The hilarious art of book design | Chip Kidd

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Hi.

Zdravo.

(Laughter)

(Smijeh)

I did that for two reasons.

Učinio sam to iz dva razloga.

First of all, I wanted to give you

Prije svega, želio sam vam dati

a good visual first impression.

dobar vizualni prvi dojam,

But the main reason I did it is that

no glavni razlog zbog kojeg sam to učinio je zato što je to ono

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

što mi se dogodi kad me se natjera da nosim

a Lady Gaga skanky mic.

nepristojni Lady Gaga mikrofon.

(Laughter)

(Smijeh)

I'm used to a stationary mic.

Navikao sam na stacionaran mikrofon.

It's the sensible shoe of public address.

On je udobna obuća javnih govora.

(Laughter)

(Smijeh)

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

Ali vi ste spojili ovu stvar na moju glavu i nešto se dogodilo.

I just become skanky.

Jednostavno sam postao nepristojan.

(Laughter) So I'm sorry about that.

(Smijeh) Stoga mi je žao zbog toga

And I'm already off-message.

i već sam skrenuo s teme.

(Laughter)

(Smijeh)

Ladies and gentlemen,

Dame i gospodo,

I have devoted the past 25 years of my life

posvetio sam proteklih 25 godina svog života

to designing books.

dizajniranju knjiga.

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

„Da, KNJIGA. Znate, one stvari koje imaju tintu na papiru.

You cannot turn them off with a switch.

Ne možete ih isključiti prekidačem.

Tell your kids.")

Recite to svojoj djeci.“

It all sort of started as a benign mistake,

Sve je to nekako počelo kao dobroćudna pogreška,

like penicillin. (Laughter)

poput penicilina. (Smijeh)

What I really wanted

Ono što sam stvarno želio

was to be a graphic designer

jest biti grafički dizajner

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

u jednoj od velikih dizajnerskih kompanija u New Yorku.

But upon arrival there,

No kada sam stigao tamo,

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

u jesen 1986., i išao na mnogo razgovora,

I found that the only thing I was offered

shvatio sam da je jedino što mi je bilo ponuđeno

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

to da budem asistent ravnatelja u Alfred A. Knopfu,

a book publisher.

izdavačkoj kući.

Now I was stupid,

Bio sam glup,

but not so stupid that I turned it down.

ali ne toliko glup da to odbijem.

I had absolutely no idea

Uopće nisam imao pojma

what I was about to become part of,

dio čega ću točno postati

and I was incredibly lucky.

i imao sam nevjerojatne sreće.

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

Ubrzo mi je postalo jasno što je bio moj posao.

My job was to ask this question:

Moj posao je bio pitati ovo pitanje:

"What do the stories look like?"

„Kako izgledaju priče?“

Because that is what Knopf is.

Jer, to je ono što Knopf zapravo je.

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

To je tvornica priča, jedna od najboljih na svijetu.

We bring stories to the public.

Mi donosimo priče javnosti.

The stories can be anything,

Priče mogu biti bilo što,

and some of them are actually true.

a neke od njih su i zaista istinite.

But they all have one thing in common:

No, sve one imaju nešto zajedničko:

They all need to look like something.

Sve trebaju izgledati kao nešto.

They all need a face.

Svima im treba lice.

Why? To give you a first impression

Zašto? Da vam da prvi dojam

of what you are about to get into.

onoga u što ćete ući.

A book designer gives form to content,

Dizajner knjiga daje oblik sadržaju,

but also

ali također

manages a very careful balance between the two.

upravlja veoma pažljivim odnosom između te dvije stvari.

Now, the first day

Prvog dana

of my graphic design training at Penn State University,

mog treninga za grafički dizajn na Sveučilištu u Pennsylvaniji,

the teacher, Lanny Sommese, came into the room

profesor, Lanny Sommese je došao u predavaonicu

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

i nacrtao jabuku na ploči,

and wrote the word "Apple" underneath,

napisao riječ „Jabuka“ ispod toga

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

i rekao, „U redu. Prvo predavanje. Slušajte.“

And he covered up the picture and he said,

Pokrio je sliku i rekao,

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

„Ili kažete ovo,“ a zatim pokrio riječ,

"or you show this.

„ili pokažete ovo.

But you don't do this."

Ali ne radite ovo.“

Because this is treating your audience like a moron.

Jer ovo tretira vašu publiku kao idiote.

(Laughter)

(Smijeh)

And they deserve better.

A oni zaslužuju bolje.

And lo and behold, soon enough,

I malo pomalo, dovoljno brzo

I was able to put this theory to the test

sam bio u mogućnosti staviti tu teoriju na testiranje

on two books that I was working on for Knopf.

na dvjema knjigama na kojima sam radio za Knopfa.

The first was Katharine Hepburn's memoirs,

Prva je bila monografija Katharine Hepburn,

and the second was a biography of Marlene Dietrich.

a druga biografija Marlene Dietrich.

Now the Hepburn book

Hepburnina knjiga

was written in a very conversational style,

je bila napisana veoma razgovornim stilom,

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

kao da je sjedila preko puta vas i sve vam to pričala.

The Dietrich book was an observation

Dietrichina knjiga bila su zapažanja

by her daughter; it was a biography.

njene kćeri; to je bila biografija.

So the Hepburn story is words

Dakle, Hepburnina priča su riječi,

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

a Dietrichina priča su slike, pa smo učinili ovo.

So there you are.

Evo vam.

Pure content and pure form, side by side.

Čist sadržaj i čist oblik, jedan do drugog.

No fighting, ladies.

Bez svađe, dame.

("What's a Jurassic Park?")

„Što je Jurassic Park?“

Now, what is the story here?

Kakva je priča ovdje?

Someone

Netko

is re-engineering dinosaurs

radi obrnuti inženjering na dinosaurima

by extracting their DNA

tako što vadi njihov DNK

from prehistoric amber.

iz prapovijesnog jantara.

Genius!

Genij!

(Laughter)

(Smijeh)

Now, luckily for me,

Srećom po mene,

I live and work in New York City,

živim i radim u New Yorku

where there are plenty of dinosaurs.

gdje imamo mnogo dinosaura.

(Laughter)

(Smijeh)

So,

Stoga sam otišao

I went to the Museum of Natural History,

u Muzej prirodne povijesti

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

i pogledao kosti, otišao sam u poklon dućan

and I bought a book.

i kupio knjigu.

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

I bio sam naročito obuzet ovom stranicom knjige,

and more specifically the lower right-hand corner.

točnije donjim desnim kutem.

Now I took this diagram,

Uzeo sam ovu shemu,

and I put it in a Photostat machine,

stavio ju u stroj za fotokopiranje,

(Laughter)

(Smijeh)

and I took a piece of tracing paper,

uzeo komad papira za precrtavanje,

and I taped it over the Photostat

zalijepio ga preko stroja za fotokopiranje

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

komadom selotepa -- zaustavite me ako sam prebrz --

(Laughter) --

(Smijeh)

and then I took a Rapidograph pen --

i onda sam uzeo Radiograph olovku --

explain it to the youngsters --

objasnite mlađima --

(Laughter)

(Smijeh)

and I just started to reconstitute the dinosaur.

i jednostavno počeo rekonstruirati dinosaura.

I had no idea what I was doing,

Nisam imao pojma što radim,

I had no idea where I was going,

nisam imao pojma kuda idem,

but at some point, I stopped --

ali u nekom sam trenutku stao --

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

kad bi se nastavljanje činilo kao da idem predaleko.

And what I ended up with was a graphic representation

Završio sam na kraju s grafičkim prikazom

of us seeing this animal coming into being.

nas kako gledamo kako ova životinja dolazi u život.

We're in the middle of the process.

Mi smo usred procesa.

And then I just threw some typography on it.

I onda sam samo bacio malo tiska na to.

Very basic stuff,

Veoma osnovne stvari,

slightly suggestive of public park signage.

malčice nametljivije od javne parkirne signalizacije.

(Laughter)

(Smijeh)

Everybody in house loved it,

Svi u kući bili su oduševljeni,

and so off it goes to the author.

i tako je to poslano autoru.

And even back then,

I čak tada,

Michael was on the cutting edge.

Michael je bio najnapredniji.

("Michael Crichton responds by fax:")

„Michael Crichton odgovara faksom“:

("Wow! Fucking Fantastic Jacket")

„Wow! Prokleto fantastična jakna“

(Laughter) (Applause)

(Smijeh) (Pljesak)

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

Bilo je olakšanje vidjeti kako to izlazi iz aparata.

(Laughter)

(Smijeh)

I miss Michael.

Nedostaje mi Michael.

And sure enough, somebody from MCA Universal

I sasvim sigurno, netko iz MCA Universala

calls our legal department to see if they can

zove naš pravni odjel kako bi vidjeli mogu li

maybe look into buying the rights to the image,

otkupiti prava na sliku

just in case they might want to use it.

u slučaju da je možda požele upotrijebiti.

Well, they used it.

Pa, upotrijebili su je.

(Laughter) (Applause)

(Smijeh) (Pljesak)

And I was thrilled.

A ja sam bio oduševljen.

We all know it was an amazing movie,

Svi znamo da je to bio odličan film

and it was so interesting to see it

i bilo je veoma zanimljivo vidjeti

go out into the culture and become this phenomenon

kako ulazi u našu kulturu, postaje fenomenom

and to see all the different permutations of it.

i vidjeti sve različite permutacije toga.

But not too long ago,

Ne toliko davno,

I came upon this on the Web.

došao sam do ovoga na internetu.

No, that is not me.

Ne, to nisam ja,

But whoever it is,

no tko god da je,

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

ne mogu si pomoći da ne mislim kako se jednog dana probudio misleći,

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

„Moj Bože, ovo nije bilo ovdje prošle noći. Ooooohh!

I was so wasted."

Tako sam se napio.“

(Laughter)

(Smijeh)

But if you think about it, from my head

No, ako razmislite o tome, od moje glave

to my hands to his leg.

do mojih ruku do njegove noge.

(Laughter)

(Smijeh)

That's a responsibility.

To je odgovornost.

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

I to je odgovornost koju ne uzimam olako.

The book designer's responsibility is threefold:

Odgovornost dizajnera knjiga ima tri stavke:

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

prema čitatelju, prema izdavaču i najviše od svega, prema autoru.

I want you to look at the author's book

Želim da pogledate autorovu knjigu

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

i kažete, „Wow! Moram to pročitati.“

David Sedaris is one of my favorite writers,

David Sedaris je jedan od mojih najdražih pisaca,

and the title essay

a naslov ovog eseja

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

u ovoj kolekciji je o njegovom putu u nudističku koloniju.

And the reason he went is because

Razlog zbog kojeg je otišao tamo je taj što je

he had a fear of his body image,

imao strah od svoje slike tijela

and he wanted to explore what was underlying that.

i želio je istražiti što se krije ispod toga.

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

Za mene, to je jednostavno bio razlog da dizajniram knjigu

that you could literally take the pants off of.

kojoj biste doslovno mogli skinuti hlače.

But when you do,

No kada biste to učinili,

you don't get what you expect.

ne biste dobili ono što očekujete.

You get something that goes much deeper than that.

Dobijete nešto mnogo dublje od toga.

And David especially loved this design

David je posebno volio ovaj dizajn

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

zato što je na potpisivanjima knjige, kojih ima mnogo,

he could take a magic marker and do this.

mogao uzeti čarobni marker i napraviti ovo.

(Laughter)

(Smijeh)

Hello!

Zdravo!

(Laughter)

(Smijeh)

Augusten Burroughs wrote a memoir

Augusten Burroughs napisao je monografiju

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

pod nazivom [„Dry“] (*Suh) i radi se o njegovom vremenu provedenom na rehabilitaciji.

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

U svojim dvadesetima, bio je faca i direktor

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

i kako nam je Mad Men rekao, razjareni alkoholičar.

He did not think so, however,

On nije tako mislio,

but his coworkers did an intervention and they said,

no njegovi su suradnici napravili intervenciju i rekli,

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

„Ideš na rehabilitaciju jer ćeš u suprotnom dobiti otkaz i umrijet ćeš.“

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

Za mene je ovo uvijek bilo tiskarsko rješenje,

what I would call the opposite of Type 101.

što bih nazvao suprotnim od Tipa 101.

What does that mean?

Što to znači?

Usually on the first day of Introduction to Typography,

Obično, na prvom danu Uvoda u tiskarstvo

you get the assignment of, select a word

dobijete zadatak da odredite riječ

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

i napravite da ona izgleda kao ono što kaže da je. To je Tip 101, zar ne?

Very simple stuff.

Veoma jednostavna stvar.

This is going to be the opposite of that.

Ovo će biti suprotno od toga.

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

Želim da ova knjiga izgleda kao da vam laže,

desperately and hopelessly, the way an alcoholic would.

očajno i beznadno, kao što i alkoholičar izgleda.

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

Odgovor je bila stvar za koju vam uopće ne treba tehnologija.

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

Namjestio sam oblik, isprintao na Epsonovom printeru

with water-soluble ink, taped it to the wall

s tintom topljivom u vodi, zalijepio na zid

and threw a bucket of water at it. Presto!

i zalio kantom vode. Što brže!

Then when we went to press,

Nakon toga otišli smo u tisak,

the printer put a spot gloss on the ink

printer je dodao sjaj na tintu

and it really looked like it was running.

i zaista je izgledalo kao da nekuda bježi.

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

Nedugo nakon što je izašla, Augusten je napadnut iz zasjede u zračnoj luci

and he was hiding out in the bookstore

i skrivao se u knjižari

spying on who was buying his books.

špijunirajući tko kupuje njegove knjige.

And this woman came up to it,

Došla je jedna žena,

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

prolistala knjigu, odnijela na blagajnu

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

i rekla muškarcu na blagajni, „Ova je uništena.“

(Laughter)

(Smijeh)

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

Tip na blagajni je rekao, „Znam gospođo. Sve izgledaju tako.“

(Laughter)

(Smijeh)

Now, that's a good printing job.

To je dobar tiskarski posao.

A book cover

Korica knjige

is a distillation.

je destilacija.

It is a haiku,

Ona je haiku

if you will, of the story.

priče.

This particular story

Ova posebna priča

by Osama Tezuka

Osama Tezuke

is his epic life of the Buddha,

je njegov epski život Bude

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

i njegovih osam nastavaka sveukupno. No najbolja je stvar

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

kada je na vašoj polici, dobijete život Bude

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

na polici, kad krenete s jedne godine na drugu.

All of these solutions

Sva ova rješenja

derive their origins from the text of the book,

vuku podrijetlo iz sadržaja knjige,

but once the book designer has read the text,

no jednom kad dizajner knjige pročita sadržaj,

then he has to be an interpreter

onda on mora biti tumač

and a translator.

i prevoditelj.

This story was a real puzzle.

Ova je priča bila prava slagalica.

This is what it's about.

O ovome se radi.

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

„Spletke i ubojstvo među turskim sudskim slikarima u 16. stoljeću.“

(Laughter)

(Smijeh)

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

U redu, skupio sam kolekciju slika na jedno mjesto,

and I looked at them and I deconstructed them

pogledao ih, dekonstruirao ih

and I put them back together.

i složio natrag.

And so, here's the design, right?

I evo, ovdje je dizajn, zar ne?

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

Ovdje je prednja strana i kralježnica, no ravna je.

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

No, prava priča počinje kad je omotate oko knjige i stavite na policu.

Ahh! We come upon them,

Ahh! Nailazimo na njih,

the clandestine lovers. Let's draw them out.

tajne ljubavnike. Nacrtajmo ih.

Huhh! They've been discovered by the sultan.

Haaa! Otkrio ih je sultan.

He will not be pleased.

Neće biti zadovoljan.

Huhh! And now the sultan is in danger.

Haaa! Sada je sultan u opasnosti.

And now, we have to open it up

I sada, moramo otvoriti

to find out what's going to happen next.

kako bismo saznali što će se sljedeće dogoditi.

Try experiencing that on a Kindle.

Pokušajte to doživjeti na Kindleu.

(Laughter)

(Smijeh)

Don't get me started.

Nemojte da počnem.

Seriously.

Stvarno.

Much is to be gained by eBooks:

E-knjige mnogo toga moraju steći:

ease, convenience, portability.

spokoj, pogodnost, pokretnost.

But something is definitely lost: tradition,

No nešto je svakako izgubljeno: tradicija,

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

tjelesno iskustvo, udobnost stvarnosti --

a little bit of humanity.

malo ljudskosti.

Do you know what John Updike used to do

Znate li što je John Updike radio

the first thing when he would get a copy

kada bi dobio prvi primjerak

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

nove knjige iz Alfred A. Knopfa?

He'd smell it.

Pomirisao bi ju.

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

Zatim bi rukom prošao po listovima

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

jetkoj tinti i grubim rubovima stranica.

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

Tolike godine, tolike knjige i još mu to nije dosadilo.

Now, I am all for the iPad,

Ja sam u potpunosti za iPad,

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

no vjerujte mi -- mirisanje vas nigdje neće dovesti.

(Laughter)

(Smijeh)

Now the Apple guys are texting,

Tipovi iz Applea nam pišu,

"Develop odor emission plug-in."

„Stvorite dodatak koji širi miris.“

(Laughter)

(Smijeh)

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

Posljednja priča o kojoj ću pričati je poprilična priča.

A woman

Žena po imenu

named Aomame in 1984 Japan finds herself

Aomame, 1984. g. u Japanu

negotiating down a spiral staircase

se našla raspravljajući

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

na spiralnim stepenicama sa povišenih autocesta. Kad dođe do dolje,

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

ne može si pomoći osim da odjednom osjeća

she's entered a new reality

kako je ušla u novu stvarnost

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

koja je malkice drugačija od one koju je napustila,

but very similar, but different.

no veoma slična, ali različita.

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

Dakle, govorimo o paralelnim područjima postojanja,

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

nalik na omot knjige i knjigu koju pokriva.

So how do we show this?

Dakle, kako da to pokažemo?

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

Vratimo se na Hepburn i Dietrich, no sada ih stapamo.

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

Govorimo o različitim područjima, različitim komadima papira.

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

Ovo je poluproziran komad opne.

It's one part of the form and content.

To je jedan dio oblika i sadržaja.

When it's on top of the paper board,

Kada je na vrhu kartona,

which is the opposite, it forms this.

što je suprotno, oblikuje ovo.

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

Čak i da ne znate ništa o ovoj knjizi,

you are forced to consider a single person

prisiljeni ste razmotriti jednu osobu

straddling two planes of existence.

koja opkoračuje dva područja postojanja.

And the object itself invited exploration

A sam predmet je pozvao istraživanje

interaction, consideration

interakcije, razmatranja

and touch.

i dodira.

This debuted at number two

Ovo je debitiralo na broju dva

on the New York Times Best Seller list.

liste bestselera New York Timesa.

This is unheard of,

To je nečuveno

both for us the publisher, and the author.

i za izdavača i za autora.

We're talking a 900-page book

Govorimo o knjizi od 900 strana

that is as weird as it is compelling,

koja je čudna jednako koliko je i neodoljiva,

and featuring a climactic scene

a u kombinaciji s prijelomnom scenom

in which a horde of tiny people

u kojoj gomila sićušnih ljudi

emerge from the mouth of a sleeping girl

izlazi iz usta uspavane djevojke

and cause a German Shepherd to explode.

i uzrokuje eksploziju Njemačkog ovčara.

(Laughter)

(Smijeh)

Not exactly Jackie Collins.

Nije baš Jackie Collins.

Fourteen weeks on the Best Seller list,

Četrnaest tjedana na listi bestselera,

eight printings, and still going strong.

osam izdanja i još uvijek se dobro drži.

So even though we love publishing as an art,

Iako volimo izdavanje kao umjetnost,

we very much know it's a business too,

znamo da je to i posao

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

i ako učinimo svoj posao kako treba i malo nam se posreći,

that great art can be great business.

ta velika umjetnost može biti odličan posao.

So that's my story. To be continued.

To je moja priča. Nastavit će se.

What does it look like?

Kako izgleda?

Yes. It can, it does and it will,

Da. Može, čini i hoće,

but for this book designer,

ali za ovog dizajnera knjiga,

page-turner,

okretača stranica,

dog-eared place-holder,

označivača mjesta na kojem smo stali s čitanjem savijanjem rubova,

notes in the margins-taker,

onoga koji bilježi stvari na marginama,

ink-sniffer,

njuškala tinte,

the story looks like this.

priča izgleda ovako.

Thank you.

Hvala.

(Applause)

(Pljesak)