I had requested slides, kind of adamantly, up till the -- pretty much, last few days, but was denied access to a slide projector. (Laughter) I actually find them a lot more emotional -- (Laughter) -- and personal, and the neat thing about a slide projector is you can actually focus the work, unlike PowerPoint and some other programs. Now, I agree that you have to -- yeah, there are certain concessions and, you know, if you use a slide projector, you're not able to have the bad type swing in from the back or the side, or up or down, but maybe that's an O.K. trade-off, to trade that off for a focus. (Laughter) It's a thought. Just a thought. And there's something nice about slides getting stuck. And the thing you really hope for is occasionally they burn up, which we won't see tonight. So.
我有要求投映片, 甚至有點兒固執, 可能說,直到幾日前還在要求。 但是我被拒絕使用投映機。 (笑) 我其實對它有很多情感, (笑) -- 和個人。 關於投映機的美妙之處是 你可以專注作品。 不像簡報或其他程式。 我現在同意 你需要有某種程度的讓步, 你亦知道如果你使用投映機 你將會不能使用那些不好的模式 從後邊,或從旁邊,或從上或下轉出來。 這或許是一個不錯的交換。 用來交換專注。 (笑) 只是一個想法啦。 還有那投影片卡住的美妙。 有時你會期望 它會著火。 但是我們今天晚上不會見到。所以,
With that, let's get the first slide up here. This, as many of you have probably guessed, is a recently emptied beer can in Portugal. (Laughter) This -- I had just arrived in Barcelona for the first time, and I thought -- you know, fly all night, I looked up, and I thought, wow, how clean. You come into this major airport, and they simply have a B. I mean, how nice is that? Everything's gotten simpler in design, and here's this mega airport, and God, I just -- I took a picture. I thought, God, that is the coolest thing I've ever seen at an airport. Till a couple months later, I went back to the same airport -- same plane, I think -- and looked up, and it said C. (Laughter) It was only then that I realized it was simply a gate that I was coming into. (Laughter)
有著它,我們看看第一張影片。 這個,在座各位很多都猜得到 是一個 在葡萄牙剛空掉的啤酒罐。 (笑) 這個是我第一次到達巴塞隆納, 而我想 - 你知道,飛了一整晚,我望上去, 我想,嘩,那麼簡潔。 你到達一個主要的機場,而它們只有一個 B 字。 我的意思是,這多麼美妙? 所有東西的設計都講求簡約, 而這裡是一個超級機場, 神呀,我只是。。。 我拍了一張照片。 我想,這是我有史以來在機場看過最酷的東西。 直至幾個月後, 我回到這個機場 - 我想是坐同一班飛機 - 我抬頭望去, 它寫著 C 字。 (笑) 直到那時我才發現 原來這只是我進來的閘口。 (笑)
I'm a big believer in the emotion of design, and the message that's sent before somebody begins to read, before they get the rest of the information; what is the emotional response they get to the product, to the story, to the painting -- whatever it is. That area of design interests me the most, and I think this for me is a real clear, very simplified version of what I'm talking about. These are a couple of garage doors painted identical, situated next to each other. So, here's the first door. You know, you get the message. You know, it's pretty clear. Take a look at the second door and see if there's any different message. O.K., which one would you park in front of? (Laughter) Same color, same message, same words. The only thing that's different is the expression that the individual door-owner here put into the piece -- and, again, which is the psycho-killer here? (Laughter) Yet it doesn't say that; it doesn't need to say that. I would probably park in front of the other one.
我是一個情感設計的大信徒。 而訊息在被傳送 人們讀到之前, 或他們得到其他資料之前, 他們無論是對產品,故事或畫作, 他們的情感反應該是如何呢? 設計領域最吸引我的, 我想對我來說是十分清楚 及非常簡單的 解釋了我在說什麼。 這裡有一對繪畫完全相同的車庫門, 它們位處相隣。 這裡是第一扇門。你一看就明白它的訊息。 你明白,非常清楚。 再看看第二扇門,而見到 看看有沒有其他的訊息, 你會在那一扇門前停下? (笑) 相同的顏色,相同的訊息,相同的字句。 唯一不同是 車門主人在這裡所表達的情緒 -- 而且, 再次 在這裡哪一個是精神分裂殺人狂? (笑) 雖然它沒有寫出來;亦不用寫出來。 我大概會停在另外一家門前。
I'm sure a lot of you are aware that graphic design has gotten a lot simpler in the last five years or so. It's gotten so simple that it's already starting to kind of come back the other way again and get a little more expressive. But I was in Milan and saw this street sign, and was very happy to see that apparently this idea of minimalism has even been translated by the graffiti artist. (Laughter) And this graffiti artist has come along, made this sign a little bit better, and then moved on. (Laughter) He didn't overpower it like they have a tendency to do. (Laughter)
我相信很多人都會注意到 平面設計近五年左右 變得更簡約。 他們變到開始 有反彈的趨勢,變得多了點表達。 但是我去到米蘭,見到一個路牌。 我非常高興 見到極簡主義 在塗鴉藝術家中詮釋。 (笑) 而這個塗鴉藝術家出現 令這個路牌更加好後,再去另一處。 (笑) 他沒有刻意過分主導它。 (笑)
This is for a book by "Metropolis." I took some photos, and this is a billboard in Florida, and either they hadn't paid their rent, or they didn't want to pay their rent again on the sign, and the billboard people were too cheap to tear the whole sign down, so they just teared out sections of it. And I would argue that it's possibly more effective than the original billboard in terms of getting your attention, getting you to look over that way. And hopefully you don't stop and buy those awful pecan things -- Stuckey's.
這是Metropolis的一本書. 我拍了一些照片,而這個是 佛羅里達州的一個一型廣告牌。 他們不是沒有繳交租金, 就是不想再繼續租這個廣告牌, 那些管廣告牌的人員亦懶得將整個牌拆下來, 因此他們只將一部份拆下來。 而我覺得這樣反而可能更有效 比原先的廣告牌更能引起別人的注意。 讓你望向那方。 希望你不會停下來去買那些難吃的胡桃片-- Stuckey's。
This is from my second book. The first book is called, "The End of Print," and it was done along with a film, working with William Burroughs. And "The End of Print" is now in its fifth printing. (Laughter) When I first contacted William Burroughs about being part of it, he said no; he said he didn't believe it was the end of print. And I said, well, that's fine; I just would love to have your input on this film and this book, and he finally agreed to it. And at the end of the film, he says in this great voice that I can't mimic but I'll kind of try, but not really, he says, "I remember attending an exhibition called, 'Photography: The End of Painting.'" And then he says, "And, of course, it wasn't at all." So, apparently when photography was perfected, there were people going around saying, that's it: you've just ruined painting. People are just going to take pictures now. And of course, that wasn't the case.
這是我第二本書。 第一本書名叫"The End of Print (出版的終結), 而它還出了一齣電影, 并與威廉 巴洛塔斯合作。 而 "The End of Print"已經第五刷(printing)了。 (笑) 當我第一次而與威廉 巴洛塔斯接觸商討參與製作時, 他說不行;他說他不認為這是出版的終結。 我回應: 那麼,好吧; 我只希望我可以把你對這齣電影和這本書提供你的見解。 最終他都答應。 在電影的末段,他用了洪量的聲線, 我無法模仿,但我盡量嘗試,但是不大相似, 他說, 「我記得參加那個叫做 "Photography: The End of Painting" 的展覽會。」 然後他說「當然,這沒有成為事實。」 所以,很明顯當攝影師不那麼精湛時, 就會有人在他身旁說 你看: 你把繪畫搞垮。 所有人現在都在拍照了。 這當然事實不是如此。
So, this is from "2nd Sight," a book I did on intuition. I think it's not the only ingredient in design, but possibly the most important. It's something everybody has. It's not a matter of teaching it; in fact, most of the schools tend to discount intuition as an ingredient of your working process because they can't quantify it: it's very hard to teach people the four steps to intuitive design, but we can teach you the four steps to a nice business card or a newsletter. So it tends to get discounted. This is a quote from Albert Einstein, who says, "The intellect has little to do on the road to discovery. There comes a leap in consciousness -- call it intuition or what you will -- and the solution just comes to you, and you don't know from where or why." So, it's kind of like when somebody says, Who did that song? And the more you try to think about it, the further the answer gets from you, and the minute you stop thinking about it, your intuition gives you that answer, in a sense.
所以這是來自「第二視覺」 我一本有關直覺的書。 我想這不是設計上的唯一基本原素, 但很可能是最重要之一。 這是所有人都擁有的。 它無法傳授; 而事實上,大多數學校都傾向漠視直覺 把它視為工作程序的原素。 因為他們不可能量化它。 亦很難教導別人直覺設計的四個步驟, 但是我們能教導設計一個好的名片 或商務通訊的四個步驟。 所以就這樣它被忽略。 愛因斯坦有一句名句是這樣說的, 探索的道路上智慧無甚用處, 你不知道從那裡或什麼原因, 只要那所謂的直覺來到, 將會解答來到你的問題 -- 這就是知覺的躍進。 所以就好像當人們說,誰作這首曲? 當你越嘗試去想它, 你就越遠離答案。 那一刻你不再想它 你的直覺就會告訴你那個答案。
I like this for a couple of reasons. If you've had any design courses, they would teach you you can't read this. I think you eventually can and, more importantly, I think it's true. "Don't mistake legibility for communication." Just because something's legible doesn't means it communicates. More importantly, it doesn't mean it communicates the right thing. So, what is the message sent before somebody actually gets into the material? And I think that's sometimes an overlooked area.
我喜歡這個有幾個原因。 如果你有修讀設計課程,他們會教你,你可能讀不到這個的。 我想你最終是能夠讀到的,而最重要,我相信這是真實。 「別以為清晰就是溝通。」 不是有一些東西它是清晰就能代表它溝通。 最重要的是它不是表達正確的訊息。 所以,訊息在傳播之前 人們所接受到的訊息是什麼? 我想這是經常忽略的地方。
This is working with Marshall McLuhan. I stayed and worked with his wife and son, Eric, and we came up with close to 600 quotes from Marshall that are just amazing in terms of being ahead of the times, predicting so much of what has happened in the advertising, television, media world. And so this book is called "Probes." It's another word for quotes. And it's -- a lot of them are never -- have never been published before, and basically, I've interpreted the different quotes. So, this was the contents page originally. When I got done it was 540 pages, and then the publisher, Gingko Press, ended up cutting it down considerably: it's just under 400 pages now. But I decided I liked this contents page -- I liked the way it looks -- so I kept it. (Laughter) It now has no relevance to the book whatsoever, but it's a nice spread, I think, in there. (Laughter)
這是與馬歇爾 麥可盧恩一起製作的。 我與他的妻子和兒子艾利克一起工作。 我們收集了近六百句馬歇爾的金句。 它們很驚人地在帶領時代, 預測很多將會發生 在廣告、電視、媒體的事情。 所以這本書名叫《探究》, 亦是妙句的第二個說法。 而很多都是從未出版過。 基本上我翻譯了很多不同的金句。 這是原先的目錄。 但當我完成五百四十頁後, 那個出版商,Gingko Press 最後把它大幅度刪減: 現在只有少於四百頁。 但我喜歡這個目錄 -- 我喜歡它的設計 -- 所以我把它留下來。 (笑) 現在它已經與書沒有任何關係, 但我覺得它是一個很好的插圖。 (笑)
So, a couple spreads from the book: here McLuhan says, "The new media are not bridges between Man and Nature; they are Nature." "The invention of printing did away with anonymity, fostering ideas of literary fame and the habit of considering intellectual effort as private property," which had never been done before printing. "When new technologies impose themselves on societies long habituated to older technologies, anxieties of all kinds result." "While people are engaged in creating a totally different world, they always form vivid images of the preceding world." I hate this stuff. It's hard to read. (Laughter) (Applause) "People in the electronic age have no possible environment except the globe, and no possible occupation except information gathering." That was it. That's all he saw as the options. And not too far off.
這是書中其他的插圖: 在這裡麥可盧恩是這樣寫的, 「新媒體不是連接人與自然的橋樑;它們是自然。」 「發明印刷握殺了匿名者, 培養了文學意念, 及將智力的成果變成個人資產的習慣。」 這些都是在有出版之前沒有發生的事情。 「當新科技強加在 習慣舊有科技的社會上時, 各式憂慮便產生。」 「當人類熱中於創造完全不同的國度時, 他們常常對先前的世界產生清晰的影像。」 我討厭這個。它看不清楚。 (笑) (掌聲) 「人類在電子時代中除了地球外沒有其他合適的環境, 以及除了資訊收發外沒有其他合適的職業。」 就這樣了。這是他對選擇的所有看法。亦沒有太過偏差。
So, this is a project for Nine Inch Nails. And I only show it because it seemed like it got all this relevancy all of a sudden, and it was done right after 9/11. And I had recently discovered a bomb shelter in the backyard of a house I had bought in LA that the real estate person hadn't pointed out. (Laughter) There was some bomb shelter built, apparently in the '60s Cuban missile crisis. And I asked the real estate guy what it was as we were walking by, and he goes, "It's something to do with the sewage system." I was, O.K.; that's fine. I finally went down there, and it was this old rusted circular thing, and two beds, and very kind of creepy and weird. And also, surprisingly, it was done in kind of a cheap metal, and it had completely rusted through, and water everywhere, and spiders. And I thought, you know, what were they thinking? You'd think maybe cement, possibly, or something. But anyway, I used this for a cover for the Nine Inch Nails DVD, and I've also now fixed the bomb shelter with duct tape, and it's ready. I think I'm ready. So.
這個是九吋釘的企劃。 我展示出來只因它看起來突然與這些有關。 它是在九一一後不久完成的。 而我最近在我洛杉磯剛買下來的房屋的後院 發現了一個防空避難所, 而那個地產代理從沒向我們提及。 (笑) 有些防空避難所很明顯是在六零年代古巴導彈危機而建。 在我們經過的時候我向地產代理詢問。 而他回答說:「這與污水系統有關。」 我當時回答, OK; 好吧。 我終於走下去看看。看到這個又舊又生鏽圓形物體, 有兩張床,非常陰森古怪。 而且,很驚訝的是,它是用很便宜的金屬所製造。 它完全被生鏽侵蝕。到處是水和蜘蛛。 我想他們到底想什麼呢? 你會想大概也應該是用水泥或類似的東西。 無論如何,我用它來作為我《九吋釘》光碟的封面。 而我亦用強力膠布把那個防空避難所給修補。 現在已經準備好。我想我是準備好。所以,
This is an experiment, really, for a client, Quicksilver, where we were taking what was a six-shot sequence and trying to use print as a medium to get people to the Web. So, this is a six-shot sequence. I've taken one shot; I cropped it a few different ways. And then the tiny line of copy says, If you want to see this entire sequence -- how this whole ride was -- go to the website. And my guess is that a lot of the surf kids did go to the site to get this entire picture. Got no way of tracking it, so I could be totally wrong. (Laughter) I don't have the site. It's just the piece itself.
這是個為一個客戶, Quicksilver,而作的一個實驗。 我們在這裡拍攝了六個連續照片 希望可以用印刷這個渠道將人引到互聯網。 這是一套六幅。 我拿了一幅照片;我把它裁剪成幾個不同的方式。 而後用很細小的字體說, 如果你想看整套照片-- 想只道整個沖浪的過程 -- 請登錄網站。 我的猜測是有很多沖浪的孩子登錄網站 去看整套照片。 沒有方法去追蹤。所以我可能完全估錯。 (笑) 我沒有那個網站。我只有這個而已。
This is a group in New York called the Coalition for a Smoke-free Environment -- asked me to do these posters. They were wild-posted around New York City. You can't really -- well, you can't see it at all -- but the second line is really the more kind of payoff, in a sense. It says, "If the cigarette companies can lie, then so can we." But -- (Laughter) (Applause) -- but I did. These were literally wild-posted all over New York one night, and there were definitely some heads turning, you know, people smoking and, "Huh!" (Laughter) And it was purposely done to look fairly serious. It wasn't some, you know, weird grunge type or something; it looked like they might be real. Anyway.
在紐約,有一個組織名叫無煙環境聯盟; 要求我製造這些海報。 它們在紐約市廣泛張貼。 你們不能 -- 你們絕對看不到 但第二句在某程度就很像是一種報復。 它說:「如果煙草商說慌,我們也能。」但是-- (笑) (掌聲) -- 但是我有。 它簡直就是在一個晚上貼滿整個紐約市。 當然有些人在回頭看, 你知道,人們正抽著煙。。。「哈?! 」 (笑) 它是故意看上去好像很嚴重。 它不像那些,你知道,古怪之類的東西; 它看起來好像是真實的。無論如何。
Poster for Atlantic Center for the Arts, a school in Florida.
佛羅里達州的一所學校 -- 大西洋藝術中心的海報。
This amazes me. This is a product I just found out. I was in the Caribbean at Christmas, and I'm just blown away that in this day and age they will still sell -- not that they will sell -- that there is felt a need for people to lighten the color of their skin. This was either an old product with new packaging, or a brand-new package, and I just thought, Yikes! How's that still happening?
它讓我很驚訝。它是我近期剛找到的。 在聖誕節時我去了加勒比海。 我驚愕今時今日他們仍會賣-- 不是他們賣-- 而是有人需要這種能讓他們膚色變淺的東西。 這要不是一件舊產品換上新包裝, 就是全新包裝,而我想, 嘩! 這怎會仍然發生?
I do a lot of workshops all over the world, really, and this particular assignment was to come up with new symbols for the restroom doors. (Laughter) I felt this was one of the more successful solutions. The students actually cut them up and put them up around bars and restaurants that night, and I just always have this vision of this elderly couple going to use the restroom ... (Laughter)
我真的在世界各地做工作坊, 而這個方案是 為洗手間的門設計新標誌。 (笑) 我覺得這是個很成功的點子。 學生們確實把它剪下來, 然後在晚上把它貼在酒吧和餐廳的門上 而我目擊到有一對年長的夫婦當他們去上洗手間時。。。 (笑)
I did some work for Microsoft a few years back. It was a worldwide branding campaign. And it was interesting to me -- my background is in sociology; I had no design training, and sometimes people say, well, that explains it -- but it was a very interesting experiment because there's no product that I had to sell; it was simply the image of Microsoft they were trying to improve. They thought some people didn't like them. (Laughter) I found out that's very true, working on this campaign worldwide.
我在幾年前為微軟做了點工作 它是一個全球商標企劃。 它對我感興趣的是-- 我社會學的背景;我沒有設計的訓練, 而有些人說,這就解釋了-- 但那是一個非常有趣的實驗 因為它沒有產品我要賣; 它只是微軟公司只想把形象改善。 它們想有些人不喜歡它們。 (笑) 我發現這是真實的, 為全球企劃而工作
And our goal was to try to humanize them a bit, and what I did was add type and people to the ad, which the previous campaign had not had, and nobody remembered them, and nobody referenced them. And we were trying to say that, hey, some of these guys that work there are actually OK; some of them actually have friends and family, and they're not all awful people. And the umbrella campaign was "Thank God it's Monday." So, we tried to take this -- what was perceived as a negative: their over-competitiveness, their, you know, long working hours -- and turn it into a positive and not run from it. You know: Thank God it's Monday -- I get to go back to that little cubicle, those fake gray walls, and hear everybody else's conversations f or 10 hours and then go home.
我們的目標是把它人性化一點 而我所做的是將類型和人加在廣告中, 而這是以前的企劃沒有的。 沒有人記起它,沒有人拿它作參考。 而我們嘗試說出, 嗨,這裡有些人工作得蠻不錯; 這些人其實是你的朋友或家人, 他們不是那些糟糕的人。 這是雨傘企劃,名為「感謝主,這是星期一。」 所以,我們嘗試把這個 -- 從前被視為負面的: 它過於競爭,它的, 你知道,冗長的工作時間 -- 然後把它轉為正面和不逃避它。 你知道:感謝主,這是星期一 -- 我回到那個小隔間,那些灰色假牆, 你會聽到人其他人的談話 持續十個小時然後回家。
But anyway, this is one of the ads I was most pleased with, because they were all elaborately art-directed, and this one I thought actually felt like the girl was looking at the computer. It says, "Wonder Around." And then it's a piece of the software. And this is how the ad ran around the world. In Germany, they made one small change without checking with me -- nor did they have to, because it was done through agencies -- but see if you can tell the difference. This is how the ad ran throughout the world; Germany made one slight change in the ad. (Laughter)
但是無論如何,這是一個我最感滿意的廣告, 因為它們全都精心地由藝術主導, 而這一個我想它確實感覺到有一個女孩子在看電腦。 它說,「到處新奇」,而後就是那個軟件。 這就是那個廣告如何走遍全世界。 在德國,他們在沒有與我查對前作了一個小更改 -- 或他們沒有這個需要因為它是經過代理而完成的 -- 但是你會發現它的分別。 這就是那個廣告如何走遍全世界。 德國在廣告中作了一個小改動。 (笑)
Now, there's kind of two issues here. If you're going to put a kid in the ad, pick one that looks alive. (Laughter) I just have a feeling this kid's been there for a week, you know. He's just really hoping that boots up and, you know ... (Laughter) And then as the agency explained to me, they said, "Look, we don't have little green people in our country; why would we put little green people in our ads, for instance?" So, I understand their logic. I totally disagree with it; I think it's a very small-minded approach, the world is certainly much more global, and I certainly think the people of Germany could have handled a little black girl sitting in front of a computer, though we'll never know.
現在,好像有兩個問題。 如果你要把一個孩子放在廣告中,選一個他看起來活生生的。 (笑) 我有一個感覺,覺得那個小孩在那裡已經有一個星期,你知道。 他真的希望可以離開,你知道 。。。 (笑) 然後代理向我解釋,他們說, 「看,我們沒有那些種族在我們的國家內; 為何我們要把這些種族的人放在我們的廣告上作例子?」 我明白他們的邏輯。但是我完全不同意; 我想這是一個狹隘的思想, 全世界無疑地變得更全球化, 我無疑地相信德國人 可以容納一個黑種族小女孩坐在電腦前, 但是你永遠意想不到。
This is some work from Ray Gun. And the point of this magazine was to read the articles, listen to the music, and try to interpret it. There's no grid, there's no system, there's nothing set up in advance. This is an opener for Brian Eno, and it's just kind of my personal interpretation of the music. This is rockstars talking about teachers they had lusted after in school. There's a lot of great writing in "Ray Gun." And I was fortunate to find a photograph of a teacher sitting on some books. (Laughter)
這是(科幻小說)死光槍的作品。 這本雜誌的目的是閱讀它的文章, 聽音樂和嘗試詮釋它。 它沒有框架,沒有系統,沒有在事前設定。 這是為布萊恩 伊諾而作的開端, 這就是我對音樂有點兒個人化的詮釋。 這是搖滾巨星談及他們在學校所喜愛的老師。 《死光槍》裡有很多很偉大的篇幅。 我有幸找到一幅老師正坐在幾本書上的照片。 (笑)
Article on Bryan Ferry -- just really boring article -- so I set the whole article in Dingbat. (Laughter) You could -- you could highlight it; you could make it Helvetica or something: it is the actual article. I suppose you could eventually decode it, but it's really not very well written; it really wouldn't be worthwhile. (Laughter)
描寫布萊恩 費瑞文章 -- 只是非常沈悶的文章 -- 所以我將整篇文章設在不知名的器具上。 (笑) 你可以 -- 可以加上螢光註釋;你可以將他變成Helvetica或其他字體: 這是它原本的文章。 我猜想你可以最終解讀它, 但它不是寫得那麼好;不見得那麼值得。 (笑)
Having done a lot of magazines, I'm very curious how big magazines handle big stories, and I was very curious to see how Time and Newsweek would handle 9/11. And I was basically pretty disappointed to see that they had chosen to show the photo we'd already seen a million times, which was basically the moment of impact. And People magazine, I thought, got probably the best shot. It's kind of horsey type, but the texture -- the second plane not quite hitting: there was something more enticing, if that's the right -- it's not the right word -- but in this cover than Time or Newsweek.
做過很多雜誌, 我疑惑那些大雜誌如何處理大新聞, 我很疑惑看看時代雜誌和新聞週刊是如何處理九一一。 我基本上是很失望地 看到他們 選取一幅我們已經很了一萬遍的照片, 那基本上是撞擊的一刻。 但人民雜誌,我想, 大概得到最好的照片。 有一種粗糙,但它的質感 -- 當第二架飛機還未曾撞上之時: 它更迷人, 如果那是對的 -- 這不是正確的詞語 -- 但這個封面相比時代雜誌或新聞週刊。
But when I got into this magazine, there's something kind of disturbing, and this continued. On the left we see people dying; we see people running for their lives. And on the right we learn that there's a new way to support your breast. The coveted right-hand page was not given up to the whole issue. Look at the image of this lady -- who knows what she's going through? -- and the copy says: "He knows just how to give me goosebumps." Yeah, he jumps out of buildings. It's -- unfortunately, this one works, kind of, as a spread.
但當我進入這本雜誌, 它有一些讓我感到有點兒困擾,這仍未完結。 在左邊我們會見到有人死去;我們會見到有人為他的生命逃亡。 在右邊我們會學到新方法去承托你的乳房。 他們在整期刊物中沒有放棄右頁。 看看這位女士的映像 -- 沒有人知道她經歷了什麼? -- 而雜誌就寫: 「他知道怎樣給我雞皮疙瘩。」 是的,他從大廈跳出來。真的 -- 不幸,這個好像充當跨版廣告。
And this continued through the entire magazine. It did not let up. This says: "One clean fits all." . There were a lot of orphans made this day, and here's a dead body being brought out. It just seems to me possibly even a blank page would have been more appropriate. And this one I think is possibly the worst: two ladies, both facing the same way, both wearing jeans. One -- who knows what she's going through; the other one is worried about model behavior and milk.
它延續整本雜誌。 它沒有放棄。 這個寫: 「一物能清潔所有。」 當天有很多人成為孤兒。 這裡有一具屍體正被抬出來。 可能它甚至只把那頁留空白 也會更適合。 我想這個可能是最差的: 兩位女士,看著相同的方向,兩位都穿著牛仔褲。 一個 -- 沒有人知道她經歷了什麼; 另一個只擔心模特兒的表現與牛奶。
And -- I gave a talk in New York a couple months after this, and afterwards somebody came up to me and they said that -- they actually emailed me -- and they said that they appreciated the talk, and when they got back to their car, they found a note on their car that made them think maybe New York was getting back to being New York again after this event -- it had been a few months. This was what they found on their car. (Laughter) There's very few times you'd be happy to find this on your car, but it did seem to indicate that we were coming back.
-- 我在這之後的數個月到了紐約作了一個演講, 完了之後有些人上前來跟我說 -- 他們事實上傳了電郵給我 -- 以及欣賞我的演講, 而當他們回到車上去後, 發現他們的車上有一個便條讓他們反思 或許在這個活動之後紐約再次變回紐約了 -- 只是短短幾個月的時間。 這是他們在車上找到的。 (笑) 有些時候當你在你的車上找到它時會感到高興, 但這真的証明我們回來了。
This is my desktop. Somebody told me today there was this thing called folders, but I don't know what they are. These are my notes for the talk -- there might be a correlation here. We are wrapping up.
這是我的桌面。 最近有人告訴我有樣東西叫文書夾, 但我不知道它是什麼。 這些是我演講的筆記 -- 它可能有些關連。 我們總結吧。
This I saw on the plane, flying in, for hot new products. I'm not sure this is an improvement, or a good idea, because, like, if you don't spend quite enough time in front of your computer, you can now get a plate in the keyboard, so there's no more faking it -- that you don't really sit at your desk all day and eat and work anyway. Now there's a plate, and it would be really, really convenient to get a piece of pizza, then type a little bit, then ... I'm just not sure this is improvement.
這個我看到一架飛機,飛進來,新熱賣產品。 我不知道這是不是進步,或是一個很好的點子, 因為,好像,如果你不花足夠的時間在電腦前, 你現在會在鍵盤上得到一個碟, 所以不能再有偽裝 -- 你不能整天坐在你的桌前一邊吃一邊隨便地工作; 現在你有一隻碟,將會是多麼多麼的方便地 去拿一件比薩,然後打一下字,然後... 我不知道這算不算進步。
If you ever doubt the power of graphic design, this is a very generic sign that literally says, "Vote for Hitler." It says nothing else. And this to me is an extreme case of the power of emotion, of graphic design, even though, in fact, was a very generic poster at the time.
如果你曾經對平面設計存疑, 這將會是一個非常一般的指示牌,字面上它說,請投票給希特勒。 而再沒其他。 而這個對我來說是一個極端的例子 關於情感威力、關於平面設計、 雖然,事實上,這是當時一幅很一般的海報。
What's next? What's next is going to be people. As we get more technically driven, the importance of people becomes more than it's ever been before. You have to utilize who you are in your work. Nobody else can do that: nobody else can pull from your background, from your parents, your upbringing, your whole life experience. If you allow that to happen, it's really the only way you can do some unique work, and you're going to enjoy the work a lot more as well.
下一個是什麼? 下一個有關人。 當我們變得更加科技導向, 人類比以前變得更加重要。 你需要在工作上發揮你自己。 沒有其他人可以做到: 沒有其他人把你從你的背景、 你的父母。你的教養、你整個人生旅程中拖出來。 如果容許這樣發生,這只是唯一你可做些獨特的工作, 和你亦將會享受更多工作的樂趣。
This is -- I like found art; hand lettering's coming back in a big way, and I thought this was a great example of both. This lady's advertising for her lost pit bull. It's friendly -- she's underlined friendly -- that's probably why she calls it Hercules or Hercles. She can't spell. (Laughter) But more importantly, she's willing to give you 20 bucks to go find this lost pit bull. And I'm thinking, yeah, right, I'll go look for a lost pit bill for 20 bucks. I have visions of people going down alleyways yelling out for Hercles, and you get charged by this thing and you go, oh, please be Hercles; please be the friendly one. (Laughter) I'm sure she never found the dog, because I took the sign. (Laughter)
這是 -- 我找到藝術; 手刻字帶來很多, 而我覺得這是它們兩個最大的例子。 這位女士在宣傳她的鬥牛狗走失。 牠很有善 -- 她在"有善"加上劃線 -- 可能就是這個原因她稱牠作"大力士" 或 "Hercles"。 她沒有拼對那個字。 (笑) 但更重要的是, 她原意給你二十塊錢去找那個走失的鬥牛狗。 而我正在想,對, 我會為二十塊去找那個走失的鬥牛狗, 我能夠幻想人們在小徑上來回呼喚"Hercles", 你會被牠攻擊而你會說, 啊,拜託你是Hercles;請有善點吧。 (笑) 我肯定她沒有找到那隻狗,因我把告示拿走。 (笑)
But I was asked to give a talk at a conference in Sacramento a few years back. And the theme was courage, and they asked me to talk about how courageous it is to be a graphic designer. And I remembered seeing this photograph of my father, who was a test pilot, and he told me that when you signed up to become a test pilot, they told you that there was a 40 to 50 percent chance of death on the job. That's pretty high for most occupations. (Laughter) But, you know, the government would make a plane; they'd say, go see if that one flies, would you? Some of them did; some of them didn't.
幾年前我被邀請到山克拉門都一個會議演講。 主題是勇氣。他們要我說 有關成為平面設計師所需的勇氣。 我記得我看過我父親的一幅照片, 他是一位測試飛行員。他告訴我 當他報名成為一位測試飛行員時, 他們告訴他有四十至五十百分點機會 在工作中死亡。 它對大部份職業來說是非常高的。 (笑) 但,你要知道,政府製造一架飛機; 他們說,去試試這個會不會飛,行嗎? 有一些人會;有一些人不會。
And I started thinking about some of these decisions I have to make between, like, serif versus san-serif. (Laughter) And for the most part, they're not real life-threatening. Why not experiment? Why not have some fun? Why not put some of yourself into the work? And when I was teaching, I used to always ask the students, What's the definition of a good job? And as teachers, after you get all the answers, you like to give them the correct answer. And the best one I've heard -- I'm sure some of you have heard this -- the definition of a good job is: If you could afford to -- if money wasn't an issue -- would you be doing that same work? And if you would, you've got a great job. And if you wouldn't, what the heck are you doing? You're going to be dead a really long time. Thank you very much.
我開始想想這些我所作的決定 例如,在截線字體與不截線字體之間。 (笑) 而大部分時間它們都不是真的對生命有威脅。 為何不作一個實驗呢?為何不找點新意呢? 為何不把你一些的自己放在工作上? 當我教學時,我慣常問我的學生們, 好的工作是怎樣定義呢? 作為一位老師,當你得到所有答案後, 你會想給他們一個正確的答案。 而我曾聽過最好的是 -- 我知道你們部份可能也聽過 -- 好工作的定義是: 如果你能負擔得起 -- 如果錢不是一個問題 -- 你會作同樣的工作嗎? 如果你會,你就得到一份好工作。 如果你不會,你現在究竟幹什麼呢? 等於你死去了很久。 謝謝。