WEBVTT

00:00:03.941 --> 00:00:06.472
Blah blah blah blah blah.

00:00:06.472 --> 00:00:08.399
Blah blah blah blah,

00:00:08.399 --> 00:00:10.994
blah blah, blah blah blah blah blah blah.

00:00:10.994 --> 00:00:13.741
Blah blah blah, blah.

NOTE Paragraph

00:00:14.997 --> 00:00:17.170
So what the hell was that?

00:00:17.170 --> 00:00:20.689
Well, you don't know
because you couldn't understand it.

00:00:21.320 --> 00:00:23.620
It wasn't clear.

00:00:24.530 --> 00:00:27.768
But hopefully, it was said
with enough conviction

00:00:27.768 --> 00:00:31.467
that it was at least
alluringly mysterious.

NOTE Paragraph

00:00:32.792 --> 00:00:35.973
Clarity or mystery?

00:00:35.973 --> 00:00:40.199
I'm balancing these two things
in my daily work as a graphic designer,

00:00:40.199 --> 00:00:45.031
as well as my daily life as a New Yorker

00:00:45.031 --> 00:00:46.561
every day,

00:00:46.561 --> 00:00:51.028
and there are two elements
that absolutely fascinate me.

NOTE Paragraph

00:00:51.028 --> 00:00:53.390
Here's an example.

00:00:53.390 --> 00:00:57.170
Now, how many people know what this is?

00:00:59.703 --> 00:01:04.727
Okay. Now how many people
know what this is?

00:01:04.727 --> 00:01:12.410
Okay. Thanks to two more deft strokes
by the genius Charles M. Schulz,

00:01:12.410 --> 00:01:15.454
we now have seven deft strokes
that in and of themselves

00:01:15.454 --> 00:01:18.984
create an entire emotional life,

00:01:18.984 --> 00:01:21.863
one that has enthralled
hundreds of millions of fans

00:01:21.863 --> 00:01:23.906
for over 50 years.

00:01:23.906 --> 00:01:26.420
This is actually a cover of a book

00:01:26.420 --> 00:01:29.711
that I designed about the work
of Schulz and his art,

00:01:29.711 --> 00:01:32.497
which will be coming out this fall,

00:01:32.497 --> 00:01:34.378
and that is the entire cover.

00:01:34.378 --> 00:01:39.324
There is no other typographic information
or visual information on the front,

00:01:39.324 --> 00:01:42.737
and the name of the book
is "Only What's Necessary."

00:01:43.317 --> 00:01:48.790
So this is sort of symbolic about
the decisions I have to make every day

00:01:48.790 --> 00:01:52.706
about the design that I'm perceiving,

00:01:52.706 --> 00:01:54.985
and the design I'm creating.

NOTE Paragraph

00:01:55.525 --> 00:01:56.842
So clarity.

00:01:57.332 --> 00:01:59.421
Clarity gets to the point.

00:01:59.421 --> 00:02:02.758
It's blunt. It's honest. It's sincere.

00:02:03.748 --> 00:02:07.370
We ask ourselves this.
["When should you be clear?"]

NOTE Paragraph

00:02:07.370 --> 00:02:12.818
Now, something like this,
whether we can read it or not,

00:02:12.818 --> 00:02:16.418
needs to be really, really clear.

00:02:16.418 --> 00:02:18.455
Is it?

NOTE Paragraph

00:02:20.586 --> 00:02:27.284
This is a rather recent example
of urban clarity that I just love,

00:02:27.284 --> 00:02:32.392
mainly because I'm always late
and I am always in a hurry.

00:02:32.742 --> 00:02:39.288
So when these meters started showing up
a couple of years ago on street corners,

00:02:39.288 --> 00:02:42.748
I was thrilled, because now I finally knew

00:02:42.748 --> 00:02:45.673
how many seconds I had
to get across the street

00:02:45.673 --> 00:02:48.553
before I got run over by a car.

00:02:48.553 --> 00:02:53.475
Six? I can do that. (Laughter)

NOTE Paragraph

00:02:53.475 --> 00:02:57.283
So let's look at the yin
to the clarity yang,

00:02:57.283 --> 00:03:00.812
and that is mystery.

00:03:00.812 --> 00:03:06.176
Mystery is a lot more complicated
by its very definition.

00:03:06.176 --> 00:03:09.659
Mystery demands to be decoded,

00:03:09.659 --> 00:03:12.643
and when it's done right,
we really, really want to.

00:03:12.643 --> 00:03:14.303
["When should you be mysterious?"]

00:03:14.303 --> 00:03:20.107
In World War II, the Germans
really, really wanted to decode this,

00:03:20.107 --> 00:03:22.731
and they couldn't.

NOTE Paragraph

00:03:22.731 --> 00:03:25.912
Here's an example of a design
that I've done recently

00:03:25.912 --> 00:03:28.234
for a novel by Haruki Murakami,

00:03:28.234 --> 00:03:31.438
who I've done design work for
for over 20 years now,

00:03:31.438 --> 00:03:37.150
and this is a novel about a young man
who has four dear friends

00:03:37.150 --> 00:03:40.819
who all of a sudden,
after their freshman year of college,

00:03:40.819 --> 00:03:44.116
completely cut him off
with no explanation,

00:03:44.116 --> 00:03:45.973
and he is devastated.

00:03:45.973 --> 00:03:51.376
And the friends' names each have
a connotation in Japanese to a color.

00:03:51.376 --> 00:03:56.050
So there's Mr. Red, there's Mr. Blue,
there's Ms. White, and Ms. Black.

00:03:56.770 --> 00:04:00.160
Tsukuru Tazaki, his name
does not correspond to a color,

00:04:00.160 --> 00:04:04.610
so his nickname is Colorless, and
as he's looking back on their friendship,

00:04:04.610 --> 00:04:07.776
he recalls that they were like
five fingers on a hand.

00:04:07.776 --> 00:04:12.257
So I created this sort of abstract
representation of this,

00:04:12.257 --> 00:04:16.437
but there's a lot more going on
underneath the surface of the story,

00:04:16.437 --> 00:04:21.110
and there's more going on underneath
the surface of the jacket.

00:04:21.110 --> 00:04:25.515
The four fingers are now four train lines

00:04:25.515 --> 00:04:27.582
in the Tokyo subway system,

00:04:27.582 --> 00:04:29.973
which has significance within the story.

00:04:30.813 --> 00:04:33.610
And then you have
the colorless subway line

00:04:33.610 --> 00:04:36.173
intersecting with each
of the other colors,

00:04:36.173 --> 00:04:38.820
which basically he does
later on in the story.

00:04:38.820 --> 00:04:40.802
He catches up with each of these people

00:04:40.802 --> 00:04:44.332
to find out why they treated him
the way they did.

NOTE Paragraph

00:04:44.332 --> 00:04:48.558
And so this is the three-dimensional
finished product

00:04:48.558 --> 00:04:50.879
sitting on my desk in my office,

00:04:50.879 --> 00:04:55.546
and what I was hoping for here
is that you'll simply be allured

00:04:55.546 --> 00:04:59.401
by the mystery of what this looks like,

00:04:59.401 --> 00:05:02.196
and will want to read it

00:05:02.196 --> 00:05:07.345
to decode and find out and make more clear
why it looks the way it does.

NOTE Paragraph

00:05:08.163 --> 00:05:09.858
[The Visual Vernacular.]

NOTE Paragraph

00:05:09.858 --> 00:05:14.177
This is a way to use a more
familiar kind of mystery.

00:05:14.177 --> 00:05:15.988
What does this mean?

00:05:15.988 --> 00:05:18.772
This is what it means.
[Make it look like something else.]

00:05:18.772 --> 00:05:23.302
The visual vernacular is the way
we are used to seeing a certain thing

00:05:23.302 --> 00:05:27.691
applied to something else so that
we see it in a different way.

NOTE Paragraph

00:05:27.691 --> 00:05:31.840
This is an approach I wanted to take
to a book of essays by David Sedaris

00:05:31.840 --> 00:05:35.211
that had this title at the time.
["All the Beauty You Will Ever Need"]

00:05:35.211 --> 00:05:39.402
Now, the challenge here was that
this title actually means nothing.

00:05:39.402 --> 00:05:42.792
It's not connected to any
of the essays in a book.

00:05:42.792 --> 00:05:47.503
It came to the author's boyfriend
in a dream.

00:05:47.993 --> 00:05:53.659
Thank you very much, so -- (Laughter) --
so usually, I am creating a design

00:05:53.659 --> 00:05:57.722
that is in some way based on the text,
but this is all the text there is.

00:05:57.722 --> 00:06:02.111
So you've got this mysterious title
that really doesn't mean anything,

00:06:02.111 --> 00:06:04.610
so I was trying to think:

00:06:04.610 --> 00:06:10.848
where might I see a bit of mysterious text
that seems to mean something but doesn't,

00:06:10.848 --> 00:06:13.255
and sure enough, not long after,

00:06:13.255 --> 00:06:16.570
one evening after a Chinese meal,

00:06:16.570 --> 00:06:23.062
this arrived, and I thought,
"Ah, bing, ideagasm!" (Laughter)

00:06:23.472 --> 00:06:28.673
I've always loved the hilariously
mysterious tropes of fortune cookies

00:06:28.673 --> 00:06:31.575
that seem to mean something extremely deep

00:06:31.575 --> 00:06:35.662
but when you think about them, if
you think about them, they really don't.

00:06:35.662 --> 00:06:41.907
This says, "Hardly anyone knows how much
is gained by ignoring the future."

00:06:42.537 --> 00:06:44.899
Thank you. (Laughter)

00:06:45.389 --> 00:06:51.046
But we can take this visual vernacular
and apply it to Mr. Sedaris,

00:06:51.046 --> 00:06:56.657
and we are so familiar
with how fortune cookie fortunes look

00:06:56.657 --> 00:06:59.424
that we don't even need
the bits of the cookie anymore.

00:06:59.424 --> 00:07:02.419
We're just seeing this strange thing

00:07:02.419 --> 00:07:04.416
and we know we love David Sedaris,

00:07:04.416 --> 00:07:07.300
and so we're hoping that
we're in for a good time.

NOTE Paragraph

00:07:07.760 --> 00:07:11.048
["Fraud." Essays by David Rakoff]
David Rakoff was a wonderful writer

00:07:11.048 --> 00:07:14.211
and he called his first book "Fraud"

00:07:14.211 --> 00:07:18.171
because he was getting sent
on assignments by magazines

00:07:18.171 --> 00:07:20.841
to do things that he
was not equipped to do.

00:07:20.841 --> 00:07:23.163
So he was this skinny little urban guy

00:07:23.163 --> 00:07:26.762
and GQ Magazine would send him
down the Colorado River

00:07:26.762 --> 00:07:30.478
whitewater rafting to see
if he would survive.

00:07:31.378 --> 00:07:34.679
And then he would write about it,
and he felt that he was a fraud

00:07:34.679 --> 00:07:36.978
and that he was misrepresenting himself.

00:07:36.978 --> 00:07:41.645
And so I wanted the cover of this book
to also misrepresent itself

00:07:41.645 --> 00:07:46.916
and then somehow show
a reader reacting to it.

NOTE Paragraph

00:07:46.916 --> 00:07:50.167
This led me to graffiti.

00:07:50.167 --> 00:07:52.210
I'm fascinated by graffiti.

00:07:52.210 --> 00:07:54.903
I think anybody who lives
in an urban environment

00:07:54.903 --> 00:07:58.943
encounters graffiti all the time,
and there's all different sorts of it.

00:07:58.943 --> 00:08:02.550
This is a picture I took
on the Lower East Side

00:08:02.550 --> 00:08:05.398
of just a transformer box on the sidewalk

00:08:05.398 --> 00:08:07.372
and it's been tagged like crazy.

00:08:07.372 --> 00:08:12.991
Now whether you look at this and think,
"Oh, that's a charming urban affectation,"

00:08:12.991 --> 00:08:17.379
or you look at and say,
"That's illegal abuse of property,"

00:08:17.379 --> 00:08:19.724
the one thing I think we can all agree on

00:08:19.724 --> 00:08:22.905
is that you cannot read it.

00:08:22.905 --> 00:08:26.458
Right? There is no clear message here.

00:08:26.458 --> 00:08:31.682
There is another kind of graffiti
that I find far more interesting

00:08:31.682 --> 00:08:34.538
which I call editorial graffiti.

00:08:34.538 --> 00:08:38.744
This is a picture I took recently
in the subway,

00:08:38.744 --> 00:08:42.610
and sometimes you see lots of fury
and stupid stuff,

00:08:42.610 --> 00:08:47.517
but I thought this was interesting,
and this is a poster that is saying

00:08:47.517 --> 00:08:49.747
"Rah, rah, Airbnb,"

00:08:49.747 --> 00:08:52.510
and someone has taken a magic marker

00:08:52.510 --> 00:08:56.434
and has editorialized about
what they think about it.

00:08:56.434 --> 00:08:59.266
And it got my attention.

NOTE Paragraph

00:08:59.266 --> 00:09:02.692
So I was thinking, how do we
apply this to this book?

00:09:02.692 --> 00:09:08.405
So I get the book by this person,
and I start reading it, and I'm thinking,

00:09:08.405 --> 00:09:11.069
this guy is not who he says he is.

00:09:11.069 --> 00:09:16.540
He's a fraud, and I get out
a red magic marker,

00:09:16.540 --> 00:09:21.151
and out of frustration just
scribble this across the front.

00:09:21.151 --> 00:09:25.259
Design done. (Laughter)

00:09:25.815 --> 00:09:30.190
And they went for it! (Laughter)

00:09:30.190 --> 00:09:32.107
Author liked it, publisher like it,

00:09:32.107 --> 00:09:34.824
and that is how the book
went out into the world,

00:09:34.824 --> 00:09:39.723
and it was really fun to see
people reading this on the subway

00:09:39.723 --> 00:09:41.859
and walking around with it
and what have you,

00:09:41.859 --> 00:09:45.760
and they all sort of looked
like they were crazy.

00:09:45.760 --> 00:09:48.120
(Laughter)

NOTE Paragraph

00:09:48.590 --> 00:09:52.633
["Perfidia." A novel by James Ellroy.]
Okay, James Ellroy, amazing crime writer,

00:09:52.633 --> 00:09:55.117
a good friend, I've worked
with him for many years.

00:09:55.117 --> 00:09:57.325
He is probably best known as the author

00:09:57.325 --> 00:10:00.295
of "The Black Dalia"
and "L.A. Confidential."

00:10:00.295 --> 00:10:05.150
His most recent novel was called this,
which is a very mysterious name

00:10:05.150 --> 00:10:08.756
that I'm sure a lot of people know
what it means, but a lot of people don't.

00:10:08.756 --> 00:10:15.814
And it's a story about a Japanese-American
detective in Los Angeles in 1941

00:10:15.814 --> 00:10:17.834
investigating a murder.

00:10:17.834 --> 00:10:20.247
And then Pearl Harbor happens,

00:10:20.247 --> 00:10:23.357
and as if his life
wasn't difficult enough,

00:10:23.357 --> 00:10:28.200
now the race relations
have really ratcheted up,

00:10:28.200 --> 00:10:32.718
and then the Japanese-American
internment camps are quickly created,

00:10:32.718 --> 00:10:34.738
and there's lots of tension

00:10:34.738 --> 00:10:38.824
and horrible stuff as he's still
trying to solve this murder.

00:10:38.824 --> 00:10:44.656
And so I did at first think
very literally about this in terms of

00:10:44.656 --> 00:10:48.538
all right, we'll take Pearl Harbor
and we'll add it to Los Angeles

00:10:48.538 --> 00:10:51.479
and we'll make this kind of, like,

00:10:51.479 --> 00:10:56.146
apocalyptic dawn
on the horizon of the city.

00:10:56.146 --> 00:10:58.561
And so that's a picture from Pearl Harbor

00:10:58.561 --> 00:11:01.625
just grafted onto Los Angeles.

00:11:01.625 --> 00:11:04.899
My editor in chief said,
"You know, it's interesting

00:11:04.899 --> 00:11:10.286
but I think you can do better
and I think you can make it simpler."

00:11:10.286 --> 00:11:14.506
And so I went back
to the drawing board, as I often do.

00:11:14.506 --> 00:11:19.197
But also, being alive to my surroundings,

00:11:19.197 --> 00:11:22.830
I work in a high rise in Midtown,

00:11:22.830 --> 00:11:26.500
and every night,
before I leave the office,

00:11:26.500 --> 00:11:28.745
I have to push this button to get out,

00:11:28.745 --> 00:11:32.483
and the big heavy glass doors open
and I can get onto the elevator.

00:11:32.483 --> 00:11:35.979
And one night, all of a sudden,

00:11:35.979 --> 00:11:41.750
I looked at this and I saw it in a way
that I hadn't really noticed it before.

00:11:41.750 --> 00:11:44.279
Big red circle, danger.

00:11:44.279 --> 00:11:47.158
And I thought this was so obvious

00:11:47.158 --> 00:11:49.875
that it had to have been
done a zillion times,

00:11:49.875 --> 00:11:54.449
and so I did a Google image search,
and I couldn't find another book cover

00:11:54.449 --> 00:11:56.608
that looked quite like this,

00:11:56.608 --> 00:11:59.232
and so this is really
what solved the problem,

00:11:59.232 --> 00:12:01.763
and graphically it's more interesting

00:12:01.763 --> 00:12:05.989
and creates a bigger tension
between the idea

00:12:05.989 --> 00:12:11.096
of a certain kind of sunrise
coming up over L.A. and America.

NOTE Paragraph

00:12:11.506 --> 00:12:14.492
["Gulp." A tour of the human
digestive system by Mary Roach.]

NOTE Paragraph

00:12:14.492 --> 00:12:16.530
Mary Roach is an amazing writer

00:12:16.530 --> 00:12:20.152
who takes potentially mundane
scientific subjects

00:12:20.152 --> 00:12:23.540
and makes them not mundane at all.
She makes them really fun.

00:12:23.540 --> 00:12:25.167
So in this particular case,

00:12:25.167 --> 00:12:28.279
it's about the human digestive system.

00:12:28.279 --> 00:12:33.201
So I'm trying to figure out what
is the cover of this book going to be.

00:12:34.141 --> 00:12:37.845
This is a self-portrait. (Laughter)

00:12:37.845 --> 00:12:43.905
Every morning I look at myself
in the medicine cabinet mirror

00:12:43.905 --> 00:12:46.622
to see if my tongue is black.

00:12:46.622 --> 00:12:50.170
And if it's not, I'm good to go.

00:12:50.170 --> 00:12:53.279
(Laughter)

00:12:55.185 --> 00:12:58.296
I recommend you all do this.

00:12:58.296 --> 00:13:02.243
But I also started thinking, you know,
here's our introduction.

00:13:02.243 --> 00:13:05.122
Right? Into the human digestive system.

00:13:05.962 --> 00:13:08.210
But I think what we can all agree on

00:13:08.210 --> 00:13:12.460
is that actual photographs
of human mouths, at least based on this,

00:13:12.460 --> 00:13:16.244
are off-putting. (Laughter)

00:13:16.244 --> 00:13:20.145
So for the cover, then,
I had this illustration done

00:13:20.145 --> 00:13:22.374
which is literally more palatable

00:13:22.374 --> 00:13:26.902
and reminds us that it's best
to approach the digestive system

00:13:26.902 --> 00:13:29.200
from this end.

00:13:29.200 --> 00:13:31.847
(Laughter)

00:13:31.847 --> 00:13:34.793
I don't even have to complete
the sentence. All right.

NOTE Paragraph

00:13:35.533 --> 00:13:37.079
[Unuseful mystery]

00:13:37.079 --> 00:13:41.156
What happens when clarity
and mystery get mixed up?

00:13:41.516 --> 00:13:43.489
And we see this all the time.

00:13:43.489 --> 00:13:45.997
This is what I call unuseful mystery.

00:13:45.997 --> 00:13:48.946
I go down into the subway,
take the subway a lot,

00:13:48.946 --> 00:13:53.450
and this piece of paper
is taped to a girder.

00:13:54.590 --> 00:13:58.243
Right? And now I'm thinking, uh oh,

00:13:58.243 --> 00:14:02.120
and the train's about to come and I'm
trying to figure out what this means,

00:14:02.120 --> 00:14:04.914
and thanks a lot.

00:14:04.914 --> 00:14:08.914
Part of the problem here is that
they've compartmentalized the information

00:14:08.914 --> 00:14:12.420
in a way they think is helpful,
and frankly, I don't think it is at all.

00:14:12.420 --> 00:14:15.694
So this is mystery we do not need.

00:14:15.694 --> 00:14:23.780
What we need is useful clarity,
so just for fun, I redesigned this.

00:14:23.780 --> 00:14:26.259
This is using all the same elements.

00:14:26.259 --> 00:14:29.182
(Applause)

00:14:29.532 --> 00:14:33.837
Thank you. I am still waiting
for a call from the MTA. (Laughter)

00:14:34.447 --> 00:14:37.506
You know, I'm actually not even
using more colors than they use.

00:14:37.506 --> 00:14:40.803
They just didn't even bother
to make the 4 and the 5 green,

00:14:40.803 --> 00:14:43.961
those idiots. (Laughter)

00:14:44.851 --> 00:14:47.920
So the first thing that we see
is that there is a service change,

00:14:47.920 --> 00:14:51.613
and then, in two complete sentences
with a beginning, a middle, and an end,

00:14:51.613 --> 00:14:56.383
it tells us what the change is
and what's going to be happening.

00:14:56.383 --> 00:15:00.440
Call me crazy! (Laughter)

NOTE Paragraph

00:15:01.630 --> 00:15:04.161
[Useful mystery]
All right.

00:15:04.161 --> 00:15:09.841
Now, here is a piece
of mystery that I love:

00:15:09.841 --> 00:15:11.498
packaging.

00:15:11.498 --> 00:15:14.772
This redesign of the Diet Coke can

00:15:14.772 --> 00:15:20.200
by Turner Duckworth
is to me truly a piece of art.

00:15:20.200 --> 00:15:23.716
It's a work of art. It's beautiful.

00:15:23.716 --> 00:15:26.893
But what part of what makes it
so enheartening to me as a designer

00:15:26.893 --> 00:15:31.351
is that he's taken the visual
vernacular of Diet Coke

00:15:31.351 --> 00:15:34.889
-- the typefaces, the colors,
the silver background --

00:15:34.889 --> 00:15:39.974
and he's reduced them
to their most essential parts,

00:15:39.974 --> 00:15:42.714
so it's like going back
to the Charlie Brown face.

00:15:42.714 --> 00:15:46.661
It's like, how can you give them just
enough information so they know what it is

00:15:46.661 --> 00:15:50.539
but giving them the credit
for the knowledge that they already have

00:15:50.539 --> 00:15:52.396
about this thing?

00:15:52.396 --> 00:15:56.181
It looks great, and you would go
into a delicatessen

00:15:56.181 --> 00:16:00.631
and all of a sudden see that on the shelf,
and it's wonderful.

00:16:00.631 --> 00:16:04.330
All right, which makes the next thing

00:16:04.330 --> 00:16:06.862
-- [Unuseful clarity] --
all the more disheartening,

00:16:06.862 --> 00:16:08.510
at least to me.

00:16:08.510 --> 00:16:12.350
So okay, again, going back
down into the subway,

00:16:12.350 --> 00:16:14.440
after this came out,

00:16:14.440 --> 00:16:16.460
these are pictures that I took.

00:16:16.460 --> 00:16:18.503
Times Square subway station:

00:16:18.503 --> 00:16:23.681
Coca-Cola has bought out
the entire thing for advertising. Okay?

00:16:23.681 --> 00:16:27.990
And maybe some of you
know where this is going.

00:16:28.660 --> 00:16:30.438
Ahem.

NOTE Paragraph

00:16:30.438 --> 00:16:33.056
"You moved to New York
with the clothes on your back,

00:16:33.056 --> 00:16:35.640
the cash in your pocket,
and you're eyes on the prize.

00:16:35.640 --> 00:16:39.147
You're on Coke." (Laughter)

00:16:45.298 --> 00:16:48.251
"You moved to New York
with an MBA, one clean suit,

00:16:48.251 --> 00:16:50.341
and an extremely firm handshake.

00:16:50.341 --> 00:16:53.138
You're on Coke." (Laughter)

00:16:53.638 --> 00:16:58.142
These are real! (Laughter)

00:16:58.142 --> 00:17:01.973
Not even the support beams were spared,

00:17:01.973 --> 00:17:04.569
except they switched into Yoda mode.

00:17:04.569 --> 00:17:07.569
[Excuse me, I'm on WHAT??]

00:17:07.569 --> 00:17:11.270
"Coke you're on." (Laughter)

00:17:13.838 --> 00:17:17.623
This campaign was a huge misstep.

00:17:17.623 --> 00:17:22.310
It was pulled almost instantly
due to consumer backlash

00:17:22.310 --> 00:17:26.850
and all sorts of unflattering
parodies on the web

00:17:26.850 --> 00:17:28.731
-- (Laughter) --

00:17:28.731 --> 00:17:35.441
and also that dot next to "You're on,"
that's not a period, that's a trademark.

NOTE Paragraph

00:17:35.441 --> 00:17:40.433
So thanks a lot. So to me,
this was just so bizarre

00:17:40.433 --> 00:17:46.447
about how they could get the packaging
so mysteriously beautiful and perfect

00:17:46.447 --> 00:17:50.905
and the message so unbearably,
clearly wrong.

00:17:50.905 --> 00:17:54.365
It was just incredible to me.

NOTE Paragraph

00:17:54.365 --> 00:17:59.891
So I just hope that I've been able
to share with you some of my insights

00:17:59.891 --> 00:18:03.699
on the uses of clarity
and mystery in my work,

00:18:03.699 --> 00:18:09.005
and maybe how you might decide
to be more clear in your life

00:18:09.005 --> 00:18:15.273
or maybe to be a bit more mysterious
and not so over-sharing.

00:18:15.273 --> 00:18:18.110
(Laughter)

NOTE Paragraph

00:18:19.000 --> 00:18:23.806
And if there's just one thing
that I leave you with from this talk,

00:18:23.806 --> 00:18:25.757
I hope it's this:

00:18:25.757 --> 00:18:28.822
Blih blih blih blah.
Blah blah blih blih.

00:18:28.822 --> 00:18:31.956
Blih blih blah blah blah.
Blah blah blah.

NOTE Paragraph

00:18:31.956 --> 00:18:33.883
Blah blah.

NOTE Paragraph

00:18:33.883 --> 00:18:37.883
(Applause)