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Hi.

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(Laughter)

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I did that for two reasons.

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First of all, I wanted to give you

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a good visual first impression.

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But the main reason I did it is that

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that's what happens to me when I'm forced to wear

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a Lady Gaga skanky mic.

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(Laughter)

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I'm used to a stationary mic.

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It's the sensible shoe of public address.

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(Laughter)

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But you clamp this thing on my head, and something happens.

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I just become skanky.

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(Laughter) So I'm sorry about that.

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And I'm already off-message.

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(Laughter)

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Ladies and gentlemen,

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I have devoted the past 25 years of my life

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to designing books.

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"Yes, BOOKS. You know, the bound volumes with ink on paper.

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You cannot turn them off with a switch.

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Tell your kids."

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It all sort of started as a benign mistake,

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like penicillin. (Laughter)

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What I really wanted

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was to be a graphic designer

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at one of the big design firms in New York City.

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But upon arrival there,

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in the fall of 1986, and doing a lot of interviews,

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I found that the only thing I was offered

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was to be Assistant to the Art Director at Alfred A. Knopf,

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a book publisher.

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Now I was stupid,

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but not so stupid that I turned it down.

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I had absolutely no idea

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what I was about to become part of,

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and I was incredibly lucky.

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Soon, it had occurred to me what my job was.

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My job was to ask this question:

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"What do the stories look like?"

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Because that is what Knopf is.

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It is the story factory, one of the very best in the world.

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We bring stories to the public.

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The stories can be anything,

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and some of them are actually true.

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But they all have one thing in common:

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They all need to look like something.

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They all need a face.

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Why? To give you a first impression

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of what you are about to get into.

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A book designer gives form to content,

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but also

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manages a very careful balance between the two.

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Now, the first day

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of my graphic design training at Penn State University,

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the teacher, Lanny Sommese, came into the room

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and he drew a picture of an apple on the blackboard,

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and wrote the word "Apple" underneath,

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and he said, "OK. Lesson one. Listen up."

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And he covered up the picture and he said,

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"You either say this," and then he covered up the word,

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"or you show this.

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But you don't do this."

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Because this is treating your audience like a moron.

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(Laughter)

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And they deserve better.

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And lo and behold, soon enough,

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I was able to put this theory to the test

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on two books that I was working on for Knopf.

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The first was Katharine Hepburn's memoirs,

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and the second was a biography of Marlene Dietrich.

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Now the Hepburn book

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was written in a very conversational style,

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it was like she was sitting across a table telling it all to you.

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The Dietrich book was an observation

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by her daughter; it was a biography.

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So the Hepburn story is words

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and the Dietrich story is pictures, and so we did this.

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So there you are.

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Pure content and pure form, side by side.

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No fighting, ladies.

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"What's a Jurassic Park?"

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Now, what is the story here?

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Someone

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is re-engineering dinosaurs

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by extracting their DNA

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from prehistoric amber.

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Genius!

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(Laughter)

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Now, luckily for me,

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I live and work in New York City,

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where there are plenty of dinosaurs.

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(Laughter)

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So,

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I went to the Museum of Natural History,

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and I checked out the bones, and I went to the gift shop,

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and I bought a book.

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And I was particularly taken with this page of the book,

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and more specifically the lower right-hand corner.

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Now I took this diagram,

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and I put it in a Photostat machine,

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(Laughter)

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and I took a piece of tracing paper,

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and I taped it over the Photostat

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with a piece of Scotch tape -- stop me if I'm going too fast --

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(Laughter)

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and then I took a Rapidograph pen --

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explain it to the youngsters --

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(Laughter)

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and I just started to reconstitute the dinosaur.

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I had no idea what I was doing,

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I had no idea where I was going,

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but at some point, I stopped --

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when to keep going would seem like I was going too far.

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And what I ended up with was a graphic representation

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of us seeing this animal coming into being.

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We're in the middle of the process.

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And then I just threw some typography on it.

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Very basic stuff,

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slightly suggestive of public park signage.

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(Laughter)

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Everybody in house loved it,

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and so off it goes to the author.

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And even back then,

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Michael was on the cutting edge.

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"Michael Crichton responds by fax:"

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"Wow! Fucking Fantastic Jacket"

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(Laughter) (Applause)

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That was a relief to see that pour out of the machine.

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(Laughter)

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I miss Michael.

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And sure enough, somebody from MCA Universal

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calls our legal department to see if they can

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maybe look into buying the rights to the image,

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just in case they might want to use it.

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Well, they used it.

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(Laughter) (Applause)

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And I was thrilled.

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We all know it was an amazing movie,

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and it was so interesting to see it

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go out into the culture and become this phenomenon

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and to see all the different permutations of it.

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But not too long ago,

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I came upon this on the Web.

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No, that is not me.

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But whoever it is,

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I can't help but thinking they woke up one day like,

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"Oh my God, that wasn't there last night. Ooooohh!

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I was so wasted."

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(Laughter)

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But if you think about it, from my head

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to my hands to his leg.

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(Laughter)

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That's a responsibility.

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And it's a responsibility that I don't take lightly.

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The book designer's responsibility is threefold:

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to the reader, to the publisher and, most of all, to the author.

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I want you to look at the author's book

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and say, "Wow! I need to read that."

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David Sedaris is one of my favorite writers,

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and the title essay

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in this collection is about his trip to a nudist colony.

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And the reason he went is because

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he had a fear of his body image,

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and he wanted to explore what was underlying that.

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For me, it was simply an excuse to design a book

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that you could literally take the pants off of.

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But when you do,

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you don't get what you expect.

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You get something that goes much deeper than that.

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And David especially loved this design

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because at book signings, which he does a lot of,

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he could take a magic marker and do this.

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(Laughter)

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Hello!

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(Laughter)

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Augusten Burroughs wrote a memoir

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called ["Dry"], and it's about his time in rehab.

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In his 20s, he was a hotshot ad executive,

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and as Mad Men has told us, a raging alcoholic.

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He did not think so, however,

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but his coworkers did an intervention and they said,

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"You are going to rehab, or you will be fired and you will die."

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Now to me, this was always going to be a typographic solution,

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what I would call the opposite of Type 101.

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What does that mean?

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Usually on the first day of Introduction to Typography,

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you get the assignment of, select a word

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and make it look like what it says it is. So that's Type 101, right?

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Very simple stuff.

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This is going to be the opposite of that.

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I want this book to look like it's lying to you,

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desperately and hopelessly, the way an alcoholic would.

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The answer was the most low-tech thing you can imagine.

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I set up the type, I printed it out on an Epson printer

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with water-soluble ink, taped it to the wall

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and threw a bucket of water at it. Presto!

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Then when we went to press,

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the printer put a spot gloss on the ink

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and it really looked like it was running.

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Not long after it came out, Augusten was waylaid in an airport

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and he was hiding out in the bookstore

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spying on who was buying his books.

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And this woman came up to it,

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and she squinted, and she took it to the register,

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and she said to the man behind the counter, "This one's ruined."

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(Laughter)

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And the guy behind the counter said, "I know, lady. They all came in that way."

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(Laughter)

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Now, that's a good printing job.

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A book cover

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is a distillation.

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It is a haiku,

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if you will, of the story.

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This particular story

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by Osama Tezuka

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is his epic life of the Buddha,

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and it's eight volumes in all. But the best thing is

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when it's on your shelf, you get a shelf life

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of the Buddha, moving from one age to the next.

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All of these solutions

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derive their origins from the text of the book,

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but once the book designer has read the text,

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then he has to be an interpreter

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and a translator.

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This story was a real puzzle.

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This is what it's about.

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"Intrigue and murder among 16th century Ottoman court painters."

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(Laughter)

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All right, so I got a collection of the paintings together

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and I looked at them and I deconstructed them

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and I put them back together.

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And so, here's the design, right?

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And so here's the front and the spine, and it's flat.

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But the real story starts when you wrap it around a book and put it on the shelf.

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Ahh! We come upon them,

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the clandestine lovers. Let's draw them out.

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Huhh! They've been discovered by the sultan.

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He will not be pleased.

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Huhh! And now the sultan is in danger.

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And now, we have to open it up

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to find out what's going to happen next.

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Try experiencing that on a Kindle.

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(Laughter)

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Don't get me started.

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Seriously.

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Much is to be gained by eBooks:

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ease, convenience, portability.

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But something is definitely lost: tradition,

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a sensual experience, the comfort of thingy-ness --

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a little bit of humanity.

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Do you know what John Updike used to do

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the first thing when he would get a copy

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of one of his new books from Alfred A. Knopf?

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He'd smell it.

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Then he'd run his hand over the rag paper,

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and the pungent ink and the deckled edges of the pages.

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All those years, all those books, he never got tired of it.

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Now, I am all for the iPad,

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but trust me -- smelling it will get you nowhere.

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(Laughter)

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Now the Apple guys are texting,

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"Develop odor emission plug-in."

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(Laughter)

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And the last story I'm going to talk about is quite a story.

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A woman

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named Aomame in 1984 Japan finds herself

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negotiating down a spiral staircase

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off an elevated highway. When she gets to the bottom,

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she can't help but feel that, all of a sudden,

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she's entered a new reality

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that's just slightly different from the one that she left,

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but very similar, but different.

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And so, we're talking about parallel planes of existence,

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sort of like a book jacket and the book that it covers.

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So how do we show this?

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We go back to Hepburn and Dietrich, but now we merge them.

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So we're talking about different planes, different pieces of paper.

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So this is on a semi-transparent piece of velum.

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It's one part of the form and content.

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When it's on top of the paper board,

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which is the opposite, it forms this.

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So even if you don't know anything about this book,

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you are forced to consider a single person

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straddling two planes of existence.

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And the object itself invited exploration

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interaction, consideration

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and touch.

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This debuted at number two

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on the New York Times Best Seller list.

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This is unheard of,

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both for us the publisher, and the author.

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We're talking a 900-page book

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that is as weird as it is compelling,

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and featuring a climactic scene

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in which a horde of tiny people

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emerge from the mouth of a sleeping girl

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and cause a German Shepherd to explode.

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(Laughter)

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Not exactly Jackie Collins.

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Fourteen weeks on the Best Seller list,

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eight printings, and still going strong.

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So even though we love publishing as an art,

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we very much know it's a business too,

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and that if we do our jobs right and get a little lucky,

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that great art can be great business.

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So that's my story. To be continued.

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What does it look like?

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Yes. It can, it does and it will,

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but for this book designer,

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page-turner,

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dog-eared place-holder,

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notes in the margins-taker,

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ink-sniffer,

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the story looks like this.

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Thank you.

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(Applause)