ABOUT THE SPEAKER
Milton Glaser - Graphic designer
If his career began and ended with "I [heart] N Y," Milton Glaser would still be a legend. But over his multi-decade career, his body of work is sprinkled with similarly iconic images and logos.

Why you should listen

Milton Glaser's work is easy to spot in a lineup -- it's simple, direct and clear, while leaping over conceptual boundaries, so that his work connects directly to the viewer like a happy virus. His best-known work may be the I [heart] N Y logo -- an image so ubiquitous, it's hard to believe there was a time when it didn't exist.

Glaser's other well-known work includes a cache of posters that defined the style of the '60s and early '70s, and numerous logos, including such instantly familiar identities as Barron's and the Brooklyn Brewery. He is a co-founder of New York magazine and helped set that magazine's honest and irreverent tone.

Recently he's been exploring the space where paintings and graphic design meet. A show in 2007 celebrated his explorations of Piero della Francesca's work. The 2009 film To Inform and Delight: The World of Milton Glaser tells the story of his celebrated career.

More profile about the speaker
Milton Glaser | Speaker | TED.com
TED1998

Milton Glaser: Using design to make ideas new

米爾頓.葛雷瑟談運用設計使構想煥然一新

Filmed:
457,311 views

TED資料庫: 米爾頓.葛雷瑟,一位美國有名繪圖設計師,剖析自己如何以畢也洛.德拉.法蘭契斯卡為靈感創作新的作品。他也沉思於如何拆解構想並讓此換然一新,做出令人說服的海報。
- Graphic designer
If his career began and ended with "I [heart] N Y," Milton Glaser would still be a legend. But over his multi-decade career, his body of work is sprinkled with similarly iconic images and logos. Full bio

Double-click the English transcript below to play the video.

00:18
'Theme主題 and variations'變化' is one of those forms形式 that
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思考 "主題"和"主題的變化"
00:21
require要求 a certain某些 kind of intellectual知識分子 activity活動,
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需要相當的智力活動。
00:26
because you are always comparing比較 the variation變異
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因為你得不斷地比較
00:29
with the theme主題 that you hold保持 in your mind心神.
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烙印在你腦中的"主題"與其"變化"。
00:32
You might威力 say that the theme主題 is nature性質
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你可以說"主題"是事物的根源
00:36
and everything that follows如下 is a variation變異 on the subject學科.
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而隨之而來的皆是這個主題的變化。
00:46
I was asked, I guess猜測 about six years年份 ago,
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差不多在六年前,
00:54
to do a series系列 of paintings繪畫
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我受邀創作一系列的畫
00:59
that in some way would celebrate慶祝 the birth分娩 of Piero皮耶羅 della德拉 Francesca弗朗西斯.
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為了慶祝畢也洛.德拉.法蘭契斯卡的生日。
01:06
And it was very difficult for me to imagine想像
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對我而言
01:10
how to paint塗料 pictures圖片 that were based基於 on Piero皮耶羅
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以畢也洛為靈感去創作是件難事
01:19
until直到 I realized實現 that I could look at Piero皮耶羅 as nature性質 --
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直到我領悟畢也洛就是這個靈感的根源。
01:26
that I would have the same相同 attitude態度 towards looking at Piero皮耶羅 della德拉 Francesca弗朗西斯
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我可以以等同於觀看一棵窗外綠樹的態度
01:33
as I would if I were looking out a window窗口 at a tree.
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去觀看畢也洛.德拉.法蘭契斯卡。
01:36
And that was enormously巨大 liberating解放 to me.
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這對我來說是個徹底的解放,
01:39
Perhaps也許 it's not a very insightful見地 observation意見,
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或許這是種不太深刻的觀察,
01:43
but that really started開始 me on a path路徑 to be able能夠 to do a kind of theme主題 and variations變化
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但這確實讓我找到一個辦法依照畢也洛(Piero)的作品,
01:49
based基於 on a work by Piero皮耶羅,
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進行主題和變動。
01:53
in this case案件 that remarkable卓越 painting繪畫 that's in the Uffizi烏菲齊, "The Duke公爵 of Montefeltro蒙特費爾特羅,"
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以烏菲茲美術館中著名的藏品“烏爾班公爵-費德里柯.達.蒙特費爾托‘為例,
02:00
who faces面孔 his consort配偶, Battista巴蒂斯塔.
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他面對著他配偶 巴蒂絲達。
02:05
Once一旦 I realized實現 that I could take some liberties自由 with the subject學科,
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當我明瞭可以不用受限於主題後,
02:09
I did the following以下 series系列 of drawings圖紙.
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我創作了以下這系列的繪畫。
02:13
That's the real真實 Piero皮耶羅 della德拉 Francesca弗朗西斯 --
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這是畢也洛.德拉.法蘭契斯卡的原作。
02:18
one of the greatest最大 portraits畫像 in human人的 history歷史.
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其中一幅在人類歷史上非常重要的肖像畫。
02:23
And these, I'll just show顯示 these without comment評論.
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這些我就不一一解說了。
02:27
It's just a series系列 of variations變化 on the head of the Duke公爵 of Montefeltro蒙特費爾特羅,
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都是從原本的肖像發展出來的變化。
02:33
who's誰是 a great, great figure數字 in the Renaissance再生,
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這位公爵是在文藝復興時期非常重要的人物,
02:36
and probably大概 the basis基礎 for Machiavelli's馬基雅維利 "The Prince王子."
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馬基維利所寫君王論可能就是以他為榜樣。
02:39
He apparently顯然地 lost丟失 an eye in battle戰鬥,
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他顯然在某場戰役中失去了一隻眼睛,
02:42
which哪一個 is why he is always shown顯示 in profile輪廓.
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因此他總是以側面示人。
02:45
And this is Battista巴蒂斯塔.
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這是巴蒂絲達。
02:50
And then I decided決定 I could move移動 them around a little bit --
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接著我決定把他們稍加移動一下。
02:56
so that for the first time in history歷史, they're facing面對 the same相同 direction方向.
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做就史上第一次他們望向同一方向。
02:59
Whoops哎呦! Passed通過 each other.
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哎呀! 他們擦身而過。
03:06
And then a visitor遊客 from another另一個 painting繪畫 by Piero皮耶羅,
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接下來有位訪客,
03:09
this is from "The Resurrection復活 of Christ基督" --
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他來自畢也洛(Piero)所畫的"基督的復活(The Resurrection of Christ)"。
03:12
as though雖然 the cast had just gotten得到 of the set to have a chat.
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擺出好像要聊天一樣的陣式。
03:17
And now, four large panels面板:
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現在把圖分成四大格。
03:20
this is upper left;
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這是左上。
03:22
upper right;
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右上。
03:26
lower降低 left;
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左下。
03:29
lower降低 right.
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右下。
03:31
Incidentally順便, I've never understood了解 the conflict衝突 between之間 abstraction抽象化 and naturalism自然主義.
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順道一提,我從未搞懂為什麼抽象主義和自然主義之間會有衝突,
03:38
Since以來 all paintings繪畫 are inherently本質 abstract抽象 to begin開始 with
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因為所有的畫作都開始於一種與生俱來的抽象
03:42
there doesn't seem似乎 to be an argument論據 there.
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所以實在沒有道理有任何爭議存在。
03:45
On another另一個 subject學科 --
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換個話題,
03:48
(Laughter笑聲) --
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(笑聲)
03:51
I was driving主動 in the country國家 one day with my wife妻子,
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有一天我和我太太在鄉間開著車,
03:55
and I saw this sign標誌,
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我看到一個標誌,(可靠的荷蘭人 汽車維修廠)
03:57
and I said, "That is a fabulous極好 piece of design設計."
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我說:"這是一個很棒的設計。"
04:00
And she said, "What are you talking about?"
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她說:"你在說些什麼?"
04:03
I said, "Well, it's so persuasive說服力,
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我說"嗯,這標誌非常有說服力,
04:05
because the purpose目的 of that sign標誌 is to get you into the garage車庫,
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因為這標誌的目的就是希望你把車開進他的修車廠,
04:10
and since以來 most people are so suspicious可疑 of garages車庫,
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而大多數人都不相信修車廠,
04:15
and know that they're going to be ripped撕開 off,
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覺得進去之後都會被騙,
04:18
they use the word 'reliable'可靠.'
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他們用了"可靠的"這個詞。
04:21
But everybody每個人 says they're reliable可靠.
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但每一個人都說他們是可靠的。
04:23
But, reliable可靠 Dutchman荷蘭人" --
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但是 "可靠的荷蘭人 (reliable Dutchman)" --
04:26
(Laughter笑聲) --
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(笑聲)
04:28
"Fantastic奇妙!"
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太了不起了!
04:30
Because as soon不久 as you hear the word Dutchman荷蘭人 --
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因為只要你聽到這詞"Dutchman",
04:33
which哪一個 is an archaic古老 word, nobody沒有人 calls電話 Dutch荷蘭人 people "Dutchmen荷蘭人" anymore --
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這是一個古老的用語,已經沒有人用這字稱呼荷蘭人了,
04:36
but as soon不久 as you hear Dutchman荷蘭人,
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但是只要你聽到"Dutchman"
04:38
you get this picture圖片 of the kid孩子 with his finger手指 in the dike,
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你腦中就會浮現一個小孩站在堤防前,
04:41
preventing防止 the thing from falling落下 and flooding洪水 Holland荷蘭, and so on.
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用他的手指堵住堤防的裂縫,避免洪水淹沒荷蘭等等之類的事。
04:44
And so the entire整個 issue問題 is detoxified解毒 by the use of "Dutchman荷蘭人."
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所以說這整個問題都因為用了"Dutchman"而解套。
04:51
Now, if you think I'm exaggerating誇大 at all in this,
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如果你覺得這種說法太過誇大,
04:54
all you have to do is substitute替代 something else其他, like "Indonesian印度尼西亞."
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那你可以用其他字來取代它,像是"印尼人"。
04:58
(Laughter笑聲)
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(笑聲)
05:06
Or even "French法國."
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或甚至是法國人。
05:09
(Laughter笑聲)
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(笑聲)
05:14
Now, "Swiss瑞士人" works作品, but you know it's going to cost成本 a lot of money.
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瑞士人也可以,但你知道這將會花一大筆錢。
05:18
(Laughter笑聲)
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(笑聲)
05:21
I'm going to take you quickly很快 through通過 the actual實際 process處理 of doing a poster海報.
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我將帶你們快速瀏覽海報創作的實際過程。
05:27
I do a lot of work for the School學校 of Visual視覺 Arts藝術, where I teach,
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在我任教於視覺藝術學院(SVA)時,我為了這間學校做很多作品。
05:30
and the director導向器 of this school學校 -- a remarkable卓越 man named命名 Silas塞拉斯 Rhodes羅茲 --
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這間學校的總監,一位很傑出的先生 - Silas Rhodes
05:33
often經常 gives you a piece of text文本 and he says, "Do something with this."
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經常給人一段文字,然後說"用這段話做些什麼。"
05:38
And so he did.
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他也這樣對我做過。
05:40
And this was the text文本 -- "In words as fashion時尚 the same相同 rule規則 will hold保持/
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這段文字是"用詞和時尚皆擁有相同的規則,
05:43
Alike一樣 fantastic奇妙 if too new or old/
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過於立異或守舊都同樣的荒唐,
05:44
Be not the first by whom the new are tried試著/
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不要第一個去嘗試標新的東西,
05:48
Nor也不 yet然而 the last to lay鋪設 the old aside在旁邊."
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也不要當最後墨守成規的俗人。"
05:51
I could make nothing of that.
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我不知道該怎麼做。
05:53
And I really struggled掙扎 with this one.
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這讓我感到非常吃力。
05:55
And the first thing I did, which哪一個 was sort分類 of in the absence缺席 of another另一個 idea理念,
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最初我做的作品缺乏了想法,
05:58
was say I'll sort分類 of write it out and make some words big,
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我就把他們寫出來,並且把某些字放大,
06:01
and I'll have some kind of design設計 on the back somehow不知何故,
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然後大概對背景做了一些設計,
06:06
and I was hoping希望 -- as one often經常 does -- to stumble絆倒 into something.
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如同其他人一樣,我希望從中激發出些靈感。
06:09
So I took another另一個 crack裂紋 at it --
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然後我又做了其他的嘗試,
06:12
you've got to keep it moving移動 --
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你必須一直嘗試。
06:14
and I Xeroxed影印的 some words on pieces of colored有色 paper
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我把一些字印在不同的色紙上
06:16
and I pasted粘貼 them down on an ugly醜陋 board.
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然後我把他們貼在一個不怎樣的板子上。
06:19
I thought that something would come out of it,
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我想有些字會特別浮現出來,
06:22
like "Words rule規則 fantastic奇妙 new old first last Pope教皇"
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像是"字、規則、完美、新、舊、第一、最後、波普"
06:25
because it's by Alexander亞歷山大 Pope教皇,
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因為這是出自亞歷山大.波普,
06:28
but I sort分類 of made製作 a mess食堂 out of it,
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但是也被我搞的有些雜亂,
06:30
and then I thought I'd repeat重複 it in some way so it was legible清晰.
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我想我可以依照這方式,讓他們更清楚。
06:32
So, it was going nowhere無處.
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但好像走進死胡同了。
06:35
Sometimes有時, in the middle中間 of a resistant problem問題,
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有時候,在遇到這難纏的問題時,
06:39
I write down things that I know about it.
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我會寫下我所了解的部份。
06:42
But you can see the beginning開始 of an idea理念 there,
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你可以在上頭看到我一開始的想法,
06:44
because you can see the word "new" emerging新興 from the "old."
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你可以看到"新(new)"從"舊(old)"浮現出來。
06:47
That's what happens發生.
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事情就是這樣發生了。
06:49
There's a relationship關係 between之間 the old and the new;
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舊(old)和新(new)有種聯繫,
06:52
the new emerges出現 from the context上下文 of the old.
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"新(new)"是從"舊(old)" 這字中間浮現出來。
06:54
And then I did some variations變化 of it,
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然後我做了一些變化。
06:56
but it still wasn't coalescing合併 graphically圖形 at all.
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但是這樣的設計看起來一點都不協調。
07:00
I had this other version which哪一個 had something interesting有趣 about it
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然後我做了另一個版本,加入一些有趣的想法
07:03
in terms條款 of being存在 able能夠 to put it together一起 in your mind心神 from clues線索.
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依據你所能收集線索把他們拼湊起來。
07:09
The W was clearly明確地 a W, the N was clearly明確地 an N,
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W清楚的顯示是個W,N也是一樣,
07:12
even though雖然 they were very fragmentary殘缺不全
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雖然他們非常的不完整,
07:16
and there wasn't a lot of information信息 in it.
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也沒有太多的資訊在裡頭。
07:18
Then I got the words "new" and "old"
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然後我換種字型,
07:20
and now I had regressed回歸 back to a point where there seemed似乎 to be no return返回.
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但似乎我又走入了另一個死胡同。
07:25
(Laughter笑聲)
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(笑聲)
07:27
I was really desperate殊死 at this point.
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這時候我真的感到非常的絕望。
07:30
And so, I do something I'm truthfully如實 ashamed羞愧 of,
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接下來我做了一些令人羞愧的事情,
07:34
which哪一個 is that I took two drawings圖紙 I had made製作 for another另一個 purpose目的
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我拿了兩幅畫,這兩幅畫是為了其他事而作的
07:38
and I put them together一起.
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我把他們放在一起
07:43
It says "dreams" at the top最佳.
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這是關於夢的畫。
07:46
And I was going to do a thing, I say, "Well, change更改 the copy複製.
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然後我準備做件事情,我說:"嗯,改變一下這個版本。
07:49
Let it say something about dreams, and come to SVASVA
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讓它說一些關於夢的事情,來視覺藝術學院
07:53
and you'll你會 sort分類 of fulfill履行 your dreams."
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你將會實現你的夢想。"
07:55
But, to my credit信用,
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但是對我來說,
07:57
I was so embarrassed尷尬 about doing that
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做這件事會讓我感到很不好意思,
08:00
that I never submitted提交 this sketch草圖.
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因此我從來沒有提出這份草稿。
08:04
And, finally最後, I arrived到達 at the following以下 solution.
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最後,我得到了以下的解答。
08:09
Now, it doesn't look terribly可怕 interesting有趣,
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這看起來不是這麼有趣,
08:13
but it does have something
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但確實存在某些意思
08:16
that distinguishes區分 it from a lot of other posters海報.
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在眾多海報中顯得與眾不同。
08:22
For one thing, it transgresses逾越 the idea理念 of what a poster's海報的 supposed應該 to be,
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但有一點,他違背了一張海報應有的特點,
08:26
which哪一個 is to be understood了解 and seen看到 immediately立即, and not explained解釋.
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一張海報應該可以馬上被人了解、看懂,而不需要額外的解釋。
08:34
I remember記得 hearing聽力 all of you in the graphic圖像 arts藝術 --
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在平面藝術裡,大家都懂一個道理 -
08:37
"If you have to explain說明 it, it ain't working加工."
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"如果還需要解釋,那就行不通了。"
08:40
And one day I woke醒來 up and I said, "Well, suppose假設 that's not true真正?"
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但有一天我起床時,想到,"或許,這也不一定對?"
08:44
(Laughter笑聲)
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(笑聲)
08:50
So here's這裡的 what it says in my explanation說明 at the bottom底部 left.
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所以左下角有我寫的註解
08:55
It says, "Thoughts思考: This poem is impossible不可能.
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這寫到 "思想:這首詩是不可能的。
09:01
Silas塞拉斯 usually平時 has a better touch觸摸 with his choice選擇 of quotations報價.
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Silas常常對於他所選擇的引證有比較好的感受。
09:05
This one generates生成 no imagery意象 at all."
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但這首詩在我腦中產生不出一點影像。"
09:07
I am now exposing曝光 myself to my audience聽眾, right?
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我現在正在剖析自己給我的觀眾。對吧?
09:10
Which哪一個 is something you never want to do professionally專業.
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這種事你絕對不會想要做的很專業。
09:13
"Maybe the words can make the image圖片 without anything else其他 happening事件.
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"或許文字可以不需借助任何東西而變成圖像。
09:17
What's the heart of this poem?
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這首詩所要表達的是什麼?
09:19
Don't be trendy新潮 if you want to be serious嚴重.
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你要認真就不要趕潮流。
09:21
Is doing the poster海報 this way trendy新潮 in itself本身?
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但製作廣告本身不就在趕潮流嗎?
09:24
I guess猜測 one could reduce減少 the idea理念 further進一步
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我想我們可以簡化這個想法
09:26
by suggesting提示 that the new emerges出現 behind背後 and through通過 the old,
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假設"新"浮現在"舊"之後,然後穿越過,
09:30
like this."
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像是這個:"
09:32
And then I show顯示 you a little drawing畫畫 --
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我展示給你一些畫作 -
09:34
you see, you remember記得 that old thing I discarded丟棄?
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你記得剛剛那些被我丟棄的作品嗎?
09:37
Well, I found發現 a way to use it.
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嗯,我找到方法去利用他。
09:39
So, there's that little alternative替代 over there,
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所以在這裡,我們有些不同的作法。
09:42
and I say, "Not bad," -- criticizing批評 myself --
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我說"還不錯" - 我評論我自己
09:46
"but more didactic教導的 than visual視覺.
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"但嘴巴上說得還是比看得到部份多。
09:49
Maybe what wants to be said is that old and the new are locked鎖定 in a dialectical辯證 embrace擁抱,
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或許說這麼多,最重要的是新和舊互為唇齒。
09:52
a kind of dance舞蹈 where each defines定義 the other."
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他們彼此共舞,相互輝映。"
09:54
And then more self-questioning自我提問 -- "Am I being存在 simple-minded傻呵呵?
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再一次的自我懷疑 -- "我是不是想簡單了呢?
09:58
Is this the kind of simple簡單 that looks容貌 obvious明顯, or the kind that looks容貌 profound深刻?
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這種所謂的"簡單",到底是就是看起來明顯,還是那種看起來艱深的呢?
10:02
There's a significant重大 difference區別.
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這中間有非常大的差異。
10:04
This could be embarrassing尷尬.
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這可以令人尷尬。
10:06
Actually其實, I realize實現 fear恐懼 of embarrassment困窘 drives驅動器 me as much as any ambition志向.
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實際上,我明白驅動著我是這種令人為難的恐懼,野心反而是其次。
10:10
Do you think this sort分類 of thing could really attract吸引 a student學生 to the school學校?"
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你覺得這樣的東西可以吸引學生來學校嗎?“
10:14
(Laughter笑聲)
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(笑聲)
10:21
Well, I think there are two fresh新鮮 things here -- two fresh新鮮 things.
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嗯,在這裡我想出現了兩個新的想法 -- 兩個嶄新的想法。
10:26
One is the sort分類 of willingness願意 to expose暴露 myself to a critical危急 audience聽眾,
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其一是 - 樂意在挑剔的觀眾前面剖析自己,
10:33
and not to suggest建議 that I am confident信心 about what I'm doing.
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並且不去預設我對我所做的事情很有自信。
10:39
And as you know, you have to have a front面前.
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如你所知的,你必須朝向前方。
10:43
I mean -- you've got to be confident信心;
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我的意思是 - 你必須有自信。
10:45
if you don't believe in your work, who else其他 is going to believe in it?
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如果你都不能相信你的作品,誰又能夠相信呢?
10:48
So that's one thing,
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這是一件,某程度上
10:50
to introduce介紹 the idea理念 of doubt懷疑 into graphics圖像.
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介紹"對圖像抱懷疑理念"的事。
10:55
That can be a big contribution貢獻.
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這可以是個相當大的貢獻。
10:57
The other thing is to actually其實 give you two solutions解決方案 for the price價錢 of one;
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另一件事情是,用一個價錢,其實給自己提供兩個方案。
11:01
you get the big one
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你可以選一個比較偉大的
11:04
and if you don't like that, how about the little one?
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如果你不喜歡那個,那選小巧的如何?
11:07
(Laughter笑聲)
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(笑聲)
11:09
And that too is a relatively相對 new idea理念.
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這也是較為新的想法。
11:12
And here's這裡的 just a series系列 of experiments實驗
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這裡有一系列的實驗
11:15
where I ask the question of -- does a poster海報 have to be square廣場?
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這裡我問我自己,海報一定要是方正的嗎?
11:20
Now, this is a little illusion錯覺.
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這個讓你有些錯覺。
11:23
That poster海報 is not folded折疊.
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這海報沒有被摺疊。
11:25
It's not folded折疊, that's a photograph照片
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真的沒有摺疊,這就是一張圖片。
11:28
and it's cut on the diagonal對角線.
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只是在對角線上被切割了。
11:31
Same相同 cheap低廉 trick in the upper left-hand左手 corner.
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同樣的招式用在左上角。
11:36
And here,
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而這個,
11:38
a very peculiar奇特 poster海報 because,
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一個非常特殊的海報,
11:40
simply只是 because of using運用 the isometric等距 perspective透視 in the computer電腦,
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因為它用了電腦上的等角投影法,
11:45
it won't慣於 sit still in the space空間.
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它不是很穩固的放在半空中。
11:48
At times, it seems似乎 to be wider更寬的 at the back than the front面前,
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它似乎後面比前面更寬些,
11:51
and then it shifts轉變.
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有一些位移。
11:53
And if you sit here long enough足夠, it'll它會 float浮動 off the page into the audience聽眾.
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如果你坐在這裡夠久,他會從紙浮出來到你們面前。
11:58
But, we don't have time.
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但我們沒有這麼多的時間。
12:00
(Laughter笑聲)
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(笑聲)
12:01
And then an experiment實驗 --
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接著另一個實驗 -
12:03
a little bit about the nature性質 of perspective透視,
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用到一點關於透視法的特性,
12:06
where the outside shape形狀 is determined決心 by the peculiarity特點 of perspective透視,
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外部的形狀被透視法的特性所決定了
12:10
but the shape形狀 of the bottle瓶子 -- which哪一個 is identical相同 to the outside shape形狀 --
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但是瓶子的形狀 -- 他與外部的形狀是一樣的 --
12:14
is seen看到 frontally正面.
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看似立體而面向你的。
12:16
And another另一個 piece for the art藝術 directors'董事 club俱樂部
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另一幅作品是為了藝術總監俱樂部所作的
12:20
is "Anna安娜 Rees里斯" casting鑄件 long shadows陰影.
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是Anna Rees投射出長長的影子。
12:24
This is another另一個 poster海報 from the School學校 of Visual視覺 Arts藝術.
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這張海報不是出自於視覺藝術學院。
12:27
There were 10 artists藝術家 invited邀請 to participate參加 in it,
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有十位藝術家被邀請參與這個活動,
12:32
and it was one of those things where it was extremely非常 competitive競爭的
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這是其中一件非常有競爭性的事情,
12:34
and I didn't want to be embarrassed尷尬,
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我不希望丟臉,
12:36
so I worked工作 very hard on this.
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所以我很認真的去創作。
12:39
The idea理念 was -- and it was a brilliant輝煌 idea理念 --
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這構想 - 這是一個非常出色的構想 -
12:41
was to have 10 posters海報 distributed分散式 throughout始終 the city's城市的 subway地鐵 system系統
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讓十張海報散佈於城市的地鐵系統裡,
12:45
so every一切 time you got on the subway地鐵 you'd be passing通過 a different不同 poster海報,
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所以每次搭乘地鐵時,就會經過不同的海報,
12:49
all of which哪一個 had a different不同 idea理念 of what art藝術 is.
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而這些海報對於"藝術是什麼"有不同的詮釋。
12:53
But I was absolutely絕對 stuck卡住 on the idea理念 of "art藝術 is"
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但我完全被"藝術是"(art is)困住了
12:59
and trying to determine確定 what art藝術 was.
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我嘗試去決定藝術就是這樣。
13:03
But then I gave up and I said, "Well, art藝術 is whatever隨你."
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但我放棄了,我說:"嗯,藝術是什麼都可以(art is whatever)。"
13:07
And as soon不久 as I said that,
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當我一說出這句話時,
13:09
I discovered發現 that the word "hat帽子" was hidden in the word "whatever隨你,"
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我發現 "帽子(hat)“這字藏在”什麼都可以(whatever)“ 裡頭。
13:12
and that led me to the inevitable必然 conclusion結論.
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這引導我到一個必然的結論裡。
13:15
But then again, it's on my list名單 of didactic教導的 posters海報.
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而且再一次,這成為我說教海報的其中之一。
13:19
My intent意圖 is to have a literary accompaniment伴奏 that explains說明 the poster海報,
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我意圖利用文學來解釋這幅海報,
13:23
in case案件 you don't get it.
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以防你不了解這海報到底是什麼意思。
13:26
(Laughter笑聲)
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(笑聲)
13:28
Now this says, "Note注意 to the viewer觀眾:
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這裡說," 觀眾注意 --
13:30
I thought I might威力 use a visual視覺 cliche陳詞濫調 of our time -- Magritte's馬格利特的 everyman每個人 --
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我想我運用了一個在現在用到爛的意象,馬格利特(René François Ghislain Magritte)的戴黑帽的男人。
13:33
to express表現 the idea理念 that art藝術 is mystery神秘, continuity連續性 and history歷史.
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來表達一個概念:藝術是神秘、連續和歷史的。
13:37
I'm also convinced相信 that, in an age年齡 of computer電腦 manipulation操作,
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我也被說服這是一個電腦主宰的時代,
13:40
surrealism超現實主義 has become成為 banal平庸,
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超現實主義已經不算什麼了,
13:43
a shadow陰影 of its former前任的 self.
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變為之前自己的影子了。
13:45
The phrase短語 'Art'藝術 is whatever'隨你'
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這句 "藝術是什麼都可以 (art is whatever)"
13:47
expresses表達 the current當前 inclusiveness包容性 that surrounds圍繞著 art-making藝術創作 --
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表達出現今藝術實踐的各種包容性、可能性 -
13:50
a sort分類 of 'it'它 ain't what you do, it's the way that you do it'它' notion概念.
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不關乎於你怎麼做,而關於你的概念、想法、見解。
13:53
The shadow陰影 of Magritte馬格利特 falls下降 across橫過 the central中央 part部分 of the poster海報
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馬格利特的影子落在海報中間的部份
13:57
a poetic詩意 event事件 that occurs發生 as the shadow陰影 man isolates分離 the word 'hat'帽子,'
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有種詩意的感覺,影子把 ”帽子(hat)“ 這字隔離起來,
14:02
hidden in the word 'whatever'隨你.'
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藏在”什麼都可以(whatever)”中。
14:04
The four hats帽子 shown顯示 in the poster海報 suggests提示 how art藝術 might威力 be defined定義:
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顯示在海報中的帽子暗示藝術或許可以被定義
14:07
as a thing itself本身, the worth價值 of the thing, the shadow陰影 of the thing,
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成為東西的本身,他的價值,他的影子,
14:11
and the shape形狀 of the thing.
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和他的形狀。
14:13
Whatever隨你."
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什麼都可以。
14:15
(Applause掌聲)
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(鼓掌)
14:16
OK.
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14:17
(Applause掌聲)
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(鼓掌)
14:22
And the one that I did not submit提交,
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還有一幅我沒有交出去,
14:25
which哪一個 I still like,
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可我還是很喜歡。
14:27
I wanted to use the same相同 phrase短語.
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我想用相同的詞彙 --
14:29
There were wonderful精彩 experiments實驗 by Bruno布魯諾 Munari穆納裡
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在幾年前Bruno Munari創造一個很棒的試驗,
14:35
on letterforms字母形式 some years年份 ago --
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一種字的形式 --
14:37
sort分類 of, see how far you could go and still be able能夠 to read them.
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測試文字被拆解到什麼程度,還可以看得懂。
14:39
And that idea理念 stuck卡住 in my head.
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這主意一直存在我腦中。
14:41
But then I took the pieces that I had taken採取 off and put them at the bottom底部.
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不過之後,我把我去掉的部份放在海報的下方。
14:46
And, of course課程 those are the remains遺跡, and they're so labeled標記.
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然而,當然這些剩下的部份,還是很有含意的。
14:51
But what really happens發生 is that you read it as:
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而實際上你可以把它讀成 --
14:54
"Art藝術 is whatever隨你 remains遺跡."
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"藝術是剩下什麼都可以 (Art is whatever remains)。"
14:57
Thank you.
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謝謝。
14:59
(Applause掌聲)
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(鼓掌)

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ABOUT THE SPEAKER
Milton Glaser - Graphic designer
If his career began and ended with "I [heart] N Y," Milton Glaser would still be a legend. But over his multi-decade career, his body of work is sprinkled with similarly iconic images and logos.

Why you should listen

Milton Glaser's work is easy to spot in a lineup -- it's simple, direct and clear, while leaping over conceptual boundaries, so that his work connects directly to the viewer like a happy virus. His best-known work may be the I [heart] N Y logo -- an image so ubiquitous, it's hard to believe there was a time when it didn't exist.

Glaser's other well-known work includes a cache of posters that defined the style of the '60s and early '70s, and numerous logos, including such instantly familiar identities as Barron's and the Brooklyn Brewery. He is a co-founder of New York magazine and helped set that magazine's honest and irreverent tone.

Recently he's been exploring the space where paintings and graphic design meet. A show in 2007 celebrated his explorations of Piero della Francesca's work. The 2009 film To Inform and Delight: The World of Milton Glaser tells the story of his celebrated career.

More profile about the speaker
Milton Glaser | Speaker | TED.com