TED2003
David Carson: Design and discovery
大衛‧卡遜 -- 設計，發現與幽默
Filmed:
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優秀的設計是一個永無休止的發現旅程 – 它結集健康的幽默。身為社會學家及滑浪板設計家的大衛。卡遜將會帶領你們分享一些他極好的(而且很有趣的)作品及照片。
David Carson - Type designer
David Carson is the "grunge typographer" whose magazine Ray Gun helped explode the possibilities of text on a page. Full bio
David Carson is the "grunge typographer" whose magazine Ray Gun helped explode the possibilities of text on a page. Full bio
Double-click the English transcript below to play the video.
00:18
I had requested slides,
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我有要求投映片，
00:21
kind of adamantly,
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甚至有點兒固執，
00:23
up till the -- pretty much, last few days,
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可能說，直到幾日前還在要求。
00:26
but was denied access to a slide projector.
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但是我被拒絕使用投映機。
00:29
(Laughter)
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（笑）
00:34
I actually find them a lot more emotional --
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我其實對它有很多情感，
00:37
(Laughter)
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（笑）
00:39
-- and personal,
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-- 和個人。
00:42
and the neat thing about a slide projector
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關於投映機的美妙之處是
00:44
is you can actually focus the work,
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你可以專注作品。
00:47
unlike PowerPoint and some other programs.
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不像簡報或其他程式。
00:52
Now, I agree that
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我現在同意
00:55
you have to -- yeah, there are certain concessions
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你需要有某種程度的讓步，
00:58
and, you know, if you use a slide projector,
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你亦知道如果你使用投映機
01:00
you're not able to have the bad type
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你將會不能使用那些不好的模式
01:03
swing in from the back or the side, or up or down,
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從後邊，或從旁邊，或從上或下轉出來。
01:07
but maybe that's an O.K. trade-off,
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這或許是一個不錯的交換。
01:10
to trade that off for a focus.
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用來交換專注。
01:12
(Laughter)
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（笑）
01:15
It's a thought. Just a thought.
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只是一個想法啦。
01:18
And there's something nice about slides getting stuck.
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還有那投影片卡住的美妙。
01:22
And the thing you really hope for
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有時你會期望
01:24
is occasionally they burn up,
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它會著火。
01:26
which we won't see tonight. So.
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但是我們今天晚上不會見到。所以，
01:30
With that, let's get the first slide up here.
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有著它，我們看看第一張影片。
01:33
This, as many of you have probably guessed,
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這個，在座各位很多都猜得到
01:36
is a
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是一個
01:38
recently emptied beer can in Portugal.
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在葡萄牙剛空掉的啤酒罐。
01:41
(Laughter)
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（笑）
01:44
This -- I had just arrived in Barcelona for the first time,
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這個是我第一次到達巴塞隆納，
01:48
and I thought --
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而我想 －
01:50
you know, fly all night, I looked up,
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你知道，飛了一整晚，我望上去，
01:52
and I thought, wow, how clean.
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我想，嘩，那麼簡潔。
01:54
You come into this major airport, and they simply have a B.
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你到達一個主要的機場，而它們只有一個 B 字。
01:59
I mean, how nice is that?
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我的意思是，這多麼美妙？
02:01
Everything's gotten simpler in design,
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所有東西的設計都講求簡約，
02:03
and here's this mega airport,
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而這裡是一個超級機場，
02:05
and God, I just -- I took a picture.
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神呀，我只是。。。 我拍了一張照片。
02:07
I thought, God, that is the coolest thing I've ever seen at an airport.
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我想，這是我有史以來在機場看過最酷的東西。
02:11
Till a couple months later,
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直至幾個月後，
02:13
I went back to the same airport --
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我回到這個機場 －
02:15
same plane, I think -- and looked up,
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我想是坐同一班飛機 － 我抬頭望去，
02:17
and it said C.
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它寫著 C 字。
02:19
(Laughter)
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（笑）
02:25
It was only then that I realized
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直到那時我才發現
02:27
it was simply a gate that I was coming into.
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原來這只是我進來的閘口。
02:30
(Laughter)
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（笑）
02:33
I'm a big believer in the emotion of design,
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我是一個情感設計的大信徒。
02:37
and the message that's sent
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而訊息在被傳送
02:39
before somebody begins to read,
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人們讀到之前，
02:41
before they get the rest of the information;
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或他們得到其他資料之前，
02:43
what is the emotional response they get to the product,
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他們無論是對產品，故事或畫作，
02:46
to the story, to the painting -- whatever it is.
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他們的情感反應該是如何呢?
02:50
That area of design interests me the most,
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設計領域最吸引我的，
02:52
and I think this for me is a real clear,
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我想對我來說是十分清楚
02:54
very simplified version
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及非常簡單的
02:56
of what I'm talking about.
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解釋了我在說什麼。
02:58
These are a couple of garage doors painted identical,
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這裡有一對繪畫完全相同的車庫門，
03:01
situated next to each other.
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它們位處相隣。
03:03
So, here's the first door. You know, you get the message.
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這裡是第一扇門。你一看就明白它的訊息。
03:07
You know, it's pretty clear.
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你明白，非常清楚。
03:09
Take a look at the second door and see
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再看看第二扇門，而見到
03:12
if there's any different message.
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看看有沒有其他的訊息，
03:14
O.K., which one would you park in front of?
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你會在那一扇門前停下？
03:16
(Laughter)
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（笑）
03:18
Same color, same message, same words.
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相同的顏色，相同的訊息，相同的字句。
03:20
The only thing that's different
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唯一不同是
03:22
is the expression that the individual door-owner here put into the piece --
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車門主人在這裡所表達的情緒 --
03:26
and, again,
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而且, 再次
03:28
which is the psycho-killer here?
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在這裡哪一個是精神分裂殺人狂?
03:30
(Laughter)
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（笑）
03:34
Yet it doesn't say that; it doesn't need to say that.
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雖然它沒有寫出來；亦不用寫出來。
03:36
I would probably park in front of the other one.
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我大概會停在另外一家門前。
03:41
I'm sure a lot of you are aware
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我相信很多人都會注意到
03:43
that graphic design has gotten a lot simpler in the last
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平面設計近五年左右
03:45
five years or so.
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變得更簡約。
03:47
It's gotten so simple that it's already starting to kind of
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他們變到開始
03:49
come back the other way again and get a little more expressive.
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有反彈的趨勢，變得多了點表達。
03:52
But I was in Milan and saw this street sign,
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但是我去到米蘭，見到一個路牌。
03:54
and was very happy to
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我非常高興
03:56
see that apparently this idea of minimalism
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見到極簡主義
03:58
has even been translated by the graffiti artist.
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在塗鴉藝術家中詮釋。
04:02
(Laughter)
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(笑)
04:05
And this graffiti artist has come along,
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而這個塗鴉藝術家出現
04:07
made this sign a little bit better, and then moved on.
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令這個路牌更加好後，再去另一處。
04:10
(Laughter)
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（笑）
04:12
He didn't overpower it like they have a tendency to do.
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他沒有刻意過分主導它。
04:15
(Laughter)
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（笑）
04:17
This is for a book by "Metropolis."
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這是Metropolis的一本書.
04:21
I took some photos, and this is
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我拍了一些照片，而這個是
04:24
a billboard in Florida,
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佛羅里達州的一個一型廣告牌。
04:26
and either they hadn't paid their rent,
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他們不是沒有繳交租金，
04:28
or they didn't want to pay their rent again on the sign,
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就是不想再繼續租這個廣告牌，
04:30
and the billboard people were too cheap to tear the whole sign down,
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那些管廣告牌的人員亦懶得將整個牌拆下來,
04:33
so they just teared out sections of it.
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因此他們只將一部份拆下來。
04:35
And I would argue that it's possibly more effective
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而我覺得這樣反而可能更有效
04:37
than the original billboard in terms of getting your attention,
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比原先的廣告牌更能引起別人的注意。
04:40
getting you to look over that way.
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讓你望向那方。
04:42
And hopefully you don't stop and buy those awful pecan things -- Stuckey's.
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希望你不會停下來去買那些難吃的胡桃片-- Stuckey's。
04:47
This is from my second book.
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這是我第二本書。
04:50
The first book is called, "The End of Print,"
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第一本書名叫"The End of Print (出版的終結)，
04:53
and it was done along with a film,
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而它還出了一齣電影，
04:55
working with William Burroughs.
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并與威廉 巴洛塔斯合作。
04:57
And "The End of Print" is now in its fifth printing.
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而 "The End of Print"已經第五刷(printing)了。
05:00
(Laughter)
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（笑）
05:05
When I first contacted William Burroughs about being part of it,
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當我第一次而與威廉 巴洛塔斯接觸商討參與製作時，
05:08
he said no; he said he didn't believe it was the end of print.
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他說不行；他說他不認為這是出版的終結。
05:12
And I said, well, that's fine;
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我回應: 那麼，好吧；
05:14
I just would love to have your input on this film and this book,
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我只希望我可以把你對這齣電影和這本書提供你的見解。
05:17
and he finally agreed to it.
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最終他都答應。
05:19
And at the end of the film, he says in this great voice
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在電影的末段，他用了洪量的聲線，
05:23
that I can't mimic but I'll kind of try, but not really, he says,
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我無法模仿，但我盡量嘗試，但是不大相似， 他說，
05:26
"I remember attending an exhibition called,
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「我記得參加那個叫做
05:29
'Photography: The End of Painting.'"
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"Photography: The End of Painting" 的展覽會。」
05:33
And then he says, "And, of course, it wasn't at all."
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然後他說「當然，這沒有成為事實。」
05:36
So, apparently when photography was perfected,
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所以，很明顯當攝影師不那麼精湛時，
05:39
there were people going around saying,
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就會有人在他身旁說
05:42
that's it: you've just ruined painting.
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你看: 你把繪畫搞垮。
05:44
People are just going to take pictures now.
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所有人現在都在拍照了。
05:47
And of course, that wasn't the case.
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這當然事實不是如此。
05:49
So, this is from "2nd Sight,"
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所以這是來自「第二視覺」
05:51
a book I did on intuition.
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我一本有關直覺的書。
05:53
I think it's not the only ingredient in design,
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我想這不是設計上的唯一基本原素，
05:55
but possibly the most important.
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但很可能是最重要之一。
05:57
It's something everybody has.
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這是所有人都擁有的。
06:00
It's not a matter of teaching it;
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它無法傳授；
06:02
in fact, most of the schools tend to discount intuition
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而事實上，大多數學校都傾向漠視直覺
06:04
as an ingredient of your working process
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把它視為工作程序的原素。
06:07
because they can't quantify it:
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因為他們不可能量化它。
06:09
it's very hard to teach people the four steps to intuitive design,
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亦很難教導別人直覺設計的四個步驟，
06:14
but we can teach you the four steps to a nice business card
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但是我們能教導設計一個好的名片
06:16
or a newsletter.
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或商務通訊的四個步驟。
06:18
So it tends to get discounted.
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所以就這樣它被忽略。
06:20
This is a quote from Albert Einstein, who says,
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愛因斯坦有一句名句是這樣說的，
06:24
"The intellect has little to do on the road to discovery.
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探索的道路上智慧無甚用處，
06:28
There comes a leap in consciousness --
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你不知道從那裡或什麼原因，
06:30
call it intuition or what you will --
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只要那所謂的直覺來到，
06:33
and the solution just comes to you, and you don't know from where or why."
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將會解答來到你的問題 -- 這就是知覺的躍進。
06:37
So, it's kind of like when somebody says, Who did that song?
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所以就好像當人們說，誰作這首曲?
06:39
And the more you try to think about it,
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當你越嘗試去想它，
06:41
the further the answer gets from you,
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你就越遠離答案。
06:43
and the minute you stop thinking about it,
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那一刻你不再想它
06:45
your intuition gives you that answer, in a sense.
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你的直覺就會告訴你那個答案。
06:51
I like this for a couple of reasons.
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我喜歡這個有幾個原因。
06:53
If you've had any design courses, they would teach you you can't read this.
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如果你有修讀設計課程，他們會教你，你可能讀不到這個的。
06:56
I think you eventually can and, more importantly, I think it's true.
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我想你最終是能夠讀到的，而最重要，我相信這是真實。
06:59
"Don't mistake legibility for communication."
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「別以為清晰就是溝通。」
07:03
Just because something's legible doesn't means it communicates.
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不是有一些東西它是清晰就能代表它溝通。
07:06
More importantly, it doesn't mean it communicates the right thing.
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最重要的是它不是表達正確的訊息。
07:09
So, what is the message sent before
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所以，訊息在傳播之前
07:11
somebody actually gets into the material?
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人們所接受到的訊息是什麼?
07:15
And I think that's sometimes an overlooked area.
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我想這是經常忽略的地方。
07:19
This is working with Marshall McLuhan.
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這是與馬歇爾 麥可盧恩一起製作的。
07:21
I stayed and worked with his wife and son, Eric,
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我與他的妻子和兒子艾利克一起工作。
07:25
and we came up with close to 600 quotes from Marshall
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我們收集了近六百句馬歇爾的金句。
07:30
that are just amazing in terms of being ahead of the times,
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它們很驚人地在帶領時代，
07:33
predicting so much of what has happened
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預測很多將會發生
07:35
in the advertising, television, media world.
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在廣告、電視、媒體的事情。
07:39
And so this book is called "Probes." It's another word for quotes.
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所以這本書名叫《探究》， 亦是妙句的第二個說法。
07:43
And it's -- a lot of them are never -- have never been published before,
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而很多都是從未出版過。
07:47
and basically, I've interpreted the different quotes.
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基本上我翻譯了很多不同的金句。
07:50
So, this was the contents page originally.
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這是原先的目錄。
07:53
When I got done it was 540 pages,
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但當我完成五百四十頁後，
07:55
and then the publisher, Gingko Press,
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那個出版商，Gingko Press
07:57
ended up cutting it down considerably:
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最後把它大幅度刪減:
08:00
it's just under 400 pages now.
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現在只有少於四百頁。
08:02
But I decided I liked this contents page --
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但我喜歡這個目錄 --
08:05
I liked the way it looks -- so I kept it.
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我喜歡它的設計 -- 所以我把它留下來。
08:07
(Laughter)
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(笑)
08:10
It now has no relevance to the book whatsoever,
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現在它已經與書沒有任何關係，
08:13
but it's a nice spread, I think, in there.
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但我覺得它是一個很好的插圖。
08:16
(Laughter)
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（笑）
08:18
So, a couple spreads from the book:
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這是書中其他的插圖:
08:20
here McLuhan says,
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在這裡麥可盧恩是這樣寫的，
08:22
"The new media are not bridges between Man and Nature; they are Nature."
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「新媒體不是連接人與自然的橋樑；它們是自然。」
08:29
"The invention of printing did away with anonymity,
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「發明印刷握殺了匿名者,
08:31
fostering ideas of literary fame
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培養了文學意念，
08:34
and the habit of considering intellectual effort as private property,"
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及將智力的成果變成個人資產的習慣。」
08:38
which had never been done before printing.
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這些都是在有出版之前沒有發生的事情。
08:43
"When new technologies impose themselves
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「當新科技強加在
08:45
on societies long habituated to older technologies,
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習慣舊有科技的社會上時，
08:48
anxieties of all kinds result."
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各式憂慮便產生。」
08:52
"While people are engaged in creating a totally different world,
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「當人類熱中於創造完全不同的國度時，
08:55
they always form vivid images of the preceding world."
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他們常常對先前的世界產生清晰的影像。」
09:03
I hate this stuff. It's hard to read.
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我討厭這個。它看不清楚。
09:06
(Laughter)
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（笑）
09:13
(Applause)
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(掌聲)
09:16
"People in the electronic age have no possible environment except the globe,
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「人類在電子時代中除了地球外沒有其他合適的環境，
09:23
and no possible occupation except information gathering."
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以及除了資訊收發外沒有其他合適的職業。」
09:27
That was it. That's all he saw as the options. And not too far off.
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就這樣了。這是他對選擇的所有看法。亦沒有太過偏差。
09:31
So, this is a project for Nine Inch Nails.
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這個是九吋釘的企劃。
09:34
And I only show it because it seemed like it got all this relevancy all of a sudden,
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我展示出來只因它看起來突然與這些有關。
09:37
and it was done right after 9/11.
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它是在九一一後不久完成的。
09:40
And I had recently discovered a bomb shelter
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而我最近在我洛杉磯剛買下來的房屋的後院
09:44
in the backyard of a house I had bought in LA
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發現了一個防空避難所，
09:47
that the real estate person hadn't pointed out.
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而那個地產代理從沒向我們提及。
09:50
(Laughter)
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（笑）
09:54
There was some bomb shelter built, apparently in the '60s Cuban missile crisis.
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有些防空避難所很明顯是在六零年代古巴導彈危機而建。
09:58
And I asked the real estate guy what it was as we were walking by,
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在我們經過的時候我向地產代理詢問。
10:01
and he goes, "It's something to do with the sewage system."
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而他回答說:「這與污水系統有關。」
10:03
I was, O.K.; that's fine.
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我當時回答, OK; 好吧。
10:04
I finally went down there, and it was this old rusted circular thing,
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我終於走下去看看。看到這個又舊又生鏽圓形物體，
10:08
and two beds, and very kind of creepy and weird.
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有兩張床，非常陰森古怪。
10:11
And also, surprisingly, it was done in kind of a cheap metal,
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而且，很驚訝的是，它是用很便宜的金屬所製造。
10:14
and it had completely rusted through, and water everywhere, and spiders.
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它完全被生鏽侵蝕。到處是水和蜘蛛。
10:19
And I thought, you know, what were they thinking?
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我想他們到底想什麼呢?
10:21
You'd think maybe cement, possibly, or something.
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你會想大概也應該是用水泥或類似的東西。
10:23
But anyway, I used this for a cover for the Nine Inch Nails DVD,
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無論如何，我用它來作為我《九吋釘》光碟的封面。
10:28
and I've also now fixed the bomb shelter with duct tape,
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而我亦用強力膠布把那個防空避難所給修補。
10:34
and it's ready. I think I'm ready. So.
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現在已經準備好。我想我是準備好。所以，
10:43
This is an experiment, really, for a client, Quicksilver,
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這是個為一個客戶， Quicksilver，而作的一個實驗。
10:46
where we were taking what was a six-shot sequence
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我們在這裡拍攝了六個連續照片
10:49
and trying to use print as a medium to get people to the Web.
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希望可以用印刷這個渠道將人引到互聯網。
10:52
So, this is a six-shot sequence.
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這是一套六幅。
10:54
I've taken one shot; I cropped it a few different ways.
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我拿了一幅照片；我把它裁剪成幾個不同的方式。
10:58
And then the tiny line of copy says,
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而後用很細小的字體說，
11:00
If you want to see this entire sequence --
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如果你想看整套照片--
11:02
how this whole ride was -- go to the website.
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想只道整個沖浪的過程 -- 請登錄網站。
11:05
And my guess is that a lot of the surf kids did go to the site
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我的猜測是有很多沖浪的孩子登錄網站
11:09
to get this entire picture.
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去看整套照片。
11:12
Got no way of tracking it, so I could be totally wrong.
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沒有方法去追蹤。所以我可能完全估錯。
11:15
(Laughter)
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（笑）
11:18
I don't have the site. It's just the piece itself.
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我沒有那個網站。我只有這個而已。
11:21
This is a group in New York called the Coalition for a Smoke-free Environment --
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在紐約，有一個組織名叫無煙環境聯盟；
11:24
asked me to do these posters.
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要求我製造這些海報。
11:26
They were wild-posted around New York City.
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它們在紐約市廣泛張貼。
11:29
You can't really -- well, you can't see it at all --
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你們不能 -- 你們絕對看不到
11:31
but the second line is really the more kind of payoff, in a sense.
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但第二句在某程度就很像是一種報復。
11:34
It says, "If the cigarette companies can lie, then so can we." But --
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它說:「如果煙草商說慌，我們也能。」但是--
11:38
(Laughter)
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（笑）
11:41
(Applause)
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(掌聲)
11:44
-- but I did.
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-- 但是我有。
11:46
These were literally wild-posted all over New York one night,
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它簡直就是在一個晚上貼滿整個紐約市。
11:50
and there were definitely some heads turning,
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當然有些人在回頭看，
11:52
you know, people smoking and, "Huh!"
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你知道，人們正抽著煙。。。「哈?! 」
11:54
(Laughter)
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（笑）
12:00
And it was purposely done to look fairly serious.
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它是故意看上去好像很嚴重。
12:03
It wasn't some, you know, weird grunge type or something;
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它不像那些，你知道，古怪之類的東西；
12:06
it looked like they might be real. Anyway.
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它看起來好像是真實的。無論如何。
12:09
Poster for Atlantic Center for the Arts, a school in Florida.
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佛羅里達州的一所學校 -- 大西洋藝術中心的海報。
12:12
This amazes me. This is a product I just found out.
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它讓我很驚訝。它是我近期剛找到的。
12:15
I was in the Caribbean at Christmas,
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在聖誕節時我去了加勒比海。
12:17
and I'm just blown away that in this day and age they will still sell --
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我驚愕今時今日他們仍會賣--
12:20
not that they will sell --
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不是他們賣--
12:23
that there is felt a need for people to lighten the color of their skin.
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而是有人需要這種能讓他們膚色變淺的東西。
12:26
This was either an old product with new packaging,
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這要不是一件舊產品換上新包裝，
12:28
or a brand-new package, and I just thought,
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就是全新包裝，而我想，
12:31
Yikes! How's that still happening?
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嘩! 這怎會仍然發生?
12:34
I do a lot of workshops all over the world, really,
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我真的在世界各地做工作坊，
12:36
and this particular assignment was
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而這個方案是
12:38
to come up with new symbols for the restroom doors.
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為洗手間的門設計新標誌。
12:41
(Laughter)
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（笑）
12:57
I felt this was one of the more successful solutions.
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我覺得這是個很成功的點子。
13:01
The students actually cut them up
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學生們確實把它剪下來，
13:03
and put them up around bars and restaurants that night,
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然後在晚上把它貼在酒吧和餐廳的門上
13:06
and I just always have this vision of this elderly couple going to use the restroom ...
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而我目擊到有一對年長的夫婦當他們去上洗手間時。。。
13:10
(Laughter)
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（笑）
13:13
I did some work for Microsoft a few years back.
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我在幾年前為微軟做了點工作
13:16
It was a worldwide branding campaign.
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它是一個全球商標企劃。
13:18
And it was interesting to me --
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它對我感興趣的是--
13:20
my background is in sociology; I had no design training,
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我社會學的背景；我沒有設計的訓練，
13:23
and sometimes people say, well, that explains it --
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而有些人說，這就解釋了--
13:25
but it was a very interesting experiment
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但那是一個非常有趣的實驗
13:28
because there's no product that I had to sell;
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因為它沒有產品我要賣；
13:30
it was simply the image of Microsoft they were trying to improve.
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它只是微軟公司只想把形象改善。
13:33
They thought some people didn't like them.
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它們想有些人不喜歡它們。
13:36
(Laughter)
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（笑）
13:40
I found out that's very true,
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我發現這是真實的，
13:42
working on this campaign worldwide.
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為全球企劃而工作
13:45
And our goal was to try to humanize them a bit,
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我們的目標是把它人性化一點
13:48
and what I did was add type and people to the ad,
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而我所做的是將類型和人加在廣告中，
13:52
which the previous campaign had not had,
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而這是以前的企劃沒有的。
13:54
and nobody remembered them, and nobody referenced them.
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沒有人記起它，沒有人拿它作參考。
13:56
And we were trying to say that,
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而我們嘗試說出，
13:57
hey, some of these guys that work there are actually OK;
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嗨，這裡有些人工作得蠻不錯；
14:00
some of them actually have friends and family,
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這些人其實是你的朋友或家人，
14:02
and they're not all awful people.
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他們不是那些糟糕的人。
14:05
And the umbrella campaign was "Thank God it's Monday."
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這是雨傘企劃，名為「感謝主，這是星期一。」
14:09
So, we tried to take this --
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所以，我們嘗試把這個 --
14:11
what was perceived as a negative:
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從前被視為負面的:
14:13
their over-competitiveness, their,
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它過於競爭，它的，
14:15
you know, long working hours --
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你知道，冗長的工作時間 --
14:17
and turn it into a positive and not run from it.
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然後把它轉為正面和不逃避它。
14:20
You know: Thank God it's Monday --
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你知道:感謝主，這是星期一 --
14:21
I get to go back to that little cubicle, those fake gray walls,
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我回到那個小隔間，那些灰色假牆，
14:24
and hear everybody else's conversations f
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你會聽到人其他人的談話
14:26
or 10 hours and then go home.
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持續十個小時然後回家。
14:28
But anyway, this is one of the ads I was most pleased with,
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但是無論如何，這是一個我最感滿意的廣告，
14:32
because they were all elaborately art-directed,
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因為它們全都精心地由藝術主導，
14:35
and this one I thought actually felt like the girl was looking at the computer.
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而這一個我想它確實感覺到有一個女孩子在看電腦。
14:38
It says, "Wonder Around." And then it's a piece of the software.
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它說，「到處新奇」，而後就是那個軟件。
14:41
And this is how the ad ran around the world.
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這就是那個廣告如何走遍全世界。
14:43
In Germany, they made one small change without checking with me --
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在德國，他們在沒有與我查對前作了一個小更改 --
14:47
nor did they have to, because it was done through agencies --
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或他們沒有這個需要因為它是經過代理而完成的 --
14:49
but see if you can tell the difference.
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但是你會發現它的分別。
14:51
This is how the ad ran throughout the world;
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這就是那個廣告如何走遍全世界。
14:53
Germany made one slight change in the ad.
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德國在廣告中作了一個小改動。
14:57
(Laughter)
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（笑）
15:01
Now, there's kind of two issues here.
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現在，好像有兩個問題。
15:03
If you're going to put a kid in the ad, pick one that looks alive.
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如果你要把一個孩子放在廣告中，選一個他看起來活生生的。
15:07
(Laughter)
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（笑）
15:13
I just have a feeling this kid's been there for a week, you know.
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我有一個感覺，覺得那個小孩在那裡已經有一個星期，你知道。
15:15
He's just really hoping that boots up and, you know ...
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他真的希望可以離開，你知道 。。。
15:18
(Laughter)
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（笑）
15:22
And then as the agency explained to me, they said,
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然後代理向我解釋，他們說，
15:26
"Look, we don't have little green people in our country;
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「看，我們沒有那些種族在我們的國家內；
15:29
why would we put little green people in our ads, for instance?"
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為何我們要把這些種族的人放在我們的廣告上作例子?」
15:32
So, I understand their logic. I totally disagree with it;
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我明白他們的邏輯。但是我完全不同意；
15:36
I think it's a very small-minded approach,
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我想這是一個狹隘的思想，
15:38
the world is certainly much more global,
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全世界無疑地變得更全球化，
15:40
and I certainly think the people of Germany
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我無疑地相信德國人
15:42
could have handled a little black girl sitting in front of a computer,
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可以容納一個黑種族小女孩坐在電腦前，
15:44
though we'll never know.
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但是你永遠意想不到。
15:46
This is some work from Ray Gun.
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這是(科幻小說)死光槍的作品。
15:48
And the point of this magazine was to read the articles,
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這本雜誌的目的是閱讀它的文章，
15:51
listen to the music, and try to interpret it.
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聽音樂和嘗試詮釋它。
15:53
There's no grid, there's no system, there's nothing set up in advance.
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它沒有框架，沒有系統，沒有在事前設定。
15:57
This is an opener for Brian Eno,
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這是為布萊恩 伊諾而作的開端，
15:59
and it's just kind of my personal interpretation of the music.
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這就是我對音樂有點兒個人化的詮釋。
16:03
This is rockstars talking about teachers they had lusted after in school.
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這是搖滾巨星談及他們在學校所喜愛的老師。
16:09
There's a lot of great writing in "Ray Gun."
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《死光槍》裡有很多很偉大的篇幅。
16:11
And I was fortunate to find a photograph of a teacher sitting on some books.
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我有幸找到一幅老師正坐在幾本書上的照片。
16:15
(Laughter)
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（笑）
16:19
Article on Bryan Ferry -- just really boring article --
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描寫布萊恩 費瑞文章 -- 只是非常沈悶的文章 --
16:21
so I set the whole article in Dingbat.
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所以我將整篇文章設在不知名的器具上。
16:24
(Laughter)
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（笑）
16:31
You could -- you could highlight it; you could make it Helvetica or something:
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你可以 -- 可以加上螢光註釋；你可以將他變成Helvetica或其他字體:
16:35
it is the actual article.
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這是它原本的文章。
16:37
I suppose you could eventually decode it,
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我猜想你可以最終解讀它，
16:40
but it's really not very well written; it really wouldn't be worthwhile.
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但它不是寫得那麼好；不見得那麼值得。
16:43
(Laughter)
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（笑）
16:45
Having done a lot of magazines,
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做過很多雜誌，
16:46
I'm very curious how big magazines handle big stories,
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我疑惑那些大雜誌如何處理大新聞，
16:50
and I was very curious to see how Time and Newsweek would handle 9/11.
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我很疑惑看看時代雜誌和新聞週刊是如何處理九一一。
16:54
And I was basically pretty disappointed
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我基本上是很失望地
16:56
to see that they had
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看到他們
16:58
chosen to show the photo we'd already seen a million times,
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選取一幅我們已經很了一萬遍的照片，
17:01
which was basically the moment of impact.
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那基本上是撞擊的一刻。
17:03
And People magazine, I thought,
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但人民雜誌，我想，
17:05
got probably the best shot.
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大概得到最好的照片。
17:07
It's kind of horsey type, but the texture --
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有一種粗糙，但它的質感 --
17:11
the second plane not quite hitting:
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當第二架飛機還未曾撞上之時:
17:13
there was something more enticing,
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它更迷人，
17:15
if that's the right -- it's not the right word --
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如果那是對的 -- 這不是正確的詞語 --
17:17
but in this cover than Time or Newsweek.
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但這個封面相比時代雜誌或新聞週刊。
17:20
But when I got into this magazine,
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但當我進入這本雜誌，
17:22
there's something kind of disturbing, and this continued.
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它有一些讓我感到有點兒困擾，這仍未完結。
17:26
On the left we see people dying; we see people running for their lives.
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在左邊我們會見到有人死去；我們會見到有人為他的生命逃亡。
17:29
And on the right we learn that there's a new way to support your breast.
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在右邊我們會學到新方法去承托你的乳房。
17:33
The coveted right-hand page was not given up to the whole issue.
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他們在整期刊物中沒有放棄右頁。
17:37
Look at the image of this lady --
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看看這位女士的映像 --
17:39
who knows what she's going through? --
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沒有人知道她經歷了什麼? --
17:41
and the copy says: "He knows just how to give me goosebumps."
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而雜誌就寫: 「他知道怎樣給我雞皮疙瘩。」
17:44
Yeah, he jumps out of buildings. It's --
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是的，他從大廈跳出來。真的 --
17:46
unfortunately, this one works, kind of, as a spread.
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不幸，這個好像充當跨版廣告。
17:50
And this continued through the entire magazine.
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它延續整本雜誌。
17:52
It did not let up.
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它沒有放棄。
17:54
This says: "One clean fits all." .
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這個寫: 「一物能清潔所有。」
17:56
There were a lot of orphans made this day,
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當天有很多人成為孤兒。
17:59
and here's a dead body being brought out.
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這裡有一具屍體正被抬出來。
18:01
It just seems to me possibly even a blank page
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可能它甚至只把那頁留空白
18:04
would have been more appropriate.
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也會更適合。
18:07
And this one I think is possibly the worst:
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我想這個可能是最差的:
18:09
two ladies, both facing the same way, both wearing jeans.
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兩位女士，看著相同的方向，兩位都穿著牛仔褲。
18:13
One -- who knows what she's going through;
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一個 -- 沒有人知道她經歷了什麼；
18:15
the other one is worried about model behavior and milk.
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另一個只擔心模特兒的表現與牛奶。
18:20
And --
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--
18:22
I gave a talk in New York a couple months after this,
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我在這之後的數個月到了紐約作了一個演講，
18:26
and afterwards somebody came up to me and they said that --
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完了之後有些人上前來跟我說 --
18:29
they actually emailed me -- and they said that they appreciated the talk,
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他們事實上傳了電郵給我 -- 以及欣賞我的演講，
18:33
and when they got back to their car,
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而當他們回到車上去後，
18:35
they found a note on their car that made them think
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發現他們的車上有一個便條讓他們反思
18:37
maybe New York was getting back to being New York again after this event --
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或許在這個活動之後紐約再次變回紐約了 --
18:41
it had been a few months.
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只是短短幾個月的時間。
18:43
This was what they found on their car.
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這是他們在車上找到的。
18:45
(Laughter)
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（笑）
19:03
There's very few times you'd be happy to find this on your car,
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有些時候當你在你的車上找到它時會感到高興，
19:06
but it did seem to indicate that we were coming back.
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但這真的証明我們回來了。
19:08
This is my desktop.
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這是我的桌面。
19:10
Somebody told me today there was this thing called folders,
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最近有人告訴我有樣東西叫文書夾，
19:13
but I don't know what they are.
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但我不知道它是什麼。
19:15
These are my notes for the talk -- there might be a correlation here.
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這些是我演講的筆記 -- 它可能有些關連。
19:19
We are wrapping up.
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我們總結吧。
19:21
This I saw on the plane, flying in, for hot new products.
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這個我看到一架飛機，飛進來，新熱賣產品。
19:24
I'm not sure this is an improvement, or a good idea,
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我不知道這是不是進步，或是一個很好的點子，
19:28
because, like, if you don't spend quite enough time in front of your computer,
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因為，好像，如果你不花足夠的時間在電腦前，
19:31
you can now get a plate in the keyboard,
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你現在會在鍵盤上得到一個碟，
19:33
so there's no more faking it --
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所以不能再有偽裝 --
19:37
that you don't really sit at your desk all day and eat and work anyway.
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你不能整天坐在你的桌前一邊吃一邊隨便地工作；
19:41
Now there's a plate, and it would be really, really convenient
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現在你有一隻碟，將會是多麼多麼的方便地
19:43
to get a piece of pizza, then type a little bit, then ...
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去拿一件比薩，然後打一下字，然後...
19:46
I'm just not sure this is improvement.
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我不知道這算不算進步。
19:49
If you ever doubt the power of graphic design,
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如果你曾經對平面設計存疑，
19:52
this is a very generic sign that literally says, "Vote for Hitler." It says nothing else.
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這將會是一個非常一般的指示牌，字面上它說，請投票給希特勒。 而再沒其他。
19:57
And this to me is an extreme case
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而這個對我來說是一個極端的例子
19:59
of the power of emotion, of graphic design,
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關於情感威力、關於平面設計、
20:02
even though, in fact, was a very generic poster at the time.
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雖然，事實上，這是當時一幅很一般的海報。
20:07
What's next? What's next is going to be people.
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下一個是什麼? 下一個有關人。
20:09
As we get more technically driven,
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當我們變得更加科技導向，
20:11
the importance of people becomes more than it's ever been before.
399
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人類比以前變得更加重要。
20:15
You have to utilize who you are in your work.
400
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你需要在工作上發揮你自己。
20:18
Nobody else can do that: nobody else can pull from your background,
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沒有其他人可以做到: 沒有其他人把你從你的背景、
20:21
from your parents, your upbringing, your whole life experience.
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你的父母。你的教養、你整個人生旅程中拖出來。
20:24
If you allow that to happen, it's really the only way you can do some unique work,
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如果容許這樣發生，這只是唯一你可做些獨特的工作，
20:28
and you're going to enjoy the work a lot more as well.
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和你亦將會享受更多工作的樂趣。
20:31
This is -- I like found art; hand lettering's coming back in a big way,
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這是 -- 我找到藝術； 手刻字帶來很多，
20:34
and I thought this was a great example of both.
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而我覺得這是它們兩個最大的例子。
20:36
This lady's advertising for her lost pit bull.
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2000
這位女士在宣傳她的鬥牛狗走失。
20:38
It's friendly -- she's underlined friendly --
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牠很有善 -- 她在"有善"加上劃線 --
20:41
that's probably why she calls it Hercules or Hercles. She can't spell.
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4000
可能就是這個原因她稱牠作"大力士" 或 "Hercles"。 她沒有拼對那個字。
20:45
(Laughter)
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（笑）
20:48
But more importantly,
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但更重要的是，
20:50
she's willing to give you 20 bucks to go find this lost pit bull.
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她原意給你二十塊錢去找那個走失的鬥牛狗。
20:53
And I'm thinking, yeah, right,
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1235000
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而我正在想，對，
20:55
I'll go look for a lost pit bill for 20 bucks.
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我會為二十塊去找那個走失的鬥牛狗，
20:58
I have visions of people going down alleyways yelling out for Hercles,
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我能夠幻想人們在小徑上來回呼喚"Hercles",
21:01
and you get charged by this thing and you go,
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你會被牠攻擊而你會說，
21:05
oh, please be Hercles; please be the friendly one.
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啊，拜託你是Hercles；請有善點吧。
21:07
(Laughter)
418
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（笑）
21:11
I'm sure she never found the dog, because I took the sign.
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我肯定她沒有找到那隻狗，因我把告示拿走。
21:14
(Laughter)
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1000
（笑）
21:15
But I was asked to give a talk at a conference in Sacramento a few years back.
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4000
幾年前我被邀請到山克拉門都一個會議演講。
21:19
And the theme was courage, and they asked me to talk
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主題是勇氣。他們要我說
21:21
about how courageous it is to be a graphic designer.
423
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有關成為平面設計師所需的勇氣。
21:24
And I remembered seeing this photograph of my father,
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1266000
3000
我記得我看過我父親的一幅照片，
21:27
who was a test pilot, and he told me that
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他是一位測試飛行員。他告訴我
21:29
when you signed up to become a test pilot,
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當他報名成為一位測試飛行員時，
21:31
they told you that there was a 40 to 50 percent chance
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他們告訴他有四十至五十百分點機會
21:33
of death on the job.
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在工作中死亡。
21:35
That's pretty high for most occupations.
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它對大部份職業來說是非常高的。
21:38
(Laughter)
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（笑）
21:40
But, you know, the government would make a plane;
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但，你要知道，政府製造一架飛機；
21:42
they'd say, go see if that one flies, would you?
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他們說，去試試這個會不會飛，行嗎?
21:44
Some of them did; some of them didn't.
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有一些人會；有一些人不會。
21:47
And I started thinking about some of these decisions I have to make
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我開始想想這些我所作的決定
21:50
between, like, serif versus san-serif.
435
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例如，在截線字體與不截線字體之間。
21:53
(Laughter)
436
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3000
（笑）
21:56
And for the most part, they're not real life-threatening.
437
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4000
而大部分時間它們都不是真的對生命有威脅。
22:00
Why not experiment? Why not have some fun?
438
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為何不作一個實驗呢?為何不找點新意呢?
22:03
Why not put some of yourself into the work?
439
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3000
為何不把你一些的自己放在工作上?
22:06
And when I was teaching, I used to always ask the students,
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當我教學時，我慣常問我的學生們，
22:08
What's the definition of a good job?
441
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好的工作是怎樣定義呢?
22:10
And as teachers, after you get all the answers,
442
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作為一位老師，當你得到所有答案後，
22:12
you like to give them the correct answer.
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你會想給他們一個正確的答案。
22:14
And the best one I've heard -- I'm sure some of you have heard this --
444
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而我曾聽過最好的是 -- 我知道你們部份可能也聽過 --
22:17
the definition of a good job is:
445
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好工作的定義是:
22:19
If you could afford to -- if money wasn't an issue --
446
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如果你能負擔得起 -- 如果錢不是一個問題 --
22:23
would you be doing that same work?
447
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你會作同樣的工作嗎?
22:25
And if you would, you've got a great job.
448
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如果你會，你就得到一份好工作。
22:28
And if you wouldn't, what the heck are you doing?
449
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如果你不會，你現在究竟幹什麼呢?
22:31
You're going to be dead a really long time.
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等於你死去了很久。
22:33
Thank you very much.
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謝謝。
ABOUT THE SPEAKER
David Carson - Type designerDavid Carson is the "grunge typographer" whose magazine Ray Gun helped explode the possibilities of text on a page.
Why you should listen
David Carson's boundary-breaking typography in the 1990s, in Ray Gun magazine and other pop-cult books, ushered in a new vision of type and page design -- quite simply, breaking the traditional mold of type on a page and demanding fresh eyes from the reader. Squishing, smashing, slanting and enchanting the words on a layout, Carson made the point, over and over, that letters on a page are art. You can see the repercussions of his work to this day, on a million Flash intro pages (and probably just as many skateboards and T-shirts).
His first book, with Lewis Blackwell and a foreword by David Byrne, is The End of Print, and he's written or collaborated on several others, including the magisterial Book of Probes, an exploration of the thinking of Marshall McLuhan. His latest book is Trek, a collection of his recent work.
David Carson | Speaker | TED.com