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

Why you should listen

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

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

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

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

Milton Glaser: Using design to make ideas new

米尔顿•格拉塞 ——设计里出新思路

Filmed:
457,311 views

TED档案:传奇设计师米尔顿•格拉塞受到皮耶罗•德拉•弗朗西斯的启发,潜心钻研于一种新型的绘画艺术。在这里,他将想法分解而维新得到灵感,从而创造出令人折服的海报作品。
- Graphic designer
If his career began and ended with "I [heart] N Y," Milton Glaser would still be a legend. But over his multi-decade career, his body of work is sprinkled with similarly iconic images and logos. Full bio

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

00:18
'Theme主题 and variations'变化' is one of those forms形式 that
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主题和变体是一种
00:21
require要求 a certain某些 kind of intellectual知识分子 activity活动,
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需要特定智力活动参与的形式。
00:26
because you are always comparing比较 the variation变异
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因为你总是在把变体和
00:29
with the theme主题 that you hold保持 in your mind心神.
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已经存在于你脑海中的主题作比较。
00:32
You might威力 say that the theme主题 is nature性质
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你也许会说主题是自然
00:36
and everything that follows如下 is a variation变异 on the subject学科.
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与它相关的一切是这一主题的变体。
00:46
I was asked, I guess猜测 about six years年份 ago,
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我想大概是6年前,我被邀请
00:54
to do a series系列 of paintings绘画
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创作一系列某种程度上是为
00:59
that in some way would celebrate庆祝 the birth分娩 of Piero皮耶罗 della德拉 Francesca弗朗西斯.
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皮耶罗•德拉•弗朗切斯卡庆生的绘画。
01:06
And it was very difficult for me to imagine想像
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我很难想象
01:10
how to paint涂料 pictures图片 that were based基于 on Piero皮耶罗
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该如何基于皮耶罗来做画
01:19
until直到 I realized实现 that I could look at Piero皮耶罗 as nature性质 --
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后来我意识到我可以把他作为自然来看待。
01:26
that I would have the same相同 attitude态度 towards looking at Piero皮耶罗 della德拉 Francesca弗朗西斯
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也就是说我在欣赏皮耶罗·德拉·弗朗切斯卡时
01:33
as I would if I were looking out a window窗口 at a tree.
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就如同观赏窗外一棵普通的大树一般。
01:36
And that was enormously巨大 liberating解放 to me.
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这极大的解放了我,
01:39
Perhaps也许 it's not a very insightful见地 observation意见,
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也许那并不是一种很透彻的观察,
01:43
but that really started开始 me on a path路径 to be able能够 to do a kind of theme主题 and variations变化
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但是它真正地让我开始能够创造一些主题和变体。
01:49
based基于 on a work by Piero皮耶罗,
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根据皮耶罗的一幅作品,
01:53
in this case案件 that remarkable卓越 painting绘画 that's in the Uffizi乌菲齐, "The Duke公爵 of Montefeltro蒙特费尔特罗,"
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这里所说的是在乌菲兹的伟大画作——《蒙特菲尔特罗公爵》,
02:00
who faces面孔 his consort配偶, Battista巴蒂斯塔.
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画中的他正面朝着他的夫人巴蒂斯塔。
02:05
Once一旦 I realized实现 that I could take some liberties自由 with the subject学科,
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自从我意识到自己可以顺心所欲的围绕这一主题创造时,
02:09
I did the following以下 series系列 of drawings图纸.
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我完成了以下一系列的图画。
02:13
That's the real真实 Piero皮耶罗 della德拉 Francesca弗朗西斯 --
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这是真实的皮耶罗•德拉•弗朗切斯。
02:18
one of the greatest最大 portraits画像 in human人的 history历史.
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它是人类历史上伟大的头像之一。
02:23
And these, I'll just show显示 these without comment评论.
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这些我将不做任何评说。
02:27
It's just a series系列 of variations变化 on the head of the Duke公爵 of Montefeltro蒙特费尔特罗,
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它只是一系列的蒙特菲尔特罗公爵头像的变体,
02:33
who's谁是 a great, great figure数字 in the Renaissance再生,
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蒙特菲尔特罗公爵在文艺复兴时期是一位很了不起的人物,
02:36
and probably大概 the basis基础 for Machiavelli's马基雅维利 "The Prince王子."
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而且很可能是马基雅维利的作品《王子》的原型。
02:39
He apparently显然地 lost丢失 an eye in battle战斗,
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他在战争中失去了一只眼睛,
02:42
which哪一个 is why he is always shown显示 in profile轮廓.
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这是为什么他总是以侧面示人。
02:45
And this is Battista巴蒂斯塔.
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这是巴蒂斯塔。
02:50
And then I decided决定 I could move移动 them around a little bit --
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后来我想我可以稍微地把他们移动一下。
02:56
so that for the first time in history历史, they're facing面对 the same相同 direction方向.
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这样在历史上他们第一次面向了同一个方向。
02:59
Whoops哎呦! Passed通过 each other.
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哎呀!他们错过了。
03:06
And then a visitor游客 from another另一个 painting绘画 by Piero皮耶罗,
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这是来自皮耶罗另一幅画作的访客,
03:09
this is from "The Resurrection复活 of Christ基督" --
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他来自“基督复活”,
03:12
as though虽然 the cast had just gotten得到 of the set to have a chat.
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这样就好像他们要开始聊天。
03:17
And now, four large panels面板:
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现在是四大面板。
03:20
this is upper left;
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这是左上角部分。
03:22
upper right;
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右上角部分。
03:26
lower降低 left;
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左下角部分。
03:29
lower降低 right.
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右下角部分。
03:31
Incidentally顺便, I've never understood了解 the conflict冲突 between之间 abstraction抽象化 and naturalism自然主义.
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顺便提一句,我从未理解抽象主义与自然主义之间的冲突,
03:38
Since以来 all paintings绘画 are inherently本质 abstract抽象 to begin开始 with
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因为所有的绘画本质上都是源于抽象
03:42
there doesn't seem似乎 to be an argument论据 there.
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没有什么可争论的。
03:45
On another另一个 subject学科 --
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又有一次,
03:48
(Laughter笑声) --
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(笑声)
03:51
I was driving主动 in the country国家 one day with my wife妻子,
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有一天我和妻子在乡下开着车,
03:55
and I saw this sign标志,
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我看到了一个标志,
03:57
and I said, "That is a fabulous极好 piece of design设计."
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说:“那是不错的设计。”
04:00
And she said, "What are you talking about?"
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而她却问道:“你在说什么?”
04:03
I said, "Well, it's so persuasive说服力,
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我说:“嗯,这很有说服力,
04:05
because the purpose目的 of that sign标志 is to get you into the garage车库,
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因为这个标志的目的就是要让你去车库,
04:10
and since以来 most people are so suspicious可疑 of garages车库,
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而由于大部分人都是不放心车库这种地方,
04:15
and know that they're going to be ripped撕开 off,
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认为自己会被宰,
04:18
they use the word 'reliable'可靠.'
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所以他们用了“可靠的”这个词汇。
04:21
But everybody每个人 says they're reliable可靠.
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但每个人都可以说他们很可靠。
04:23
But, reliable可靠 Dutchman荷兰人" --
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但是,可靠的荷兰人~
04:26
(Laughter笑声) --
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(笑声)
04:28
"Fantastic奇妙!"
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好极了!
04:30
Because as soon不久 as you hear the word Dutchman荷兰人 --
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因为一旦你听到Dutchman这个词——
04:33
which哪一个 is an archaic古老 word, nobody没有人 calls电话 Dutch荷兰人 people "Dutchmen荷兰人" anymore --
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那是一个不再被用来称呼荷兰人的古老词汇——
04:36
but as soon不久 as you hear Dutchman荷兰人,
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当你听到这个词,
04:38
you get this picture图片 of the kid孩子 with his finger手指 in the dike,
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你会联想到有一个小孩将手指放在堤坝中
04:41
preventing防止 the thing from falling落下 and flooding洪水 Holland荷兰, and so on.
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为了防止堤坝脱落并淹没荷兰而之类的画面。
04:44
And so the entire整个 issue问题 is detoxified解毒 by the use of "Dutchman荷兰人."
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因此整件事由于“Dutchman”的使用而更加清晰。
04:51
Now, if you think I'm exaggerating夸大 at all in this,
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如果你们现在认为我是在夸张的话,
04:54
all you have to do is substitute替代 something else其他, like "Indonesian印度尼西亚."
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可以试试将印度人之类的其它词语来代替荷兰人。
04:58
(Laughter笑声)
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(笑声)
05:06
Or even "French法国."
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甚至可以是法国人。
05:09
(Laughter笑声)
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(笑声)
05:14
Now, "Swiss瑞士人" works作品, but you know it's going to cost成本 a lot of money.
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当然瑞士人也行,但你知道那会花很多钱。
05:18
(Laughter笑声)
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(笑声)
05:21
I'm going to take you quickly很快 through通过 the actual实际 process处理 of doing a poster海报.
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我将要带领你们快速地过一遍创作海报的真实过程。
05:27
I do a lot of work for the School学校 of Visual视觉 Arts艺术, where I teach,
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我为我所从教的视觉艺术学院做了很多工作,
05:30
and the director导向器 of this school学校 -- a remarkable卓越 man named命名 Silas塞拉斯 Rhodes罗兹 --
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一位非常出色的叫做西拉斯罗德的校长
05:33
often经常 gives you a piece of text文本 and he says, "Do something with this."
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经常给你一小段文字然后说:“用它做点什么吧。”
05:38
And so he did.
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他确实这么做了。
05:40
And this was the text文本 -- "In words as fashion时尚 the same相同 rule规则 will hold保持/
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这就是那一小段文字——“就时尚来说存在着同样的道理/
05:43
Alike一样 fantastic奇妙 if too new or old/
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无论过于新颖或是陈旧都是同样出色的/
05:44
Be not the first by whom the new are tried试着/
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不要成为第一个尝试新颖的人/
05:48
Nor也不 yet然而 the last to lay铺设 the old aside在旁边."
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也不要成为最后抛弃陈旧的人。“
05:51
I could make nothing of that.
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我当时没有任何想法。
05:53
And I really struggled挣扎 with this one.
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然后我确确实实很努力地去创作。
05:55
And the first thing I did, which哪一个 was sort分类 of in the absence缺席 of another另一个 idea理念,
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我做的第一幅作品,还缺乏些创意,
05:58
was say I'll sort分类 of write it out and make some words big,
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可以看出我只是把它写出来并将一些词语加大而已,
06:01
and I'll have some kind of design设计 on the back somehow不知何故,
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同时在背景做了点设计,
06:06
and I was hoping希望 -- as one often经常 does -- to stumble绊倒 into something.
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我期望,正如人们经常希望的那样,能够碰巧创造出些什么。
06:09
So I took another另一个 crack裂纹 at it --
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因此我又创作了另一幅,将它分裂了一些,
06:12
you've got to keep it moving移动 --
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你必须继续努力。
06:14
and I Xeroxed影印的 some words on pieces of colored有色 paper
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我在彩色纸上打印了几个字
06:16
and I pasted粘贴 them down on an ugly丑陋 board.
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把它们粘在一个丑陋的板子上
06:19
I thought that something would come out of it,
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我认为某种东西一定会浮现出来,
06:22
like "Words rule规则 fantastic奇妙 new old first last Pope教皇"
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比如”词语 规则 奇妙的 新的 旧的 第一 最后 罗马教皇 “
06:25
because it's by Alexander亚历山大 Pope教皇,
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因为这是亚历山大蒲柏写的,
06:28
but I sort分类 of made制作 a mess食堂 out of it,
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但是我将它搞得有些混乱了,
06:30
and then I thought I'd repeat重复 it in some way so it was legible清晰.
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后来我认为应该重新整理它,这样才能清晰。
06:32
So, it was going nowhere无处.
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因此,我陷入了僵局。
06:35
Sometimes有时, in the middle中间 of a resistant problem问题,
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有时候在解决一个顽固的问题期间,
06:39
I write down things that I know about it.
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我会记录下我对它所了解的一起,
06:42
But you can see the beginning开始 of an idea理念 there,
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而你能够从中发现一些想法的开端,
06:44
because you can see the word "new" emerging新兴 from the "old."
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因为你会发现单词”new“从”old“中浮现出来,
06:47
That's what happens发生.
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这就是事实。
06:49
There's a relationship关系 between之间 the old and the new;
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在”old“和”new“之间存在某种关系,
06:52
the new emerges出现 from the context上下文 of the old.
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”new“从”old“的包围中浮现出来。
06:54
And then I did some variations变化 of it,
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后来我对它做了一些改变,
06:56
but it still wasn't coalescing合并 graphically图形 at all.
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但是它在图形上仍然有些不是衔接的很好。
07:00
I had this other version which哪一个 had something interesting有趣 about it
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我另有一个比较有趣的版本,
07:03
in terms条款 of being存在 able能够 to put it together一起 in your mind心神 from clues线索.
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它能够将所有提示汇聚到一起形成于你脑中。
07:09
The W was clearly明确地 a W, the N was clearly明确地 an N,
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这里的”W“显然是”W“,"N"显示是”N“
07:12
even though虽然 they were very fragmentary残缺不全
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即使他们不是非常连续,
07:16
and there wasn't a lot of information信息 in it.
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而且其中也并没有很多信息。
07:18
Then I got the words "new" and "old"
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这样我就大概设计出了单词”new“和”old“。
07:20
and now I had regressed回归 back to a point where there seemed似乎 to be no return返回.
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现在我退回到了一个似乎不可返回的点上。
07:25
(Laughter笑声)
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(笑声)
07:27
I was really desperate殊死 at this point.
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那时我相当绝望。
07:30
And so, I do something I'm truthfully如实 ashamed羞愧 of,
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所以我做了一些说实话确实很羞愧的事情,
07:34
which哪一个 is that I took two drawings图纸 I had made制作 for another另一个 purpose目的
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我找到了两幅另外创作的画作,
07:38
and I put them together一起.
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然后将它们放在了一起,
07:43
It says "dreams" at the top最佳.
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在最上面写了”梦想“。
07:46
And I was going to do a thing, I say, "Well, change更改 the copy复制.
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然后我将要做的是,我会说:”“那么,改变一下这个副本。
07:49
Let it say something about dreams, and come to SVASVA
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让它体现出梦想,来到视觉艺术学院
07:53
and you'll你会 sort分类 of fulfill履行 your dreams."
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你将可能实现你的梦想。”
07:55
But, to my credit信用,
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但是值得赞扬的是,
07:57
I was so embarrassed尴尬 about doing that
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我对此感到很不好意思
08:00
that I never submitted提交 this sketch草图.
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因此我从来没有提交过这份草稿。
08:04
And, finally最后, I arrived到达 at the following以下 solution.
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最后我使用了以下的解决方案。
08:09
Now, it doesn't look terribly可怕 interesting有趣,
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它看上不不是那么有意思,
08:13
but it does have something
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但是它拥有某种
08:16
that distinguishes区分 it from a lot of other posters海报.
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与很多其它海报不同的东西。
08:22
For one thing, it transgresses逾越 the idea理念 of what a poster's海报的 supposed应该 to be,
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比如,它违背了海报本应该具有的特点,
08:26
which哪一个 is to be understood了解 and seen看到 immediately立即, and not explained解释.
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就是应该直接地被看到和理解,而不需要解释。
08:34
I remember记得 hearing听力 all of you in the graphic图像 arts艺术 --
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我记得在图形艺术上听到大家都说
08:37
"If you have to explain说明 it, it ain't working加工."
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“如果你必须为此解释,则它没有任何效果。”
08:40
And one day I woke醒来 up and I said, "Well, suppose假设 that's not true真正?"
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有一天我醒过来然后说:“如果那是错的呢?”
08:44
(Laughter笑声)
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(笑声)
08:50
So here's这里的 what it says in my explanation说明 at the bottom底部 left.
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所以在左下角就是我的解释
08:55
It says, "Thoughts思考: This poem is impossible不可能.
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上面是这样写的,“想法:这首诗是不可能的。
09:01
Silas塞拉斯 usually平时 has a better touch触摸 with his choice选择 of quotations报价.
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塞拉斯通常会较好选择引用语。
09:05
This one generates生成 no imagery意象 at all."
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而这个并没有营造出任何画面感。”
09:07
I am now exposing曝光 myself to my audience听众, right?
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我正在对我的听众表达我自己的想法,对吗?
09:10
Which哪一个 is something you never want to do professionally专业.
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这是你永远都不想认认真真去做的事。
09:13
"Maybe the words can make the image图片 without anything else其他 happening事件.
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“也许文字可以构建出画面但除此之外别无他事。
09:17
What's the heart of this poem?
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那么诗歌的核心是什么?
09:19
Don't be trendy新潮 if you want to be serious严重.
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如果你想要认真就不要赶时尚。
09:21
Is doing the poster海报 this way trendy新潮 in itself本身?
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如此制作海报就本身来说是时尚的吗?
09:24
I guess猜测 one could reduce减少 the idea理念 further进一步
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我猜想任何人都可以进一步缩小想法,
09:26
by suggesting提示 that the new emerges出现 behind背后 and through通过 the old,
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可以建议将”new“穿过”old“,
09:30
like this."
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就像这样:“
09:32
And then I show显示 you a little drawing画画 --
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那么我给你们看一副画——
09:34
you see, you remember记得 that old thing I discarded丢弃?
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你们还应该记得我抛弃的老的创作吧?
09:37
Well, I found发现 a way to use it.
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我发现了利用它的方法,
09:39
So, there's that little alternative替代 over there,
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所以那里出现了一些替代方案,
09:42
and I say, "Not bad," -- criticizing批评 myself --
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说我认为这并不坏,——自我批评——
09:46
"but more didactic教导的 than visual视觉.
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”但相比视觉更多的是说教。
09:49
Maybe what wants to be said is that old and the new are locked锁定 in a dialectical辩证 embrace拥抱,
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也许真正想说的是陈旧的和新颖的是辩证的,
09:52
a kind of dance舞蹈 where each defines定义 the other."
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相互联系相互影响的。“
09:54
And then more self-questioning自我提问 -- "Am I being存在 simple-minded傻呵呵?
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然后是更多的自我反省——”我是不是头脑简单了?
09:58
Is this the kind of simple简单 that looks容貌 obvious明显, or the kind that looks容貌 profound深刻?
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这是看上去很明显的简单,还是看上去很深奥的简单呢?
10:02
There's a significant重大 difference区别.
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其中有着重大的区别。
10:04
This could be embarrassing尴尬.
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这会是令人羞愧的。
10:06
Actually其实, I realize实现 fear恐惧 of embarrassment困窘 drives驱动器 me as much as any ambition志向.
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事实上,我察觉到对于困境的恐惧如同任何抱负一样驱动着我。
10:10
Do you think this sort分类 of thing could really attract吸引 a student学生 to the school学校?"
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你们认为这真的会吸引一个学生来学校吗?
10:14
(Laughter笑声)
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(笑声)
10:21
Well, I think there are two fresh新鲜 things here -- two fresh新鲜 things.
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不错,我认为这里有两件新鲜的事物——两个新鲜的事物。
10:26
One is the sort分类 of willingness愿意 to expose暴露 myself to a critical危急 audience听众,
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一个是——在挑剔的听众面前表达自我的意愿,
10:33
and not to suggest建议 that I am confident信心 about what I'm doing.
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这并不是指我对我做的事情充满了信心。
10:39
And as you know, you have to have a front面前.
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正如你们所知道的,你必须有一个所要面对的方向,
10:43
I mean -- you've got to be confident信心;
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我指你必须做到自信。
10:45
if you don't believe in your work, who else其他 is going to believe in it?
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如果你不相信你所做的一切,那么谁又会去相信呢?
10:48
So that's one thing,
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所以这是第一个,有些
10:50
to introduce介绍 the idea理念 of doubt怀疑 into graphics图像.
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将怀疑的思想引入到了图形中。
10:55
That can be a big contribution贡献.
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那会是一个很大的贡献。
10:57
The other thing is to actually其实 give you two solutions解决方案 for the price价钱 of one;
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另一个是它给你提供了两种解决方案,
11:01
you get the big one
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你可以选择大的这个,
11:04
and if you don't like that, how about the little one?
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如果你不喜欢那个,那么小的这个怎么样?
11:07
(Laughter笑声)
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(笑声)
11:09
And that too is a relatively相对 new idea理念.
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那也是一个比较新的想法。
11:12
And here's这里的 just a series系列 of experiments实验
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这里有一系列的实验
11:15
where I ask the question of -- does a poster海报 have to be square广场?
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其中我问了一个问题——海报必须是方形的吗?
11:20
Now, this is a little illusion错觉.
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这有些幻象了。
11:23
That poster海报 is not folded折叠.
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那个海报并没有被折叠。
11:25
It's not folded折叠, that's a photograph照片
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它没有被折叠,它是一张照片
11:28
and it's cut on the diagonal对角线.
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它在对角线上被剪裁了。
11:31
Same相同 cheap低廉 trick in the upper left-hand左手 corner.
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在左上角使用了同样的小把戏。
11:36
And here,
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这里,
11:38
a very peculiar奇特 poster海报 because,
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是一张非常奇特的海报,因为,
11:40
simply只是 because of using运用 the isometric等距 perspective透视 in the computer电脑,
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仅仅因为利用了计算机中的等距视角。
11:45
it won't惯于 sit still in the space空间.
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它在空间中不是静止不动的。
11:48
At times, it seems似乎 to be wider更宽的 at the back than the front面前,
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有时候,仿佛后边比前边更加宽敞,
11:51
and then it shifts转变.
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然后又改变了。
11:53
And if you sit here long enough足够, it'll它会 float浮动 off the page into the audience听众.
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如果你坐在这里足够久,它会离开页面漂到观众中。
11:58
But, we don't have time.
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但是,我们没有时间。
12:00
(Laughter笑声)
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(笑声)
12:01
And then an experiment实验 --
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然后又是一个实验——
12:03
a little bit about the nature性质 of perspective透视,
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有一点点关于透视的性质,
12:06
where the outside shape形状 is determined决心 by the peculiarity特点 of perspective透视,
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它的边缘形状由透视的特性决定,
12:10
but the shape形状 of the bottle瓶子 -- which哪一个 is identical相同 to the outside shape形状 --
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但是和边缘形状类似的瓶子的外形
12:14
is seen看到 frontally正面.
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看起来更靠前一些。
12:16
And another另一个 piece for the art艺术 directors'董事 club俱乐部
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另一个为艺术总监们的俱乐部设计的
12:20
is "Anna安娜 Rees里斯" casting铸件 long shadows阴影.
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是安娜里斯投射的长长的影子。
12:24
This is another另一个 poster海报 from the School学校 of Visual视觉 Arts艺术.
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这不是视觉艺术学院制作的海报。
12:27
There were 10 artists艺术家 invited邀请 to participate参加 in it,
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有10位艺术家被邀请参与制作,
12:32
and it was one of those things where it was extremely非常 competitive竞争的
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这是众多竞争非常激烈的事情之一,
12:34
and I didn't want to be embarrassed尴尬,
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我不想陷入尴尬窘境,
12:36
so I worked工作 very hard on this.
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所以我为此非常努力地工作。
12:39
The idea理念 was -- and it was a brilliant辉煌 idea理念 --
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它的想法是——这是一个不错的想法——
12:41
was to have 10 posters海报 distributed分散式 throughout始终 the city's城市的 subway地铁 system系统
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在整个城市的地铁里粘贴10幅海报,
12:45
so every一切 time you got on the subway地铁 you'd be passing通过 a different不同 poster海报,
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这样每次进入地铁都可以经过不同的海报,
12:49
all of which哪一个 had a different不同 idea理念 of what art艺术 is.
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每一幅都有对于什么是艺术的不同理解。
12:53
But I was absolutely绝对 stuck卡住 on the idea理念 of "art艺术 is"
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但是我完全停留在“艺术”的理念上
12:59
and trying to determine确定 what art艺术 was.
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并且竭力去探寻艺术是什么。
13:03
But then I gave up and I said, "Well, art艺术 is whatever随你."
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不过后来我放弃了并且认为:“任何事物都是艺术。”
13:07
And as soon不久 as I said that,
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当我意识到那点时,
13:09
I discovered发现 that the word "hat帽子" was hidden in the word "whatever随你,"
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我发现单词“hat”隐藏在单词“whatever”中,
13:12
and that led me to the inevitable必然 conclusion结论.
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这将我引导到了这个必然的结论上。
13:15
But then again, it's on my list名单 of didactic教导的 posters海报.
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不过又一次它成为我的说教海报的一员。
13:19
My intent意图 is to have a literary accompaniment伴奏 that explains说明 the poster海报,
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我是想要用点文学来解释海报,
13:23
in case案件 you don't get it.
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以防你不能理解它。
13:26
(Laughter笑声)
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(笑声)
13:28
Now this says, "Note注意 to the viewer观众:
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这里写着:“给观者的注解——
13:30
I thought I might威力 use a visual视觉 cliche陈词滥调 of our time -- Magritte's马格利特的 everyman每个人 --
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我原想我可能会用这个时代的视觉上的陈词滥调,马格里特的人们,
13:33
to express表现 the idea理念 that art艺术 is mystery神秘, continuity连续性 and history历史.
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来表达艺术具有神秘性、连续性以及历史性这一想法。
13:37
I'm also convinced相信 that, in an age年龄 of computer电脑 manipulation操作,
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我也确信在电脑操控的时代,
13:40
surrealism超现实主义 has become成为 banal平庸,
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超现实主义已然变得腐朽不堪,
13:43
a shadow阴影 of its former前任的 self.
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成为了它前身的一道影子。
13:45
The phrase短语 'Art'艺术 is whatever'随你'
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这个短语“任何事物都是艺术”
13:47
expresses表达 the current当前 inclusiveness包容性 that surrounds围绕着 art-making艺术创作 --
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解释了当下包围着艺术创作的包容性——
13:50
a sort分类 of 'it'它 ain't what you do, it's the way that you do it'它' notion概念.
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有些“不是你要创作什么而是你创作的方式”的概念。
13:53
The shadow阴影 of Magritte马格利特 falls下降 across横过 the central中央 part部分 of the poster海报
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马格里特的影子铺盖了海报的中心部分
13:57
a poetic诗意 event事件 that occurs发生 as the shadow阴影 man isolates分离 the word 'hat'帽子,'
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当这个人形影子将隐藏在单词“whatever”中的“hat”这个词
14:02
hidden in the word 'whatever'随你.'
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孤立出来时产生了诗意效果。
14:04
The four hats帽子 shown显示 in the poster海报 suggests提示 how art艺术 might威力 be defined定义:
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在海报中展示的靠前的帽子暗示了艺术可能被定义为
14:07
as a thing itself本身, the worth价值 of the thing, the shadow阴影 of the thing,
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一种事物本身、事物的价值、事物的影子
14:11
and the shape形状 of the thing.
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或者是事物的形状。
14:13
Whatever随你."
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无论是什么。
14:15
(Applause掌声)
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(掌声)
14:16
OK.
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好吧
14:17
(Applause掌声)
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(掌声)
14:22
And the one that I did not submit提交,
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接下来是一幅我没有提交的作品,
14:25
which哪一个 I still like,
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但我仍然很喜欢。
14:27
I wanted to use the same相同 phrase短语.
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我想用同一个短语——
14:29
There were wonderful精彩 experiments实验 by Bruno布鲁诺 Munari穆纳里
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在许多年以前布鲁诺穆纳里曾做过
14:35
on letterforms字母形式 some years年份 ago --
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一些关于字母形式的相当精彩的实验——
14:37
sort分类 of, see how far you could go and still be able能够 to read them.
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来观察到了什么程度你们仍然能够把单词识别出来。
14:39
And that idea理念 stuck卡住 in my head.
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而且那种想法停留在我的脑中。
14:41
But then I took the pieces that I had taken采取 off and put them at the bottom底部.
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但是后来我把去掉的部分又重新组合起来放在下方,
14:46
And, of course课程 those are the remains遗迹, and they're so labeled标记.
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当然它们是残余下来的并且很具有标记性。
14:51
But what really happens发生 is that you read it as:
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但是事实上你将读到的是——
14:54
"Art艺术 is whatever随你 remains遗迹."
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“艺术是任何保存下来的事物。”
14:57
Thank you.
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谢谢。
14:59
(Applause掌声)
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(鼓掌)
Translated by Liang He
Reviewed by Amy Zerotus

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

Why you should listen

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

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

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

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