TEDSalon NY2015
Chip Kidd: The art of first impressions -- in design and life
奇普·基德: 設計和人生中，第一印象的藝術
Filmed:
Readability: 3.9
2,000,740 views
封面設計師奇普·基德實在太清楚我們如何根據第一印象評斷事情了。在這場充滿樂趣、行雲流水的演說中，他介紹了兩種設計師用來做瞬間溝通的技巧 — 清晰度和神祕感 — 以及他們何時出現、為什麼、該怎麼用。他讚頌了一些漂亮的、實用的設計，奚落了一些不那麼好的設計，並分享了他自己一些經典書本封面設計背後的思維。
Chip Kidd - Graphic designer
Chip Kidd's book jacket designs spawned a revolution in the art of American book packaging. Full bio
Chip Kidd's book jacket designs spawned a revolution in the art of American book packaging. Full bio
Double-click the English transcript below to play the video.
00:15
Blah blah blah blah blah.
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吧啦吧啦啦。
00:18
Blah blah blah blah,
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吧啦吧啦，
00:20
blah blah, blah blah blah blah blah blah.
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吧啦，吧啦吧啦吧啦吧啦。
00:22
Blah blah blah, blah.
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吧啦啦，吧啦。
00:26
So what the hell was that?
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這是什麼鬼東西?
00:29
Well, you don't know
because you couldn't understand it.
because you couldn't understand it.
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你不知道，因為你無法理解它。
00:33
It wasn't clear.
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它不清楚。
00:36
But hopefully, it was said
with enough conviction
with enough conviction
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但希望它說得夠有說服力，
00:39
that it was at least
alluringly mysterious.
alluringly mysterious.
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至少可以是很吸引人的神祕。
00:44
Clarity or mystery?
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清晰還是神秘?
00:47
I'm balancing these two things
in my daily work as a graphic designer,
in my daily work as a graphic designer,
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身為一個圖像設計師，
我每天都必須在工作中平衡這兩者；
我每天都必須在工作中平衡這兩者；
00:52
as well as my daily life as a New Yorker
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身為一個紐約客，
讓我每天也得在生活中平衡這兩者。
讓我每天也得在生活中平衡這兩者。
00:57
every day,
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00:58
and there are two elements
that absolutely fascinate me.
that absolutely fascinate me.
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而這就是非常吸引我的兩個元素。
01:03
Here's an example.
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這個有個範例。
01:05
Now, how many people know what this is?
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有多少人知道這是什麼？
01:11
Okay. Now how many people
know what this is?
know what this is?
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好，現在又有多少人知道這是什麼？
01:16
Okay. Thanks to two more deft strokes
by the genius Charles M. Schulz,
by the genius Charles M. Schulz,
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好，感謝天才查爾斯·舒茲
另外兩條靈巧的筆畫，
另外兩條靈巧的筆畫，
我們現在擁有七條靈巧的筆劃
01:24
we now have seven deft strokes
that in and of themselves
that in and of themselves
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01:27
create an entire emotional life,
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可以組合而成整個情感生活，
01:30
one that has enthralled
hundreds of millions of fans
hundreds of millions of fans
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在過去的五十多年中
01:33
for over 50 years.
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讓好幾億的粉絲深深著迷。
01:35
This is actually a cover of a book
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而這其實是一本書的封面，
01:38
that I designed about the work
of Schulz and his art,
of Schulz and his art,
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是我為舒茲的傑作設計的，
01:41
which will be coming out this fall,
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即將在這個秋天上市，
01:44
and that is the entire cover.
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而這就是封面的全部。
01:46
There is no other typographic information
or visual information on the front,
or visual information on the front,
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並沒有其他的文字排版或圖像資訊，
01:51
and the name of the book
is "Only What's Necessary."
is "Only What's Necessary."
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這本書的書名是《毫無贅筆》(暫譯)
01:55
So this is sort of symbolic about
the decisions I have to make every day
the decisions I have to make every day
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這有點像是我每天必須做的抉擇，
02:00
about the design that I'm perceiving,
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包含怎麼看別人的設計，
02:04
and the design I'm creating.
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還有怎麼決定自己的設計。
02:07
So clarity.
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所以 － 清晰度。
清晰才能表達重點。
02:09
Clarity gets to the point.
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02:11
It's blunt. It's honest. It's sincere.
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它是率真的、誠實的、誠懇的。
02:15
We ask ourselves this.
["When should you be clear?"]
["When should you be clear?"]
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我們這樣問自己。
(你什麼時候需要清晰?)
(你什麼時候需要清晰?)
02:19
Now, something like this,
whether we can read it or not,
whether we can read it or not,
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現在，例如這個，無論我們能否看懂，
02:24
needs to be really, really clear.
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它都必須非常非常清楚。
02:28
Is it?
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它有嗎?
02:32
This is a rather recent example
of urban clarity that I just love,
of urban clarity that I just love,
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這是城市裡近期一個
我非常喜歡的、關於清晰的例子，
我非常喜歡的、關於清晰的例子，
02:39
mainly because I'm always late
and I am always in a hurry.
and I am always in a hurry.
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主要是因為我總是遲到、
總是在趕時間。
總是在趕時間。
02:44
So when these meters started showing up
a couple of years ago on street corners,
a couple of years ago on street corners,
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所以當這個讀秒器幾年前
第一次出現在街角時，
第一次出現在街角時，
02:51
I was thrilled, because now I finally knew
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我開心極了，因為現在我終於知道
02:54
how many seconds I had
to get across the street
to get across the street
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我有幾秒時間能平安穿越馬路，
02:57
before I got run over by a car.
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在我被車子輾過去之前。
03:00
Six? I can do that. (Laughter)
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六秒? 我做得到。(笑聲)
03:05
So let's look at the yin
to the clarity yang,
to the clarity yang,
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現在讓我們看看清晰的另一個對比，
03:09
and that is mystery.
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也就是神秘。
03:12
Mystery is a lot more complicated
by its very definition.
by its very definition.
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神秘就其定義而言，複雜得多。
03:18
Mystery demands to be decoded,
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神秘需要被解譯，
03:21
and when it's done right,
we really, really want to.
we really, really want to.
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而如果設計得當，
我們會非常想去解譯。
我們會非常想去解譯。
03:24
["When should you be mysterious?"]
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(你什麼時候需要神秘?)
03:26
In World War II, the Germans
really, really wanted to decode this,
really, really wanted to decode this,
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第二次世界大戰期間，
德國非常非常想要破解這個，
德國非常非常想要破解這個，
03:32
and they couldn't.
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但他們無法做到。
03:34
Here's an example of a design
that I've done recently
that I've done recently
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這裡有個範例，是我最近完成的設計，
03:37
for a novel by Haruki Murakami,
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為了村上春樹的小說設計的。
03:40
who I've done design work for
for over 20 years now,
for over 20 years now,
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到現在為止，我已經
幫他做了超過20年的設計，
幫他做了超過20年的設計，
03:43
and this is a novel about a young man
who has four dear friends
who has four dear friends
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而這本小說是關於一個年輕人，
擁有四個至交好友，
擁有四個至交好友，
03:49
who all of a sudden,
after their freshman year of college,
after their freshman year of college,
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但突然之間，他們在大學第一年過後，
就完全把他排擠在外，沒有任何解釋，
03:52
completely cut him off
with no explanation,
with no explanation,
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讓他非常難過。
03:56
and he is devastated.
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而這幾個朋友的名字裡，
每一個都包含一個日文裡的顏色。
每一個都包含一個日文裡的顏色。
03:57
And the friends' names each have
a connotation in Japanese to a color.
a connotation in Japanese to a color.
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04:03
So there's Mr. Red, there's Mr. Blue,
there's Ms. White, and Ms. Black.
there's Ms. White, and Ms. Black.
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所以有紅色先生、藍色先生、
白色先生和黑色先生。
白色先生和黑色先生。
04:08
Tsukuru Tazaki, his name
does not correspond to a color,
does not correspond to a color,
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而他的名字是多崎作，
沒有任何對應的顏色，
沒有任何對應的顏色，
04:12
so his nickname is Colorless, and
as he's looking back on their friendship,
as he's looking back on their friendship,
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所以他的暱稱是「無色」，
而當他回顧他們的友誼時，
而當他回顧他們的友誼時，
回想起他們就像一隻手上的五根手指。
04:16
he recalls that they were like
five fingers on a hand.
five fingers on a hand.
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04:19
So I created this sort of abstract
representation of this,
representation of this,
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所以我用這樣有點抽象的表現方式，
04:24
but there's a lot more going on
underneath the surface of the story,
underneath the surface of the story,
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但就像故事表面之下還隱藏許多情節，
04:28
and there's more going on underneath
the surface of the jacket.
the surface of the jacket.
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書皮底下也藏著許多其他東西。
04:33
The four fingers are now four train lines
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四根手指現在變成
東京地鐵系統裡的四條路線，
04:37
in the Tokyo subway system,
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04:39
which has significance within the story.
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這在故事裡是個重要情節。
04:42
And then you have
the colorless subway line
the colorless subway line
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然後有一條沒有顏色的地鐵路線，
04:45
intersecting with each
of the other colors,
of the other colors,
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和其他四個顏色相交，
04:48
which basically he does
later on in the story.
later on in the story.
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基本上就像他在故事中所做的事。
04:50
He catches up with each of these people
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他回頭尋找每一個人，
04:52
to find out why they treated him
the way they did.
the way they did.
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想找出他們如此對待他的原因。
04:56
And so this is the three-dimensional
finished product
finished product
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所以這是一個立體的完成作品，
05:00
sitting on my desk in my office,
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就在我辦公室裡的書桌上，
05:02
and what I was hoping for here
is that you'll simply be allured
is that you'll simply be allured
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而我純粹希望你們能被這本書
05:07
by the mystery of what this looks like,
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視覺上的神祕感所吸引，
05:11
and will want to read it
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而想要翻開來看個究竟、
05:14
to decode and find out and make more clear
why it looks the way it does.
why it looks the way it does.
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解譯一下，搞懂它為什麼長這樣。
(「視覺方言」)
05:20
["The Visual Vernacular."]
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這是一種更常見的神祕感表現方式。
05:21
This is a way to use a more
familiar kind of mystery.
familiar kind of mystery.
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05:26
What does this mean?
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所以這是什麼意思?
05:27
This is what it means.
["Make it look like something else."]
["Make it look like something else."]
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這就是他的意思。
(讓它看起來像其他東西)
(讓它看起來像其他東西)
05:30
The visual vernacular is the way
we are used to seeing a certain thing
we are used to seeing a certain thing
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視覺方言是一種方法，
讓我們習慣看到一種事物
讓我們習慣看到一種事物
05:35
applied to something else so that
we see it in a different way.
we see it in a different way.
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被應用在其他事物上，
進而用不同方式看待它。
進而用不同方式看待它。
05:39
This is an approach I wanted to take
to a book of essays by David Sedaris
to a book of essays by David Sedaris
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這也是我想帶入大衛·塞德里
的散文集的設計方式，
的散文集的設計方式，
05:43
that had this title at the time.
["All the Beauty You Will Ever Need"]
["All the Beauty You Will Ever Need"]
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當時的書名是這個。
(《你所需要的一切美麗》)
(《你所需要的一切美麗》)
05:47
Now, the challenge here was that
this title actually means nothing.
this title actually means nothing.
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接下來的挑戰是這個書名
並沒有任何意義。
並沒有任何意義。
05:51
It's not connected to any
of the essays in the book.
of the essays in the book.
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它和書中任何散文都沒有關聯。
05:54
It came to the author's boyfriend
in a dream.
in a dream.
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它只是出現在作者男友夢中的一句話。
05:59
Thank you very much, so -- (Laughter) --
so usually, I am creating a design
so usually, I am creating a design
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非常感謝各位，所以 － (笑聲) －
所以通常我設計封面時
所以通常我設計封面時
06:05
that is in some way based on the text,
but this is all the text there is.
but this is all the text there is.
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都是根據文字，
但此處的文字就只有這樣。
但此處的文字就只有這樣。
06:09
So you've got this mysterious title
that really doesn't mean anything,
that really doesn't mean anything,
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我只有一個沒有任何意義的神秘標題，
06:14
so I was trying to think:
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因此我試著去想：
我有可能在哪裡看到一段神祕的文字，
看起來好像有什麼意義，實際上卻沒有?
看起來好像有什麼意義，實際上卻沒有?
06:16
Where might I see a bit of mysterious text
that seems to mean something but doesn't?
that seems to mean something but doesn't?
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06:22
And sure enough, not long after,
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果然，在不久之後，
06:25
one evening after a Chinese meal,
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在某個晚上，享用了一餐中國菜後，
06:28
this arrived, and I thought,
"Ah, bing, ideagasm!" (Laughter)
"Ah, bing, ideagasm!" (Laughter)
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這個送上來了，而我心想：
「啊！叮咚，點子來了！」(笑聲)
「啊！叮咚，點子來了！」(笑聲)
06:35
I've always loved the hilariously
mysterious tropes of fortune cookies
mysterious tropes of fortune cookies
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我一直很愛幸運餅乾裡
種種神秘隱晦的比喻，
種種神秘隱晦的比喻，
06:40
that seem to mean something extremely deep
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似乎有些很深遠的涵義，
06:43
but when you think about them -- if you
think about them -- they really don't.
think about them -- they really don't.
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但當你仔細思考後－如果你思考
過的話－其實沒什麼意義。
過的話－其實沒什麼意義。
06:47
This says, "Hardly anyone knows how much
is gained by ignoring the future."
is gained by ignoring the future."
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像這個是：「很少人知道忽略未來
會帶來多少好處。」
會帶來多少好處。」
06:54
Thank you. (Laughter)
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謝謝各位。(笑聲)
06:57
But we can take this visual vernacular
and apply it to Mr. Sedaris,
and apply it to Mr. Sedaris,
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但我們可以把這個視覺方言
用在塞德里先生的著作上，
用在塞德里先生的著作上，
07:03
and we are so familiar
with how fortune cookie fortunes look
with how fortune cookie fortunes look
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而因為我們都很熟悉
幸運餅乾裡的籤語的長相，
幸運餅乾裡的籤語的長相，
07:08
that we don't even need
the bits of the cookie anymore.
the bits of the cookie anymore.
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我們甚至不用讓任何一塊餅乾出現。
07:11
We're just seeing this strange thing
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我們只要看到這個奇怪的東西，
07:14
and we know we love David Sedaris,
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我們也知道我們都愛大衛·塞德里，
07:16
and so we're hoping that
we're in for a good time.
we're in for a good time.
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自然就會期待可以享受閱讀這本書。
07:19
["'Fraud' Essays by David Rakoff"]
David Rakoff was a wonderful writer
David Rakoff was a wonderful writer
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(大衛·拉科夫 － 散文集《騙局》)
大衛·拉科夫是個很棒的作家，
大衛·拉科夫是個很棒的作家，
07:23
and he called his first book "Fraud"
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他將自己的第一本書命名為「騙局」，
07:26
because he was getting sent
on assignments by magazines
on assignments by magazines
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因為他一開始被雜誌指派到
07:30
to do things that he
was not equipped to do.
was not equipped to do.
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一件他不認為自己能夠完成的任務。
07:32
So he was this skinny little urban guy
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所以，他這樣一個瘦小的都市人，
07:35
and GQ magazine would send him
down the Colorado River
down the Colorado River
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被《GQ》雜誌送到科羅拉多河上，
07:38
whitewater rafting to see
if he would survive.
if he would survive.
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在急流中漂泊，看看他能不能存活。
07:43
And then he would write about it,
and he felt that he was a fraud
and he felt that he was a fraud
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然後他必須描寫這段經歷，
這讓他覺得自己是個騙子、
這讓他覺得自己是個騙子、
07:46
and that he was misrepresenting himself.
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並感到自我扭曲。
07:48
And so I wanted the cover of this book
to also misrepresent itself
to also misrepresent itself
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所以我也希望這本書的封面
也有自我扭曲的感覺，
也有自我扭曲的感覺，
07:53
and then somehow show
a reader reacting to it.
a reader reacting to it.
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然後讓讀者不知不覺地有所反應。
07:58
This led me to graffiti.
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這讓我想到路旁的塗鴉。
08:02
I'm fascinated by graffiti.
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我對塗鴉一向著迷。
我相信任何住在都市環境裡的人
08:04
I think anybody who lives
in an urban environment
in an urban environment
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08:06
encounters graffiti all the time,
and there's all different sorts of it.
and there's all different sorts of it.
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一定隨時都看得到塗鴉，
而且還有許多不同類型。
而且還有許多不同類型。
08:10
This is a picture I took
on the Lower East Side
on the Lower East Side
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這是我在下東城一帶拍到的
08:14
of just a transformer box on the sidewalk
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路旁一個變電箱的照片，
08:17
and it's been tagged like crazy.
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它已經被畫得亂七八糟。
08:19
Now whether you look at this and think,
"Oh, that's a charming urban affectation,"
"Oh, that's a charming urban affectation,"
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無論你看到這個，心裡想的是：
「喔，這真是個迷人的城市裝飾」
「喔，這真是個迷人的城市裝飾」
08:24
or you look at it and say,
"That's illegal abuse of property,"
"That's illegal abuse of property,"
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還是「這是非法濫用公家財產」，
08:29
the one thing I think we can all agree on
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我們都得同意的事實是，
08:31
is that you cannot read it.
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你無法讀懂它。
08:34
Right? There is no clear message here.
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對吧? 沒有任何清楚的訊息在裡面。
08:38
There is another kind of graffiti
that I find far more interesting,
that I find far more interesting,
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但有我發現有另一種塗鴉更加有趣，
08:43
which I call editorial graffiti.
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我稱為社論性塗鴉。
08:46
This is a picture I took recently
in the subway,
in the subway,
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這是一張我最近在地鐵站拍到的照片，
08:50
and sometimes you see
lots of prurient, stupid stuff,
lots of prurient, stupid stuff,
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有時候你會看到許多
淫穢、愚蠢的東西，
淫穢、愚蠢的東西，
但我想這個很有趣，這張海報上寫著
08:54
but I thought this was interesting,
and this is a poster that is saying
and this is a poster that is saying
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08:59
rah-rah Airbnb,
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Airbnb怎樣怎樣，
09:01
and someone has taken a Magic Marker
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然後有人拿了支麥克筆，
09:04
and has editorialized about
what they think about it.
what they think about it.
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把它改成他們心裡想說的話。
09:08
And it got my attention.
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這吸引了我的注意。
09:11
So I was thinking, how do we
apply this to this book?
apply this to this book?
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我想著，這是否能應用在這本書上?
09:14
So I get the book by this person,
and I start reading it, and I'm thinking,
and I start reading it, and I'm thinking,
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所以我拿著這個人寫的書、
開始閱讀，然後我想著，
開始閱讀，然後我想著，
09:20
this guy is not who he says
he is; he's a fraud.
he is; he's a fraud.
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這傢伙不像他自己說的那樣；
他是個騙子。
他是個騙子。
09:25
And I get out a red Magic Marker,
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所以我拿了支紅色麥克筆，
09:28
and out of frustration just
scribble this across the front.
scribble this across the front.
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出於煩躁地在封面上亂畫。
09:33
Design done. (Laughter)
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設計完成。(笑聲)
09:37
And they went for it! (Laughter)
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而且他們接受了！(笑聲)
09:42
Author liked it, publisher liked it,
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作者喜歡、出版社也喜歡，
09:44
and that is how the book
went out into the world,
went out into the world,
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這本書就是這樣出現在世界上的，
09:46
and it was really fun to see
people reading this on the subway
people reading this on the subway
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而在地鐵上看到大家讀著這本書、
09:51
and walking around with it
and what have you,
and what have you,
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拿著它走來走去真的很逗趣，
09:53
and they all sort of looked
like they were crazy.
like they were crazy.
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它們全都看起來有點像瘋子。
09:57
(Laughter)
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(笑聲)
10:00
["'Perfidia' a novel by James Ellroy"]
Okay, James Ellroy, amazing crime writer,
Okay, James Ellroy, amazing crime writer,
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(詹姆士 ·艾洛伊的小說《背叛》)
好的，詹姆士 ·艾洛伊，很棒的犯罪小說作家，
好的，詹姆士 ·艾洛伊，很棒的犯罪小說作家，
10:04
a good friend, I've worked
with him for many years.
with him for many years.
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同時也是我的好友，
我們合作好多年了。
我們合作好多年了。
10:07
He is probably best known as the author
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他最出名的著作可能是
《黑色大理花》和《鐵面特警隊》。
10:09
of "The Black Dahlia"
and "L.A. Confidential."
and "L.A. Confidential."
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他最新的著作就叫這個，
是個非常神秘的書名；
是個非常神秘的書名；
10:12
His most recent novel was called this,
which is a very mysterious name
which is a very mysterious name
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10:17
that I'm sure a lot of people know
what it means, but a lot of people don't.
what it means, but a lot of people don't.
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我相信許多人瞭解它的意思，
但也有許多人不瞭解。
但也有許多人不瞭解。
10:20
And it's a story about a Japanese-American
detective in Los Angeles in 1941
detective in Los Angeles in 1941
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這是一個日裔美籍的偵探的故事，
他在1941年的洛杉磯
他在1941年的洛杉磯
10:27
investigating a murder.
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調查一樁謀殺案。
10:29
And then Pearl Harbor happens,
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而不久後，珍珠港事件爆發，
10:32
and as if his life
wasn't difficult enough,
wasn't difficult enough,
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彷彿他的生活還不夠艱難似的，
10:35
now the race relations
have really ratcheted up,
have really ratcheted up,
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種族衝突又變得愈發激烈，
10:40
and then the Japanese-American
internment camps are quickly created,
internment camps are quickly created,
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日裔美籍拘留營很快地成立，
10:44
and there's lots of tension
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局勢非常緊張；
10:46
and horrible stuff as he's still
trying to solve this murder.
trying to solve this murder.
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而最糟糕的事情是
他還沒放棄破解這樁謀殺案。
他還沒放棄破解這樁謀殺案。
10:50
And so I did at first think
very literally about this in terms of
very literally about this in terms of
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所以我第一個想法非常直接，
10:56
all right, we'll take Pearl Harbor
and we'll add it to Los Angeles
and we'll add it to Los Angeles
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就是，好吧，我們就把珍珠港
和洛杉磯市景放在一起，
和洛杉磯市景放在一起，
11:00
and we'll make this apocalyptic dawn
on the horizon of the city.
on the horizon of the city.
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把這個末日景象放在城市的地平線上。
11:08
And so that's a picture from Pearl Harbor
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所以這張珍珠港事件的照片
11:10
just grafted onto Los Angeles.
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直接被移植在洛杉磯之上。
11:13
My editor in chief said,
"You know, it's interesting
"You know, it's interesting
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我們總編說：「呃，這很有趣，
11:16
but I think you can do better
and I think you can make it simpler."
and I think you can make it simpler."
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但我想應該還能更好，
你應該能讓它更簡單。」
你應該能讓它更簡單。」
11:22
And so I went back
to the drawing board, as I often do.
to the drawing board, as I often do.
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所以我回到畫板前，一如往常。
11:26
But also, being alive to my surroundings,
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與此同時，注意我周遭的環境，
11:31
I work in a high-rise in Midtown,
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我在中城區的一棟高樓裡工作，
11:34
and every night,
before I leave the office,
before I leave the office,
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每天晚上，在我離開辦公室前，
必須先按下這個按鈕才能出去，
11:38
I have to push this button to get out,
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11:40
and the big heavy glass doors open
and I can get onto the elevator.
and I can get onto the elevator.
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厚重的玻璃門才會打開，
而我才能進到電梯裡。
而我才能進到電梯裡。
11:44
And one night, all of a sudden,
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某天晚上，忽然之間
11:47
I looked at this and I saw it in a way
that I hadn't really noticed it before.
that I hadn't really noticed it before.
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我看著這個按鈕，並開始用
過去不曾注意過的方式看它。
過去不曾注意過的方式看它。
大大的紅色圓圈、危險的象徵。
11:53
Big red circle, danger.
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11:56
And I thought this was so obvious
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然後我想，既然它這麼明顯，
11:59
that it had to have been
done a zillion times,
done a zillion times,
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肯定已經被使用過無數多次了，
12:01
and so I did a Google image search,
and I couldn't find another book cover
and I couldn't find another book cover
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於是我用Google做圖片搜尋，
卻發現沒有任何一本書的封面
卻發現沒有任何一本書的封面
12:06
that looked quite like this,
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看起來像這樣，
12:08
and so this is really
what solved the problem,
what solved the problem,
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所以問題就這麼解決了。
12:11
and graphically it's more interesting
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在圖像上這樣更吸引人，
12:13
and creates a bigger tension
between the idea
between the idea
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也製造了更大的張力，
12:17
of a certain kind of sunrise
coming up over L.A. and America.
coming up over L.A. and America.
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彷彿某種黎明就要壟罩
洛杉磯和美國的上空。
洛杉磯和美國的上空。
12:23
["'Gulp' A tour of the human
digestive system by Mary Roach."]
digestive system by Mary Roach."]
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(瑪莉‧羅曲的《大吞一口，然後呢?》
－ 一場人體消化系統之旅)
－ 一場人體消化系統之旅)
瑪莉‧羅曲是個很棒的作家，
12:26
Mary Roach is an amazing writer
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她擅長把可以很單調的科學主題
12:28
who takes potentially mundane
scientific subjects
scientific subjects
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12:32
and makes them not mundane at all;
she makes them really fun.
she makes them really fun.
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變得一點都不單調、變得非常有趣。
所以這個案子
12:35
So in this particular case,
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12:37
it's about the human digestive system.
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是和人體消化系統有關。
12:40
So I'm trying to figure out what
is the cover of this book going to be.
is the cover of this book going to be.
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我努力想著這本書的封面應該長怎樣。
12:46
This is a self-portrait. (Laughter)
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這是一張自拍照。(笑聲)
12:49
Every morning I look at myself
in the medicine cabinet mirror
in the medicine cabinet mirror
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每天早上我都會照照藥箱上的鏡子，
12:55
to see if my tongue is black.
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看看我的舌頭有沒有變黑。
12:58
And if it's not, I'm good to go.
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如果沒有，就可以安心出門。
13:02
(Laughter)
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(笑聲)
13:07
I recommend you all do this.
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我建議你們都試試。
13:10
But I also started thinking,
here's our introduction.
here's our introduction.
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我也開始思考，這是我們的入口，
13:14
Right? Into the human digestive system.
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對吧? 通往消化系統的入口。
但我想我們都同意
13:17
But I think what we can all agree on
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13:20
is that actual photographs
of human mouths, at least based on this,
of human mouths, at least based on this,
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人類嘴巴的實際照片，至少像這種的，
13:24
are off-putting. (Laughter)
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實在令人不太愉快。(笑聲)
13:28
So for the cover, then,
I had this illustration done
I had this illustration done
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所以為了這個封面，我畫了一張插畫，
13:32
which is literally more palatable
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看起來實在比較可口，
13:34
and reminds us that it's best
to approach the digestive system
to approach the digestive system
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同時也提醒我們，要探討消化系統，
13:38
from this end.
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最好還是從這端。
13:41
(Laughter)
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(笑聲)
13:43
I don't even have to complete
the sentence. All right.
the sentence. All right.
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我甚至不必說出下半句。
13:47
["Unuseful mystery"]
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(「無用的神祕感」)
13:49
What happens when clarity
and mystery get mixed up?
and mystery get mixed up?
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當清晰和神祕混淆在一起時，
會發生什麼事?
會發生什麼事?
13:53
And we see this all the time.
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我們無時無刻看到這種案例。
13:55
This is what I call unuseful mystery.
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我稱之為無用的神祕感。
13:57
I go down into the subway --
I take the subway a lot --
I take the subway a lot --
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當我走進地鐵 － 我經常搭地鐵 －
14:00
and this piece of paper
is taped to a girder.
is taped to a girder.
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看到這張紙被貼在柱子上。
14:06
Right? And now I'm thinking, uh-oh,
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對吧? 然後我開始想，喔不，
14:10
and the train's about to come and I'm
trying to figure out what this means,
trying to figure out what this means,
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電車快來了，我還在
試著搞清楚它到底在說什麼，
試著搞清楚它到底在說什麼，
14:14
and thanks a lot.
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真是謝謝它了。
14:16
Part of the problem here is that
they've compartmentalized the information
they've compartmentalized the information
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部份的問題來自於，
他們將資訊做了劃分，
他們將資訊做了劃分，
14:20
in a way they think is helpful,
and frankly, I don't think it is at all.
and frankly, I don't think it is at all.
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以為這種方式很有幫助，
但老實說，我完全無法同意。
但老實說，我完全無法同意。
14:24
So this is mystery we do not need.
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所以這是一種我們不需要的神秘。
14:27
What we need is useful clarity,
so just for fun, I redesigned this.
so just for fun, I redesigned this.
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我們需要的是有用而清楚的資訊，
所以純屬好玩，我改造了它。
所以純屬好玩，我改造了它。
裡面用了所有相同的元素。
14:35
This is using all the same elements.
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14:38
(Applause)
233
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(掌聲)
14:41
Thank you. I am still waiting
for a call from the MTA. (Laughter)
for a call from the MTA. (Laughter)
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謝謝。我還在等大都會運輸署的電話。
(笑聲)
(笑聲)
14:46
You know, I'm actually not even
using more colors than they use.
using more colors than they use.
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實際上，我用的顏色還沒他們多呢。
14:49
They just didn't even bother
to make the 4 and the 5 green,
to make the 4 and the 5 green,
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他們甚至懶得把4和5變成綠色，
14:52
those idiots. (Laughter)
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3158
這些蠢蛋。(笑聲)
所以我們首先看到的是服務變更，
14:56
So the first thing we see
is that there is a service change,
is that there is a service change,
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然後兩個完整的句子，
包含開頭、中間、結尾，
包含開頭、中間、結尾，
14:59
and then, in two complete sentences
with a beginning, a middle and an end,
with a beginning, a middle and an end,
239
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告訴我們什麼服務變更了，
會有什麼影響。
會有什麼影響。
15:03
it tells us what the change is
and what's going to be happening.
and what's going to be happening.
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15:08
Call me crazy! (Laughter)
241
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就說我是瘋子吧！(笑聲)
15:13
["Useful mystery"]
All right.
All right.
242
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(「有用的神祕感」)
15:16
Now, here is a piece
of mystery that I love:
of mystery that I love:
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接著呢，這是我很愛的一種神祕感：
包裝。
15:21
packaging.
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15:23
This redesign of the Diet Coke can
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這個健怡可樂罐的新設計
15:26
by Turner Duckworth
is to me truly a piece of art.
is to me truly a piece of art.
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5428
是由特納·達克沃斯操刀的，
對我來說是真正的藝術。
對我來說是真正的藝術。
15:32
It's a work of art. It's beautiful.
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這是一件藝術品、相當漂亮。
但身為一個設計師，
我認為它如此令人醉心
我認為它如此令人醉心
15:35
But part of what makes it
so heartening to me as a designer
so heartening to me as a designer
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15:38
is that he's taken the visual
vernacular of Diet Coke --
vernacular of Diet Coke --
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部分是因為他利用了
健怡可樂的視覺方言 －
健怡可樂的視覺方言 －
15:43
the typefaces, the colors,
the silver background --
the silver background --
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字體形狀、顏色、銀色背景 －
15:46
and he's reduced them
to their most essential parts,
to their most essential parts,
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將其簡化為最精華的部分，
15:51
so it's like going back
to the Charlie Brown face.
to the Charlie Brown face.
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就像開頭查理布朗的臉一樣。
15:54
It's like, how can you give them just
enough information so they know what it is
enough information so they know what it is
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這就好像，如何提供恰如其分的資訊，
讓大家都知道那是什麼，
讓大家都知道那是什麼，
15:58
but giving them the credit
for the knowledge that they already have
for the knowledge that they already have
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卻把利用已知線索認出這個東西
的功勞歸給他們?
的功勞歸給他們?
16:02
about this thing?
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它看來很棒，當你走進一間熟食店，
16:04
It looks great, and you would go
into a delicatessen
into a delicatessen
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16:08
and all of a sudden see that on the shelf,
and it's wonderful.
and it's wonderful.
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突然看到這個在架上時，感覺好極了。
16:12
Which makes the next thing --
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也就讓接下來的這件事 －
16:16
["Unuseful clarity"] --
all the more disheartening,
all the more disheartening,
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(「無用的清晰度」) －
更加令人沮喪，
更加令人沮喪，
16:18
at least to me.
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至少對我而言。
16:20
So okay, again, going back
down into the subway,
down into the subway,
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好，現在讓我們回到地鐵站，
16:24
after this came out,
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這個東西出現之後，
16:26
these are pictures that I took.
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我拍了一些照片。
16:28
Times Square subway station:
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時代廣場地鐵站：
16:30
Coca-Cola has bought out
the entire thing for advertising. Okay?
the entire thing for advertising. Okay?
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可口可樂把整個地方買下來做廣告。
16:35
And maybe some of you
know where this is going.
know where this is going.
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你們有些人或許知道
接下來會看到什麼。
接下來會看到什麼。
咳。
16:40
Ahem.
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16:42
"You moved to New York
with the clothes on your back,
with the clothes on your back,
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「你來到紐約，背上背著衣服、
16:45
the cash in your pocket,
and your eyes on the prize.
and your eyes on the prize.
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口袋裝著現金、眼裡盯著大獎。
16:47
You're on Coke." (Laughter)
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你吸了古柯鹼。(笑聲)
(註：原想表達You're on-該你上場，
卻和下方圖示連成You're on Coke-你吸了古柯鹼)
卻和下方圖示連成You're on Coke-你吸了古柯鹼)
16:57
"You moved to New York
with an MBA, one clean suit,
with an MBA, one clean suit,
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「你來到紐約，背著MBA學歷、
一套乾淨西裝，
一套乾淨西裝，
17:00
and an extremely firm handshake.
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和一個強而有力的握手。
17:02
You're on Coke." (Laughter)
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你吸了古柯鹼。」(笑聲)
17:05
These are real! (Laughter)
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這些都是真的！(笑聲)
17:10
Not even the support beams were spared,
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就連支撐柱都沒有倖免，
17:13
except they switched into Yoda mode.
(Laughter)
(Laughter)
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只是換成尤達大師惡搞圖的風格。
(笑聲)
(笑聲)
17:19
"Coke you're on." (Laughter)
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「古柯鹼你吸了。」(笑聲)
17:23
["Excuse me, I'm on WHAT??"]
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(「抱歉，我到底吸了什麼??」)
17:26
This campaign was a huge misstep.
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這個廣告活動是個大大的失策，
17:29
It was pulled almost instantly
due to consumer backlash
due to consumer backlash
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遭受消費者強烈的反彈，
讓它幾乎馬上被下架 ，
讓它幾乎馬上被下架 ，
17:34
and all sorts of unflattering
parodies on the web --
parodies on the web --
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當然還有網路上許多
冷嘲熱諷的惡搞 －
冷嘲熱諷的惡搞 －
17:38
(Laughter) --
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(笑聲) －
17:40
and also that dot next to "You're on,"
that's not a period, that's a trademark.
that's not a period, that's a trademark.
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另外，在"You're on"旁邊那個小點
不是句號，而是商標符號。
不是句號，而是商標符號。
17:47
So thanks a lot.
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真是感謝它喔。
17:48
So to me, this was just so bizarre
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對我而言，這實在太離奇了，
17:52
about how they could get the packaging
so mysteriously beautiful and perfect
so mysteriously beautiful and perfect
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他們竟能將包裝設計得
如此神秘美麗、幾近完美，
如此神秘美麗、幾近完美，
17:58
and the message so unbearably,
clearly wrong.
clearly wrong.
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卻用來傳遞如此令人無法忍受、
明確的錯誤訊息。
明確的錯誤訊息。
18:02
It was just incredible to me.
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太令我難以置信了。
18:06
So I just hope that I've been able
to share with you some of my insights
to share with you some of my insights
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所以，希望我有帶給大家
一些啟發性的見解，
一些啟發性的見解，
18:11
on the uses of clarity
and mystery in my work,
and mystery in my work,
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透過我如何在工作中
運用清晰度和神祕感。
運用清晰度和神祕感。
18:15
and maybe how you might decide
to be more clear in your life,
to be more clear in your life,
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或許你會決定
要對生活的一切更加明確，
要對生活的一切更加明確，
18:21
or maybe to be a bit more mysterious
and not so over-sharing.
and not so over-sharing.
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或是可能加入一點神祕感，
不要傳遞太多訊息。
不要傳遞太多訊息。
18:27
(Laughter)
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(笑聲)
18:31
And if there's just one thing
that I leave you with from this talk,
that I leave you with from this talk,
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如果各位只能從這場演講中
帶走一個想法，
帶走一個想法，
18:35
I hope it's this:
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我希望會是這個：
18:37
Blih blih blih blah. Blah blah blih blih.
["'Judge This,' Chip Kidd"]
["'Judge This,' Chip Kidd"]
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逼逼逼吧啦，吧啦逼逼。
(《評斷它吧》－ 奇普·基德)
(《評斷它吧》－ 奇普·基德)
18:41
Blih blih blah blah blah.
Blah blah blah.
Blah blah blah.
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吧啦吧啦啦，吧啦吧啦。
18:44
Blah blah.
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吧啦吧啦。
(掌聲)
18:45
(Applause)
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ABOUT THE SPEAKER
Chip Kidd - Graphic designerChip Kidd's book jacket designs spawned a revolution in the art of American book packaging.
Why you should listen
You know a Chip Kidd book when you see it -- precisely because it's unexpected, non-formulaic, and perfectly right for the text within. As a graphic designer for Alfred A. Knopf since 1986, Kidd has designed shelves full of books, including classics you can picture in a snap: Jurassic Park, Naked by David Sedaris, All the Pretty Horses … His monograph, Chip Kidd: Book One, contains work spanning two decades. As editor and art director for Pantheon Graphic novels, Kidd has commissioned work from cartoonists including Chris Ware, Art Spiegelman, Dan Clowes and Art Spiegelman. He's a novelist as well, author of The Cheese Monkeys and The Learners.
Chip received the Cooper-Hewitt’s National Design Award for Communication in 2007, the International Center of Photography’s Infinity Award for Design in 1997 and the AIGA Medal in 2014.
Kidd is the author of the TED Book, Judge This.
Chip Kidd | Speaker | TED.com