TED2018
Christoph Niemann: You are fluent in this language (and don't even know it)
Kristof Niman (Christoph Niemann): Tečno govorite ovaj jezik (a niste toga ni svesni)
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Nismo ni svesni toga, ali tečno govorimo jezik slika, kaže ilustrator Kristof Niman. U šarmantnom govoru punom duhovitih, razigranih crteža, Niman nas vodi na urnebesnu vizuelnu turneju koja pokazuje kako umetnici pokreću naše emocije i umove - i to bez upotrebe reči.
Christoph Niemann - Illustrator, artist, author
With charm and incisive wit, Christoph Niemann sketches the moments of our shared experience. Full bio
With charm and incisive wit, Christoph Niemann sketches the moments of our shared experience. Full bio
Double-click the English transcript below to play the video.
00:12
I'm an artist.
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Ja sam umetnik.
00:15
Being an artist
is the greatest job there is.
is the greatest job there is.
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Biti umetnik je najbolji mogući posao.
00:18
And I really pity
each and every one of you
each and every one of you
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I zaista mi je žao svih vas
00:21
who has to spend your days
discovering new galaxies
discovering new galaxies
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koji morate da provodite dane
otkrivajući nove galaksije
otkrivajući nove galaksije
00:23
or saving humanity from global warming.
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ili spašavajući čovečanstvo
od globalnog zagrevanja.
od globalnog zagrevanja.
00:26
(Laughter)
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(Smeh)
00:28
But being an artist
is also a daunting job.
is also a daunting job.
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Međutim, biti umetnik
je i obeshrabrujući posao.
je i obeshrabrujući posao.
00:32
I spend every day,
from nine to six, doing this.
from nine to six, doing this.
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Provodim svaki dan od devet
do šest sati, radeći sledeće.
do šest sati, radeći sledeće.
00:37
(Laughter)
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(Smeh)
00:39
I even started a side career
that consists entirely
that consists entirely
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Čak sam i započeo dodatnu karijeru
koja se u potpunosti sastoji
koja se u potpunosti sastoji
00:43
of complaining about the difficulty
of the creative process.
of the creative process.
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od negodovanja zbog težine
kreativnog procesa.
kreativnog procesa.
00:45
(Laughter)
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(Smeh)
00:47
But today, I don't want to talk
about what makes my life difficult.
about what makes my life difficult.
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Međutim, danas ne želim da govorim
o tome šta moj život čini teškim.
o tome šta moj život čini teškim.
00:51
I want to talk about what makes it easy.
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Želim da govorim o tome šta ga čini lakim.
00:54
And that is you
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A to ste vi
00:55
and the fact that
you are fluent in a language
you are fluent in a language
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i činjenica da tečno govorite jezik
00:58
that you're probably not even aware of.
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koga verovatno niste ni svesni.
01:01
You're fluent in the language
of reading images.
of reading images.
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Tečno govorite jezik tumačenja slika.
01:06
Deciphering an image like that
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Dešifrovanje ovakve slike
01:08
takes quite a bit
of an intellectual effort.
of an intellectual effort.
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zahteva poprilično intelektualnog napora.
01:10
But nobody ever taught you how this works,
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Međutim, niko vas nikad
nije podučavao ovome,
nije podučavao ovome,
01:12
you just know it.
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prosto to znate.
01:15
College, shopping, music.
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Fakultet, kupovina, muzika.
01:17
What makes a language powerful
is that you can take a very complex idea
is that you can take a very complex idea
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Jezik je moćan iz razloga što možete
da uzmete krajnje složenu ideju
da uzmete krajnje složenu ideju
01:21
and communicate it
in a very simple, efficient form.
in a very simple, efficient form.
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i da je saopštite u veoma prostom,
efikasnom obliku.
efikasnom obliku.
01:25
These images represent
exactly the same ideas.
exactly the same ideas.
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Ove slike predstavljaju
potpuno iste ideje.
potpuno iste ideje.
01:30
But when you look, for example,
at the college hat,
at the college hat,
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No kad pogledate, na primer,
fakultetsku kapu,
fakultetsku kapu,
znate da ovo ne predstavlja
modni dodatak koji nosite na glavi
modni dodatak koji nosite na glavi
01:33
you know that this doesn't represent
the accessory you wear on your head
the accessory you wear on your head
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kada vam uručuju diplomu,
01:36
when you're being handed your diploma,
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već se radi o celokupnoj ideji fakulteta.
01:38
but rather the whole idea of college.
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01:42
Now, what drawings can do
is they cannot only communicate images,
is they cannot only communicate images,
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Sad, crteži ne samo da mogu
da saopštavaju prizore,
da saopštavaju prizore,
01:46
they can even evoke emotions.
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mogu čak i da probude emocije.
01:49
Let's say you get to
an unfamiliar place and you see this.
an unfamiliar place and you see this.
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Recimo da ste došli
na nepoznato mesto i vidite ovo.
na nepoznato mesto i vidite ovo.
01:52
You feel happiness and relief.
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Osetićete sreću i olakšanje.
01:53
(Laughter)
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(Smeh)
01:55
Or a slight sense of unease
or maybe downright panic.
or maybe downright panic.
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Ili blagi osećaj nespokoja
ili čak čistu paniku.
ili čak čistu paniku.
02:01
(Laughter)
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(Smeh)
02:03
Or blissful peace and quiet.
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Ili blaženstvo mira i tišine.
02:07
(Laughter)
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(Smeh)
02:08
But visuals, they're of course
more than just graphic icons.
more than just graphic icons.
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Međutim, vizualizacije su, naravno,
više od prostih grafičkih ikona.
više od prostih grafičkih ikona.
02:13
You know, if I want to tell the story
of modern-day struggle,
of modern-day struggle,
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Znate, ako bih želeo da ispričam priču
o savremenim mukama,
o savremenim mukama,
02:16
I would start with the armrest
between two airplane seats
between two airplane seats
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započeo bih naslonima za ruke
između dva sedišta u avionu
između dva sedišta u avionu
02:20
and two sets of elbows fighting.
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i dva para lakata koji se bore.
02:22
What I love there is this universal law
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Sviđa mi se što postoji univerzalni zakon,
02:25
that, you know, you have
30 seconds to fight it out
30 seconds to fight it out
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znate, da imate 30 sekundi da se izborite
02:27
and once it's yours, you get to keep it
for the rest of the flight.
for the rest of the flight.
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i čim osvojite naslon, možete
da ga zadržite do kraja leta.
da ga zadržite do kraja leta.
02:30
(Laughter)
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(Smeh)
02:32
Now, commercial flight
is full of these images.
is full of these images.
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Sad, komercijalni letovi
su puni sličnih prizora.
su puni sličnih prizora.
02:36
If I want to illustrate
the idea of discomfort,
the idea of discomfort,
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Ako bih želeo da ilustrujem
ideju neudobnosti,
ideju neudobnosti,
02:40
nothing better than these neck pillows.
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jastuci za vrat bi pobedili.
02:42
They're designed
to make you more comfortable --
to make you more comfortable --
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Dizajnirani su da vam obezbede
veću udobnost -
veću udobnost -
02:45
(Laughter)
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(Smeh)
02:47
except they don't.
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samo što to ne postižu.
02:48
(Laughter)
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(Smeh)
02:52
So I never sleep on airplanes.
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Zato ja nikad ne spavam u avionima.
02:54
What I do occasionally
is I fall into a sort of painful coma.
is I fall into a sort of painful coma.
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Povremeno mi se desi
da padnem u nekakvu bolnu komu.
da padnem u nekakvu bolnu komu.
02:59
And when I wake up from that,
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A kada se probudim iz nje,
03:02
I have the most terrible
taste in my mouth.
taste in my mouth.
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imam najodvratniji ukus u ustima.
03:05
It's a taste that's so bad,
it cannot be described with words,
it cannot be described with words,
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To je toliko loš ukus
da se ne može opisati rečima,
da se ne može opisati rečima,
03:08
but it can be drawn.
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ali može da se nacrta.
03:09
(Laughter)
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(Smeh)
03:15
The thing is, you know, I love sleeping.
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Radi se, znate, o tome
da ja volim da spavam.
da ja volim da spavam.
03:19
And when I sleep, I really
prefer to do it while spooning.
prefer to do it while spooning.
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A kada spavam,
najviše volim da nekog grlim.
najviše volim da nekog grlim.
03:22
I've been spooning on almost a pro level
for close to 20 years,
for close to 20 years,
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Grlim skoro na profesionalnom nivou
već skoro 20 godina,
već skoro 20 godina,
03:26
but in all this time,
I've never figured out
I've never figured out
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ali za sve ovo vreme, nikad nisam otkrio
03:29
what to do with that bottom arm.
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šta da radim sa donjom rukom.
03:31
(Laughter)
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(Smeh)
03:34
(Applause)
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(Aplauz)
03:36
And the only thing --
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A jedina stvar -
03:39
the only thing that makes sleeping
even more complicated
even more complicated
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jedina stvar koja spavanje
čini još komplikovanijim
čini još komplikovanijim
03:42
than trying to do it on an airplane
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od pokušaja da zaspite u avionu
03:44
is when you have small children.
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je kada imate malu decu.
03:47
They show up at your bed at around 4am
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Pojave se u vašem krevetu
oko četiri ujutru
oko četiri ujutru
03:50
with some bogus excuse of,
"I had a bad dream."
"I had a bad dream."
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s nekakvim šupljim izgovorom
tipa „sanjao sam nešto ružno”.
tipa „sanjao sam nešto ružno”.
03:53
(Laughter)
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(Smeh)
03:55
And then, of course you feel
sorry for them, they're your kids,
sorry for them, they're your kids,
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I onda, naravno, žao vam ih je,
ipak su vam to deca,
ipak su vam to deca,
pa ih pustite u vaš krevet.
03:58
so you let them into your bed.
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I moram da priznam da su u početku
zaista slatki i topli i mazni.
zaista slatki i topli i mazni.
03:59
And I have to admit, at the beginning,
they're really cute and warm and snugly.
they're really cute and warm and snugly.
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04:03
The minute you fall back asleep,
they inexplicably --
they inexplicably --
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Onog momenta kad ponovo zaspite,
oni neobjašnjivo -
oni neobjašnjivo -
04:06
(Laughter)
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(Smeh)
04:08
start rotating.
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počinju da se rotiraju.
04:09
(Laughter)
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(Smeh)
Volimo da ovo nazivamo
helikopterskim programom.
helikopterskim programom.
04:12
We like to call this the helicopter mode.
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04:14
(Laughter)
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(Smeh)
04:16
Now, the deeper something is etched
into your consciousness,
into your consciousness,
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Sad, što je nešto dublje urezano
u vašu podsvest,
u vašu podsvest,
04:21
the fewer details we need
to have an emotional reaction.
to have an emotional reaction.
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to nam je potrebno manje detalja
da imamo emocionalnu reakciju.
da imamo emocionalnu reakciju.
04:25
(Laughter)
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(Smeh)
04:28
So why does an image like this work?
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Dakle, zašto slika nalik ovoj deluje?
04:31
It works, because we as readers
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Deluje jer smo mi kao čitaoci
04:33
are incredibly good
at filling in the blanks.
at filling in the blanks.
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neverovatno dobri u popunjavanju praznina.
04:37
Now, when you draw,
there's this concept of negative space.
there's this concept of negative space.
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Sad, kad crtate, postoji
koncept negativnog prostora.
koncept negativnog prostora.
04:41
And the idea is, that instead
of drawing the actual object,
of drawing the actual object,
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A zamisao je da, umesto crtanja
stvarnog objekta,
stvarnog objekta,
04:43
you draw the space around it.
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iscrtate prostor oko njega.
04:46
So the bowls in this drawing are empty.
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Dakle, činije na ovom crtežu su prazne.
04:49
But the black ink prompts your brain
to project food into a void.
to project food into a void.
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Međutim, crno mastilo navodi vaš mozak
da projektuje hranu u praznini.
da projektuje hranu u praznini.
04:56
What we see here is not a owl flying.
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Ovde ne vidimo sovu u letu.
05:00
What we actually see
is a pair of AA batteries
is a pair of AA batteries
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Zapravo vidimo par AA baterija
05:02
standing on a nonsensical drawing,
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koje stoje na besmislenom crtežu,
05:04
and I animate the scene
by moving my desk lamp up and down.
by moving my desk lamp up and down.
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a ja animiram scenu tako što stonu lampu
pokrećem gore i dole.
pokrećem gore i dole.
05:08
(Laughter)
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(Smeh)
05:10
The image really only exists in your mind.
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Slika zaista postoji samo u vašem umu.
05:13
So, how much information do we need
to trigger such an image?
to trigger such an image?
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Dakle, koliko nam je informacija potrebno
da prizovemo sličan prizor?
da prizovemo sličan prizor?
05:18
My goal as an artist
is to use the smallest amount possible.
is to use the smallest amount possible.
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Moj cilj kao umetnika
je da koristim najmanju moguću količinu.
je da koristim najmanju moguću količinu.
05:23
I try to achieve a level of simplicity
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Pokušavam da postignem nivo jednostavnosti
05:25
where, if you were to take away
one more element,
one more element,
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gde bi se, ako biste oduzeli
još jedan element,
još jedan element,
05:28
the whole concept would just collapse.
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čitav koncept prosto urušio.
05:31
And that's why my personal favorite tool
as an artist is abstraction.
as an artist is abstraction.
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I zato mi je lično omiljeno
umetničko oruđe apstrakcija.
umetničko oruđe apstrakcija.
05:36
I've come up with this system
which I call the abstract-o-meter,
which I call the abstract-o-meter,
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Osmislio sam sistem
koji nazivam „apstraktometrom”,
koji nazivam „apstraktometrom”,
05:39
and this is how it works.
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a on ovako funkcioniše.
05:40
So you take a symbol, any symbol,
for example the heart and the arrow,
for example the heart and the arrow,
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Dakle, uzmete simbol, bilo koji simbol,
na primer, srce i strelu,
na primer, srce i strelu,
05:44
which most of us would read
as the symbol for love,
as the symbol for love,
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koje bi većina nas protumačila
kao simbol ljubavi,
kao simbol ljubavi,
a ja sam umetnik, pa mogu da nacrtam ovo
05:47
and I'm an artist, so I can draw this
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05:49
in any given degree
of realism or abstraction.
of realism or abstraction.
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u bilom kom stepenu
realizma ili apstrakcije.
realizma ili apstrakcije.
05:53
Now, if I go too realistic on it,
it just grosses everybody out.
it just grosses everybody out.
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Sad, ako krenem suviše realistički s tim,
to se prosto svakome smuči.
to se prosto svakome smuči.
05:57
(Laughter)
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(Smeh)
05:59
If I go too far on the other side
and do very abstract,
and do very abstract,
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Ako odem suviše daleko na drugu stranu
i učinim ga suviše apstraktnim,
i učinim ga suviše apstraktnim,
06:03
nobody has any idea
what they're looking at.
what they're looking at.
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niko pojma nema u šta gleda.
06:06
So I have to find
the perfect place on that scale,
the perfect place on that scale,
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Pa moram da pronađem
savršeno mesto na lestvici,
savršeno mesto na lestvici,
06:08
in this case it's somewhere in the middle.
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u ovom slučaju je to negde u sredini.
06:11
Now, once we have reduced an image
to a more simple form,
to a more simple form,
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Sad, čim smo sliku sveli
na jednostavniji oblik,
na jednostavniji oblik,
06:16
all sorts of new connections
become possible.
become possible.
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razne nove veze postaju moguće.
06:20
And that allows for totally
new angles in storytelling.
new angles in storytelling.
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A to omogućuje potpuno
nove uglove pripovedanja.
nove uglove pripovedanja.
06:24
(Laughter)
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(Smeh)
06:27
And so, what I like to do is,
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Pa, volim da radim sledeće,
06:29
I like to take images from really remote
cultural areas and bring them together.
cultural areas and bring them together.
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volim da uzmem slike iz veoma udaljenih
oblasti kulture i da ih spojim.
oblasti kulture i da ih spojim.
06:36
Now, with more daring references --
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Sad, uz odvažnije reference -
06:38
(Laughter)
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(Smeh)
06:41
I can have more fun.
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mogu više da se zabavljam.
06:43
But of course, I know that eventually
things become so obscure
things become so obscure
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Međutim, naravno, znam da vremenom
stvari postanu toliko nejasne
stvari postanu toliko nejasne
06:46
that I start losing some of you.
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da počnem da gubim neke od vas.
06:48
So as a designer, it's absolutely key
to have a good understanding
to have a good understanding
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Pa je za dizajnera apsolutno ključno
da ima dobro razumevanje
da ima dobro razumevanje
06:53
of the visual and cultural
vocabulary of your audience.
vocabulary of your audience.
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vizuelnog i kulturološkog
rečnika svoje publike.
rečnika svoje publike.
06:58
With this image here,
a comment on the Olympics in Athens,
a comment on the Olympics in Athens,
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Ovom slikom ovde,
komentarom na olimpijadu u Atini,
komentarom na olimpijadu u Atini,
07:03
I assumed that the reader
of the "New Yorker"
of the "New Yorker"
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pretpostavio sam da „Njujorkerov” čitalac
07:05
would have some rudimentary
idea of Greek art.
idea of Greek art.
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ima nekakvu osnovnu ideju
o grčkoj umetnosti.
o grčkoj umetnosti.
07:08
If you don't, the image doesn't work.
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Ako nemate, slika ne funkcioniše.
07:10
But if you do, you might
even appreciate the small detail,
even appreciate the small detail,
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Ali ako imate, možda ćete čak
i da cenite sitne detalje
i da cenite sitne detalje
07:13
like the beer-can pattern here
on the bottom of the vase.
on the bottom of the vase.
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poput šare u vidu limenke piva
na podnožju vaze.
na podnožju vaze.
07:16
(Laughter)
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(Smeh)
07:19
A recurring discussion I have
with magazine editors,
with magazine editors,
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Konstantno raspravljam
sa urednicima časopisa,
sa urednicima časopisa,
07:23
who are usually word people,
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koji su obično jezički tipovi,
07:25
is that their audience, you,
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o tome kako je njihova publika, vi,
07:29
are much better at making
radical leaps with images
radical leaps with images
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mnogo bolja u pravljenju
radikalnih iskoraka sa slikama
radikalnih iskoraka sa slikama
07:32
than they're being given credit for.
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nego što im se to pripisuje.
07:35
And the only thing I find frustrating
is that they often seem to push me
is that they often seem to push me
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A jedina stvar koja me nervira
je to što izgleda da me guraju
je to što izgleda da me guraju
07:39
towards a small set
of really tired visual clichés
of really tired visual clichés
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ka malom skupu
zaista izanđalih vizuelnih klišea
zaista izanđalih vizuelnih klišea
07:43
that are considered safe.
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koji se smatraju bezbednim.
07:44
You know, it's the businessman
climbing up a ladder,
climbing up a ladder,
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Znate, biznismen
koji se penje uz merdevine
koji se penje uz merdevine
07:47
and then the ladder moves,
morphs into a stock market graph,
morphs into a stock market graph,
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a onda se merdevine pomeraju,
pretvaraju u grafikon tržišne berze,
pretvaraju u grafikon tržišne berze,
07:50
and anything with dollar signs;
that's always good.
that's always good.
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kao i bilo šta sa znakom dolara;
to je uvek dobro.
to je uvek dobro.
07:53
(Laughter)
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(Smeh)
07:55
If there are editorial decision makers
here in the audience,
here in the audience,
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Ako u publici ima ljudi
koji donose uređivačke odluke,
koji donose uređivačke odluke,
07:58
I want to give you a piece of advice.
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želim da vam dam savet.
08:00
Every time a drawing
like this is published,
like this is published,
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Svaki put kad se sličan crtež objavi,
08:03
a baby panda will die.
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beba pande će da umre.
08:05
(Laughter)
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(Smeh)
08:06
Literally.
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Bukvalno.
08:07
(Laughter)
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(Smeh)
08:09
(Applause)
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(Aplauz)
08:13
When is a visual cliché good or bad?
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Kada je vizuelni kliše dobar ili loš?
08:17
It's a fine line.
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Postoji fina granica.
08:18
And it really depends on the story.
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I zaista zavisi od priče.
08:21
In 2011, during the earthquake
and the tsunami in Japan,
and the tsunami in Japan,
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Godine 2011, tokom zemljotresa
i cunamija u Japanu,
i cunamija u Japanu,
08:25
I was thinking of a cover.
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razmišljao sam o naslovnoj strani.
08:27
And I went through the classic symbols:
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I prelistavao sam klasične simbole:
08:29
the Japanese flag,
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japansku zastavu,
08:31
"The Great Wave" by Hokusai,
one of the greatest drawings ever.
one of the greatest drawings ever.
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„Veliki talas” od Hokusaija,
jedan od najsjajnijih crteža uopšte.
jedan od najsjajnijih crteža uopšte.
08:35
And then the story changed
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A onda se priča izmenila
08:38
when the situation at the power plant
in Fukushima got out of hand.
in Fukushima got out of hand.
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kada se situacija u nuklearnoj elektrani
u Fukušimi otrgnula kontroli.
u Fukušimi otrgnula kontroli.
08:42
And I remember these TV images
of the workers in hazmat suits,
of the workers in hazmat suits,
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I sećam se prizora na televiziji,
radnika u zaštitnim odelima
radnika u zaštitnim odelima
08:46
just walking through the site,
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kako samo šetaju mestom,
08:48
and what struck me
was how quiet and serene it was.
was how quiet and serene it was.
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a iznenadilo me je to
koliko je tiho i spokojno bilo.
koliko je tiho i spokojno bilo.
08:52
And so I wanted to create an image
of a silent catastrophe.
of a silent catastrophe.
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Pa sam želeo da napravim sliku
tihe katastrofe.
tihe katastrofe.
08:56
And that's the image I came up with.
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A ovo je slika koju sam smislio.
08:59
(Applause)
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(Aplauz)
09:00
Thank you.
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Hvala vam.
09:02
(Applause)
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(Aplauz)
09:05
What I want to do is create
an aha moment, for you, for the reader.
an aha moment, for you, for the reader.
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Želim da stvorim „aha” trenutak
za vas, za čitaoca.
za vas, za čitaoca.
09:10
And unfortunately, that does not mean
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A nažalost, to ne znači
09:12
that I have an aha moment
when I create these images.
when I create these images.
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da ja imam aha momenat
kada stvaram ove slike.
kada stvaram ove slike.
09:15
I never sit at my desk
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Nikad ne sedim za stolom
09:16
with the proverbial light bulb
going off in my head.
going off in my head.
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sa poslovičnom sijalicom
koja se pali u mojoj glavi.
koja se pali u mojoj glavi.
09:21
What it takes is actually a very slow,
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Ono što je potrebno je zapravo veoma spor,
09:24
unsexy process of minimal design decisions
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neprivlačan proces
minimalnih dizajnerskih odluka
minimalnih dizajnerskih odluka
09:27
that then, when I'm lucky,
lead to a good idea.
lead to a good idea.
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koje će onda, ako imam sreće,
dovesti do dobre ideje.
dovesti do dobre ideje.
09:31
So one day, I'm on a train,
and I'm trying to decode
and I'm trying to decode
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Pa sam jednog dana u vozu
pokušavao da dešifrujem
pokušavao da dešifrujem
09:34
the graphic rules for drops on a window.
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grafičku zakonitost kapi na prozoru.
09:37
And eventually I realize,
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I konačno sam uvideo:
09:38
"Oh, it's the background
blurry upside-down,
blurry upside-down,
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„Ah, radi se o izvrnutoj,
zamagljenoj pozadini
zamagljenoj pozadini
koja je sadržana u izoštrenoj slici.”
09:42
contained in a sharp image."
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09:43
And I thought, wow, that's really cool,
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I pomislio sam, ala je to strava,
09:45
and I have absolutely no idea
what to do with that.
what to do with that.
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i da nemam ni blagu ideju
šta da uradim s tim.
šta da uradim s tim.
09:48
A while later, I'm back in New York,
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Nešto kasnije, ponovo sam u Njujorku
09:50
and I draw this image of being stuck
on the Brooklyn bridge in a traffic jam.
on the Brooklyn bridge in a traffic jam.
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i nacrtao sam ovu sliku o zaglavljenosti
na bruklinskom mostu tokom špica.
na bruklinskom mostu tokom špica.
09:55
It's really annoying,
but also kind of poetic.
but also kind of poetic.
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Zaista je dosadno,
ali je opet nekako i poetično.
ali je opet nekako i poetično.
09:58
And only later I realized,
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A tek sam kasnije shvatio
10:00
I can take both of these ideas
and put them together in this idea.
and put them together in this idea.
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da mogu da uzmem obe ove ideje
i da ih sastavim u ovoj ideji.
i da ih sastavim u ovoj ideji.
10:04
And what I want to do
is not show a realistic scene.
is not show a realistic scene.
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A ja ne želim da prikažem
relističan prizor.
relističan prizor.
10:09
But, maybe like poetry,
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Već da vas, možda nalik poeziji,
10:11
make you aware that you
already had this image with you,
already had this image with you,
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navedem na pomisao
da ste već imali ovu sliku u sebi,
da ste već imali ovu sliku u sebi,
10:15
but only now I've unearthed it
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ali da ste je sad iskopali
10:17
and made you realize that you
were carrying it with you all along.
were carrying it with you all along.
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i da zbog mene shvatite
da ste je nosili sa sobom sve vreme.
da ste je nosili sa sobom sve vreme.
10:21
But like poetry,
this is a very delicate process
this is a very delicate process
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Međutim, poput poezije,
ovo je veoma delikatan proces
ovo je veoma delikatan proces
10:25
that is neither efficient
nor scalable, I think.
nor scalable, I think.
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koji niti je efikasan,
niti izmerljiv, mislim.
niti izmerljiv, mislim.
10:30
And maybe the most
important skill for an artist
important skill for an artist
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A možda najvažnija veština za umetnika
10:34
is really empathy.
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usitinu je empatija.
10:36
You need craft and you need --
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Potreban vam je zanat i potrebna vam je -
10:39
(Laughter)
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(Smeh)
potrebna vam je kreativnost -
10:41
you need creativity --
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10:42
(Laughter)
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(Smeh)
10:44
thank you --
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hvala vam -
10:45
to come up with an image like that.
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da smislite sličnu sliku.
10:47
But then you need to step back
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Ali onda morate da se udaljite
10:49
and look at what you've done
from the perspective of the reader.
from the perspective of the reader.
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i da pogledate šta ste napravili
iz ugla čitaoca.
iz ugla čitaoca.
10:53
I've tried to become a better artist
by becoming a better observer of images.
by becoming a better observer of images.
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Pokušavao sam da postanem bolji umetnik
tako što sam bio bolji posmatrač slika.
tako što sam bio bolji posmatrač slika.
10:59
And for that, I started
an exercise for myself
an exercise for myself
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I zbog toga sam sebi zadao vežbu
11:01
which I call Sunday sketching,
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koju nazivam nedeljnim skiciranjem,
11:03
which meant, on a Sunday, I would take
a random object I found around the house
a random object I found around the house
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a to znači da u nedelju uzmem
nasumičan predmet koji nađem u kući
nasumičan predmet koji nađem u kući
11:09
and try to see if that object
could trigger an idea
could trigger an idea
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i pokušavam da otkrijem
da li taj predmet može da izazove ideju
da li taj predmet može da izazove ideju
11:13
that had nothing to do
with the original purpose of that item.
with the original purpose of that item.
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koja nema ništa sa prvobitnom
namenom tog predmeta.
namenom tog predmeta.
11:17
And it usually just means
I'm blank for a long while.
I'm blank for a long while.
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A to obično znači
da sam dugo vremena bez ideje.
da sam dugo vremena bez ideje.
11:21
And the only trick that eventually works
is if I open my mind
is if I open my mind
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A jedini trik koji na kraju deluje
je ako oslobodim um
je ako oslobodim um
11:24
and run through every image
I have stored up there,
I have stored up there,
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i prelistam sve slike
koje sam u njemu uskladištio
koje sam u njemu uskladištio
11:28
and see if something clicks.
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i vidim da li se nešto uklapa.
11:30
And if it does, just add
a few lines of ink to connect --
a few lines of ink to connect --
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A ako se uklapa, samo dodam
nekoliko linija tušem da povežem -
nekoliko linija tušem da povežem -
11:35
to preserve this very short
moment of inspiration.
moment of inspiration.
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da sačuvam ovaj veoma kratak
trenutak inspiracije.
trenutak inspiracije.
11:40
And the great lesson there
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A najveća lekcija ovde
11:42
was that the real magic
doesn't happen on paper.
doesn't happen on paper.
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je ta da se stvarna čarolija
ne dešava na papiru.
ne dešava na papiru.
11:45
It happens in the mind of the viewer.
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Dešava se u umu gledaoca.
11:48
When your expectations and your knowledge
clash with my artistic intentions.
clash with my artistic intentions.
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Kada se vaša očekivanja i znanje
sudare s mojim umetničkim namerama.
sudare s mojim umetničkim namerama.
11:55
Your interaction with an image,
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Vaša interakcija sa slikom,
11:58
your ability to read, question,
be bothered or bored or inspired
be bothered or bored or inspired
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vaša sposobnost da čitate, propitujete,
budete uznemireni, smoreni ili inspirisani
budete uznemireni, smoreni ili inspirisani
12:03
by an image
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slikom
12:04
is as important
as my artistic contribution.
as my artistic contribution.
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jednako je važna
koliko i moj umetnički doprinos.
koliko i moj umetnički doprinos.
12:07
Because that's what turns
an artistic statement
an artistic statement
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Jer je to ono što pretvara umetnički iskaz
12:13
really, into a creative dialogue.
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u kreativni dijalog.
12:17
And so, your skill at reading images
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Stoga, vaša veština čitanja slika
12:19
is not only amazing,
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ne samo da je neverovatna,
12:21
it is what makes my art possible.
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već je zbog nje moja umetnost moguća.
12:24
And for that, I thank you very much.
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I zato sam vam veoma zahvalan.
12:27
(Applause)
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(Aplauz)
12:30
(Cheers)
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(Ovacije)
12:36
Thank you.
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Hvala vam.
12:37
(Applause)
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(Aplauz)
ABOUT THE SPEAKER
Christoph Niemann - Illustrator, artist, authorWith charm and incisive wit, Christoph Niemann sketches the moments of our shared experience.
Why you should listen
Christoph Niemann is the master of the deceptively simple. His work -- which often combines line drawing or brushwork with physical objects, or eschews drawing altogether in favor of LEGO -- has appeared on the covers of the New Yorker, WIRED and the New York Times Magazine and has won many awards. He has drawn live from the Venice Art Biennale and the Olympic Games in London, and he has sketched the New York City Marathon -- while running it. He created the New Yorker's first augmented reality cover as well as a hand-drawn 360-degree VR animation for the magazine's US Open issue.
Niemann is the author of many books, including the monograph Sunday Sketching, WORDS and Souvenir. With Nicholas Blechman, he published the book Conversations. With Jon Huang, he created the kids' apps Petting Zoo and Chomp. His work is subject of an episode of Abstract, a new original Netflix series.
Christoph Niemann | Speaker | TED.com