zatim, u dve zaokružene rečenice, s početkom, sredinom i krajem, obaveštavaju nas o promeni i šta će da se desi. Zovite me ludakom! (Smeh)
["Useful mystery"] All right. Now, here is a piece of mystery that I love: packaging. This redesign of the Diet Coke can by Turner Duckworth is to me truly a piece of art. It's a work of art. It's beautiful. But part of what makes it so heartening to me as a designer is that he's taken the visual vernacular of Diet Coke -- the typefaces, the colors, the silver background -- and he's reduced them to their most essential parts, so it's like going back to the Charlie Brown face. It's like, how can you give them just enough information so they know what it is but giving them the credit for the knowledge that they already have about this thing? It looks great, and you would go into a delicatessen and all of a sudden see that on the shelf, and it's wonderful. Which makes the next thing -- ["Unuseful clarity"] -- all the more disheartening, at least to me. So okay, again, going back down into the subway, after this came out, these are pictures that I took. Times Square subway station: Coca-Cola has bought out the entire thing for advertising. Okay? And maybe some of you know where this is going. Ahem.
["Korisna misterija"] U redu. Sad, ovakva misterija mi se sviđa: ambalaža. Ovaj novi dizajn limenke dijetalne Koka-kole koji je uradio Tarner Dakvort, smatram istinskim umetničkim delom. To je umetničko delo, prelepo je. Ali ono što ga čini tako odvažnim, za mene kao dizajnera, je to što je uzeo prepoznatljiv izgled dijetalne Kole - slova, boje, srebrnu poleđinu - i sveo je sve to na najosnovnije delove, kao da idemo unazad do lika Čarlija Brauna. U smislu, kako da ponudite taman toliko informacija da svi znaju o čemu se radi, ali poštujući znanje koje već imaju o ovome? Izgleda odlično i otišli biste u prodavnicu i iznenada biste to videli na rafu i božanstveno je. Zbog čega je sledeće - ["Beskorisna jasnoća"] - još katastrofalnije, bar meni. U redu, ponovo se vraćamo u podzemnu, kada se ovo pojavilo, ovo su fotografije koje sam ja napravio. Podzemna železnica Tajms Skver: Koka-kola je celu zakupila u marketinške svrhe. U redu? Možda neki od vas znaju kuda ovo vodi. Hm.
"You moved to New York with the clothes on your back, the cash in your pocket, and your eyes on the prize. You're on Coke." (Laughter) "You moved to New York with an MBA, one clean suit, and an extremely firm handshake. You're on Coke." (Laughter) These are real! (Laughter) Not even the support beams were spared, except they switched into Yoda mode. (Laughter) "Coke you're on." (Laughter) ["Excuse me, I'm on WHAT??"] This campaign was a huge misstep. It was pulled almost instantly due to consumer backlash and all sorts of unflattering parodies on the web -- (Laughter) -- and also that dot next to "You're on," that's not a period, that's a trademark. So thanks a lot.
"Doselili ste se u Njujork s torbom preko ramena, novcem u džepu i namerom da uspete. Na Koki ste." (Smeh) "Došli ste u Njujork s diplomom, jednim čistim odelom i izuzetno snažnim stiskom. Na Koki ste." (Smeh) Ovo je stvarno! (Smeh) Čak ni potporne grede nisu pošteđene, samo što su prešli na Jodin jezik. (Smeh) "Na Koki si ti." (Smeh) ["Izvinite, na ČEMU sam??"] Ova kampanja je bila ogromna greška. Povučena je skoro momentalno zbog zazora potrošača i raznih neprijatnih parodija na internetu - (Smeh) - i takođe, ta tačka pored "si ti", to nije tačka, to je zaštitni znak. E baš vam hvala.
So to me, this was just so bizarre about how they could get the packaging so mysteriously beautiful and perfect and the message so unbearably, clearly wrong. It was just incredible to me.
Meni je ovo bilo prosto bizarno, kako su uspeli da uzmu tako misteriozno lepu i savršenu ambalažu uz tako nepodnošljivu, očito pogrešnu poruku. To mi je bilo prosto neverovatno.
So I just hope that I've been able to share with you some of my insights on the uses of clarity and mystery in my work, and maybe how you might decide to be more clear in your life, or maybe to be a bit more mysterious and not so over-sharing. (Laughter)
Dakle, nadam se da sam uspeo da podelim sa vama neka svoja zapažanja o upotrebi jasnoće i misterije u mom radu i kako možda vi možete da donesete odluku da budete jasniji u svom životu, ili da budete možda misteriozniji i ne toliko otvorena knjiga. (Smeh)
And if there's just one thing that I leave you with from this talk, I hope it's this: Blih blih blih blah. Blah blah blih blih. ["'Judge This,' Chip Kidd"] Blih blih blah blah blah. Blah blah blah.
I, ako nešto želim da vam prenesem ovim govorm, nadam se da je to: Bli bli bli bla. Bla bla bli bli. ["'Judge This' Čip Kid"] Bli bli bla bla bla. Bla bla bla.
Blah blah.
Bla bla.
(Applause)
(Aplauz)