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You really learn to look.
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And it pays off, that suddenly
you begin to see...
3
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...wonderful things in your daily
life you never noticed.
4
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And I would say it’s one of
the most wonderful presents...
5
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...you get in art education–...
6
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…–to enjoy...
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...seeing.
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Training the eye is very very important.
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You can't come up with ideas if you don't see first.
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What interested me...
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...was to teach students to see
in an abstract manner.
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So not to see an object...
13
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…but to see it as something round or square...
14
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…something textured or smooth...
15
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…and to translate what they see…
16
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...into a form-language.
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The assignment to place 5 lines in a given format...
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…shows how little you need…
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...to make the negative area come to life.
20
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Placing two squares in a given format...
21
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…to show in how many different ways…
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...you could handle this assignment.
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I gave students a 9-square grid...
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…which as ordering principle...
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…allowed them to come up with...
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…a coherent composition.
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The actual design elements were up to them.
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The limiting is important...
29
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...so that students have a very clear...
30
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…playground set up...
31
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...and it helps them to focus.
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Graphic design is seeing and envisioning.
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The eye has to move around...
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...enjoyably.
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There’s nothing where you get stuck.
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It all flows and works together.
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There’s nothing unnecessary.
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In all of these exercises…
39
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…the control of the negative area…
40
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…is very important.
41
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In another year...
42
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…I decided to work with letter...
43
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…and image combinations.
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She'd say:
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-"Hold that safety pin and look at it carefully…
46
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…and do you really see that kind of reflection...
47
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...that you are drawing here?
48
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Or even if you are not seeing it...
49
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...what's the difference between the object and the quality of the object?"
50
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The coolness of the metal, the reflectivity...
51
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...she would talk in this terms.
52
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And yet we're still doing just a black and white drawing.
53
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It's about abstraction, it's about simplification...
54
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…and she would have a way of...
55
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...getting you to see differently…
56
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...see deeper into the object.
57
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I chose the image because...
58
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…the original is a Greek relief I always loved...
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…and had a photograph of at my studio.
60
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The linear translation of the...
61
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...original relief…
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…came from another piece of art…
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…I greatly admired and loved…
64
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...which were the woodcuts of Maillol.
65
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So it’s linked to two areas...
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...I greatly cared about.
67
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And I recall a very nice statement by Herbert Matter.
68
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He told me once:
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-“If you love something...
70
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...the work will be just fine.”
71
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The connection that I really see between Inge…
72
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and Herbert Matter...
73
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...is that he said he was not interested in...
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...what things were.
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He was interesting on what things were doing.
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And as a photographer...
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…and a designer and an artist...
78
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…him being all three…
79
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...that was the continual question...
80
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…is to go beyond what it is…
81
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…and try to understand...
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...what it's doing.
83
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The Beethoven poster was done in 1979.
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I thought as a visual idea to…
85
00:05:01,568 --> 00:05:05,323
…use the contrast of light and dark...
86
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…which evoked some similarity of Beethoven’s life...
87
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…who went from depression...
88
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...to very active working periods.
89
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The large -B- was a very early idea.
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The notation is authentic…
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…from a manuscript of a Beethoven score.
92
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The echo of the staff-lines…
93
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...also came relatively quickly.
94
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But I didn’t know where the poster…
95
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...would go from there.
96
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But staring at it...
97
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…and that is something very interesting...
98
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...when you work on a poster...
99
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…to give yourself time to stare at it…
100
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…And see what’s there?
101
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What does it want?
102
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What’s possible?
103
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Because with the first few elements one puts down...
104
00:06:00,633 --> 00:06:03,888
...there is already something set in motion.
105
00:06:05,845 --> 00:06:10,348
So I noticed the large -E- in the negative area...
106
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…and with that...
107
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…the idea for the poster was pretty clear...
108
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..to spell out the word BEETHOVEN.
109
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The elements are very much…
110
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...in the realm of music notation.
111
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The important text...
112
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…of course, was repeated in the headline.
113
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But the word BEETHOVEN…
114
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...is not readily apparent...
115
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…and viewers have to puzzle...
116
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...a little bit to read it...
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…which gave students on campus...
118
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…great joy...
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…to see who figured it out and who didn’t.
120
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When I think of Inge, I think of someone who really finds the beauty in things.
121
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And she really… that was the inspiration for me as student.
122
00:07:00,244 --> 00:07:03,126
And probably many students can say the same thing.
123
00:07:04,898 --> 00:07:08,481
A good student assignment guides students...
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…through a number of important experiences.
125
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I had collected over time some beautiful old labels.
126
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So I distributed them among the students…
127
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…and asked them to create a new edition.
128
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They had to recreate the letters on the label…
129
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...draw any image that appeared on the label...
130
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...and prepare color separations...
131
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...to have hot metal plates done.
132
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They had to mix the ink and print the labels...
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...in proper registration on a small letterpress.
134
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So they learned about designing letters...
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…they matched the letters on the original label...
136
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…they designed the marks...
137
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...on the label from scratch...
138
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…carefully matching the same quality.
139
00:08:08,761 --> 00:08:11,785
They learned about color separation...
140
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…how to get the individual colors...
141
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...on separate hot metal plates…
142
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…about ink mixing, and the printing itself.
143
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So that’s a terrific experience!
144
00:08:24,586 --> 00:08:27,024
And the students loved the project...
145
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...because it had a clear goal.
146
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The drawing is something that…
147
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...I really do credit Inge...
148
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…as…
149
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...kind of my main influence...
150
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...because it started from…
151
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...this very fundamental foundation.
152
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I draw every week.
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I draw in a studio.
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I draw from a model.
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I've learned to love the activity...
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...of live drawing.
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It's very very difficult, even to this day.
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I've been doing it regularly for over ten years.
159
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Every Friday morning for 3 hours.
160
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I don't go to church...
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...but I do this every week.
162
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So in this process…
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…of the education in Basel...
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…developing the ability in students to see...
165
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...in many different drawing courses...
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…in courses observing light and shadow...
167
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...in texture drawing…
168
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...drawing in museums, drawing in marketplaces...
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…you really become visually aware.
170
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And frequently...
171
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...in the winter, animals were brought…
172
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...into the classroom.
173
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They would move around in a cage...
174
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…and you better hurry…
175
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...to capture the essence.
176
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I went into my foundation program at the Philadelphia College of Art...
177
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And had some great drawing teachers, but it was never done is a somewhat analytical way...
178
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…seeing volume...
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…seeing shading, seeing proportions…
180
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…until I started to draw with Inge.
181
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I can't tell how frustrated I was…
182
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...until I got it...
183
00:10:08,058 --> 00:10:10,021
...until I've learned how to draw…
184
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...a free hand cube.
185
00:10:12,008 --> 00:10:15,008
We did object drawings, which would bring in drawing of a cylinder.
186
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I remember drawing a juice bottle…
187
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…and the constant correction…
188
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...the constant back and forth.
189
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It could be very tiring times…
190
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…but also very satisfying once you got it.
191
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That was a wonderful thing.
192
00:10:30,656 --> 00:10:33,031
You'd say: "Oh!… That's how…
193
00:10:33,031 --> 00:10:36,668
…that series of ellipses fall…
194
00:10:36,668 --> 00:10:39,150
...in a vertical alignment of this bottle".
195
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"Oh! That's why...
196
00:10:40,968 --> 00:10:42,580
...you see less at the top…
197
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…than you do at the bottom."
198
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Those kinds of things - they are like a revelation.
199
00:10:48,075 --> 00:10:50,053
When you finally see it.
200
00:10:50,053 --> 00:10:53,135
And once you do, and you've done it yourself, without someone kind of…
201
00:10:53,135 --> 00:10:54,905
...taking your hand and...
202
00:10:54,905 --> 00:10:56,731
…and making you do it.
203
00:10:56,731 --> 00:10:59,696
Once you do it yourself,
you'll absolutely never forget it.
204
00:11:00,349 --> 00:11:03,726
So, a dot is the most flexible element, right?
205
00:11:03,726 --> 00:11:06,349
You can arrange it in lines, in planes…
206
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...in random clusters.
207
00:11:09,118 --> 00:11:11,099
All the different possibilities...
208
00:11:11,111 --> 00:11:13,109
...how you can compose…
209
00:11:13,109 --> 00:11:15,520
…dots in a given format...
210
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..and really go through…
211
00:11:17,828 --> 00:11:19,893
...all the issues…
212
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...of contrast, direction, texture.
213
00:11:23,325 --> 00:11:26,153
There were two early exercises we did...
214
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…in the first year with Inge.
215
00:11:29,598 --> 00:11:31,253
One was doing letterforms…
216
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…and the other was something that…
217
00:11:33,431 --> 00:11:35,188
...we called "Inge Lines".
218
00:11:35,188 --> 00:11:38,364
And they were these lines you made on a page...
219
00:11:38,364 --> 00:11:39,460
…and…
220
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…they were darker at the beginning...
221
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...and darker at the end...
222
00:11:43,640 --> 00:11:45,500
…and they thinned out in the middle.
223
00:11:45,500 --> 00:11:47,803
And they were supposed to be evenly spaced...
224
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...on the page.
225
00:11:49,478 --> 00:11:53,451
And I was the worst person in
the class at the letter forms...
226
00:11:53,451 --> 00:11:55,063
…and surprisingly…
227
00:11:55,063 --> 00:11:58,718
…the best person in the
class at the Inge Lines.
228
00:11:58,718 --> 00:12:03,012
Because when we talk about the
toggling back and forth...
229
00:12:03,012 --> 00:12:04,833
…between content...
230
00:12:04,833 --> 00:12:07,750
...and the pure visuals...
231
00:12:07,750 --> 00:12:11,195
…this was just pure visuals, there was no content.
232
00:12:11,195 --> 00:12:13,309
So I couldn't get lost in...
233
00:12:13,309 --> 00:12:16,015
…was it an A? Or did it say this?
234
00:12:16,015 --> 00:12:17,169
There was nothing it said.
235
00:12:17,169 --> 00:12:19,869
It was just the lines...
236
00:12:19,869 --> 00:12:22,866
...and it was just your hand control.
237
00:12:23,948 --> 00:12:26,525
The classical Roman letter is…
238
00:12:26,525 --> 00:12:29,378
…the ancestor of all later…
239
00:12:29,366 --> 00:12:32,266
...formal developments of our alphabet.
240
00:12:33,094 --> 00:12:35,664
From the Roman majuscule...
241
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...to the Uncial…
242
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…Half-Uncial…
243
00:12:40,526 --> 00:12:42,371
...the Carolingian which is...
244
00:12:42,371 --> 00:12:46,261
...the first fully developed lower-case alphabet.
245
00:12:46,261 --> 00:12:49,408
And then to many variations of Blackletter…
246
00:12:49,408 --> 00:12:52,481
...and finally to the Humanist Script…
247
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…which is the model for many…
248
00:12:54,951 --> 00:12:57,551
...of our current typefaces.
249
00:12:59,033 --> 00:13:02,418
The structure of the Roman capital letter...
250
00:13:02,418 --> 00:13:05,026
…is simple and beautiful.
251
00:13:05,026 --> 00:13:08,211
It uses clear geometric elements…
252
00:13:08,211 --> 00:13:09,636
...the half-circle…
253
00:13:09,636 --> 00:13:11,908
…vertical, diagonal…
254
00:13:11,916 --> 00:13:13,479
...horizontal.
255
00:13:14,316 --> 00:13:16,880
It is based on a grid…
256
00:13:16,859 --> 00:13:19,655
…of square, half-square…
257
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…quarter-square.
258
00:13:21,945 --> 00:13:26,098
The -S- is two small half circles.
259
00:13:26,098 --> 00:13:30,108
The -O- is two large half circles.
260
00:13:30,108 --> 00:13:34,141
The -D- is a vertical and a large half circle.
261
00:13:34,141 --> 00:13:36,713
So it’s like a continuous rhythm…
262
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…of very simple form elements...
263
00:13:39,200 --> 00:13:42,696
...and that gives the coherence.
264
00:13:44,133 --> 00:13:48,181
So you see the carving of linear writing...
265
00:13:48,181 --> 00:13:51,549
…which goes back to an earlier period...
266
00:13:51,549 --> 00:13:56,450
…and then the writing with the
strong thick/thin differentiation…
267
00:13:56,450 --> 00:14:00,750
....which is more of time of the classical period in Rome.
268
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And I always showed students…
269
00:14:04,221 --> 00:14:07,326
...original Roman stone carving…
270
00:14:07,326 --> 00:14:09,604
...either as photographs…
271
00:14:09,604 --> 00:14:13,223
...or I would take them to a library or museum…
272
00:14:13,223 --> 00:14:15,733
...to see original carvings.
273
00:14:16,813 --> 00:14:19,213
It is important to understand…
274
00:14:19,216 --> 00:14:21,599
….letters as motion…
275
00:14:21,599 --> 00:14:25,983
…since the Roman letter was originally written.
276
00:14:26,651 --> 00:14:29,496
The written letter is a memory...
277
00:14:29,496 --> 00:14:30,864
...of motion.
278
00:14:34,303 --> 00:14:36,705
Looking at the -SL- ...
279
00:14:36,705 --> 00:14:39,166
...there is a wonderful contrast…
280
00:14:39,166 --> 00:14:42,833
...between the flowing curve of an -S-…
281
00:14:42,833 --> 00:14:46,950
…and the very architectural form of the -L-.
282
00:14:59,083 --> 00:15:03,136
The motion of the large curve of the -G-…
283
00:15:03,136 --> 00:15:07,716
…and then the inverted smaller
curves of the -S-…
284
00:15:07,718 --> 00:15:10,443
...create a nice form contrast…
285
00:15:10,443 --> 00:15:13,193
...but experienced as motion.
286
00:15:14,061 --> 00:15:16,556
The negative area between these…
287
00:15:16,556 --> 00:15:19,533
…pairs of different line movements...
288
00:15:19,533 --> 00:15:21,794
...also becomes beautiful…
289
00:15:21,794 --> 00:15:24,618
...because of this contrast.
290
00:15:26,176 --> 00:15:29,885
There are two things at work
when you are writing.
291
00:15:29,885 --> 00:15:32,684
There are two different
aspects of writing.
292
00:15:32,683 --> 00:15:35,750
And this is an idea that I got
from Lloyd Reynolds.
293
00:15:35,750 --> 00:15:39,150
One aspect of writing is the eye.
294
00:15:39,148 --> 00:15:41,376
And the eye wants to look at…
295
00:15:41,366 --> 00:15:44,616
...an orderly set of marks on a page.
296
00:15:44,616 --> 00:15:47,933
The eye wants pattern.
The eye wants order.
297
00:15:47,933 --> 00:15:49,983
The eye wants relative perfection.
298
00:15:49,983 --> 00:15:53,861
The eye wants something that is reliable, that it can count on.
299
00:15:53,861 --> 00:15:56,943
The eye is a very conservative part of reading.
300
00:15:57,253 --> 00:15:59,090
On the other hand, you have the hand.
301
00:15:59,083 --> 00:16:02,616
And the hand is the radical aspect of writing.
302
00:16:02,616 --> 00:16:06,766
So the hand wants to write faster and faster. Writing changes...
303
00:16:06,766 --> 00:16:09,823
…because we are writing faster and faster all the time.
304
00:16:09,823 --> 00:16:12,275
And the hand wants to write expressively.
305
00:16:12,275 --> 00:16:14,460
So when you are writing your signature…
306
00:16:14,460 --> 00:16:17,918
…you are not thinking about getting every little letter perfect.
307
00:16:17,918 --> 00:16:20,784
You are thinking about the way you write your signature.
308
00:16:20,784 --> 00:16:24,169
And that's why it's very hard to forge somebody's signature…
309
00:16:24,166 --> 00:16:28,455
…because you can't do it slowly. You
have to write it fast and expressively.
310
00:16:28,455 --> 00:16:30,743
That's the radical hand at work.
311
00:16:30,743 --> 00:16:33,911
So the whole history of writing
can be looked at...
312
00:16:33,911 --> 00:16:37,534
…as an elegant little conflict
between the conservative eye...
313
00:16:37,534 --> 00:16:40,338
…which wants everything
perfect and rational...
314
00:16:40,338 --> 00:16:41,798
…and the radical hand…
315
00:16:41,798 --> 00:16:44,851
...which wants to write fast
and write expressively.
316
00:16:44,966 --> 00:16:47,618
And it's this constant battle...
317
00:16:47,618 --> 00:16:51,978
…that makes our environment that we
look at when we look at lettering.
318
00:16:52,693 --> 00:16:54,888
I did my undergraduate work at Reed College.
319
00:16:55,169 --> 00:16:57,460
-Reed College at that time, offered perhaps…
320
00:16:57,460 --> 00:16:59,978
...the best calligraphy instruction in the country.
321
00:17:00,616 --> 00:17:01,933
Because I had dropped out...
322
00:17:01,933 --> 00:17:04,849
...and didn't have to take the normal classes...
323
00:17:04,849 --> 00:17:08,266
…I've decided to take a calligraphy class to learn how to do this.
324
00:17:08,270 --> 00:17:11,420
I've learned about Serif and Sans-serif typefaces...
325
00:17:11,420 --> 00:17:14,978
...about varying the amount of space
between different letter combinations...
326
00:17:14,978 --> 00:17:17,771
…about what makes great typography great.
327
00:17:18,166 --> 00:17:21,733
None of this had even a hope
of any practical application...
328
00:17:21,741 --> 00:17:22,846
…in my life.
329
00:17:23,663 --> 00:17:24,979
But ten years later...
330
00:17:24,979 --> 00:17:27,856
…when we were designing the
first Macintosh computer...
331
00:17:27,849 --> 00:17:29,599
...it all came back to me.
332
00:17:29,598 --> 00:17:32,188
And we designed it all into the Mac.
333
00:17:32,188 --> 00:17:35,216
It was the first computer
with beautiful typography.
334
00:17:35,576 --> 00:17:39,064
If I had never dropped in
on that single course in college…
335
00:17:39,064 --> 00:17:41,564
…the Mac would have never
had multiple typefaces or…
336
00:17:41,564 --> 00:17:42,989
...proportionally spaced fonts.
337
00:17:43,349 --> 00:17:46,116
When we studied calligraphy at Reed…
338
00:17:46,116 --> 00:17:49,285
...we studied exactly the way
you study in martial arts.
339
00:17:49,285 --> 00:17:50,966
You find a good teacher…
340
00:17:50,966 --> 00:17:53,130
…and you watch the teacher do it...
341
00:17:53,116 --> 00:17:55,824
...and you copy what the teacher is doing…
342
00:17:55,816 --> 00:17:58,800
…and then you correct it, and then you try it again…
343
00:17:58,805 --> 00:18:00,721
...over and over until…
344
00:18:00,721 --> 00:18:04,278
...the action is completely internalized.
345
00:18:04,818 --> 00:18:08,045
And you make it your own at that point.
346
00:18:08,588 --> 00:18:11,533
So it's not just mindless copying.
347
00:18:11,533 --> 00:18:13,435
It's copying thoughtfully…
348
00:18:13,435 --> 00:18:16,390
…and correcting thoughtfully until it's internalized.
349
00:18:16,390 --> 00:18:19,721
And I think what you learn
from watching somebody write…
350
00:18:19,721 --> 00:18:23,969
…is the rhythm of the writing that
is not just muscle memory.
351
00:18:23,969 --> 00:18:26,871
It's a rhythmic memory.
352
00:18:26,871 --> 00:18:29,568
It's almost like a beat in music
that you're learning…
353
00:18:29,568 --> 00:18:31,136
…when you watch somebody write.
354
00:18:31,136 --> 00:18:32,878
I think that Inge Druckrey…
355
00:18:32,878 --> 00:18:36,136
...came from a slightly different tradition than mine…
356
00:18:36,136 --> 00:18:39,918
…because she studied in Europe
and I studied in the Western US.
357
00:18:39,918 --> 00:18:42,214
But I think the thing we have in common…
358
00:18:42,214 --> 00:18:44,008
…is that tool in your hand…
359
00:18:44,008 --> 00:18:47,746
...and that's always where the letters come from.
360
00:18:49,193 --> 00:18:52,503
I chose a simplified version of the Roman letter...
361
00:18:52,503 --> 00:18:54,713
…for the brush writing…
362
00:18:54,713 --> 00:18:58,010
…which leaves out the Serif.
363
00:19:04,339 --> 00:19:07,086
There is a beautiful gradation…
364
00:19:07,086 --> 00:19:09,135
…from thin to thick...
365
00:19:09,135 --> 00:19:13,431
...which naturally comes out of the flat-edged brush.
366
00:19:17,618 --> 00:19:22,638
The brush is parallel to the baseline of the writing.
367
00:19:27,645 --> 00:19:32,010
The -R- combines a rich variety of motions.
368
00:19:32,010 --> 00:19:35,069
It defines the optical middle…
369
00:19:35,069 --> 00:19:38,829
…where the two strokes join.
370
00:19:42,723 --> 00:19:44,964
In adding the -H- …
371
00:19:44,964 --> 00:19:48,833
…you have to carefully compare to the -R- …
372
00:19:48,833 --> 00:19:50,415
…to make sure…
373
00:19:50,415 --> 00:19:54,531
…the middle of the -H- is at the same height.
374
00:19:56,158 --> 00:19:59,885
All letters on the wall sit on the same baseline...
375
00:19:59,885 --> 00:20:02,979
...to make sure that the height is the same…
376
00:20:02,979 --> 00:20:04,250
…and to also…
377
00:20:04,250 --> 00:20:07,571
...see letters in context with each other.
378
00:20:08,753 --> 00:20:11,971
The back and forth of the positive and negative…
379
00:20:11,971 --> 00:20:14,689
…rendering of the letters in paint…
380
00:20:14,689 --> 00:20:19,513
…to get an absolutely smooth and delicate curve.
381
00:20:23,843 --> 00:20:26,621
The very essential…
382
00:20:26,621 --> 00:20:29,738
...deep cut of the negative area…
383
00:20:29,738 --> 00:20:32,061
...in the middle of the letter…
384
00:20:32,061 --> 00:20:35,229
…which links optically to the fine Serifs.
385
00:20:35,751 --> 00:20:37,808
The patience…
386
00:20:37,808 --> 00:20:40,358
…when I would think it would be perfect…
387
00:20:40,358 --> 00:20:42,908
…and she would see all the flows in it…
388
00:20:42,900 --> 00:20:44,883
…but never made me feel guilty about it…
389
00:20:44,883 --> 00:20:48,301
…never made me feel that you've done something bad.
390
00:20:49,008 --> 00:20:52,068
The curve has to be a bit refined.
391
00:20:52,068 --> 00:20:55,699
The links develop to the vertical.
392
00:21:00,150 --> 00:21:02,846
It was always about, "You can do it better".
393
00:21:02,846 --> 00:21:05,861
"I know you can do it better," was always the message.
394
00:21:05,861 --> 00:21:08,831
So it kind of motivated you to do good work.
395
00:21:09,398 --> 00:21:11,556
A little funny process.
396
00:21:12,141 --> 00:21:16,805
The student developed the -R- out of the -P-...
397
00:21:16,805 --> 00:21:20,213
…but the thin wooden leg doesn’t convince.
398
00:21:20,213 --> 00:21:24,098
It’s already better in the stroke weight.
399
00:21:24,098 --> 00:21:25,881
Better in the angle...
400
00:21:26,406 --> 00:21:28,375
…but the student decided…
401
00:21:28,375 --> 00:21:30,525
...it was not what she wanted.
402
00:21:30,525 --> 00:21:33,598
So she went back to brush writing.
403
00:21:35,241 --> 00:21:38,005
Refined the brush writing.
404
00:21:42,349 --> 00:21:44,939
And with a few corrections…
405
00:21:44,939 --> 00:21:48,250
...it’s a very beautiful -R-.
406
00:21:51,176 --> 00:21:54,761
Not an easy letter, the -V-.
407
00:21:55,401 --> 00:22:01,171
To design a symmetrical Serif on the diagonal stroke.
408
00:22:03,336 --> 00:22:06,410
So this doesn’t work.
409
00:22:09,300 --> 00:22:11,246
Now it begins to connect…
410
00:22:11,246 --> 00:22:15,206
…more organically to the thin stroke.
411
00:22:17,290 --> 00:22:21,089
The two curves of the Serifs are good.
412
00:22:24,318 --> 00:22:26,204
The fast motion...
413
00:22:26,204 --> 00:22:30,776
...summarizes the changes in individual letters…
414
00:22:30,776 --> 00:22:32,916
…and also now shows…
415
00:22:32,916 --> 00:22:36,056
...the successful family resemblance.
416
00:22:56,473 --> 00:22:59,155
The other wonderful thing that Inge taught me was…
417
00:22:59,155 --> 00:23:01,358
…the use of a reducing glass.
418
00:23:01,383 --> 00:23:04,651
This is something I don't think most designers...
419
00:23:04,651 --> 00:23:05,836
...have today.
420
00:23:05,836 --> 00:23:07,266
I still have mine.
421
00:23:07,266 --> 00:23:12,126
But she would put our composition on the floor…
422
00:23:12,126 --> 00:23:14,121
…and then she would stand on a chair…
423
00:23:14,121 --> 00:23:16,678
…with this little reducing glass, so that she would get...
424
00:23:16,678 --> 00:23:19,984
... essentially thirty feet from the composition...
425
00:23:19,984 --> 00:23:23,785
…which allowed you to see relationships much more clearly.
426
00:23:23,785 --> 00:23:27,104
So she would stand up there on the chair, again, towering over me...
427
00:23:27,104 --> 00:23:30,226
...and look at the composition and she would say:
428
00:23:30,226 --> 00:23:33,048
"I think the two letters…
429
00:23:33,048 --> 00:23:35,528
…they are not the same weight."
430
00:23:35,528 --> 00:23:37,178
And I'm looking at it, and I'm saying:
431
00:23:37,178 --> 00:23:40,043
"Yes, they are the same weight. I've measured them."
432
00:23:40,043 --> 00:23:45,928
But optically, they weren't the same weight.
So I learned the differences between…
433
00:23:45,928 --> 00:23:49,766
…geometric accuracy and optical accuracy.
434
00:23:50,550 --> 00:23:54,003
This is just a plain italic -N-...
435
00:23:54,813 --> 00:23:58,333
…followed by another plain italic -N-.
436
00:23:59,843 --> 00:24:03,541
And what we are trying to do here is to make this space…
437
00:24:03,541 --> 00:24:06,363
…inside the characters…
438
00:24:06,363 --> 00:24:09,381
…equal between the two characters.
439
00:24:09,381 --> 00:24:12,636
And we want the space in between the characters…
440
00:24:12,636 --> 00:24:16,314
…to be the same space or a little bit less.
441
00:24:16,314 --> 00:24:20,084
And when I say space, I don't mean something you can measure.
442
00:24:20,084 --> 00:24:23,273
So you couldn't take a ruler and measure
from there to there, and there to there...
443
00:24:23,273 --> 00:24:25,476
…and say: "Well, that should be the same."
444
00:24:25,476 --> 00:24:29,908
We are talking about the area of the space.
And since these are complicated shapes...
445
00:24:29,908 --> 00:24:35,314
…it's something that it's very difficult to measure, and it's something that you just have to learn to do by eye.
446
00:24:36,088 --> 00:24:40,726
My students had to design their own typeface.
447
00:24:42,438 --> 00:24:47,199
Sometimes students come up with rather wild ideas…
448
00:24:47,199 --> 00:24:51,406
...which seem impossible to turn into a coherent typeface.
449
00:24:52,316 --> 00:24:56,361
What brings these wild ideas down to earth…
450
00:24:56,361 --> 00:24:58,053
…are three things:
451
00:24:58,653 --> 00:25:00,081
First…
452
00:25:00,081 --> 00:25:02,288
...the letters in a typeface…
453
00:25:02,288 --> 00:25:05,773
...have to share a common structure.
454
00:25:05,766 --> 00:25:07,006
This assures evenness…
455
00:25:07,006 --> 00:25:12,380
...within the word picture or the entire text.
456
00:25:12,380 --> 00:25:14,968
Second…
457
00:25:14,968 --> 00:25:19,324
…letters have to be sufficiently distinct from each other…
458
00:25:19,324 --> 00:25:21,016
...to assure readability.
459
00:25:22,033 --> 00:25:24,648
And finally, a good typeface…
460
00:25:24,648 --> 00:25:27,638
...needs to have proper optical letter-spacing.
461
00:25:27,638 --> 00:25:30,848
This assures even rhythm and color.
462
00:25:30,848 --> 00:25:33,631
The overall page of text…
463
00:25:33,631 --> 00:25:37,096
…should appear as a smooth gray…
464
00:25:37,096 --> 00:25:40,523
...without any dark or light clusters.
465
00:25:43,714 --> 00:25:47,808
A typeface based on Indian script…
466
00:25:47,808 --> 00:25:50,750
…done with a flat-edged brush…
467
00:25:50,750 --> 00:25:53,526
...but held at a different angle.
468
00:25:53,526 --> 00:25:56,060
Unusual alphabet…
469
00:25:56,060 --> 00:25:59,781
…with great variation in thick and thins…
470
00:25:59,781 --> 00:26:03,921
…but the recurrence of thin or thick letters…
471
00:26:03,921 --> 00:26:06,998
...was very carefully thought-out.
472
00:26:08,058 --> 00:26:13,253
Well-designed typeface based on Korean script.
473
00:26:16,331 --> 00:26:18,425
Nice rhythm.
474
00:26:21,331 --> 00:26:24,474
Numbers from a parking ticket…
475
00:26:24,474 --> 00:26:28,591
...which don’t exist in any typeface.
476
00:26:33,646 --> 00:26:35,478
This alphabet…
477
00:26:35,478 --> 00:26:40,036
...is based on a wide variety of found letters…
478
00:26:40,036 --> 00:26:43,863
…scratched into the wet concrete of sidewalks.
479
00:26:44,481 --> 00:26:49,489
The face was then applied to the text of the Odyssey…
480
00:26:49,489 --> 00:26:52,099
…and looks appropriate.
481
00:26:53,613 --> 00:26:55,393
In my own design…
482
00:26:55,390 --> 00:26:58,885
...I worked on a few trademarks and logotypes.
483
00:26:59,729 --> 00:27:03,689
When this sign was hung in front of the pharmacy…
484
00:27:03,693 --> 00:27:07,403
I found out that the earlier version…
485
00:27:07,403 --> 00:27:10,281
…was done by Walter Käch...
486
00:27:10,281 --> 00:27:14,066
…who was a very famous Swiss designer.
487
00:27:15,461 --> 00:27:16,851
With Manfred Mayer…
488
00:27:16,851 --> 00:27:20,838
…we designed a wrapping paper for an interior...
489
00:27:20,838 --> 00:27:23,079
…design store in Basel.
490
00:27:23,079 --> 00:27:26,456
I used a rubber stamp of the logo.
491
00:27:26,456 --> 00:27:30,841
And by stamping this image over and over…
492
00:27:30,841 --> 00:27:35,494
…it offered the material to set up a tile pattern.
493
00:27:36,494 --> 00:27:40,431
When I came to Philadelphia in the early 70's…
494
00:27:40,431 --> 00:27:43,266
…Ricky Wurman had just organized…
495
00:27:43,266 --> 00:27:45,718
...an Aspen Design Conference…
496
00:27:45,718 --> 00:27:49,775
...on the theme “Making the City Observable.”
497
00:27:49,775 --> 00:27:53,155
In this context I decided to investigate…
498
00:27:53,155 --> 00:27:56,288
…the various kinds of signage…
499
00:27:56,288 --> 00:27:59,643
...around one intersection in Philadelphia.
500
00:27:59,646 --> 00:28:03,609
Each student had to choose one type of sign.
501
00:28:03,609 --> 00:28:06,660
For example: metal signs...
502
00:28:06,660 --> 00:28:10,021
…which would include: die cut metal…
503
00:28:10,021 --> 00:28:12,888
…stamped metal, etched metal…
504
00:28:12,888 --> 00:28:17,016
...cast metal, sawed metal and so on.
505
00:28:17,861 --> 00:28:20,579
So there was a whole range of techniques…
506
00:28:20,579 --> 00:28:23,998
…within the theme of metal signs...
507
00:28:23,998 --> 00:28:27,038
…plastic signs or neon signs.
508
00:28:27,498 --> 00:28:30,001
Next to visually documenting…
509
00:28:30,001 --> 00:28:32,658
…the different types of signs...
510
00:28:32,658 --> 00:28:35,319
...students also had to write…
511
00:28:35,319 --> 00:28:38,348
...about the various production techniques.
512
00:28:39,030 --> 00:28:43,361
The research was published in the magazine "Design Quarterly."
513
00:28:44,045 --> 00:28:47,411
The issue very quickly sold out...
514
00:28:47,411 --> 00:28:50,116
…because this kind of information…
515
00:28:50,116 --> 00:28:52,375
...was not generally available.
516
00:28:52,900 --> 00:28:54,505
For several years…
517
00:28:54,505 --> 00:28:57,496
...during my teaching in Philadelphia…
518
00:28:57,496 --> 00:29:01,013
...I worked with students on their senior project…
519
00:29:01,013 --> 00:29:04,908
...which I had developed together with Hans Allemann.
520
00:29:04,908 --> 00:29:07,630
The assignment was to choose a text…
521
00:29:07,630 --> 00:29:10,231
…from any area of interest...
522
00:29:10,231 --> 00:29:13,928
…and to reinterpret it using visual...
523
00:29:13,928 --> 00:29:16,530
…and typographic meanings.
524
00:29:17,911 --> 00:29:20,464
The format could be a film...
525
00:29:20,466 --> 00:29:24,050
…an interactive design or a book.
526
00:29:25,308 --> 00:29:28,839
Most students, actually, did a book.
527
00:29:35,651 --> 00:29:39,349
The design for the book by Bauby…
528
00:29:39,349 --> 00:29:41,806
…received special distinction.
529
00:29:42,826 --> 00:29:44,948
It was a real story…
530
00:29:44,948 --> 00:29:47,761
…and a very sensitive content.
531
00:29:49,871 --> 00:29:53,608
So the designer had to hold back.
532
00:29:57,071 --> 00:30:00,869
And a very favorite book on a lighter side…
533
00:30:00,869 --> 00:30:03,351
…was done by a student…
534
00:30:03,351 --> 00:30:06,084
…who was unsure of his ability…
535
00:30:06,084 --> 00:30:08,581
...to illustrate a text.
536
00:30:08,581 --> 00:30:11,229
So I decided to limit him.
537
00:30:11,229 --> 00:30:14,256
He could only use geometric objects...
538
00:30:14,256 --> 00:30:18,236
…for his illustrations and only cut paper.
539
00:30:18,236 --> 00:30:21,756
And it turned out just wonderful.
540
00:30:23,946 --> 00:30:26,689
Getting to know Edward Tufte…
541
00:30:26,689 --> 00:30:30,838
...made me much more aware of serious information design.
542
00:30:31,449 --> 00:30:32,819
Together…
543
00:30:32,819 --> 00:30:36,663
...we did a brochure for International Paper.
544
00:30:37,630 --> 00:30:40,273
When we went to Japan…
545
00:30:40,273 --> 00:30:44,146
...we visited the control center of the Bullet Train…
546
00:30:44,146 --> 00:30:47,540
...and saw a graphical train schedule.
547
00:30:47,540 --> 00:30:51,088
We then applied the same system…
548
00:30:51,088 --> 00:30:54,241
...to an airline schedule of a trip…
549
00:30:54,241 --> 00:30:57,101
...from Atlanta to Chicago.
550
00:30:58,353 --> 00:31:00,108
Good survey maps…
551
00:31:00,108 --> 00:31:02,533
…integrate multiple layers…
552
00:31:02,533 --> 00:31:04,560
...of detailed information.
553
00:31:05,564 --> 00:31:08,496
They use color intelligently…
554
00:31:08,496 --> 00:31:10,711
...balancing between hue…
555
00:31:10,711 --> 00:31:13,733
…grey value and brightness.
556
00:31:15,614 --> 00:31:17,905
Different types of information live together…
557
00:31:17,905 --> 00:31:21,061
…without harming each other.
558
00:31:22,974 --> 00:31:26,875
Detailed type and symbols survive…
559
00:31:26,875 --> 00:31:32,078
…because the landscape features are kept very light.
560
00:31:35,278 --> 00:31:39,193
Brightness is the full saturation of a color...
561
00:31:39,193 --> 00:31:41,351
…and could be defined…
562
00:31:41,351 --> 00:31:45,560
...as the bluest blue, or reddest red.
563
00:31:46,681 --> 00:31:49,121
The lightest color on the other hand…
564
00:31:49,121 --> 00:31:52,693
...is the one closest to white.
565
00:31:54,198 --> 00:31:58,608
We also talk about color in terms of gray value…
566
00:31:58,608 --> 00:32:00,088
…or weight.
567
00:32:00,088 --> 00:32:04,993
The brightest yellow is close to a 5% grey value.
568
00:32:05,676 --> 00:32:07,841
The brightest blue...
569
00:32:07,841 --> 00:32:10,493
...to a 70% gray.
570
00:32:11,231 --> 00:32:15,403
The brightest red to about 50%.
571
00:32:17,594 --> 00:32:21,388
Bad maps have a dominance of bright colors…
572
00:32:21,388 --> 00:32:23,473
...and simply get noisy.
573
00:32:24,255 --> 00:32:27,025
Typographic details get lost…
574
00:32:27,025 --> 00:32:30,983
...in meaningless dark shading of the buildings.
575
00:32:32,858 --> 00:32:36,939
It's astonishing how sensitive our eyes are…
576
00:32:36,939 --> 00:32:38,938
…in distinguishing…
577
00:32:38,938 --> 00:32:41,758
...the most subtle variation in color.
578
00:32:42,488 --> 00:32:45,498
Gradual value changes are used…
579
00:32:45,498 --> 00:32:48,329
...to show variations of height...
580
00:32:48,329 --> 00:32:50,329
...or type of terrain.
581
00:32:50,993 --> 00:32:54,704
The color of the glacier...
582
00:32:54,704 --> 00:32:57,998
…this typical blueish cast…
583
00:32:57,998 --> 00:33:00,694
…is very close to reality.
584
00:33:02,226 --> 00:33:04,366
And so is the landscape.
585
00:33:04,366 --> 00:33:07,421
Even the type and symbols are layered…
586
00:33:07,416 --> 00:33:10,025
...by different size and weight...
587
00:33:10,025 --> 00:33:12,829
…to indicate their significance.
588
00:33:14,546 --> 00:33:19,391
It is interesting to see how a poster or cover design…
589
00:33:19,391 --> 00:33:22,380
…are different from information design.
590
00:33:22,380 --> 00:33:26,131
Because both have to function at a distance reading.
591
00:33:26,488 --> 00:33:28,949
They have to capture the attention…
592
00:33:28,949 --> 00:33:31,068
…of someone walking by...
593
00:33:31,068 --> 00:33:35,444
...and then entice them to look at more detailed information.
594
00:33:36,581 --> 00:33:40,821
And the Tissi poster functions perfectly in this way.
595
00:33:41,635 --> 00:33:45,829
At the large size , the word -Tissi-...
596
00:33:45,829 --> 00:33:48,766
…could be read from across the street.
597
00:33:51,841 --> 00:33:54,276
This poster for the Yale Symphony…
598
00:33:54,276 --> 00:33:57,319
...is more subtle in its form-language…
599
00:33:57,319 --> 00:34:00,005
...but the important information…
600
00:34:00,005 --> 00:34:02,015
...is clearly accessible.
601
00:34:03,464 --> 00:34:05,688
The image of the daffodil for…
602
00:34:05,688 --> 00:34:08,895
…a commencement poster at Yale…
603
00:34:08,895 --> 00:34:12,501
...is powerful. It’s like a trumpet.
604
00:34:15,558 --> 00:34:19,373
Graphic design is always visualizing an idea.
605
00:34:19,373 --> 00:34:23,933
And it’s definitely about drawing attention.
606
00:34:23,933 --> 00:34:25,929
It’s about informing.
607
00:34:25,929 --> 00:34:28,080
It’s about distance reading.
608
00:34:28,080 --> 00:34:32,645
But it’s also about symbolizing something.
609
00:34:32,645 --> 00:34:35,133
Because, like poetry…
610
00:34:35,133 --> 00:34:39,516
...you have to get the essence of something.
611
00:34:49,838 --> 00:34:53,534
I was somewhat influenced by Matthew Carter...
612
00:34:53,534 --> 00:34:57,928
...to give creative decisions to a student.
613
00:34:57,928 --> 00:35:00,853
Not to influence a student too much...
614
00:35:00,853 --> 00:35:02,908
…but to throw something…
615
00:35:02,908 --> 00:35:06,613
…in the lap of a student and see what comes out...
616
00:35:06,613 --> 00:35:09,993
…and then move in carefully and direct.
617
00:35:10,403 --> 00:35:13,004
Sometimes they end up in the bushes…
618
00:35:13,004 --> 00:35:15,993
…and I have to dig them out…
619
00:35:15,993 --> 00:35:18,586
...but that’s part of teaching.
620
00:35:22,941 --> 00:35:26,881
I don't think Inge would have any successors.
621
00:35:26,881 --> 00:35:30,501
Like Chopin. I don't think she will have any successors.
622
00:35:30,501 --> 00:35:32,688
I think she is one-off.
623
00:35:32,688 --> 00:35:36,916
You know, Chopin had really no influence.
624
00:35:36,916 --> 00:35:41,264
And I think in some ways Inge's influence…
625
00:35:41,264 --> 00:35:43,653
…will not come through…
626
00:35:44,651 --> 00:35:46,675
…visual evidence.
627
00:35:46,673 --> 00:35:49,793
It will come through the people that she met…
628
00:35:49,793 --> 00:35:52,655
…and how she changed them and how they...
629
00:35:52,655 --> 00:35:55,218
...go through the world.
630
00:35:56,263 --> 00:35:59,001
And I think this is the great moment…
631
00:35:59,001 --> 00:36:02,683
…of studying with Inge, is to leave things behind…
632
00:36:02,683 --> 00:36:05,754
…and finally to see what is before you…
633
00:36:05,754 --> 00:36:08,030
…and that's how you get to the end…
634
00:36:08,030 --> 00:36:10,313
…that's how you get to the destination.
635
00:36:26,008 --> 00:36:29,008
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