Serious Play 2008
Paula Scher: Great design is serious, not solemn
Paula Scher 變得認真了
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Paula Scher回顧她的設計生涯(她設計過專輯封面、書本封面、花旗銀行的標誌...等)，並精確的指出真正讓她感受到工作樂趣的時刻，在她傳奇的職涯中，找尋極好的設計和象徵。
Paula Scher - Designer at play
With a career that fuses rock and roll, corporate identity creation, and impressionistic geography, Paula Scher is a master conjurer of the instantly familiar. Full bio
With a career that fuses rock and roll, corporate identity creation, and impressionistic geography, Paula Scher is a master conjurer of the instantly familiar. Full bio
Double-click the English transcript below to play the video.
00:16
My work is play.
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我的工作是發揮
00:18
And I play when I design.
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我發揮在設計上
00:20
I even looked it up in the dictionary, to make sure
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我甚至去查了字典
00:22
that I actually do that,
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以確信我確實這麼做
00:24
and the definition of play,
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關於"Play"的定義
00:26
number one, was engaging in a childlike
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第一、如同孩童般地積極投入活動
00:28
activity or endeavor,
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或是努力去達成
00:30
and number two was gambling.
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第二、必須具有冒險精神
00:33
And I realize I do both
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我認為我兩者兼具
00:35
when I'm designing.
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當我在設計的時候
00:37
I'm both a kid and I'm gambling all the time.
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我像是一個孩子也像是一個賭徒
00:40
And I think that if you're not,
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而且我認為如果你不是這樣
00:42
there's probably something inherently wrong
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那一定是有不對的地方
00:44
with the structure or the situation you're in,
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或與你的處境不相符
00:46
if you're a designer.
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如果你是一位設計師
00:48
But the serious part is what threw me,
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然而，"認真"困擾著我
00:50
and I couldn't quite get a handle
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而我卻不太能完全掌控
00:54
on it until I remembered an essay.
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直到我想起了一篇短文
00:57
And it's an essay I read 30 years ago.
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一篇我在30年前讀過的文章
01:00
It was written by Russell Baker,
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作者是Russell Baker
01:02
who used to write an "Observer" column in the New York Times.
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他曾經在紐約時報撰寫過"觀察者"專欄
01:05
He's a wonderful humorist. And I'm going to read you
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他是個相當棒的幽默作家。我將要向大家
01:07
this essay,
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朗讀這篇文章
01:09
or an excerpt from it
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或者說是一篇節選
01:11
because it really hit home for me.
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因為它真的令我深有感觸
01:14
Here is a letter of friendly advice.
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這是一封很友好的勸告信
01:17
Be serious, it says.
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嚴肅起來,信裡寫道
01:19
What it means, of course, is, be solemn.
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當然,這意味著要開始鄭重其事
01:22
Being solemn is easy.
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鄭重其事很簡單
01:24
Being serious is hard.
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認真卻不是件容易的事
01:27
Children almost always begin by being serious,
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小孩通常幾乎都是由認真開始
01:29
which is what makes them so entertaining
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認真使他們顯得有趣
01:31
when compared with adults as a class.
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當他們與成年人比較時
01:34
Adults, on the whole, are solemn.
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整體而言，成年人是鄭重其事的
01:36
In politics, the rare candidate who is serious,
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在政治上,認真的參選人很罕見
01:39
like Adlai Stevenson,
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像Adlai Stevenson
01:41
is easily overwhelmed by one who is solemn, like Eisenhower.
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會很輕易的被鄭重其事的候選人擊敗,就像Eisenhower.
01:44
That's because it is hard for most people
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這是因為對於大多數人而言
01:46
to recognize seriousness, which is rare,
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了解稀少的認真是件困難的事
01:49
but more comfortable to endorse solemnity,
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但對於鄭重其事
01:51
which is commonplace.
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早已司空見慣
01:54
Jogging, which is commonplace,
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慢跑，很常見
01:56
and widely accepted as good for you, is solemn.
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對身體好這點廣泛被接受，這是鄭重的
01:59
Poker is serious.
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而撲克牌是認真的
02:01
Washington, D.C. is solemn.
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華盛頓特區是鄭重的
02:04
New York is serious.
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紐約是認真的
02:06
Going to educational conferences to tell you anything
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在學術研討會上告訴你任何東西
02:08
about the future is solemn.
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任何關於未來的，是鄭重其事的
02:11
Taking a long walk by yourself,
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當你獨自一人走一段長路的同時
02:13
during which you devise a foolproof scheme for robbing Tiffany's,
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策劃一個笨拙的搶劫Tiffany's的計畫
02:16
is serious.
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這是認真的
02:18
(Laughter)
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(笑聲)
02:19
Now, when I apply Russell Baker's definition
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現在，我將Russell的定義運用在設計上
02:21
of solemnity or seriousness to design,
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鄭重或是認真地設計
02:23
it doesn't necessarily make any particular point about quality.
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品質則不再具任何特殊含意
02:26
Solemn design is often important and very effective design.
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鄭重的設計通常重要且實用
02:29
Solemn design is also socially correct,
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也通常被社會大眾認可
02:32
and is accepted by appropriate audiences.
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被適當的觀眾接受
02:34
It's what right-thinking designers
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這是所謂觀念正確的設計者和顧客
02:37
and all the clients are striving for.
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所努力追求的
02:39
Serious design, serious play,
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認真的設計和發揮
02:41
is something else.
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卻是另一回事
02:43
For one thing, it often happens
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一方面，認真的設計通常
02:45
spontaneously, intuitively,
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發生的自然地、主觀地、
02:48
accidentally or incidentally.
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偶然地、或是附帶地就發生了
02:50
It can be achieved out of innocence, or arrogance,
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這可能透過無辜、傲慢、
02:52
or out of selfishness, sometimes out of carelessness.
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自私，或是有時的粗心大意達成
02:55
But mostly, it's achieved through all those kind of crazy
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但大部分的情況，他是透過各種的
02:59
parts of human behavior that
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人類瘋狂的行為
03:01
don't really make any sense.
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那些沒甚麼意義的行為,來實現的
03:03
Serious design is imperfect.
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認真的設計是不完美的
03:05
It's filled with the kind of craft laws that come from something being
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它充滿著那種原始的
03:07
the first of its kind.
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工藝法則
03:09
Serious design is also -- often -- quite unsuccessful
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從鄭重的角度來看，
03:12
from the solemn point of view.
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認真的設計通常也不會太成功
03:14
That's because the art of serious play
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這是因為認真發揮的藝術
03:16
is about invention, change, rebellion -- not perfection.
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是創造、改變、反抗，而不是完美
03:19
Perfection happens during solemn play.
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完美是在鄭重其事的設計才會發生的。
03:23
Now, I always saw design careers
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現在，我將設計生涯
03:25
like surreal staircases.
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視為超現實的樓梯
03:28
If you look at the staircase, you'll see
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如果你看著這個樓梯，你會看到
03:31
that in your 20s the risers are very high
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在你二十多歲時，整個階梯是很高的
03:34
and the steps are very short,
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而每一步卻是很短的
03:37
and you make huge discoveries.
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因此你能有重大的發現
03:39
You sort of leap up very quickly in your youth.
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你在年輕的時候迅速地飛躍
03:42
That's because you don't know anything and you have a lot to learn,
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那是因為你甚麼都不知道，而且你有很多要學
03:44
and so that anything you do is a learning experience
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所以你做的任何事，都是個學習的經驗
03:47
and you're just jumping right up there.
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這是你飛躍的過程
03:49
As you get older, the risers get shallower
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隨著年紀增長，階梯隨著縮短
03:51
and the steps get wider,
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而每一步隨著變寬
03:53
and you start moving along at a slower pace
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同時你開始放慢腳步
03:56
because you're making fewer discoveries.
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因為你能獲得的發現越來越少
03:58
And as you get older and more decrepit,
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隨著你年紀越來越大、越來越衰老
04:00
you sort of inch along on this
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你舉步維艱地
04:02
sort of depressing, long staircase,
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走在這個令人沮喪的長階上
04:04
leading you into oblivion.
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最終會帶領你走向死亡
04:06
(Laughter)
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（笑聲）
04:08
I find it's actually getting really hard to be serious.
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我發現變得認真的確相當艱難
04:13
I'm hired to be solemn, but I find more and more
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我的老闆要求我要鄭重，但我卻發現越來越多時候
04:16
that I'm solemn when I don't have to be.
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我不需要鄭重，但我卻依然鄭重
04:18
And in my 35 years of working experience,
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在我三十五年的工作經驗中，
04:21
I think I was really serious four times.
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我曾有四次相當地認真
04:24
And I'm going to show them to you now,
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現在我將要把它們展示給你們
04:26
because they came out of very specific conditions.
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因為他們發生在相當特殊的條件下
04:29
It's great to be a kid.
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當個小孩真好
04:31
Now, when I was in my early 20s,
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在我二十歲出頭的時候，
04:34
I worked in the record business, designing record covers for CBS Records,
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我在一間唱片公司工作，為CBS唱片的專輯設計封面
04:37
and I had no idea what a great job I had.
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當時我並不知道我擁有的是這麼棒的工作
04:39
I thought everybody had a job like that.
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我以為每個人的工作都像我的一樣
04:42
And what --
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而且...
04:44
the way I looked at design and the way I looked at the world was,
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我看待設計和看待世界的方式就是，
04:47
what was going on around me
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我周遭正在發生的事
04:49
and the things that came at the time I walked into design
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和我走進辦公室所遇到的各種事
04:51
were the enemy.
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都是我的敵人
04:53
I really, really, really hated
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我真的、真的、非常討厭
04:55
the typeface Helvetica.
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無襯線字體
04:57
I thought the typeface Helvetica
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我認為無襯線字體
05:00
was the cleanest, most boring, most fascistic,
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是最枯燥、最無聊、最法西斯、
05:03
really repressive typeface,
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非常獨裁的一種字體
05:06
and I hated everything that was designed in Helvetica.
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我討厭所有無襯線字體的設計
05:08
And when I was in
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當我還在
05:10
my college days,
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大學階段的時候，
05:12
this was the sort of design
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這正是一種
05:14
that was fashionable and popular.
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既時尚又流行的一種設計
05:16
This is actually quite a lovely book jacket by Rudy de Harak,
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這是一個Rudi de Harra設計的很可愛的書皮
05:19
but I just hated it, because it was designed with Helvetica,
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但我就是討厭它，因為它用了無襯線字體
05:22
and I made parodies about it.
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然後我為此做了諷刺性的模仿
05:24
I just thought it was, you know, completely boring.
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我就只是覺得它，你知道的，非常地枯燥
05:27
(Laughter)
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(笑聲)
05:29
So -- so, my goal in life
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因此，我人生的目標
05:31
was to do stuff that wasn't made out of Helvetica.
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就是不用無襯線字體做設計
05:35
And to do stuff that wasn't made out of Helvetica
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而不用無襯線字體做設計的確不容易
05:37
was actually kind of hard because you had to find it.
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因為你很難找到不是無襯線字體的設計
05:40
And there weren't a lot of books about the history of design
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而且在七零年代初期，
05:43
in the early 70s. There weren't --
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並沒有很多關於設計史的書
05:45
there wasn't a plethora of design publishing.
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也沒有過多的設計出版
05:47
You actually had to go to antique stores. You had to go to Europe.
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你必須要去骨董店、去歐洲
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You had to go places and find the stuff.
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你必須要到好多地方去找
05:52
And what I responded to was, you know,
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而我的應對是
05:54
Art Nouveau, or deco,
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新藝術派、Deco、
05:57
or Victorian typography,
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或是維多利亞式印刷術、
05:59
or things that were just completely not Helvetica.
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或者，就是那些完全不用無襯線字體的設計
06:03
And I taught myself design this way,
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我教我自己用這樣的方式設計
06:06
and this was sort of my early years,
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這就是我初期的設計
06:08
and I used these things
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我運用這些東西
06:10
in really goofy ways
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以一些拙劣的方式
06:12
on record covers and in my design.
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在我設計的專輯封面上
06:14
I wasn't educated. I just sort of
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我並沒有學過這樣
06:16
put these things together.
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我只是把這些東西拼湊在一起
06:18
I mixed up Victorian designs with pop,
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我將維多利亞式的設計混合進流行元素
06:20
and I mixed up Art Nouveau with something else.
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同時也把新藝術派風格加入一些其它的元素
06:23
And I made these very lush,
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我把這些專輯封面弄得相當華麗
06:25
very elaborate record covers,
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非常精巧
06:28
not because I was being a post-modernist or a historicist --
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這並不是因為我是後現代主義者或是歷史批判主義者
06:31
because I didn't know what those things were.
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我根本不瞭解那些東西倒底是些什麼
06:33
I just hated Helvetica.
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我就只是討厭無襯線字體設計
06:35
(Laughter)
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(笑聲)
06:36
And that kind of passion
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而且這種激情
06:39
drove me into very serious play,
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促使我非常認真地去發揮
06:41
a kind of play I could never do now
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一種我從來沒去嘗試過的發揮
06:44
because I'm too well-educated.
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因為我受過非常良好的教育
06:46
And there's something wonderful about
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那種年輕生命裡
06:49
that form of youth,
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存在著一些很有意思的東西
06:51
where you can let yourself
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在這種青春鼓舞下你可以讓你自己
06:54
grow and play, and be
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成長並且發揮
06:56
really a brat, and then accomplish things.
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像一個頑童般,然後設計出與眾不同的東西
06:59
By the end of the '70s, actually,
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事實上，直到70年代末
07:01
the stuff became known.
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我這些作品才嶄露頭角
07:03
I mean, these covers appeared all over the world,
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我的意思是,那些封面開始風靡全球
07:05
and they started winning awards,
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並且陸續贏得獎項
07:07
and people knew them.
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我的作品變得廣為人知
07:09
And I was suddenly a post-modernist,
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我也突然變成一個後現代主義者
07:12
and I began a career as -- in my own business.
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那時，我開創了自己的事業
07:15
And first I was praised for it, then criticized for it,
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起初，我因此受到讚賞,後來又因此飽受批評
07:18
but the fact of the matter was, I had become solemn.
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但關鍵在於，我變得鄭重了
07:21
I didn't do what I think
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大約有14年的時間，我並沒有
07:23
was a piece of serious work again for about 14 years.
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照我所想的認真的設計應當的去做
07:27
I spent most of the '80s being quite solemn,
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80年代大部份時間，我相當鄭重
07:29
turning out these sorts of designs
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設計出這樣的設計
07:31
that I was expected to do
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就像我所期望的那樣
07:33
because that's who I was,
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因為那就是我
07:35
and I was living in this cycle of going from serious to solemn
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我活在從認真到鄭重的循環裡
07:38
to hackneyed to dead, and getting rediscovered all over again.
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直到腐敗、直到死亡，然後再重新開始
07:43
So, here was the second condition
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好，接下來是第二種情況
07:45
for which I think I accomplished some serious play.
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此時我認為完成了一些很認真的發揮
07:50
There's a Paul Newman movie
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這是一部我鍾愛的保羅紐曼的電影
07:52
that I love called "The Verdict."
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片名叫做"大審判"
07:54
I don't know how many of you have seen it, but it's a beaut.
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我不知道在場你們多少人看過這部片，但這部片相當棒
07:57
And in the movie, he plays
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在這部電影裡,保羅紐曼飾演
07:59
a down-and-out lawyer
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一個落魄的律師
08:01
who's become an ambulance chaser.
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一個專攬車禍官司的律師
08:03
And he's taken on --
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他承擔...
08:05
he's given, actually -- a malpractice suit to handle
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事實上，他被指派了一件不法行為的訴訟案件
08:08
that's sort of an easy deal,
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是件還算容易的一次案子
08:10
and in the midst of trying to connect the deal,
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在嘗試聯繫的過程中
08:12
he starts to empathize
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他和客戶開始
08:14
and identify with his client,
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重視與確認
08:16
and he regains his morality and purpose,
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他重拾他的道德和目標
08:19
and he goes on to win the case.
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繼而贏得了此次訴訟
08:21
And in the depth of despair,
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在絕望的深淵裡,
08:24
in the midst of the movie, when it looks like he can't pull this thing off,
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在電影中，當他看起來不能夠放下這件事,
08:28
and he needs this case,
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他需要這場官司,
08:30
he needs to win this case so badly.
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他極度需要贏得這場官司
08:32
There's a shot of Paul Newman alone,
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這是保羅紐曼一個人單獨的鏡頭,
08:35
in his office, saying,
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在他的辦公室，他說，
08:38
"This is the case. There are no other cases.
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"就是這個案件了, 沒有其他的案件了.
08:41
This is the case. There are no other cases."
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這就是了, 沒有其他的了."
08:44
And in that moment of
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在那個時刻
08:46
desire and focus,
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充滿了渴望及專注
08:48
he can win.
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他能贏.
08:50
And that is a wonderful
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那是個絕妙的角色
08:52
position to be in to create some serious play.
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身在其中並認真的發揮
08:56
And I had that moment in 1994
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在1994年，我曾有過那樣的時刻
08:59
when I met a theater director
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當時我遇到一位劇場導演
09:01
named George Wolfe,
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名叫喬治沃爾夫
09:03
who was going to have me design
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他打算讓我設計
09:05
an identity for the New York Shakespeare Festival,
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紐約莎士比亞節的象徵畫,
09:08
then known,
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後來,
09:10
and then became the Public Theater.
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成為公共劇場的象徵畫.
09:12
And I began getting immersed
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我開始沉浸在
09:14
in this project
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這個案子裡
09:16
in a way I never was before.
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我從來沒有這樣過
09:18
This is what theater advertising looked like at that time.
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這就是那時候劇場廣告的樣子
09:21
This is what was in the newspapers and in the New York Times.
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當時刊登在各大報及紐約時報上
09:24
So, this is sort of a comment on the time.
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這算是當時的評論
09:27
And the Public Theater actually had much better advertising than this.
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事實上，公共劇場有比這更好的廣告
09:30
They had no logo and no identity,
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公共劇場沒有標誌、沒有象徵畫
09:32
but they had these very iconic posters
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但是他們有這些很具象徵性的海報
09:35
painted by Paul Davis.
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作者是Paul Davis
09:37
And George Wolf had taken over from another director
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喬治沃爾夫從另一位導演手中接手劇院
09:40
and he wanted to change the theater,
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他想要改變劇院
09:42
and he wanted to make it urban and loud
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他想要讓劇院更城市化、更喧鬧
09:44
and a place that was inclusive.
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讓劇院更加包羅萬象
09:47
So, drawing on my love of typography,
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所以，運用我對印刷排版的熱愛
09:50
I immersed myself into this project.
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我自我陶醉在這個案子裡
09:53
And what was different about it was the totality of it,
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它不同的地方就是它的藝術總體性
09:57
was that I really became the voice, the visual voice, of a place
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我真正代表一份聲音，可以看見的聲音
10:01
in a way I had never done before,
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這是我從未嘗試過的方法
10:03
where every aspect --
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無論在各個方面
10:05
the smallest ad, the ticket, whatever it was --
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最小型的廣告、門票，不論是甚麼
10:07
was designed by me.
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都是由我設計的
10:09
There was no format.
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沒有制式化的格式
10:11
There was no in-house department that these things were pushed to.
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沒有來自部門內部的壓力
10:14
I literally for three years made everything --
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我花了整整三年來完成所有東西
10:16
every scrap of paper, everything online,
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每張簡報、網站上的一切、
10:19
that this theater did.
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以及劇場上的一切。
10:21
And it was the only job,
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這就是我唯一的工作
10:23
even though I was doing other jobs.
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即便我在做其他的事情
10:25
I lived and breathed it in a way I haven't
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我處在一個
10:27
with a client since.
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與客戶從未有過的關係中
10:29
It enabled me to really express myself and grow.
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它使我真正地表達自我，並成長
10:33
And I think that you know
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我認為大家知道
10:35
when you're going to be given this position,
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你將要被授予這個職位
10:37
and it's rare, but when you get it and you have this opportunity,
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它很稀有，但當你得到它，你就有了這個機會
10:41
it's the moment of serious play.
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這就是認真地發揮的時刻
10:43
I did these things, and I still do them.
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我做過這些事，現在仍然在做
10:46
I still work for the Public Theater.
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我仍然為公共劇場工作
10:48
I'm on their board, and
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我是董事成員，並且
10:50
I still am involved with it.
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我積極參與其中。
10:53
The high point of the Public Theater, I think, was in 1996,
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我認為公共劇場的高峰是在1996年
10:56
two years after I designed it,
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在我完成設計後的兩年
10:58
which was the "Bring in 'da Noise, Bring in 'da Funk" campaign
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就是在"Bring in 'da Noise, Bring in 'da Funk" (踢踏舞音樂劇)的活動期間
11:01
that was all over New York.
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這活動當時風靡了紐約
11:03
But something happened to it, and what happened to it was,
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然而，某件事情發生了
11:06
it became very popular.
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它非常受歡迎
11:08
And that is a kiss of death for something serious
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這使認真的事物接近幻滅
11:11
because it makes it solemn.
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因為這使它變得鄭重
11:14
And what happened was
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當時的情況是
11:16
that New York City, to a degree,
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紐約市，在某種程度上
11:18
ate my identity
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吞噬了我的代表作
11:21
because people began to copy it.
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因為民眾開始複製、抄襲它
11:24
Here's an ad in the New York Times
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這是一則紐約時報上的廣告
11:26
somebody did for a play called "Mind Games."
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有人寫了一齣劇叫"思想遊戲"
11:30
Then "Chicago" came out, used similar graphics,
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接著出現了"芝加哥"，用了更多的圖形
11:33
and the Public Theater's identity was just totally eaten and taken away,
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公共劇場的象徵就這樣完全的被吞噬、侵蝕
11:36
which meant I had to change it.
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這代表著我必須要改變它
11:39
So, I changed it so that every season was different,
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所以我使它每一季都有所不同
11:42
and I continued to do these posters,
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我持續設計這些海報
11:44
but they never had the seriousness
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但是，它們始終缺乏
11:46
of the first identity
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設計第一次象徵時的認真
11:48
because they were too individual, and they didn't have that heft
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因為它們太過個體化，而且沒有
11:51
of everything being the same thing.
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讓所有東西相同化的能力
11:54
Now -- and I think since the Public Theater,
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現在,我想由於公共劇場
11:57
I must have done more than a dozen
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我也已經從事十幾個
11:59
cultural identities for major institutions,
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重要文化機構的形象標示
12:02
and I don't think I ever -- I ever
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我想我再沒有
12:04
grasped that seriousness again --
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那次的認真發揮
12:06
I do them for very big, important institutions
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我為紐約市非常大型、重要的機構
12:08
in New York City.
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做設計
12:10
The institutions are solemn,
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這些機構是鄭重的
12:13
and so is the design.
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設計也是如此的
12:15
They're better crafted than the Public Theater was,
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它們雕琢的比公共劇場好
12:17
and they spend more money on them, but I think
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它們為此花了更多的金錢
12:19
that that moment comes and goes.
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但我認為時光來來去去
12:22
The best way to accomplish serious design --
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完成認真的設計最好的方法是
12:24
which I think we all have the opportunity to do --
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我認為我們都有這樣的機會
12:27
is to be totally and completely unqualified for the job.
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就是使自己完完全全的不符合這項工作
12:31
That doesn't happen very often,
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這不常發生
12:33
but it happened to me in the year 2000,
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但在2000年發生在我身上
12:35
when for some reason or another,
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基於某些緣故
12:37
a whole pile of different architects
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整個的設計師團隊
12:39
started to ask me to design
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開始要求我一起
12:41
the insides of theaters with them,
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設計劇院的內部
12:43
where I would take environmental graphics and work them into buildings.
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我設計環境圖並將融入建築之中
12:46
I'd never done this kind of work before.
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我從來沒有做過這樣的工作
12:48
I didn't know how to read an architectural plan,
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我不知道要怎麼看建築計畫
12:51
I didn't know what they were talking about,
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我不知道他們在討論什麼
12:53
and I really couldn't handle the fact that a job --
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我真的不能接受這個事實
12:55
a single job -- could go on for four years
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這個工作要花上四年的時間
12:57
because I was used to immediacy in graphic design,
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因為我習慣了圖像設計的快速
13:00
and that kind of attention to detail
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而且必須非常注意細節
13:02
was really bad for somebody like me, with ADD.
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對於我這種有注意缺陷障礙的人非常不合適
13:05
So, it was a rough -- it was a rough go,
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這個過程很艱辛
13:08
but I fell in love with this process
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但是我愛上了這個過程
13:11
of actually integrating graphics into architecture
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實際將圖像結合到建築上的過程
13:14
because I didn't know what I was doing.
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因為我不知道我當時在做什麼
13:17
I said, "Why can't the signage be on the floor?"
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我問"為什麼不能把招牌放在地上?"
13:19
New Yorkers look at their feet.
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紐約客看看他們的腳
13:21
And then I found that actors and actresses
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然後我發現演員們
13:23
actually take their cues from the floor,
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實際上從地面尋找線索，
13:25
so it turned out that these sorts of sign systems
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所以結果讓這些訊號系統
13:28
began to make sense.
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開始變得更有意義
13:30
They integrated with the building in really peculiar ways.
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它們透過特別的方式將建築整合起來
13:33
They ran around corners,
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它們在角落
13:35
they went up sides of buildings,
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它們再建築物的四周
13:38
and they melded into the architecture.
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它們和建築物融合在一起
13:40
This is Symphony Space on 90th Street and Broadway,
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這就是第九街和百老匯上的交響空間
13:43
and the type is interwoven into the stainless steel
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字體是編織成不鏽鋼
13:46
and backlit with fiber optics.
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和背光光纖交織在一起
13:50
And the architect, Jim Polshek,
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建築師， Jim Polshek
13:52
essentially gave me a canvas
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基本上給我一塊油畫布
13:54
to play typography out on.
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做活版印刷
13:56
And it was serious play.
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這是個嚴肅的工作
13:58
This is the children's museum in Pittsburgh, Pennsylvania,
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這是在賓州匹斯堡的兒童博物館
14:01
made out of completely inexpensive materials.
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那都是由不貴的材料建造成的
14:04
Extruded typography that's backlit with neon.
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突出的字體有著霓虹背光
14:07
Things I never did before, built before.
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我從來沒有做過、建造過的東西
14:09
I just thought they'd be kind of fun to do.
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我只是覺得做起來會很有趣
14:11
Donors' walls made out of Lucite.
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贊助者的牆是用璐彩製成
14:14
And then, inexpensive signage.
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然後，便宜的標誌
14:17
(Laughter)
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(笑聲)
14:23
I think my favorite of these
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在其中我覺得最喜愛的
14:25
was this little job in Newark, New Jersey.
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是在新紐澤西渥克的一個小工程
14:27
It's a performing arts school.
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那是個表演藝術學校
14:30
This is the building that -- they had no money,
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一棟建築 ── 他們沒有很多錢
14:33
and they had to recast it, and they said,
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他們必須改造它，而他們說
14:35
if we give you 100,000 dollars, what can you do with it?
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如果我們給你十萬元，你會怎麼改造它？
14:38
And I did a little Photoshop job on it, and I said,
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於是我用photoshop設計了一下，我說
14:40
Well, I think we can paint it.
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嗯，我想我們可以重新粉刷它
14:42
And we did. And it was play.
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於是我們做了，也成功了。
14:46
And there's the building. Everything was painted --
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還有一棟建築。所有東西都被粉刷
14:49
typography over the whole damn thing,
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用活版印刷粉刷整個建築
14:51
including the air conditioning ducts.
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包括空調管路
14:53
I hired guys who paint flats
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我僱用刷公寓的人
14:55
fixed on the sides of garages
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來整理側邊的車庫
14:58
to do the painting on the building, and they loved it.
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替整個建築刷上了顏色，他們也喜愛這個工作
15:00
They got into it -- they took the job incredibly seriously.
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他們全心投入進去 ── 他們認真地對待這份工作
15:02
They used to climb up on the building and call me
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他們曾爬到這個建築上，然後打給我
15:04
and tell me that they had to correct my typography --
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告訴我說他們必須修正我的活版印刷─
15:07
that my spacing was wrong, and they moved it,
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因為我的排版間隙是錯的，他們必須移動它
15:09
and they did wonderful things with it.
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而他們做得很好。
15:11
They were pretty serious, too. It was quite wonderful.
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他們也非常的認真 非常的令人驚嘆
15:14
By the time I did Bloomberg's headquarters
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當我接受彭博社總部的案子時
15:17
my work had begun to become accepted.
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我的工作開始被接受
15:21
People wanted it in big, expensive places.
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人們希望它在大且昂貴的地方
15:24
And that began to make it solemn.
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那開始使它變的莊重
15:26
Bloomberg was all about numbers,
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彭博社全部都關於數字
15:28
and we did big numbers through the space
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而我們將數字貫穿於空間
15:31
and the numbers were projected on a spectacular LED
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這些數字被投射在壯觀的LED版上
15:34
that my partner, Lisa Strausfeld, programmed.
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我的夥伴 Lisa Strausfeld 撰寫程式的
15:37
But it became the end
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但這卻結束了
15:39
of the seriousness of the play,
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認真的發揮部份
15:42
and it started to, once again, become solemn.
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然後開始了又一次的變的莊重
15:45
This is a current project
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這是目前的計畫
15:47
in Pittsburgh, Pennsylvania,
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在 賓州匹茲堡
15:49
where I got to be goofy.
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也是我變的愚蠢的地方
15:51
I was invited to design
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我被邀請去設計一個標誌
15:53
a logo for this neighborhood, called the North Side,
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一個叫做北邊的鄰近地區
15:56
and I thought it was silly for a neighborhood to have a logo.
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而我覺得一個鄰近地區有標誌很愚蠢
15:59
I think that's rather creepy, actually. Why would a neighborhood have a logo?
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我覺得這非常令人毛骨悚然 事實上 為什麼一個鄰近地區要有標誌?
16:02
A neighborhood has a thing -- it's got a landmark, it's got a place,
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鄰近地區有樣東西--地標
16:04
it's got a restaurant. It doesn't have a logo. I mean, what would that be?
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有餐廳 沒有標誌 我的意思是 標誌能是什麼
16:07
So I had to actually give a presentation
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因此我必須給市政府
16:10
to a city council
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還有市民代表以及鄰近機構
16:12
and neighborhood constituents,
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作個演講
16:14
and I went to Pittsburgh and I said,
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而我去了匹茲堡且說
16:17
"You know, really what you have here
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你知道，你在這裡所擁有的
16:19
are all these underpasses
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都是地下道
16:21
that separate the neighborhood from the center of town.
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這些地下道將社區從市中心分開
16:24
Why don't you celebrate them, and make the underpasses landmarks?"
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為什麼你們不表彰它們 且將這些地下道設地標呢?
16:27
So I began doing this crazy presentation
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因此我開始了這瘋狂的演說
16:30
of these installations --
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關於這些裝置
16:32
potential installations -- on
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可能的裝置
16:35
these underpass bridges,
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在這些地下橋樑
16:37
and stood up in front of the city council --
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而當我站在市民代表前面
16:39
and was a little bit scared,
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我有點害怕
16:41
I have to admit.
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我必須要承認
16:43
But I was so utterly unqualified for this project,
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我非常不適任這項計畫
16:47
and so utterly ridiculous,
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這也非常的可笑
16:49
and ignored the brief so desperately
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被忽略了簡介
16:53
that I think they just embraced it with wholeheartedness,
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我認為他們全心全意擁抱接受這些
16:56
just completely because it was so goofy to begin with.
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完全是因為看似非常愚蠢的開始
17:00
And this is the bridge they're actually
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且這是實際被漆上的橋樑
17:02
painting up and preparing as we speak.
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也正在進行中
17:05
It will change every six months, and it will become an art installation
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每六個月將會改變一次，且會變成一件藝術裝置
17:08
in the North Side of Pittsburgh,
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在匹茲堡的北邊
17:10
and it will probably become a landmark in the area.
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而也非常有可能成為那地區的一個地標
17:13
John Hockenberry told you a bit about
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John Hockenberry告訴你們一些關於
17:16
my travail with Citibank,
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我去花旗銀行的經歷
17:18
that is now a 10-year relationship, and I still work with them.
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至今已經有十年的工作關係了，而我依然和他們一起工作
17:22
And I actually am amused by them and like them,
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實際上我被他們逗的很開心也非常喜歡他們
17:25
and think that as a very, very, very, very, very big corporation
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而想想那是間非常 非常 非常 非常 非常大的公司
17:28
they actually keep their graphics very nice.
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他們的確將他們的圖片保存的非常好
17:31
I drew the logo for Citibank
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我畫了花旗銀行的標誌
17:33
on a napkin in the first meeting.
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在第一次開會的餐巾紙上
17:36
That was the play part of the job.
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那是工作的一部分
17:38
And then I spent a year
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然而我花了一年的時間
17:40
going to long, tedious,
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參加長期的、乏味的
17:42
boring meetings,
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無趣的會議
17:44
trying to sell this logo through
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嘗試將這個標誌賣給
17:46
to a huge corporation
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一間大公司
17:48
to the point of tears.
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賣我的設計
17:50
I thought I was going to go crazy at the end of this year.
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我以為一年的折騰就快讓我發瘋了
17:52
We made idiotic presentations
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我們做了個愚蠢的簡報
17:54
showing how the Citi logo made sense,
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呈現花旗銀行的標誌是如何的有意義
17:56
and how it was really derived from an umbrella,
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他是如何確切的從一把傘演變出來的
17:58
and we made animations of these things,
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我們也做了動畫
18:00
and we came back and forth and back and forth and back and forth.
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我們不斷的反反覆覆 反反覆覆 反反覆覆
18:03
And it was worth it, because they bought this thing,
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這一切都很值得 因為他們買下了這商標
18:06
and it played out on such a grand scale,
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且發揮了非常重要的功用
18:08
and it's so internationally recognizable,
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這非常國際化且具辨認性
18:12
but for me it was actually a very, very depressing year.
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但是實際上對我而言是個非常令人沮喪的一年
18:16
As a matter of fact, they actually never bought onto the logo
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事實上 他們從未買過商標
18:18
until Fallon put it on
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直到Fallon 直接用了它
18:20
its very good "Live Richly" campaign,
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在很棒的“富有地生活”推案
18:22
and then everybody accepted it all over the world.
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然後全世界的每個人都接受
18:26
So during this time I needed
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因此在這段期間我需要
18:28
some kind of counterbalance
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一種平衡
18:30
for this crazy, crazy existence
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為這瘋狂，瘋狂的事實
18:32
of going to these long, idiotic meetings.
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參加這些冗長愚蠢的會議
18:34
And I was up in my country house,
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而我在我鄉下的家醒來
18:36
and for some reason, I began painting
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基於某些原因 我開始繪製
18:38
these very big, very involved,
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這些非常龐大 非常混亂
18:41
laborious, complicated
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吃力 複雜的
18:44
maps of the entire world,
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世界地圖
18:46
and listing every place on the planet, and putting them in,
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且列出這星球上的每一個地方然後將他們畫進去
18:49
and misspelling them, and putting things in the wrong spot,
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再拼錯地名然後將他們放進錯誤的地方
18:51
and completely controlling the information,
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完全的控制資訊
18:53
and going totally and completely nuts with it.
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我完完全全的為此著迷
18:56
They would take me about six months initially,
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這花了我起碼六個月的時間
18:59
but then I started getting faster at it.
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但我開始越畫越快
19:01
Here's the United States.
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這裡是美國
19:03
Every single city of the United States is on here.
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每一個美國的城市在這兒
19:05
And it hung for about eight months
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它在庫珀-休伊特展覽了大約八個月
19:07
at the Cooper-Hewitt, and people walked up to it,
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人們前來看它
19:10
and they would point to a part of the map
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他們指出地圖上的一部分
19:12
and they'd say, "Oh, I've been here."
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然後他們說：噢 我曾到過這裡
19:14
And, of course, they couldn't have been because it's in the wrong spot.
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當然他們不可能到過那，因為那裡是個錯誤的位置
19:17
(Laughter)
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(笑聲)
19:18
But what I liked about it was,
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但我喜歡的是
19:20
I was controlling my own idiotic information,
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我控制了我自己的愚蠢訊息
19:23
and I was creating my own palette of information,
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我創造了我自己的訊息調色盤
19:26
and I was totally and completely
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我是完完全全的
19:28
at play.
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在發揮
19:30
One of my favorites was
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其中我最愛的是
19:32
this painting I did of Florida after the 2000 election
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這幅我在2000年選舉後畫的佛羅里達
19:35
that has the election results rolling around in the water.
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在水中游盪的是競選結果
19:39
I keep that for evidence.
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我將它作為證據
19:41
(Laughter)
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(笑聲)
19:42
Somebody
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有些人
19:44
was up at my house and saw the paintings
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來到我家看那些畫
19:46
and recommended them to a gallery,
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然後向畫廊推薦這些畫
19:48
and I had a first show
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因此我有了第一次的展出
19:50
about two-and-a-half years ago, and I showed these paintings
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大約兩年半前 我展覽了這些畫
19:53
that I'm showing you now.
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就是我現在展示給你看的這些
19:56
And then a funny thing happened -- they sold.
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而最有趣的事情發生了 他們被賣掉了
19:59
And they sold quickly,
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他們非常熱賣
20:02
and became rather popular.
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且變的相當受歡迎
20:05
We started making prints from them.
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我們開始行銷這些畫
20:07
This is Manhattan, one from the series.
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這是曼哈頓 其中一個系列
20:11
This is a print from the United States which we did in red, white and blue.
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這是個美國的印刷, 有紅白藍三色
20:14
We began doing these big silkscreen prints,
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我們開始用大型網版印刷成版畫
20:17
and they started selling, too.
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而它們也開始被銷售
20:19
So, the gallery wanted me to have another show
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因此 兩年後畫廊希望我
20:21
in two years,
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有另外一場展出
20:23
which meant that I really
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這意思是要我
20:26
had to paint these paintings
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必須畫這些畫
20:28
much faster
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用比以往
20:30
than I had ever done them. And I --
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更快速的速度來完成 而我
20:32
they started to become more political, and I picked areas
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將這些畫變的越來越政治化 我選擇的地域
20:35
that sort of were in the news
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有來自於新聞的
20:37
or that I had some feeling about,
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或者我對那些地方有些感覺
20:39
and I began doing these things.
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我開始做這些事情
20:41
And then this funny thing happened.
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然後有趣的事情發生了
20:43
I found that I was no longer at play.
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我發現我好久沒有玩了
20:46
I was actually in this solemn landscape
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我事實上在這莊嚴的環境中
20:49
of fulfilling an expectation
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充滿了期待
20:51
for a show,
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為了這展覽
20:53
which is not where I started with these things.
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和原本一開始的我不一樣
20:55
So, while they became successful,
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因此當他們變得成功
20:58
I know how to make them,
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我知道要如何去製造他們
21:00
so I'm not a neophyte,
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因此我不是新手
21:02
and they're no longer serious --
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而他們也不再認真
21:04
they have become solemn.
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他們變成了莊嚴
21:07
And that's a terrifying factor --
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這是一個可怕的因素
21:10
when you start something and it turns that way --
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當你開始做某件事而卻事與願違
21:12
because it means that all that's left for you
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那是因為你所要做的
21:15
is to go back and to find out
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是回過頭然後找出
21:17
what the next thing is that you can push,
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你能夠努力的下一件事情
21:20
that you can invent, that you can be ignorant about,
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或者你可以創造, 或者你可以忽略的
21:23
that you can be arrogant about,
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或者你可以自大的
21:25
that you can fail with,
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或者你可能失敗的
21:27
and that you can be a fool with.
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或者可能讓你看起來很愚蠢的
21:29
Because in the end, that's how you grow,
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因為在最後，這才是你的成長
21:32
and that's all that matters.
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那才最重要的
21:34
So, I'm plugging along here --
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所以我在此獨自投入
21:36
(Laughter)
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(笑聲)
21:39
and I'm just going to have to blow up the staircase.
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而且我馬上要去炸掉樓梯間
21:41
Thank you very much.
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謝謝大家
ABOUT THE SPEAKER
Paula Scher - Designer at playWith a career that fuses rock and roll, corporate identity creation, and impressionistic geography, Paula Scher is a master conjurer of the instantly familiar.
Why you should listen
The tag "rock star" is recklessly applied to everyone from bloggers to biochemists, but in Paula Scher's case it couldn't be more appropriate. As a rock star designer, she's cooked up everything from Boston album covers to Elvis Costello posters, pausing somewhere in between to trash the ubiquitous visual authoritarianism of Helvetica. She's also created some of design's most iconic images, like the Citibank logo. She is a partner in the renowned design firm Pentagram, and in 2001 received the distinguished AIGA medal.
As a fine artist, Scher has also become increasingly well known for her microscopically detailed map paintings, densely latticed with hand-lettered text, that evoke not only place but the varied political, historical and cultural meanings (and preconceptions) brought to the world by the viewer.
Paula Scher | Speaker | TED.com