The secret language of letter design
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0:01 - 0:04Can you imagine what the word
"TED" would have looked like -
0:04 - 0:06if it had existed during the Roman Empire?
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0:08 - 0:10I think maybe something like this.
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0:12 - 0:19An artisan would have spent days
in the sun chiseling it into stone. -
0:19 - 0:21And in the Middle Ages?
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0:23 - 0:27A monk, locked in his room,
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0:27 - 0:32would write T-E-D with his pen.
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0:34 - 0:35And without going so far back in time,
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0:35 - 0:38how would these letters
have looked in the 80s? -
0:41 - 0:45They would have had
electric, strange colors, -
0:45 - 0:46just like our hairstyles.
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0:46 - 0:48(Laughter)
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0:49 - 0:51If this event were about children,
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0:53 - 0:55I would draw the letters like this,
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0:55 - 0:58as if they were building blocks,
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0:59 - 1:00in vivid colors.
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1:00 - 1:04And if it were about superheroes instead?
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1:04 - 1:06I would do them like this,
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1:06 - 1:10inspired by -- in my opinion --
the greatest of all: -
1:10 - 1:12Superman.
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1:12 - 1:13(Laughter)
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1:13 - 1:16The shapes of these letters talk.
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1:17 - 1:21They tell us things
beyond what they represent. -
1:22 - 1:24They send us to different eras,
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1:24 - 1:26they convey values,
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1:26 - 1:28they tell us stories.
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1:30 - 1:34If we think about it,
our days are full of letters. -
1:34 - 1:36We see them on the front of the bus,
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1:36 - 1:38on the bakery's facade,
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1:38 - 1:40on the keyboard we write on,
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1:40 - 1:42on our cell phones --
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1:42 - 1:43everywhere.
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1:45 - 1:46Since the beginning of history,
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1:46 - 1:49people have felt the need
to give language an image. -
1:49 - 1:51And rightly so,
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1:51 - 1:55because language is the most important
communication tool we have. -
1:57 - 2:00Without understanding what a word means,
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2:00 - 2:02we can see certain things it conveys.
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2:04 - 2:06Some letters tell us
that something is modern -- -
2:06 - 2:08at least it was back in the 70s.
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2:11 - 2:15Others verify the importance
and monumentality of a place, -
2:15 - 2:17and they do so in uppercase.
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2:17 - 2:20There are letters not made to last long --
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2:20 - 2:24and neither is the opportunity
they communicate. -
2:24 - 2:27And there are letters made
by inexperienced hands -
2:27 - 2:29that, whether they mean to or not,
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2:29 - 2:32make us imagine
what a place looks like inside. -
2:33 - 2:37When I moved to Berlin,
I experienced firsthand -
2:37 - 2:41all the impact that drawn letters
can have in our day-to-day life. -
2:43 - 2:46I arrived in a new city, which was
exciting and novel for me. -
2:46 - 2:53Now, dealing with an unfamiliar language
was at times very frustrating -
2:53 - 2:54and uncomfortable.
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2:54 - 2:59I found myself several times at parties
clutching my glass of wine, -
2:59 - 3:04without understanding a single word
of what was being said around me. -
3:05 - 3:08And of course, I'd smile
as if I understood everything. -
3:10 - 3:14I felt limited in my ability
to say what I thought, -
3:15 - 3:16what I felt,
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3:18 - 3:19what I believed.
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3:21 - 3:24Not only did I not understand
the conversations, -
3:24 - 3:28but the streets were full of signs
and text that I couldn't read. -
3:29 - 3:34But the shapes of the letters
gave me clues; -
3:34 - 3:37they would open up a little window
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3:37 - 3:40to understanding the stories
enclosed in those shapes. -
3:42 - 3:45I recognized places
where tradition was important. -
3:45 - 3:48[Bakery Pastries Café Restaurant]
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3:48 - 3:51Or I'd know when someone
was trying to give me a signal, -
3:51 - 3:54and my gut would tell me
it was better to stay away. -
3:54 - 3:55[No trespassing!]
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3:55 - 3:58I could also tell when something
was made to last forever. -
3:58 - 4:02The shapes of letters helped me
understand my surroundings better -
4:02 - 4:03and navigate the city.
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4:04 - 4:05I was in Paris recently,
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4:05 - 4:08and something similar happened to me.
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4:08 - 4:10After a few days in the city,
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4:10 - 4:13I was on the lookout for something
tasty to take back home. -
4:13 - 4:18So I walked and walked and walked
until I found the perfect bakery. -
4:19 - 4:21The sign said it all.
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4:21 - 4:22[Bakery]
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4:22 - 4:26I see it, and even today,
I imagine the master baker -
4:26 - 4:29dedicating the same amount of time
to each loaf of bread -
4:29 - 4:32that the craftsman dedicated
to each letter of this word. -
4:32 - 4:36I can see the bread,
with just the right ingredients, -
4:36 - 4:39being kneaded softly and carefully,
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4:39 - 4:43in the same way the craftsman
drew the ends of the letters -
4:43 - 4:46with smooth and precise curves.
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4:47 - 4:52I see the master baker placing
the buns over a thin layer of flour -
4:52 - 4:54so the bottoms don't burn.
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4:54 - 4:59I think of the craftsman putting
the mosaics in the oven one by one, -
4:59 - 5:01being careful to not let the ink run.
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5:03 - 5:05The love for detail
that the master baker has -
5:06 - 5:11is reflected in the attention
that went into creating this sign. -
5:12 - 5:16Without having tried their bread,
we already imagine it tastes good. -
5:16 - 5:19And I can vouch for it; it was delicious.
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5:21 - 5:25I'm a letterer; that's my job --
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5:25 - 5:26to draw letters.
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5:27 - 5:31Just like when you make bread,
it requires care in its preparation, -
5:31 - 5:34just the right amount of ingredients
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5:34 - 5:35and love for the details.
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5:37 - 5:41Our alphabet is at the same time
my raw material and my limitation. -
5:41 - 5:45The basic structure of the letters
is for me a playing field, -
5:45 - 5:49where the only rule is that the reader,
at the end of the road, -
5:49 - 5:51will be able to read the message.
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5:52 - 5:55Let me show you how I work,
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5:55 - 5:57how I "knead my bread."
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5:58 - 6:03A while back, I was commissioned
to design the cover of a classic book, -
6:03 - 6:05"Alice in Wonderland."
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6:06 - 6:08Alice falls in a burrow
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6:08 - 6:11and begins an absurd journey
through a world of fantasy, remember? -
6:12 - 6:17In this situation, the title of the story
is my raw material. -
6:19 - 6:22At first glance, there are elements
that are not very important, -
6:22 - 6:24and I can decide to make them smaller.
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6:24 - 6:28For example, I'll write "in"
on a smaller scale. -
6:29 - 6:31Then I'll try some other ideas.
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6:31 - 6:34What if, to communicate
the idea of "wonder," -
6:34 - 6:37I used my best handwriting,
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6:37 - 6:40with lots of curleycues here and there?
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6:41 - 6:45Or what if I focused more on the fact
that the book is a classic -
6:45 - 6:48and used more conventional lettering,
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6:48 - 6:52making everything look
a little more stiff and serious, -
6:52 - 6:55like in an encyclopedia or old books?
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6:57 - 7:02Or how would it look, considering
this book has so much gibberish, -
7:02 - 7:06if I combined both universes
in a single arrangement: -
7:06 - 7:12rigid letters and smooth letters
living together in the same composition. -
7:13 - 7:17I like this idea,
and I'll work on it in detail. -
7:18 - 7:22I use another sheet of paper
to work more comfortably. -
7:23 - 7:25I mark some guidelines,
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7:25 - 7:29delimiting the framework
where the words will be. -
7:30 - 7:33There, I can start giving
form to each letter. -
7:33 - 7:34I work carefully.
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7:35 - 7:39I dedicate time to each letter
without losing sight of the whole. -
7:40 - 7:42I draw the ends
of the letters methodically. -
7:43 - 7:46Are they square or round?
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7:47 - 7:50Are they pointy or plump and smooth?
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7:52 - 7:54I always make several sketches,
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7:54 - 7:58where I'll try different ideas
or change elements. -
7:58 - 8:03And there comes a point when
the drawing turns into precise forms, -
8:03 - 8:07with colors, volumes
and decorative elements. -
8:08 - 8:11Alice, the celebrity here,
is placed at the front -
8:11 - 8:13with volume in her letters.
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8:14 - 8:17Lots of points and lines
playing in the background -
8:17 - 8:21help me convey that in this story,
lots of things happen. -
8:21 - 8:23And it helps to represent
the feeling it generates, -
8:23 - 8:26as if you had your head in the clouds.
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8:27 - 8:33And of course, there's Alice,
looking at her wonderland. -
8:35 - 8:42Drawing the letters of this title,
I recreate the text's atmosphere a little. -
8:42 - 8:45I let the reader see the story
through a peephole in the door. -
8:47 - 8:49To do that, I gave shape
to concepts and ideas -
8:49 - 8:51that already exist in our imagination:
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8:52 - 8:53the idea of dreams,
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8:54 - 8:55of chaos,
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8:56 - 8:57the concept of wonder.
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9:00 - 9:05The typography and the shape of letters
work a bit like gestures -
9:05 - 9:07and tone of voice.
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9:07 - 9:08It's not the same to say,
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9:10 - 9:13(In a flat tone of voice)
"TEDxRíodelaPlata's audience is huge," -
9:13 - 9:18as it is to say (In an animated voice),
"TEDxRíodelaPlata's audience is huge!" -
9:20 - 9:24Gestures and tone are part of the message.
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9:25 - 9:27By giving shape to the letters,
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9:27 - 9:31I can decide more precisely
what I mean to say and how, -
9:31 - 9:32beyond the literal text.
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9:35 - 9:40I can say my favorite swear word
in a very flowery way -
9:42 - 9:44and be really corny
when I talk about love. -
9:47 - 9:50I can talk loudly and in a grandiose way
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9:52 - 9:55or in a soft and poetic voice.
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9:58 - 10:00And I can communicate the difference
between Buenos Aires -
10:03 - 10:05and Berlin,
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10:07 - 10:09two cities I know very well.
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10:11 - 10:16It was precisely in Berlin
where my work became more colorful, -
10:16 - 10:17more expressive,
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10:18 - 10:20more precise at telling stories.
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10:21 - 10:24Everything I couldn't say
at those parties, -
10:24 - 10:27standing there holding my glass of wine,
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10:27 - 10:31exploded in shapes and colors on paper.
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10:32 - 10:36Without my realizing it,
this limitation that language has -
10:36 - 10:37became an engine
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10:38 - 10:43that propelled me to perfect the tools
with which I could express myself. -
10:44 - 10:46If I couldn't say it by speaking,
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10:46 - 10:49this was my way of talking
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10:49 - 10:51and telling things to the world.
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10:53 - 10:58Since then, my big quest
has been to find my own voice -
10:58 - 11:03and to tell stories with the exact
tone and gesture I want. -
11:04 - 11:06No more, no less.
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11:08 - 11:11That's why I combine colors,
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11:11 - 11:13textures
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11:13 - 11:16and of course, letters,
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11:17 - 11:18which are the heart.
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11:19 - 11:23And that's why I always want them to have
shapes that are truly beautiful -
11:24 - 11:26and exquisite.
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11:27 - 11:30Telling stories by drawing letters --
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11:30 - 11:31that's my job.
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11:33 - 11:35And with that I look for
a reaction in the reader, -
11:35 - 11:37to wake them up somehow,
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11:37 - 11:39to make them dream,
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11:39 - 11:41make them feel moved.
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11:42 - 11:45I believe that
if the message is important, -
11:45 - 11:47it requires work and craftsmanship.
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11:48 - 11:51And if the reader is important,
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11:51 - 11:56they deserve beauty and fantasy as well.
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11:56 - 11:59(Applause)
- Title:
- The secret language of letter design
- Speaker:
- Martina Flor
- Description:
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Look at the letters around you: on street signs, stores, restaurant menus, the covers of books. Whether you realize it or not, the letters are speaking to you, telling you something beyond the literal text -- that whatever they represent is modern or finely crafted or fantastical or zany. Learn to decode this secret language with lettering designer Martina Flor as she explains how altering the shapes, colors and textures of letters changes how we perceive them. (In Spanish with English subtitles).
- Video Language:
- Spanish
- Team:
- closed TED
- Project:
- TEDTalks
- Duration:
- 12:15
Brian Greene edited English subtitles for El lenguaje secreto del diseño de letras | ||
Brian Greene edited English subtitles for El lenguaje secreto del diseño de letras | ||
Brian Greene approved English subtitles for El lenguaje secreto del diseño de letras | ||
Brian Greene accepted English subtitles for El lenguaje secreto del diseño de letras | ||
Brian Greene edited English subtitles for El lenguaje secreto del diseño de letras | ||
Camille Martínez edited English subtitles for El lenguaje secreto del diseño de letras | ||
Camille Martínez edited English subtitles for El lenguaje secreto del diseño de letras |