Martina Flor: The secret language of letter design (with English subtitles) | TED

105,778 views ・ 2018-01-05

TED


Please double-click on the English subtitles below to play the video.

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