The art of first impressions — in design and life
-
0:04 - 0:06Blah blah blah blah blah.
-
0:06 - 0:08Blah blah blah blah,
-
0:08 - 0:11blah blah, blah blah blah blah blah blah.
-
0:11 - 0:14Blah blah blah, blah.
-
0:15 - 0:17So what the hell was that?
-
0:17 - 0:21Well, you don't know
because you couldn't understand it. -
0:21 - 0:24It wasn't clear.
-
0:25 - 0:28But hopefully, it was said
with enough conviction -
0:28 - 0:31that it was at least
alluringly mysterious. -
0:33 - 0:36Clarity or mystery?
-
0:36 - 0:40I'm balancing these two things
in my daily work as a graphic designer, -
0:40 - 0:45as well as my daily life as a New Yorker
-
0:45 - 0:47every day,
-
0:47 - 0:51and there are two elements
that absolutely fascinate me. -
0:51 - 0:53Here's an example.
-
0:53 - 0:57Now, how many people know what this is?
-
1:00 - 1:05Okay. Now how many people
know what this is? -
1:05 - 1:12Okay. Thanks to two more deft strokes
by the genius Charles M. Schulz, -
1:12 - 1:15we now have seven deft strokes
that in and of themselves -
1:15 - 1:19create an entire emotional life,
-
1:19 - 1:22one that has enthralled
hundreds of millions of fans -
1:22 - 1:24for over 50 years.
-
1:24 - 1:26This is actually a cover of a book
-
1:26 - 1:30that I designed about the work
of Schulz and his art, -
1:30 - 1:32which will be coming out this fall,
-
1:32 - 1:34and that is the entire cover.
-
1:34 - 1:39There is no other typographic information
or visual information on the front, -
1:39 - 1:43and the name of the book
is "Only What's Necessary." -
1:43 - 1:49So this is sort of symbolic about
the decisions I have to make every day -
1:49 - 1:53about the design that I'm perceiving,
-
1:53 - 1:55and the design I'm creating.
-
1:56 - 1:57So clarity.
-
1:57 - 1:59Clarity gets to the point.
-
1:59 - 2:03It's blunt. It's honest. It's sincere.
-
2:04 - 2:07We ask ourselves this.
["When should you be clear?"] -
2:07 - 2:13Now, something like this,
whether we can read it or not, -
2:13 - 2:16needs to be really, really clear.
-
2:16 - 2:18Is it?
-
2:21 - 2:27This is a rather recent example
of urban clarity that I just love, -
2:27 - 2:32mainly because I'm always late
and I am always in a hurry. -
2:33 - 2:39So when these meters started showing up
a couple of years ago on street corners, -
2:39 - 2:43I was thrilled, because now I finally knew
-
2:43 - 2:46how many seconds I had
to get across the street -
2:46 - 2:49before I got run over by a car.
-
2:49 - 2:53Six? I can do that. (Laughter)
-
2:53 - 2:57So let's look at the yin
to the clarity yang, -
2:57 - 3:01and that is mystery.
-
3:01 - 3:06Mystery is a lot more complicated
by its very definition. -
3:06 - 3:10Mystery demands to be decoded,
-
3:10 - 3:13and when it's done right,
we really, really want to. -
3:13 - 3:14["When should you be mysterious?"]
-
3:14 - 3:20In World War II, the Germans
really, really wanted to decode this, -
3:20 - 3:23and they couldn't.
-
3:23 - 3:26Here's an example of a design
that I've done recently -
3:26 - 3:28for a novel by Haruki Murakami,
-
3:28 - 3:31who I've done design work for
for over 20 years now, -
3:31 - 3:37and this is a novel about a young man
who has four dear friends -
3:37 - 3:41who all of a sudden,
after their freshman year of college, -
3:41 - 3:44completely cut him off
with no explanation, -
3:44 - 3:46and he is devastated.
-
3:46 - 3:51And the friends' names each have
a connotation in Japanese to a color. -
3:51 - 3:56So there's Mr. Red, there's Mr. Blue,
there's Ms. White, and Ms. Black. -
3:57 - 4:00Tsukuru Tazaki, his name
does not correspond to a color, -
4:00 - 4:05so his nickname is Colorless, and
as he's looking back on their friendship, -
4:05 - 4:08he recalls that they were like
five fingers on a hand. -
4:08 - 4:12So I created this sort of abstract
representation of this, -
4:12 - 4:16but there's a lot more going on
underneath the surface of the story, -
4:16 - 4:21and there's more going on underneath
the surface of the jacket. -
4:21 - 4:26The four fingers are now four train lines
-
4:26 - 4:28in the Tokyo subway system,
-
4:28 - 4:30which has significance within the story.
-
4:31 - 4:34And then you have
the colorless subway line -
4:34 - 4:36intersecting with each
of the other colors, -
4:36 - 4:39which basically he does
later on in the story. -
4:39 - 4:41He catches up with each of these people
-
4:41 - 4:44to find out why they treated him
the way they did. -
4:44 - 4:49And so this is the three-dimensional
finished product -
4:49 - 4:51sitting on my desk in my office,
-
4:51 - 4:56and what I was hoping for here
is that you'll simply be allured -
4:56 - 4:59by the mystery of what this looks like,
-
4:59 - 5:02and will want to read it
-
5:02 - 5:07to decode and find out and make more clear
why it looks the way it does. -
5:08 - 5:10["The Visual Vernacular."]
-
5:10 - 5:14This is a way to use a more
familiar kind of mystery. -
5:14 - 5:16What does this mean?
-
5:16 - 5:19This is what it means.
["Make it look like something else."] -
5:19 - 5:23The visual vernacular is the way
we are used to seeing a certain thing -
5:23 - 5:28applied to something else so that
we see it in a different way. -
5:28 - 5:32This is an approach I wanted to take
to a book of essays by David Sedaris -
5:32 - 5:35that had this title at the time.
["All the Beauty You Will Ever Need"] -
5:35 - 5:39Now, the challenge here was that
this title actually means nothing. -
5:39 - 5:43It's not connected to any
of the essays in the book. -
5:43 - 5:48It came to the author's boyfriend
in a dream. -
5:48 - 5:54Thank you very much, so -- (Laughter) --
so usually, I am creating a design -
5:54 - 5:58that is in some way based on the text,
but this is all the text there is. -
5:58 - 6:02So you've got this mysterious title
that really doesn't mean anything, -
6:02 - 6:05so I was trying to think:
-
6:05 - 6:11Where might I see a bit of mysterious text
that seems to mean something but doesn't? -
6:11 - 6:13And sure enough, not long after,
-
6:13 - 6:17one evening after a Chinese meal,
-
6:17 - 6:23this arrived, and I thought,
"Ah, bing, ideagasm!" (Laughter) -
6:23 - 6:29I've always loved the hilariously
mysterious tropes of fortune cookies -
6:29 - 6:32that seem to mean something extremely deep
-
6:32 - 6:36but when you think about them -- if you
think about them -- they really don't. -
6:36 - 6:42This says, "Hardly anyone knows how much
is gained by ignoring the future." -
6:43 - 6:45Thank you. (Laughter)
-
6:45 - 6:51But we can take this visual vernacular
and apply it to Mr. Sedaris, -
6:51 - 6:57and we are so familiar
with how fortune cookie fortunes look -
6:57 - 6:59that we don't even need
the bits of the cookie anymore. -
6:59 - 7:02We're just seeing this strange thing
-
7:02 - 7:04and we know we love David Sedaris,
-
7:04 - 7:07and so we're hoping that
we're in for a good time. -
7:08 - 7:11["'Fraud' Essays by David Rakoff"]
David Rakoff was a wonderful writer -
7:11 - 7:14and he called his first book "Fraud"
-
7:14 - 7:18because he was getting sent
on assignments by magazines -
7:18 - 7:21to do things that he
was not equipped to do. -
7:21 - 7:23So he was this skinny little urban guy
-
7:23 - 7:27and GQ magazine would send him
down the Colorado River -
7:27 - 7:30whitewater rafting to see
if he would survive. -
7:31 - 7:35And then he would write about it,
and he felt that he was a fraud -
7:35 - 7:37and that he was misrepresenting himself.
-
7:37 - 7:42And so I wanted the cover of this book
to also misrepresent itself -
7:42 - 7:47and then somehow show
a reader reacting to it. -
7:47 - 7:50This led me to graffiti.
-
7:50 - 7:52I'm fascinated by graffiti.
-
7:52 - 7:55I think anybody who lives
in an urban environment -
7:55 - 7:59encounters graffiti all the time,
and there's all different sorts of it. -
7:59 - 8:03This is a picture I took
on the Lower East Side -
8:03 - 8:05of just a transformer box on the sidewalk
-
8:05 - 8:07and it's been tagged like crazy.
-
8:07 - 8:13Now whether you look at this and think,
"Oh, that's a charming urban affectation," -
8:13 - 8:17or you look at it and say,
"That's illegal abuse of property," -
8:17 - 8:20the one thing I think we can all agree on
-
8:20 - 8:23is that you cannot read it.
-
8:23 - 8:26Right? There is no clear message here.
-
8:26 - 8:32There is another kind of graffiti
that I find far more interesting, -
8:32 - 8:35which I call editorial graffiti.
-
8:35 - 8:39This is a picture I took recently
in the subway, -
8:39 - 8:43and sometimes you see
lots of prurient, stupid stuff, -
8:43 - 8:48but I thought this was interesting,
and this is a poster that is saying -
8:48 - 8:50rah-rah Airbnb,
-
8:50 - 8:53and someone has taken a Magic Marker
-
8:53 - 8:56and has editorialized about
what they think about it. -
8:56 - 8:59And it got my attention.
-
8:59 - 9:03So I was thinking, how do we
apply this to this book? -
9:03 - 9:08So I get the book by this person,
and I start reading it, and I'm thinking, -
9:08 - 9:13this guy is not who he says
he is; he's a fraud. -
9:13 - 9:17And I get out a red Magic Marker,
-
9:17 - 9:21and out of frustration just
scribble this across the front. -
9:21 - 9:25Design done. (Laughter)
-
9:26 - 9:30And they went for it! (Laughter)
-
9:30 - 9:32Author liked it, publisher liked it,
-
9:32 - 9:35and that is how the book
went out into the world, -
9:35 - 9:40and it was really fun to see
people reading this on the subway -
9:40 - 9:42and walking around with it
and what have you, -
9:42 - 9:46and they all sort of looked
like they were crazy. -
9:46 - 9:48(Laughter)
-
9:49 - 9:53["'Perfidia' a novel by James Ellroy"]
Okay, James Ellroy, amazing crime writer, -
9:53 - 9:55a good friend, I've worked
with him for many years. -
9:55 - 9:57He is probably best known as the author
-
9:57 - 10:00of "The Black Dahlia"
and "L.A. Confidential." -
10:00 - 10:05His most recent novel was called this,
which is a very mysterious name -
10:05 - 10:09that I'm sure a lot of people know
what it means, but a lot of people don't. -
10:09 - 10:16And it's a story about a Japanese-American
detective in Los Angeles in 1941 -
10:16 - 10:18investigating a murder.
-
10:18 - 10:20And then Pearl Harbor happens,
-
10:20 - 10:23and as if his life
wasn't difficult enough, -
10:23 - 10:28now the race relations
have really ratcheted up, -
10:28 - 10:33and then the Japanese-American
internment camps are quickly created, -
10:33 - 10:35and there's lots of tension
-
10:35 - 10:39and horrible stuff as he's still
trying to solve this murder. -
10:39 - 10:45And so I did at first think
very literally about this in terms of -
10:45 - 10:49all right, we'll take Pearl Harbor
and we'll add it to Los Angeles -
10:49 - 10:56and we'll make this apocalyptic dawn
on the horizon of the city. -
10:56 - 10:59And so that's a picture from Pearl Harbor
-
10:59 - 11:02just grafted onto Los Angeles.
-
11:02 - 11:05My editor in chief said,
"You know, it's interesting -
11:05 - 11:10but I think you can do better
and I think you can make it simpler." -
11:10 - 11:15And so I went back
to the drawing board, as I often do. -
11:15 - 11:19But also, being alive to my surroundings,
-
11:19 - 11:23I work in a high-rise in Midtown,
-
11:23 - 11:26and every night,
before I leave the office, -
11:26 - 11:29I have to push this button to get out,
-
11:29 - 11:32and the big heavy glass doors open
and I can get onto the elevator. -
11:32 - 11:36And one night, all of a sudden,
-
11:36 - 11:42I looked at this and I saw it in a way
that I hadn't really noticed it before. -
11:42 - 11:44Big red circle, danger.
-
11:44 - 11:47And I thought this was so obvious
-
11:47 - 11:50that it had to have been
done a zillion times, -
11:50 - 11:54and so I did a Google image search,
and I couldn't find another book cover -
11:54 - 11:57that looked quite like this,
-
11:57 - 11:59and so this is really
what solved the problem, -
11:59 - 12:02and graphically it's more interesting
-
12:02 - 12:06and creates a bigger tension
between the idea -
12:06 - 12:11of a certain kind of sunrise
coming up over L.A. and America. -
12:12 - 12:14["'Gulp' A tour of the human
digestive system by Mary Roach."] -
12:14 - 12:17Mary Roach is an amazing writer
-
12:17 - 12:20who takes potentially mundane
scientific subjects -
12:20 - 12:24and makes them not mundane at all;
she makes them really fun. -
12:24 - 12:25So in this particular case,
-
12:25 - 12:28it's about the human digestive system.
-
12:28 - 12:33So I'm trying to figure out what
is the cover of this book going to be. -
12:34 - 12:38This is a self-portrait. (Laughter)
-
12:38 - 12:44Every morning I look at myself
in the medicine cabinet mirror -
12:44 - 12:47to see if my tongue is black.
-
12:47 - 12:50And if it's not, I'm good to go.
-
12:50 - 12:53(Laughter)
-
12:55 - 12:58I recommend you all do this.
-
12:58 - 13:02But I also started thinking,
here's our introduction. -
13:02 - 13:05Right? Into the human digestive system.
-
13:06 - 13:08But I think what we can all agree on
-
13:08 - 13:12is that actual photographs
of human mouths, at least based on this, -
13:12 - 13:16are off-putting. (Laughter)
-
13:16 - 13:20So for the cover, then,
I had this illustration done -
13:20 - 13:22which is literally more palatable
-
13:22 - 13:27and reminds us that it's best
to approach the digestive system -
13:27 - 13:29from this end.
-
13:29 - 13:32(Laughter)
-
13:32 - 13:35I don't even have to complete
the sentence. All right. -
13:36 - 13:37["Unuseful mystery"]
-
13:37 - 13:41What happens when clarity
and mystery get mixed up? -
13:42 - 13:43And we see this all the time.
-
13:43 - 13:46This is what I call unuseful mystery.
-
13:46 - 13:49I go down into the subway --
I take the subway a lot -- -
13:49 - 13:53and this piece of paper
is taped to a girder. -
13:55 - 13:58Right? And now I'm thinking, uh-oh,
-
13:58 - 14:02and the train's about to come and I'm
trying to figure out what this means, -
14:02 - 14:05and thanks a lot.
-
14:05 - 14:09Part of the problem here is that
they've compartmentalized the information -
14:09 - 14:12in a way they think is helpful,
and frankly, I don't think it is at all. -
14:12 - 14:16So this is mystery we do not need.
-
14:16 - 14:24What we need is useful clarity,
so just for fun, I redesigned this. -
14:24 - 14:26This is using all the same elements.
-
14:26 - 14:29(Applause)
-
14:30 - 14:34Thank you. I am still waiting
for a call from the MTA. (Laughter) -
14:34 - 14:38You know, I'm actually not even
using more colors than they use. -
14:38 - 14:41They just didn't even bother
to make the 4 and the 5 green, -
14:41 - 14:44those idiots. (Laughter)
-
14:45 - 14:48So the first thing we see
is that there is a service change, -
14:48 - 14:52and then, in two complete sentences
with a beginning, a middle and an end, -
14:52 - 14:56it tells us what the change is
and what's going to be happening. -
14:56 - 15:00Call me crazy! (Laughter)
-
15:02 - 15:04["Useful mystery"]
All right. -
15:04 - 15:10Now, here is a piece
of mystery that I love: -
15:10 - 15:11packaging.
-
15:11 - 15:15This redesign of the Diet Coke can
-
15:15 - 15:20by Turner Duckworth
is to me truly a piece of art. -
15:20 - 15:24It's a work of art. It's beautiful.
-
15:24 - 15:27But part of what makes it
so heartening to me as a designer -
15:27 - 15:31is that he's taken the visual
vernacular of Diet Coke -- -
15:31 - 15:35the typefaces, the colors,
the silver background -- -
15:35 - 15:40and he's reduced them
to their most essential parts, -
15:40 - 15:43so it's like going back
to the Charlie Brown face. -
15:43 - 15:47It's like, how can you give them just
enough information so they know what it is -
15:47 - 15:51but giving them the credit
for the knowledge that they already have -
15:51 - 15:52about this thing?
-
15:52 - 15:56It looks great, and you would go
into a delicatessen -
15:56 - 16:01and all of a sudden see that on the shelf,
and it's wonderful. -
16:01 - 16:04Which makes the next thing --
-
16:04 - 16:07["Unuseful clarity"] --
all the more disheartening, -
16:07 - 16:09at least to me.
-
16:09 - 16:12So okay, again, going back
down into the subway, -
16:12 - 16:14after this came out,
-
16:14 - 16:16these are pictures that I took.
-
16:16 - 16:19Times Square subway station:
-
16:19 - 16:24Coca-Cola has bought out
the entire thing for advertising. Okay? -
16:24 - 16:28And maybe some of you
know where this is going. -
16:29 - 16:30Ahem.
-
16:30 - 16:33"You moved to New York
with the clothes on your back, -
16:33 - 16:36the cash in your pocket,
and your eyes on the prize. -
16:36 - 16:39You're on Coke." (Laughter)
-
16:45 - 16:48"You moved to New York
with an MBA, one clean suit, -
16:48 - 16:50and an extremely firm handshake.
-
16:50 - 16:53You're on Coke." (Laughter)
-
16:54 - 16:58These are real! (Laughter)
-
16:58 - 17:02Not even the support beams were spared,
-
17:02 - 17:06except they switched into Yoda mode.
(Laughter) -
17:08 - 17:11"Coke you're on." (Laughter)
-
17:11 - 17:14["Excuse me, I'm on WHAT??"]
-
17:14 - 17:18This campaign was a huge misstep.
-
17:18 - 17:22It was pulled almost instantly
due to consumer backlash -
17:22 - 17:27and all sorts of unflattering
parodies on the web -- -
17:27 - 17:29(Laughter) --
-
17:29 - 17:34and also that dot next to "You're on,"
that's not a period, that's a trademark. -
17:35 - 17:36So thanks a lot.
-
17:36 - 17:40So to me, this was just so bizarre
-
17:40 - 17:46about how they could get the packaging
so mysteriously beautiful and perfect -
17:46 - 17:51and the message so unbearably,
clearly wrong. -
17:51 - 17:54It was just incredible to me.
-
17:54 - 18:00So I just hope that I've been able
to share with you some of my insights -
18:00 - 18:04on the uses of clarity
and mystery in my work, -
18:04 - 18:09and maybe how you might decide
to be more clear in your life, -
18:09 - 18:15or maybe to be a bit more mysterious
and not so over-sharing. -
18:15 - 18:18(Laughter)
-
18:19 - 18:24And if there's just one thing
that I leave you with from this talk, -
18:24 - 18:26I hope it's this:
-
18:26 - 18:29Blih blih blih blah. Blah blah blih blih.
["'Judge This,' Chip Kidd"] -
18:29 - 18:32Blih blih blah blah blah.
Blah blah blah. -
18:32 - 18:34Blah blah.
-
18:34 - 18:38(Applause)
- Title:
- The art of first impressions — in design and life
- Speaker:
- Chip Kidd
- Description:
-
Book designer Chip Kidd knows all too well how often we judge things by first appearances. In this hilarious, fast-paced talk, he explains the two techniques designers use to communicate instantly — clarity and mystery — and when, why and how they work. He celebrates beautiful, useful pieces of design, skewers less successful work, and shares the thinking behind some of his own iconic book covers.
- Video Language:
- English
- Team:
- closed TED
- Project:
- TEDTalks
- Duration:
- 18:57
Morton Bast edited English subtitles for The art of first impressions -- in design and life | ||
Morton Bast approved English subtitles for The art of first impressions -- in design and life | ||
Morton Bast edited English subtitles for The art of first impressions -- in design and life | ||
Morton Bast edited English subtitles for The art of first impressions -- in design and life | ||
Morton Bast edited English subtitles for The art of first impressions -- in design and life | ||
Morton Bast edited English subtitles for The art of first impressions -- in design and life | ||
Morton Bast edited English subtitles for The art of first impressions -- in design and life | ||
Morton Bast edited English subtitles for The art of first impressions -- in design and life |