WEBVTT

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Blah blah blah blah blah.

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Blah blah blah blah,

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blah blah, blah blah blah blah blah blah.

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Blah blah blah, blah blah.

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So what the hell was that?

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Well, you don't know

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because you couldn't understand it.

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It wasn't clear.

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But hopefully, it was said
with enough conviction

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that it was at least
alluringly mysterious.

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Clarity or mystery?

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I'm balancing these two things
in my daily work as a graphic designer,

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as well as my daily life as a New Yorker

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every day,

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and there are two elements
that absolutely fascinate me.

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Here's an example.

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Now, how many people know what this is?

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Okay. Now how many people
know what this is?

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Okay. Thanks to two more deft strokes
by the genius Charles M. Schulz,

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we now have seven deft strokes
that in and of themselves

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create an entire emotional life,

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one that has enthralled
hundreds of millions of fans

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for over 50 years.

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This is actually a cover of a book

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that I designed about the work
of Schulz and his art,

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which will be coming out this fall,

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and that is the entire color.

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There is no other typographic information
or visual information on the front,

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and the name is the book
is Only What's Necessary.

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So this is sort of symbolic about

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the decisions I have to make every day

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about the design that I'm perceiving,

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and the design I'm creating.

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So clarity.

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Clarity gets to the point.

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It's blunt. It's honest. It's sincere.

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We ask ourselves this.
[When should you be clear?]

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Now, something like this,

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whether we can read it or not,

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needs to be really, really clear.

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Is it?

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This is a rather recent example
of urban clarity that I just love,

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mainly because I'm always late

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and I'm always in a hurry.

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So when these meters started showing up
a couple of years ago on street corners,

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I was thrilled, because now I finally knew

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how many seconds I had
to get across a street

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before I got run over by a car.

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Six? I can do that. (Laughter)

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So let's look at the yin
to the clarity yang,

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and that is mystery.

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Mystery is a lot more complicated
by its very definition.

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Mystery demands to be decoded,

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and when it's done right,

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we really, really want to.

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In World War II, the Germans
really, really wanted to decode this,

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and they couldn't.

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Here's an example of a design
that I've done recently

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for a novel by Haruki Murakami,

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who I've done design work for
for over 20 years now,

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and this is a novel about a young man
who has four dear friends

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who all of a sudden,
after their freshman year of college,

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completely cut him off
with no explanation,

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and he is devastated.

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And the friend's names each have

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a connotation in Japanese to a color.

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So there's Mr. Red, there's Mr. Blue,
there's Ms. White, and Ms. Black.

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Tsukuru Tazaki, his name
does not correspond to a color,

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so his nickname is "Colorless," and
as he's looking back on their friendship,

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he recalls that they were like
five fingers on a hand.

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So I created this sort of abstract
representation of this,

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but there's a lot more going on
underneath the surface of the story,

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and there's more going on underneath
the surface of the jacket.

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The four fingers are now four train lines

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in the Tokyo subway system,

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which has significance within the story.

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And then you have
the colorless subway line

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intersecting with each
of the other colors,

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which basically he does
later on in the story.

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He catches up with each of these people

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to find out why they treated him
the way they did.

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And so this is the three-dimensional
finished product

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sitting on my desk in my office,

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and what I was hoping for here
is that you'll simply be allured

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by the mystery of what this looks like,

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and will want to read it

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to decode and find out and make more clear

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why it looks the way it does.

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[The Visual Vernacular.]

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This is a way to use a more
familiar kind of mystery.

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What does this mean?

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This is what it means.
[Make it look like something else.]

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The visual vernacular is the way
we are used to seeing a certain thing

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applied to something else so that
we see it in a different way.

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This is an approach I wanted to take

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to a book of essays by David Sedaris

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that had this title at the time.

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["All the Beauty You Will Ever Need"]

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Now, the challenge here was that
this title actually means nothing.

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It's not connected to any
of the essays in a book.

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It came to the author's boyfriend
in a dream.

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Thank you very much, so -- (Laughter) --
so usually, I am creating a design

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that is in some way based on the text,
but this is all the text there is.

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So you've got this mysterious title
that really doesn't mean anything,

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so I was trying to think:

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where might I see a bit of mysterious text

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that seems to mean something but doesn't,

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and sure enough, not long after,

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one evening after a Chinese meal,

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this arrive,d and I thought,
"Ah, bing, ideagasm!" (Laughter)

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I've always loved the hilariously
mysterious tropes of fortune cookies

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that seem to mean something extremely deep

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but when you think about them, if
you think about them, they really don't.

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This says, "Hardly anyone knows how much
is gained by ignoring the future."

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Thank you. (Laughter)

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But we can take this visual vernacular

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and apply it to Mr. Sedaris,

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and we are so familiar

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with how fortune cookie fortunes look

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that we don't even need
the bits of the cookie anymore.

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We're just seeing this strange thing

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and we know we love David Sedaris,

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and so we hope that
we're in for a good time.

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["Fraud." Essays by David Rakoff]
David Rakoff was a wonderful writer

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and he called his first book "Fraud"

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because he was getting sent
on assignments by magazines

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to do things that he
was not equipped to do.

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So he was this skinny little urban guy

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and GQ Magazine would send him
down the Colorado River

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whitewater rafting to see
if he would survive.

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And then he would write about it,
and he felt that he was a fraud

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and that he was misrepresenting himself.

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And so I wanted the cover of this book
to also misrepresent itself,

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and then somehow show
a reader reacting to it.

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This led me to graffiti.

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I'm fascinated by graffiti.

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I think anybody who lives
in an urban environment

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encounters graffiti all the time,
and there's all different sorts of it.

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This is a picture I took
on the Lower East Side

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of just a transformer box on the sidewalk

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and it's been tagged like crazy.

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Now whether you look at this and think,
"Oh, that's a charming urban affectation,"

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or you look at and say,
"That's illegal abuse of property,"

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the one thingI think we can all agree on

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is that you cannot read it. (Laughter)

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Right? There is no clear message here.

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There is another kind of graffiti
that I find far more interesting

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which I call editorial graffiti.

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This is a picture I took recently

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in the subway,

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and sometimes you see lots of fury
and stupid stuff,

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but I thought this was interesting,
and this is a poster that is saying

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"Rah, rah, Airbnb,"

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and someone has taken a magic marker

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and has editorialized about
what they think about it.

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And it got my attention.

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So I was thinking, how do we
apply this to this book?

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So I get the book by this person,

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and I start reading it, and I'm thinking,

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this guy is not who he says he is.

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He's a fraud, and I get out
a red magic marker,

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and out of frustration just
scribble this across the front.

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Design done. (Laughter)

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And they went for it! (Laughter)

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Author liked it, publisher like it,

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and that is how the book
went out into the world,

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and it was really fun to see
people reading this on the subway

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and walking around with it
and what have you,

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and they all sort of looked
like they were crazy.

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(Laughter)

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["Perfidia." A novel by James Ellroy.]
Okay, James Ellroy, amazing crime writer,

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a good friend, I've worked
with him for many years.

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He is probably best known as the author

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of "The Black Dalia"
and "L.A. Confidential."

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His most recent novel was called this,

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which is a very mysterious name

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that I'm sure a lot of people know
what it means, but a lot of people don't.

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And it's a story about a Japanese-American
detective in Los Angeles in 1941

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investigating a murder.

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And then Pearl Harbor happens,
and as if his life wasn't difficult enough,

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now the race relations

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have really ratcheted up,

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and then the Japanese-American
internment camps are quickly created,

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and there's lots of tension

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and horrible stuff as he's still
trying to solve this murder.

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And so I did at first think
very literally about this in terms of

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all right, we'll take Pearl Harbor

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and we'll add it to Los Angeles

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and we'll make this kind of, like,

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apocalyptic dawn
on the horizon of the city.

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And so that's a picture from Pearl Harbor

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just grafted onto Los Angeles.

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My editor in chief said,
"You know, it's interesting

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but I think you can do better
and I think you can make it simpler."

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And so I went back
to the drawing board, as I often do.

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But also, being alive to my surroundings,

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I work in a high rise in Midtown,

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and every night,
before I leave the office,

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I have to push this button to get out,

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and the big heavy glass doors open
and I can get onto the elevator.

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And one night, all of a sudden,

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I looked at this and I saw it in a way
that I hadn't really noticed it before.

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Big red circle, danger.

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And I thought this was so obvious

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that it had to have been
done a zillion times,

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and so I did a Google image search,
and I couldn't find another book cover

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that looked quite like this,

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and so this is really
what solved the problem,

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and graphically it's more interesting

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and creates a bigger tension
between the idea

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of a certain kind of sunrise
coming up over L.A. and America.

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["Gulp." A tour of the human
digestive system by Mary Roach.]

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Mary Roach is an amazing writer

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who takes potentially mundane
scientific subjects

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and makes them not mundane at all.
She makes them really fun.

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So in this particular case,

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it's about the human digestive system.

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So I'm trying to figure out what
is the cover of this book going to be.

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This is a self-portrait. (Laughter)

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Every morning I look at myself
in the medicine cabinet mirror

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to see if my tongue is black.

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And if it's not, I'm good to go.

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(Laughter)

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I recommend you all do this.

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But I also started thinking, you know,
here's our introduction.

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Right? Into the human digestive system.

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But I think what we can all agree on

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is that actual photographs
of human mouths, at least based on this,

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are off-putting. (Laughter)

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So for the cover, then,
I had this illustration done

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which is literally more palatable

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and reminds us that it's best
to approach the digestive system

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from this end.

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(Laughter)

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I don't even have to complete
the sentence. All right.

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[Unuseful mystery]
What happens when clarity

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and mystery get mixed up?

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And we see this all the time.

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This is what I call unuseful mystery.

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I go down into the subway,
take the subway a lot,

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and this piece of paper
is taped to a girder.

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Right? And now I'm thinking, uh oh,

99:59:59.999 --> 99:59:59.999
and the train's about to come and I'm
trying to figure out what this means,

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and thanks a lot.

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Part of the problem here is that
they've compartmentalized the information

99:59:59.999 --> 99:59:59.999
in a way they think is helpful,
and frankly, I don't think it is at all.

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So this is mystery we do not need.

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What we need is useful clarity,
so just for fun, I redesigned this.

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This is using all the same elements.

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(Applause)

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Thank you. I am still waiting
for a call from the MTA. (Laughter)

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You know, I'm actually not even
using more colors than they use.

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They just didn't even bother
to make the 4 and the 5 green,

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those idiots. (Laughter)

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So the first thing that we see
is that there is a service change,

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and then, in two complete sentences
with a beginning, a middle, and an end,

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it tells us what the change is
and what's going to be happening.

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Call me crazy! (Laughter)

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[Useful mystery]
All right.

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Now, here is a piece
of mystery that I love:

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packaging.

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This redesign of the Diet Coke can

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by Turner Duckworth
is to me truly a piece of art.

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It's a work of art. It's beautiful.

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But what part of what makes it
so enheartening to me as a designer

99:59:59.999 --> 99:59:59.999
is that he's taken the visual
vernacular of Diet Coke

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-- the tight faces, the colors,
the silver background --

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and he's reduced them
to their most essential parts,

99:59:59.999 --> 99:59:59.999
so it's like going back
to the Charlie Brown face.

99:59:59.999 --> 99:59:59.999
It's like, how can you give them just
enough information so they know what it is

99:59:59.999 --> 99:59:59.999
but giving them the credit
for the knowledge that they already have

99:59:59.999 --> 99:59:59.999
about this thing?

99:59:59.999 --> 99:59:59.999
It looks great, and you would go
into a delicatessen

99:59:59.999 --> 99:59:59.999
and all of a sudden see that on the shelf,

99:59:59.999 --> 99:59:59.999
and it's wonderful.

99:59:59.999 --> 99:59:59.999
All right, which makes the next thing

99:59:59.999 --> 99:59:59.999
-- [Unuseful clarity] --
all the more disheartening,

99:59:59.999 --> 99:59:59.999
at least to me.

99:59:59.999 --> 99:59:59.999
So okay, again, going back
down into the subway,

99:59:59.999 --> 99:59:59.999
after this came out,

99:59:59.999 --> 99:59:59.999
these are pictures that I took.

99:59:59.999 --> 99:59:59.999
Times Square subway station:

99:59:59.999 --> 99:59:59.999
Coca-Cola has bought out
the entire thing for advertising. Okay?

99:59:59.999 --> 99:59:59.999
And maybe some of you
know where this is going.

99:59:59.999 --> 99:59:59.999
Ahem.

99:59:59.999 --> 99:59:59.999
"You moved to New York
with the clothes on your back,

99:59:59.999 --> 99:59:59.999
the cash in your pocket,
and you're eyes on the prize.

99:59:59.999 --> 99:59:59.999
You're on Coke." (Laughter)

99:59:59.999 --> 99:59:59.999
"You moved to New York
with an MBA, one clean suit,

99:59:59.999 --> 99:59:59.999
and an extremely firm handshake.

99:59:59.999 --> 99:59:59.999
You're on Coke." (Laughter)

99:59:59.999 --> 99:59:59.999
These are real! (Laughter0

99:59:59.999 --> 99:59:59.999
Not even the support beams were spared,

99:59:59.999 --> 99:59:59.999
except they switched into Yoda mode.

99:59:59.999 --> 99:59:59.999
"Coke you're on." (Laughter)

99:59:59.999 --> 99:59:59.999
This campaign was a huge misstep.

99:59:59.999 --> 99:59:59.999
It was pulled almost instantly

99:59:59.999 --> 99:59:59.999
due to consumer backlash

99:59:59.999 --> 99:59:59.999
and all sorts of unflattering
parodies on the web

99:59:59.999 --> 99:59:59.999
-- (Laughter) --

99:59:59.999 --> 99:59:59.999
and also that dot next to "You're on,"
that's not a period, that's a trademark.

99:59:59.999 --> 99:59:59.999
So thanks a lot. So to me,
this was just so bizarre

99:59:59.999 --> 99:59:59.999
about how they could get the packaging
so mysteriously beautiful and perfect

99:59:59.999 --> 99:59:59.999
and the message so unbearably,
clearly wrong.

99:59:59.999 --> 99:59:59.999
It was just incredible to me.

99:59:59.999 --> 99:59:59.999
So I just hope that I've been able
to share with you some of my insights

99:59:59.999 --> 99:59:59.999
on the uses of clarity
and mystery in my work,

99:59:59.999 --> 99:59:59.999
and maybe how you might decide

99:59:59.999 --> 99:59:59.999
to be more clear in your life

99:59:59.999 --> 99:59:59.999
or maybe to me a bit more mysterious

99:59:59.999 --> 99:59:59.999
and not so over-sharing.

99:59:59.999 --> 99:59:59.999
(Laughter)

99:59:59.999 --> 99:59:59.999
And if there's just one thing
that I leave you with from this talk,

99:59:59.999 --> 99:59:59.999
I hope it's this:

99:59:59.999 --> 99:59:59.999
Blih blih blih blah.
Blah blah blih blih.

99:59:59.999 --> 99:59:59.999
Blih blih blah blah blah.
Blah blah blah.

99:59:59.999 --> 99:59:59.999
Blah blah.

99:59:59.999 --> 99:59:59.999
(Applause)