Can you imagine what the word "TED" would have looked like if it had existed during the Roman Empire?
你們能不能想像如果 「TED」這字存在於羅馬時期 会是什麽样子？
I think maybe something like this. An artisan would have spent days in the sun chiseling it into stone.
我想可能会类似这样。工匠要花数日的时间 在太阳底下把字凿到石头上。
And in the Middle Ages? A monk, locked in his room,
在中世纪呢？一个僧侣，锁在自己的房间里，
would write T-E-D with his pen. And without going so far back in time,
用筆寫出來的 T-E-D。不要回到那麽早的时代，
how would these letters have looked in the 80s? They would have had electric, strange colors,
这些字母在 1980 年代是什麽样子？它们会有强烈、奇怪的颜色，
just like our hairstyles. (Laughter)
就像我们的发型。（笑声）
If this event were about children, I would draw the letters like this,
如果这场活动和孩子有关，我会画像这样的字，
as if they were building blocks, in vivid colors.
好像积木一样，用鲜艳的颜色。
And if it were about superheroes instead? I would do them like this,
如果这场活动和超级英雄有关呢？我会做成这样，
inspired by -- in my opinion -- the greatest of all: Superman.
我认为灵感来自最伟大的超级英雄：超人。
(Laughter) The shapes of these letters talk.
（笑声）这些字母的形状会说话，
They tell us things beyond what they represent. They send us to different eras,
告诉我们的资讯 不限於它们代表的意思。它们会把我们传送到不同的年代，
they convey values, they tell us stories.
会传递价值，会告诉我们故事。
If we think about it, our days are full of letters. We see them on the front of the bus,
仔细想想，文字充斥在我们生活里，到处看得到字母：
on the bakery's facade, on the keyboard we write on,
公车前面、面包店的正面、我们打字的键盘、
on our cell phones -- everywhere.
我们的手机──到处都有。
Since the beginning of history, people have felt the need to give language an image.
从有史以来，人们就觉得需要给语言一个图像。
And rightly so, because language is the most important communication tool we have.
确实如此，因为语言是我们最重要的沟通工具。
Without understanding what a word means, we can see certain things it conveys.
就算不了解字的意思，我们也可以看出 它所传递的某些讯息。
Some letters tell us that something is modern -- at least it was back in the 70s.
有些字会传递当代摩登的讯息──至少在1970 年代是摩登的。
Others verify the importance and monumentality of a place, and they do so in uppercase.
有些字则确认某地的重要和纪念性，做法是用大写字。
There are letters not made to last long -- and neither is the opportunity they communicate.
也有不为持久而写的字──它们能用来交流的机会也不持久。
And there are letters made by inexperienced hands that, whether they mean to or not,
也有没经验的手做出的字； 有意与否，
make us imagine what a place looks like inside. When I moved to Berlin, I experienced firsthand
这些字会让我们产生 对该处内部样子的想像空间。搬去柏林後我亲身体验到
all the impact that drawn letters can have in our day-to-day life. I arrived in a new city, which was exciting and novel for me.
绘制的文字能在我们日常生活中 造成什麽影响。到一个新的城市， 对我来说很新奇很刺激。
Now, dealing with an unfamiliar language was at times very frustrating and uncomfortable.
当时要处理不熟悉的语言 常会让人感到挫折和不舒服。
I found myself several times at parties clutching my glass of wine, without understanding a single word of what was being said around me.
多次我在派对上拿着一杯酒，完全听不懂周围的人 对我说的任何一个字。
And of course, I'd smile as if I understood everything. I felt limited in my ability to say what I thought,
当然我会微笑，好像我全听懂了。我觉得受到限制， 没办法说出我的想法、
what I felt, what I believed.
我的感受、我的信念。
Not only did I not understand the conversations, but the streets were full of signs and text that I couldn't read.
不只无法了解交谈的内容，街道上满是我看不懂的标志和文字。
But the shapes of the letters gave me clues; they would open up a little window
但文字的形状让我能有点头绪；它们能打开一扇小窗子，
to understanding the stories enclosed in those shapes. I recognized places where tradition was important.
来了解那些形状所包含的故事。我能知道有些地方很重视传统。
[Bakery Pastries Café Restaurant] Or I'd know when someone was trying to give me a signal,
〔面包酥皮点心咖啡餐厅〕当有人试着给我信号时，我会知道，
and my gut would tell me it was better to stay away. [No trespassing! ]
直觉会告诉我最好闪远一点。〔不得擅自进入〕
I could also tell when something was made to last forever. The shapes of letters helped me understand my surroundings better
我也能分辨出有些东西 是为了永久留传而做的。文字的形状协助我 对身处的环境多一点了解，
and navigate the city. I was in Paris recently,
为我在城市中指路。不久前我在巴黎，
and something similar happened to me. After a few days in the city,
也有同样的经验。在该城市待了几天後，
I was on the lookout for something tasty to take back home. So I walked and walked and walked until I found the perfect bakery.
我去寻找美食带回家吃。我一直走，一直走，一直走， 直到我发现了一间完美的面包店。
The sign said it all. [Bakery]
招牌全说出来了。〔面包店〕
I see it, and even today, I imagine the master baker dedicating the same amount of time to each loaf of bread
即使现在我还看得到画面， 想像得出面包师傅， 投入在每一条面包上的时间，
that the craftsman dedicated to each letter of this word. I can see the bread, with just the right ingredients,
和工匠投入在每个 字母上的时间一样长。我能想像那面包用的是理想的原料，
being kneaded softly and carefully, in the same way the craftsman drew the ends of the letters
被轻柔、小心地捏制，就像工匠绘制这些字母末端时一样，
with smooth and precise curves. I see the master baker placing the buns over a thin layer of flour
有着滑顺且精确的弧线。我看见面包师傅把面包 放在薄薄的一层面粉上，
so the bottoms don't burn. I think of the craftsman putting the mosaics in the oven one by one,
这样底部才不会烤焦。我想着工匠把那些镶嵌装饰 一个一个放到炉中，
being careful to not let the ink run. The love for detail that the master baker has
非常小心不要让墨水渗开。面包师傅对於细节所投入的爱，
is reflected in the attention that went into creating this sign. Without having tried their bread, we already imagine it tastes good.
反映在创造这个招牌的注意力上。还没有嚐过他们的面包， 我们就已经想像会很美味了。
And I can vouch for it; it was delicious. I'm a letterer; that's my job --
我可以发誓，真的很好吃。我是文字书写员，
to draw letters. Just like when you make bread, it requires care in its preparation,
绘制文字是我的工作。就像当你做面包时， 在准备工作上就需要用心，
just the right amount of ingredients and love for the details.
原料的量要恰到好处， 对细节要投入爱。
Our alphabet is at the same time my raw material and my limitation. The basic structure of the letters is for me a playing field,
我们的全套字母， 既是我的原料，也是我的限制。对我来说，字母的基本结构 就是我的游乐园，
where the only rule is that the reader, at the end of the road, will be able to read the message.
唯一的规则是，在另一端的读者要能够读出讯息。
Let me show you how I work, how I "knead my bread."
让我展示一下我如何工作、我如何捏制我的面包。
A while back, I was commissioned to design the cover of a classic book, "Alice in Wonderland."
不久前，我受委托 设计一本经典书籍的封面，《爱丽丝梦游仙境》。
Alice falls in a burrow and begins an absurd journey through a world of fantasy, remember?
爱丽丝落入兔洞中， 在一个奇幻世界中开始了 一段荒唐的旅程，记得吗？
In this situation, the title of the story is my raw material. At first glance, there are elements that are not very important,
在这个情况中，书名就是我的原料。乍看之下，有些元素不怎麽重要，
and I can decide to make them smaller. For example, I'll write "in" on a smaller scale.
所以我决定把它们变小。比如，我會把介係詞 "en el" 用小型的字來寫。
Then I'll try some other ideas. What if, to communicate the idea of "wonder,"
接着我会尝试其他的想法。比如，要传达「仙」的想法，
I used my best handwriting, with lots of curleycues here and there?
我用最棒的手写字，到处加上一些花饰，如何？
Or what if I focused more on the fact that the book is a classic and used more conventional lettering,
或是我更着重这本书的经典性， 用比较惯常的写法，
making everything look a little more stiff and serious, like in an encyclopedia or old books?
让一切看起来比较拘谨和严肃，就像百科全书或古书，如何？
Or how would it look, considering this book has so much gibberish, if I combined both universes in a single arrangement:
如果考量到这本书有多麽胡扯，我可以用单一的安排 来结合两个宇宙：
rigid letters and smooth letters living together in the same composition. I like this idea, and I'll work on it in detail.
坚硬的字和滑顺的字共存在一起。我喜欢这个点子，开始处理细节。
I use another sheet of paper to work more comfortably. I mark some guidelines,
我用另一张纸，更舒适地工作，我标示出一些参考线，
delimiting the framework where the words will be. There, I can start giving form to each letter.
用框架界定出这些字的位置。我让每个字在那里开始成形。
I work carefully. I dedicate time to each letter without losing sight of the whole.
我很小心、很仔细地做，花时间画每个字， 同时不忘记看整体。
I draw the ends of the letters methodically. Are they square or round?
我有条理地绘制出这些字的末端。末端是方的还是圆的？
Are they pointy or plump and smooth? I always make several sketches,
末端是尖的还是丰满滑顺的？我通常会画很多张草稿，
where I'll try different ideas or change elements. And there comes a point when the drawing turns into precise forms,
会尝试不同的点子或是改变元素。到了一个时间点， 把描绘转变为精确的形式，
with colors, volumes and decorative elements. Alice, the celebrity here, is placed at the front
有颜色、有体积、有装饰性的元素。故事中的主角爱丽丝被放在前端，
with volume in her letters. Lots of points and lines playing in the background
她的字立体、有体积。背景有很多的点和线，
help me convey that in this story, lots of things happen. And it helps to represent the feeling it generates,
协助我传达一个讯息： 在这个故事中发生很多事。点与线也代表着它引起的感觉，
as if you had your head in the clouds. And of course, there's Alice, looking at her wonderland.
好像你的头正在云雾中。当然还有爱丽丝看着她的仙境。
Drawing the letters of this title, I recreate the text's atmosphere a little. I let the reader see the story through a peephole in the door.
绘制书名时我稍稍重现文字的气氛，让读者透过门上的窥视孔 来看这个故事。
To do that, I gave shape to concepts and ideas that already exist in our imagination:
我让已经存在於我们想像中的 概念和想法具体成形：梦的想法、
the idea of dreams, of chaos,
混乱的想法、仙的概念。
the concept of wonder. The typography and the shape of letters work a bit like gestures
文字的排版和形状 有点像手势以及语调。
and tone of voice. It's not the same to say,
以下两种说法是不同的：「好多 TEDxRíodelaPlata 的觀眾」， （註：語調平坦）
(In a flat tone of voice) "TEDxRíodelaPlata's audience is huge," as it is to say (In an animated voice), "TEDxRíodelaPlata's audience is huge!"
「好多 TEDxRíodelaPlata 的觀眾」。 （註：語調生氣蓬勃）手势和语调都是讯息的一部份。
Gestures and tone are part of the message. By giving shape to the letters,
把形状赋予文字，我就可以精确地决定，
I can decide more precisely what I mean to say and how, beyond the literal text.
要说什麽和如何去说，超越了字面的文字。
I can say my favorite swear word in a very flowery way and be really corny when I talk about love.
我能把自己最喜爱的脏字用花式装饰，我也可以用老掉牙的方式来谈爱。
I can talk loudly and in a grandiose way or in a soft and poetic voice.
我可以用宏伟的方式大声说话，或是用轻柔有诗意的声音。
And I can communicate the difference between Buenos Aires and Berlin,
我可以传达出布宜诺斯艾利斯，和柏林的差别，
two cities I know very well. It was precisely in Berlin where my work became more colorful,
我对这两个城市都很了解。正是在柏林，我的工作 开始变得更多姿多采，
more expressive, more precise at telling stories.
更传神，把故事说得更精准。
Everything I couldn't say at those parties, standing there holding my glass of wine,
我手拿酒杯站在派对里时，说不出来的所有话语，
exploded in shapes and colors on paper. Without my realizing it, this limitation that language has
都在纸上以形状和颜色爆发出来。 不知不觉中，
became an engine that propelled me to perfect the tools with which I could express myself.
这语言的限制变成动力引擎，驱策我让工具更臻完美， 然後用这些工具来表述我自己。
If I couldn't say it by speaking, this was my way of talking
如果我无法口说表达， 这就是我和世界交谈、
and telling things to the world. Since then, my big quest has been to find my own voice
诉说事情的方式。 从那以後我的一大目标。
and to tell stories with the exact tone and gesture I want. No more, no less.
是找到自己的声音，并且用我要的语调和手势来说故事。
That's why I combine colors, textures
不多不少，要很精准。 那就是为什麽我结合了颜色、
and of course, letters, which are the heart.
纹理、当然还有文字，
And that's why I always want them to have shapes that are truly beautiful and exquisite.
文字是这一切的心脏。那就是为什麽我总是希望
Telling stories by drawing letters -- that's my job.
文字能有真正很美、很精致的形状。透过绘制文字来说故事──
And with that I look for a reaction in the reader, to wake them up somehow,
是我的工作。工作上，我期待读者的反应，
to make them dream, make them feel moved.
以某种方式唤醒他们，让他们作梦，
I believe that if the message is important, it requires work and craftsmanship.
让他们感动。我相信，如果讯息很重要，
And if the reader is important, they deserve beauty and fantasy as well.
它就需要努力和技艺。如果读者很重要，他们就值得拥有美好和梦幻！
(Applause)
