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.

NOTE Paragraph

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So what the hell was that?

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Well, you don't know
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.

NOTE Paragraph

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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.

NOTE Paragraph

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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 cover.

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

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

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So this is sort of symbolic about
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.

NOTE Paragraph

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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?"]

NOTE Paragraph

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Now, something like this,
whether we can read it or not,

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needs to be really, really clear.

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Is it?

NOTE Paragraph

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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
and I am 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 the street

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before I got run over by a car.

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Six? I can do that. (Laughter)

NOTE Paragraph

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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,
we really, really want to.

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["When should you be mysterious?"]

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

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and they couldn't.

NOTE Paragraph

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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 friends' names each have
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.

NOTE Paragraph

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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
why it looks the way it does.

NOTE Paragraph

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["The Visual Vernacular."]

NOTE Paragraph

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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.

NOTE Paragraph

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This is an approach I wanted to take
to a book of essays by David Sedaris

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that had this title at the time.
["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 the 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
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 arrived, 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
and apply it to Mr. Sedaris,

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and we are so familiar
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're hoping that
we're in for a good time.

NOTE Paragraph

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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.

NOTE Paragraph

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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 it and say,
"That's illegal abuse of property,"

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the one thing I think we can all agree on

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is that you cannot read it.

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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
in the subway,

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and sometimes you see
lots of prurient, 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.

NOTE Paragraph

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

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this guy is not who he says 
he is; he's a fraud.

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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 liked 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)

NOTE Paragraph

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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 Dahlia"
and "L.A. Confidential."

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His most recent novel was called this,
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,

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and as if his life
wasn't difficult enough,

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now the race relations
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
and we'll add it to Los Angeles

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and we'll make this 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.

NOTE Paragraph

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

NOTE Paragraph

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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.

NOTE Paragraph

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[Unuseful mystery]

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What happens when clarity
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,

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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

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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)

NOTE Paragraph

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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

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is that he's taken the visual
vernacular of Diet Coke

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-- the typefaces, the colors,
the silver background --

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

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so it's like going back
to the Charlie Brown face.

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It's like, how can you give them just
enough information so they know what it is

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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)