yx101-120

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101 How augmented reality is changing activism | Glenn Cantave https://www.youtube.com/watch?v=ORW5MNCv_LU https://mp.weixin.qq.com/s/rxJ2YApZULa3uaxo6Y-3eQ

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102 Grief and love in the animal kingdom | Barbara J. King https://www.youtube.com/watch?v=Rp_HEnOWEso https://mp.weixin.qq.com/s/MSDgtiOOIAgQMyTGyeoikw

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103 3 ways to measure your adaptability -- and how to improve it | Natalie Fratto https://www.youtube.com/watch?v=xJM_CQN8-ns https://mp.weixin.qq.com/s/MSDgtiOOIAgQMyTGyeoikw

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104 The next big thing is coming from the Bronx, again | Jon Gray https://www.youtube.com/watch?v=5cWkKwGUt3g https://mp.weixin.qq.com/s/MSDgtiOOIAgQMyTGyeoikw

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105 The story we tell about millennials -- and who we leave out | Reniqua Allen https://www.youtube.com/watch?v=R9XKRR7aKHI

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106 You are not alone in your loneliness | Jonny Sun https://www.youtube.com/watch?v=gi6rMXu_veE

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107 How to ask for help -- and get a "yes" | Heidi Grant https://www.youtube.com/watch?v=h-TIRIxhq6E

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108 Why we need to fight misinformation about vaccines | Ethan Lindenberger https://www.youtube.com/watch?v=zELJMIQawys

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109 "A Bird Made of Birds" | Sarah Kay https://www.youtube.com/watch?v=54ST8bwOVyc

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110 The living tech we need to support human life on other planets | Lynn Rothschild https://www.youtube.com/watch?v=oBdzOIzwtng

[littleflute]

111 How a typeface helped launch Apollo | Douglas Thomas https://www.youtube.com/watch?v=PUW89NpDYJw

00:00 翻译人员: psjmz mz 校对人员: Yolanda Zhang 00:12 1969年7月， 00:15 三位美国人被发射至太空。 00:18 他们抵达了月球的表面， 00:20 完成了人类举世瞩目的一跃。 00:24 巴兹·奥尔德林，尼尔·阿姆斯特朗 在月表行走， 00:27 他们插上了这面旗帜。 00:28 这是一个值得全美国庆祝的胜利时刻。 00:34 我们认为这是一个了不起的成就。 00:37 他们留下的不仅是这面旗帜。 00:39 他们也留下了一块登月纪念牌。 00:40 这个纪念牌很漂亮， 00:42 我想和你们谈谈。 00:44 首先，你可能注意到有两个球状图案， 00:46 代表整个地球。 00:48 然后是这段优美的描述： 00:50 “我们为全人类的和平而来。” 00:52 首先，这是非常富有诗意的语言， 00:55 其次它的字体也非常适合那个时刻。 00:59 它看起来是工业化的， 经过精心设计的。 01:02 这也是你能想到的用来描述 01:04 月球上的东西的 最好名字：Futura（未来）。 01:08 现在，我想和你们谈谈字体， 01:09 以及为什么这个字体 非常适合这个时刻。 01:12 这不仅仅是仪式。 01:15 你们所有人今天来到这里时， 01:18 都需要考虑字体。 01:20 你们可能没有意识到这点， 01:21 但你们在潜意识中都是排版专家。 01:24 排版是研究字体以什么方式 存在于我们的世界的。 01:29 他们是我们使用的文字的视觉化语言。 01:34 但有趣的事情是， 01:36 我知道你们可能不像我， 你们不是字体迷， 01:38 可能有些人是， 但如果你不是，也没关系， 01:40 因为我可能每天都要花上几个小时 01:43 去为最合适的物体 挑选最合适的字体， 01:46 我也可能每年要花费成千上万美元， 01:47 试着找到符合我要求的字体。 01:49 但其实你们所有人每天都花了 数个小时在评估字体。 01:54 如果你不信，想想 你是如何到这儿的。 01:56 每个人都要判断标志， 01:58 甚至你手机上的标志， 01:59 该相信哪个符号，忽略哪个符号。 02:03 这时你就是在评估字体。 02:04 或者可能当你刚买了个新产品时， 02:06 你得考虑东西是贵 02:09 还是便宜，或者很难获得 还是容易找到。 02:13 有趣的事情是， 02:15 这在你看起来并不奇怪， 02:16 但一旦你看到的事情错位了， 02:19 你立马就能认出来。 02:20 （笑声） 02:23 我爱排版的一点是， 02:24 以及我为什么喜欢字体， 尤其是 Futura 字体的原因是， 02:27 对我而言，我的研究对象无处不在。 02:30 我走过的每一条街道， 我拿起的每一本书， 02:33 我阅读的任何事物都 充满了我热爱的东西。 02:38 一旦你理解了排版的演变过程， 02:43 你面前的每件事的历史 都摆在了你的面前。 02:46 这是 Futura 字体。 02:48 正如之前所讨论的， 这是现代主义的缩影。 02:52 这是现代主义渗透到 这个国家的一种方式， 02:55 也可能是20世纪最流行的， 02:58 或混杂的字体。 03:00 “少即是多”是现代主义的格言。 03:03 在视觉艺术领域， 同样的事情也发生了。 03:05 让我们关注本质，关注基本形状， 03:07 关注几何。 03:09 这实际上就是 Futura 字体的核心。 03:12 你可能会注意到 Futura 字体固有的形状 03:14 有圆形，正方形，三角形。 03:16 有些形状都是基于圆圈的， 03:18 比如O、D和C， 03:19 有些则带有三角形的尖顶点。 03:23 其他的看起来就像是用尺子 03:25 或圆规做的。 03:26 它们看起来感觉像依照几何形状 或数学公式计算过的，十分精确。 03:30 事实上，这种字体的设计方法 03:32 贯穿整个系统， 03:33 要让它看起来和其他 字体不同，要有新意。 03:37 这是它的细体，常规和粗体的样子。 03:41 整个字体家族都有 不同的推崇之处。 03:44 这是对过去的一次有意识的突破， 03:46 是一种看起来像是由机器 而不是手写生成的东西。 03:49 我说不是手写的意思指的就是这个。 03:51 这是当你用毛笔 03:53 或钢笔写字时有可能呈现出的字体， 03:57 笔画之间会有粗和细的差别。 03:59 即便是更传统的字体， 比如加拉蒙字体， 04:02 也保留着这个旧系统的痕迹， 04:04 比如在这里你可以看到 A 的上半部笔画划较细， 04:07 而下半部分较粗， 04:08 因为这是在试图让它 看起来像手写的。 04:11 但 Futura 字体与之相反， 04:13 设计得就像跟人工全无关系， 04:15 它是由机器书写的， 04:17 对应着机器时代，工业时代。 04:19 这里其实有1927年 04:21 设计这幅画的设计师 保罗·雷纳隐藏的一个花招。 04:25 如果你观察 04:26 圆与竖连接的方式， 04:29 你会注意到它变得稍微细了一些。 04:32 这是把字体设计得 04:34 几乎在几何上完美的 数百种方法之一， 04:37 尽管它在数学上不完美。 04:39 这就是字体设计师每天 04:41 围绕字体所做的工作。 04:44 同期在欧洲和美国也有 其他设计师做类似的事。 04:48 这是来自欧洲的其他一些优秀的例子， 04:50 大家在努力为新时代， 新阶段创造一些新的东西。 04:54 这是德国的其他一些 04:55 看起来非常类似 Futura 的字体， 04:57 可能只有高腰或低腰或不同比例之别。 05:00 那为什么 Futura 会风靡世界呢？ 05:03 在这个案例中， 如果你能看清一些字体的名字， 05:06 其中有些不是很能脱口而出： 05:08 Erbar, Kabel Light, Berthold-Grotesk, Elegant-Grotesk. 05:14 这些都不是家喻户晓的名字，对吧？ 05:16 所以当你将它们跟 Futura 做下对比， 05:19 就会意识到这是营销团队 做出的一个很好的选择。 05:22 这个名字最妙的地方在于—— 05:24 这个名字的含义 05:26 实际上唤起了人们 对未来的希望和想法。 05:30 这个词在德语中并不是未来的意思， 05:33 它不是一个德语词， 05:33 他们其实上选择了一些 05:35 能够面向更广泛，更庞大， 全球性的观众群体的东西。 05:38 当你比较同时期的美国字体时—— 05:40 这些是美国1920年代， 05:42 也就是同时代的字体， 05:44 粗旷，傲慢，浮夸。 05:46 你几乎可以把这想象成20世纪20年代 05:50 股市疯狂时的样子。 05:52 于是你意识到 Futura 在做的 是革命性的事情。 05:55 我想退一步谈谈字体的使用用例。 05:59 这是一本我们今天可能都知道 的杂志，《名利场》。 06:03 这是它1929年夏季的一个版面。 06:06 在很多方面，这个设计都没有问题。 06:10 这绝对是1920年代的典型设计。 06:12 这是张重要人物的照片， 06:14 也就是富兰克林·罗斯福， 当时的纽约州州长。 06:17 居中排版，左右对称。 06:20 这里仍然有一些装饰， 06:21 所以这可能仍然有些 艺术修饰的痕迹， 06:25 不完全是现代主义的。 06:26 但一切似乎都很合理， 06:27 甚至还有下拉大写字母 来引导你进入文本区域。 06:30 但这些变化得非常之快， 在1929年10月， 06:33 一位来自柏林的设计师 重新设计了《名利场》。 06:36 这是用 Futura 字体印刷的样子。 06:39 这次不是州长， 06:41 现在我们有了一张抽象的， 美丽的背景照片， 06:44 在这个例子中，是海洋。 06:46 除了首字母下沉外， 并没有什么特别之处。 06:48 取代中心布局的是不对称。 06:52 你越仔细翻阅这本杂志， 你会发现这种变化越明显，越激进。 06:55 在这个例子中，甚至 有更明显的不对称。 06:57 其中毕加索的插图横跨过页面， 07:00 打破了两页的沟槽。 07:04 还有更激进的东西。 07:06 如果你仔细观察 Futura， 你可能注意到一些东西。 07:08 你可能一开始没有注意到， 07:10 但是这一页的标题和说明中 没有大写字母。 07:14 你可能不会觉得这个有多激进， 07:16 但随手拿起任何杂志， 图书或打开任何网站， 07:19 我保证，想找到同样的设计并不容易。 07:21 这仍然是个很激进的主意。 07:24 为什么说它是激进的？ 07:26 思考一下大写字母代表什么， 07:29 它们表示的都是重要的东西， 07:31 不管是我们的名字还是职位。 07:33 或者可能只是我们公司的名字， 07:36 或者我们的商标。 07:37 事实上，在某些方面， 美国是资本主义的发源地。 07:41 我们喜欢在每件事情上都注入资本。 （注：capitals同时有资本和大写字母的意思） 07:43 （笑声） 07:44 但想想，如果你推出一本 07:46 去掉所有大写字母的杂志， 这是多么激进的做法。 07:51 这可能和我们今天在社会上 07:53 争论发音一样具有政治影响力。 07:57 在1920年代， 07:58 这样的事就发生在苏联发生 共产主义革命后不久。 08:04 对他们来说，这实际上代表了 社会主义对美国的渗透。 08:08 所有的小写字母代表了一种平均主义， 08:12 把所有的东西都放到一个 平等的竞争环境中。 08:16 今天这仍然是一个很激进的想法。 08:18 想想你是否经常使用大写来让某段文字 08:20 体现更大的权力和声望。 08:22 所以对他们来说，这是 运用 Futura 的一种方式。 08:27 其他设计者也在 用 Futura 字体做其他事情。 08:30 他们带来了现代主义的其他想法， 08:32 无论是有趣的新插画风格， 08:35 还是有趣的新拼贴类型的插图， 08:37 或者只是新书的封面， 08:40 无论它们是否来自欧洲。 08:42 但这里有个有趣的事情。 08:44 在1920年代，如果你想要使用新的字体， 08:46 你无法直接把它下载到你的电脑中。 08:48 你必须有刻有这种字体的铅块。 08:51 所以对于想要采纳这种字体， 08:53 并且想要将其作为 他们系统的一部分的人， 08:55 一种他们每天排版时 都可以使用的东西， 08:58 不管在广告或者其他地方， 08:59 他们必须使用金属字体。 09:01 所以作为优秀的美国资本家， 我们到底是怎么做的？ 09:04 我们制作各种各样的字体副本。 09:05 这些字体和 Futura 这个名字 没有任何关系， 09:08 但是看起来是一样的， 09:10 无论是 Spartan 字体还是Tempo字体。 09:11 事实上，到第二次世界大战开始时， 09:14 美国公司一直在抵制纳粹的东西。 09:17 但他们说，“去用我们的复制品吧， 09:20 用20世纪的东西，使用Spartan, Vogue, Tempo字体。 09:23 这些和 Futura 是一样的。” 09:25 其实，对大部分人而言， 他们甚至都记不住这些新名字， 09:28 只是简单的将 所有这些字体叫做 Futura。 09:30 所以美国采用了这种字体， 09:32 并将它吸纳成自己的字体。 09:34 到第二次世界大战结束时， 09:37 这种字体开始在美国变得无处不在， 09:39 无论是目录还是地图册， 09:41 或是百科全书，图表和图片， 09:45 或者日历，甚至政治材料都在用。 09:48 连一个正在扩张的足球队 队徽都用到了这种字体。 09:53 事实上，它甚至被用在20世纪最重要 09:55 的一些广告中。 09:57 所以在这种情况下， 09:58 当美国政府在二战后为新的地图 10:00 和新的项目挑选字体时， 10:03 他们选了 Futura 字体。 10:04 这不是一个令人震惊的选择， 也不是一个激进的选择， 10:07 它跟共产主义没有任何关系。 10:09 但在这个例子中，它被用于 一些最重要的地图， 10:11 比如这张1962年的空军地图， 10:14 或者1966年的越南地图。 10:18 所以当宇航员 10:20 第一次开展水星计划时， 10:23 比如约翰·格伦绕地球航行， 10:25 他所使用的图表和地图 使用了 Futura 字体并不奇怪。 10:27 事实上，当水星变成阿波罗计划时， 10:31 在越来越多的物件上都能见到 Futura。 10:34 比如在一个安全计划书中， 10:37 甚至开始在仪表盘上， 10:39 或助航设备上使用。 10:41 整个系统的工作原理图表上也会用到。 10:44 但这就是神奇之处， 10:45 它不只限于人们彼此传阅的出版物上， 10:48 还开始被用于帮助宇航员 10:50 了解如何操作机器的 10:52 整个系统界面。 10:54 NASA（美国宇航局）并不是 一切设备的制造者。 10:58 这些设备来自数百家承包商—— 11:00 波音，IBM，麦道—— 11:02 他们制造的是不同的机器。 11:04 想象一下如果宇航员不得不 在航天飞机上的每一个部件中 11:08 使用不同的字体和系统会怎样。 11:11 这可能根本没法导航， 11:13 并且会在他们每次 启动一个新系统时， 11:14 造成认知超载， 11:17 所以在这个案例中， 被用于交互界面的 Futura 字体 11:20 能够帮助他们应对复杂的系统 并使流程更加清晰。 11:24 它不仅是用于标记按钮， 还被用于物件的标签， 11:27 宇航员的食物配给 11:29 和工具包上。 11:31 Futura 还被用于旋钮和 杠杆上的指导性标语。 11:35 事实上，也许还会被用于 11:37 某些只能容纳少量文字的地方， 11:40 这里的文字说明 完全是用 Futura 字体打印的， 11:43 这样操作说明就变得一目了然。 11:45 他们不需要记住所有事情， 11:47 只需要在必要的时候找地方查看。 11:50 在这个案例中，Futura 使得 11:53 一个本身非常复杂的系统 11:57 简化了很多。 11:59 事实上，当宇航员进出太空船时， 12:02 看到的第一个或者最后一个东西 12:04 可能也使用了 Futura 字体。 12:05 我最喜欢的一个关于 Futura 在这方面应用的例子 12:09 其实是这台相机。 12:10 这是一家瑞典公司生产的哈苏相机。 12:14 这是一台非常棒的相机， 你们有些人可能用过， 12:17 它被摄影师们誉为 一台伟大的相机。 12:21 如果你多少对相机有些了解， 可能已经注意到， 12:24 这台相机做了改装， 12:26 用贴纸贴满了胶卷筒， 12:29 或者相机的其他部分。 12:32 NASA 这样做能让 12:34 宇航员们拍一些 令人惊叹的照片。 12:37 他们不是摄影师，也不是艺术家。 12:40 但贴在相机上的 Futura 标签可以确保 12:43 他们知道如何使用这台相机， 12:45 这样一来， 12:46 Futura 就取得并确保了他们能够掌控 12:50 所使用的东西。 12:52 这个标签说的是在需要曝光之前 不要把胶片取下来。 12:55 也就是说如果没有这个标签， 12:57 我们可能就见不到那些壮观的照片了。 12:59 当我们看到像这样装饰性的东西， 比如一块仪式性的肩章， 13:06 或者像月球上的这块纪念牌， 13:08 我们意识到 Futura 不仅仅是一种仪式性的东西， 13:11 不仅仅是因它的设计而被挑选。 13:16 实际上，Futura 代表着权威， 13:18 因为这个选择而拥有合法性和权威。 13:21 我想用另一件事结束我的演讲。 13:24 那就是 Futura 讲述了一个故事。 13:28 我爱字体的原因是它们都在讲故事。 13:32 在这个例子中，这个字体 讲了一个关于同化， 13:35 关于被美国吸收 而成为其文化一部分的 13:38 强大的故事。 13:40 这是美国做的最好和最坏的事情， 13:43 我们把东西带进我们的文化， 然后再把它们吐出来， 13:46 并声称它们是我们自己的。 13:47 在这种情况下，Futura 准确地体现了 13:51 支撑整个系统的技术演变。 13:53 Futura 是一种德国字体， 被吸收后成为了一种美国商品。 13:57 技术也是如此： 13:59 火箭，所有的科学家都来自德国。 14:01 所以在某种程度上， 美国纪念牌上的德国字体 14:05 完美地体现了这项技术。 14:07 在这个例子中， 14:09 当你想到这个故事时， 你会意识到月球上的排版 14:14 代表着合法性，代表着权威， 14:17 并给予了宇航员登上月球的力量。 14:21 谢谢。 14:22 （鼓掌） 00:12 In 1969 in July, 00:15 three Americans launched into space. 00:18 Now, they went to the surface of the moon, 00:20 they famously made the great leap for mankind. 00:24 Buzz Aldrin, Neil Armstrong, they walked on the surface, 00:27 they planted this flag. 00:28 It's rightly celebrated as a moment that in America we say is a triumph. 00:34 We think it was this amazing accomplishment. 00:37 They didn't just leave behind this flag, though. 00:39 They also left behind a plaque. 00:40 This plaque is a beautiful object, 00:42 and one that I want to talk to you a little bit about. 00:45 First, you might notice that there's two globes, 00:47 representing all of earth. 00:48 And then there's this beautiful statement: 00:50 "We came in peace for all mankind." 00:52 Now, at first, this is just nice poetic language, 00:55 but it's also set in a typeface that's perfect for this moment. 00:59 It seems industrial, it seems engineered. 01:02 It also is the best possible name 01:04 you could come up with for something on the moon: Futura. 01:08 Now, I want to talk to you about fonts, 01:09 and why this typeface is perfect for this moment. 01:12 But it's actually more than just ceremonial. 01:15 Now, when all of you arrived here today, 01:18 you actually had to think about fonts. 01:20 You might not realize it, 01:21 but you're all unconscious experts on typography. 01:24 Typography is the study of how fonts inhabit our world, 01:29 they're the visual language of the words we use. 01:34 Here's the thing that's funny about this, though. 01:36 I know you're probably not like me, you're not a font nerd, 01:39 maybe some of you are, but if you're not, that's alright, 01:41 because I might spend hours every day 01:43 trying to pick the perfect typeface for the perfect project, 01:46 or I might spend thousands of dollars every year, 01:49 trying to get ones with the right features. 01:51 But all of you actually spend hours every day, evaluating fonts. 01:54 If you don't believe me, think about how you got here. 01:56 Each of you had to judge by the signs 01:58 and maybe even on your phone, 02:00 which signals to trust and which to ignore. 02:03 You were evaluating fonts. 02:04 Or maybe when you're just buying a new product, 02:07 you have to think about whether something is expensive 02:09 or cheap or hard to get or easy to find. 02:13 And the funny thing about it is, 02:15 this may not seem extraordinary to you, 02:16 but the moment you see something out of place, 02:19 you recognize it right away. 02:20 (Laughter) 02:23 The thing I love about typography, 02:24 and why I love fonts and why I love Futura, 02:27 is that, for me, what I study is everywhere. 02:30 Every street that I walk down, every book that I pick up, 02:33 every thing that I read is filled with the thing I love. 02:38 Now, once you understand the history and what happens with typography, 02:43 you actually have a history of everything before you. 02:46 And this is the typeface Futura. 02:48 As previously we've discussed, this is modernism in miniature. 02:52 This is a way in which modernism infiltrated this country 02:55 and became perhaps the most popular, or promiscuous typeface, 02:58 of the twentieth century. 03:00 "Less is more," right, these are the aphorisms of modernism. 03:03 And in the visual arts, the same thing happened. 03:05 Let's focus on the essentials, focus on the basic shapes, 03:08 focus on geometry. 03:09 So Futura actually holds this to its core. 03:12 You might notice that the shapes inherent in Futura 03:15 have circles, squares, triangles. 03:16 Some of the shapes are all based on circles, 03:19 like the O, D and C, 03:20 or others have this pointed apex of the triangle. 03:23 Others just look like they might have been made 03:26 with a ruler or a compass. 03:27 They feel geometric, they feel mathematic, precise. 03:30 In fact, this whole system carries through with the way 03:32 that the typeface was designed. 03:34 To not look like it was made like other typefaces, to be something new. 03:37 Here it is in the lightweight, the medium weight and the bold weight. 03:41 The whole family has different things to commend to it. 03:44 This was a conscious break from the past, 03:46 something that looked like it was made by a machine, and not by hand. 03:50 When I say not made by hand, this is what I mean. 03:52 This is what we think about maybe, 03:54 when you might create something with a calligraphic brush or a pen. 03:57 That there's thicks and thins. 03:59 And even more traditional typefaces, say like a Garamond, 04:02 holds vestiges of this old system 04:04 in which you can see the A where it get little bit thinner at the top 04:07 and thicker down below, 04:09 because it's trying to look like someone had made it by hand. 04:11 But Futura, in contrast, 04:13 is designed to look like no one had touched it at all, 04:15 that this was made by a machine, 04:17 for a machine age, for an industrial age. 04:19 There's actually a sleight of hand here 04:21 that Paul Renner, the designer who made this in 1927, employed. 04:25 If you look at the way in which 04:26 the circular shape joins with the vertical shaft, 04:29 you'll notice that it tapers just every so slightly. 04:33 And this is one of hundreds of ways 04:34 in which this typeface was designed to look geometrically perfect, 04:37 even though it's mathematically not. 04:39 And this is what typeface designers do all the time 04:42 to make typefaces work, every day. 04:44 Now, there were other designers doing this at the same time in Europe and America. 04:48 These are a few other excellent examples from Europe, 04:51 trying to create something new for the new age, a new moment in time. 04:54 These are some other ones in Germany 04:56 that in some ways look very similar to Futura, 04:58 maybe with higher waist or lower waist or different proportions. 05:01 Then why did Futura take over the world? 05:03 In this case, if you can read the titles there, 05:06 some of these names don't quite roll off the tongue: 05:08 Erbar, Kabel Light, Berthold-Grotesk, Elegant-Grotesk. 05:14 These aren't exactly household names, are they? 05:16 And so when you compare that to Futura, 05:19 you realize that this was a really good choice by the marketing team. 05:22 What's amazing about this name -- 05:24 you know, what's in this name is that this is a name 05:27 that actually invokes hope and an idea about the future. 05:30 And this isn't actually the word for future in German, 05:33 it wasn't a German name, 05:34 they actually picked something 05:36 that would speak to a wider, larger audience, a universal audience. 05:39 And when you compare it to what was being done in America -- 05:42 these are the typefaces from the same period 05:44 in the United States in the 1920s, 05:45 bold, brash, braggadocios. 05:47 You almost think of this as exactly like what the stock market looked like 05:50 when they were all going nuts in the 1920s. 05:52 And you realize that Futura is doing something revolutionary. 05:55 I want to step back and talk about an example of the typeface in use. 06:00 So this is a magazine that we all probably know today, "Vanity Fair." 06:03 This is what it looked like in 1929, in the summer. 06:06 And in many ways, there's nothing wrong with this design. 06:10 This is absolutely typical of the 1920s. 06:12 There's a photograph of an important person, 06:14 in this case Franklin Roosevelt, then-governor of New York. 06:17 Everything seems centered, everything seems symmetrical. 06:20 There's still a little bit of ornamentation, 06:22 so this is still maybe having some vestiges of the painted lady 06:25 and not fully modernistic. 06:26 But everything seems kid of solid. 06:28 There's even drop caps to help you get into the text. 06:30 But this all changed very quickly and in October of 1929, 06:33 a Berlin-based designer came and redesigned "Vanity Fair." 06:36 And this is what it looks like with Futura. 06:39 Instead of the governor 06:41 now we have a photograph of an abstract, beautiful setting, 06:44 in this case, the ocean. 06:46 Instead of drop caps, there's nothing at all. 06:48 And replaced with a centered layout is now asymmetry. 06:52 And it gets even more radical the further you enter the magazine. 06:55 In this case, even more dramatic asymmetry. 06:57 In this case, illustrations by Pablo Picasso, moving across the page 07:01 and breaking the gutter of the two pages. 07:04 And there's something even more radical. 07:06 If you look closely at the Futura, you might notice something. 07:09 You might not pick it up at first, 07:11 but there are no capital letters in the title or the captions on this page. 07:15 You might not think that's very radical, 07:17 but pick up any magazine, any book or go to any website, 07:19 and I guarantee, you are not going to find it very easily. 07:22 This is still a radical idea. 07:24 And why is that radical? 07:26 When we think about what capital letters denote, 07:29 they denote something important, 07:31 whether it's our names, or our titles. 07:33 Or maybe even just the name of our corporations, 07:36 or maybe our trademarks. 07:37 Actually, in some ways, America's the home of capitalization. 07:41 We love putting capitals in everything. 07:43 (Laughter) 07:44 But think about how radical this would be 07:46 to introduce a magazine where you're taking away all the capital letters. 07:51 This has maybe had the same political force 07:53 that we now argue over things like pronouns in our society today. 07:57 In the 1920s, 07:58 this is just shortly after Soviet Russia had a communist revolution. 08:04 And for them, this actually represented a socialist infiltration into America. 08:08 All lowercase letters meant that this was an egalitarian, 08:12 complete lowering of everything into one equal playing field. 08:16 Now this is still kind of a radical idea. 08:18 Think about how often you do capitalize something 08:21 to have more power or prestige to it. 08:22 So for them to do this was a way in which Futura was using this idea. 08:27 Now, other designers were doing other things with Futura. 08:30 Others brought other ideas of modernism with it, 08:32 whether it was interesting new illustration styles, 08:35 or interesting new collage types of illustration. 08:37 Or even just new book covers, 08:40 whether they were from Europe. 08:42 But here's the funny thing. 08:44 In the 1920s, if you wanted to use a new typeface, 08:46 you couldn't just go download it onto your computer. 08:48 You actually had to have pieces of lead. 08:51 So for Americans who wanted to adopt this 08:53 and make it part of their own system, 08:55 something they could use in everyday typography, 08:58 whether in ads or anything else, 08:59 they actually had to have metal type. 09:01 So being good American capitalists, what did we do? 09:04 We made all sorts of copies. 09:05 Ones that had nothing to do with the name Futura, 09:08 but looked identical to it, 09:10 whether it was Spartan or Tempo. 09:11 And in fact, by the time that World War II started, 09:14 American corporations were actually trying to boycott Nazi goods. 09:17 But they said, "Go ahead and use our copies. 09:20 Use 20th Century, use Spartan, use Vogue, use Tempo. 09:23 These are identical to Futura." 09:25 And in fact, for most people, they didn't even learn the new names, 09:28 they just still called it all Futura. 09:30 So America took this typeface in, 09:32 conquered it and made it its own. 09:34 So by the time World War II finishes, 09:37 Americans are using this on everything, 09:39 whether it be catalogs, or atlases, 09:42 or encyclopedias or charts and graphs, 09:45 or calendars, or even political material. 09:49 And even the logo for a new expansion football team. 09:53 And in fact, it was used even on some of the most important advertising 09:56 of the 20th century. 09:57 So it's in this context 09:59 that when the US government was picking a typeface 10:01 to use after World War II for new maps and new projects, 10:04 they picked Futura. 10:05 It wasn't an astounding choice, it wasn't a radical choice, 10:08 it didn't have anything to do with communism. 10:10 But in this case, it was used on some of the most important maps, 10:13 so this one, an air force map in 1962, 10:15 or used for the maps in Vietnam in '66. 10:18 And so it wasn't a surprise 10:20 that when astronauts first started the Mercury program, 10:23 such as John Glenn orbiting the earth, 10:25 that charts and maps that he was using were in Futura. 10:27 And in fact, by the time Mercury morphed into Apollo, 10:31 it started getting used more and more for more things. 10:34 So in this case for a safety plan, 10:37 or even starting to get used on instrument panels, 10:39 or navigational aids. 10:41 Or even on diagrams to show how the whole system worked. 10:44 But here's the amazing thing, 10:45 it didn't just get used for papers that they handed out to people. 10:49 It started to get used for an interface, 10:51 for an entire system that helped the astronauts 10:53 know how to use the machine. 10:54 NASA wasn't just one big corporation making everything. 10:58 There was hundreds of contractors -- 11:00 Boeing, IBM, McDonnell Douglas -- 11:03 all making different machines. 11:04 Now imagine if astronauts had to use different typefaces and different systems 11:08 for each component they had in the space shuttles. 11:11 This would have been impossible to navigate 11:13 and there would have been a cognitive overload 11:15 every time they had to open up a new system. 11:17 So in this case, Futura being used on the interface 11:20 helped them navigate complexity and make it more clear. 11:24 And it wasn't just used on buttons, it was used on labels, 11:27 and it was used on their food rations, 11:29 and it was used on their tool kits. 11:31 It was used on knobs and levers to tell them what to do. 11:35 In fact, maybe even some of the places 11:37 where they needed to have things that were complex be more simple to them, 11:40 instructions were printed entirely in Futura, 11:43 so that they could know what to do with that one moment. 11:46 They didn't have to remember everything in their head, 11:48 they could have it out there in the world to see and refer to. 11:51 In this case, Futura helped make that system, 11:53 which was already a very difficult and complex system, 11:57 a little less complex. 11:59 In fact, the very first or last thing an astronaut might have seen 12:02 when they were entering or exiting the spacecraft 12:04 would have been in Futura. 12:05 One of my favorite examples of how Futura worked in this way 12:09 is actually this camera. 12:10 This is a Hasselblad that was made by the Swedish company. 12:14 It's a perfectly good camera, some of you might have used one, 12:17 it's prized by photographers as a really great camera. 12:21 And you might notice, if you know anything about cameras, 12:24 that there's some modifications made to it. 12:26 In this case, there are stickers placed all over the film canisters, 12:29 or other parts of the camera here. 12:32 What this enabled NASA to do, 12:34 was make something really great out of the astronauts. 12:37 They're not photographers, they're not experts in art. 12:40 But they could ensure that they would know how to use this camera 12:43 because of the labels placed there in Futura. 12:45 So in this case, 12:47 Futura acquired and made sure that they had legitimacy 12:51 with the things they were using. 12:52 In this case to not take off the film before it would expose. 12:55 Which, in this case, we would have never had 12:57 some of the amazing photos we had without this label. 13:00 When we see something as decorative as this, a ceremonial patch, 13:06 or something like this plaque on the moon, 13:08 we realize that Futura was more than just something ceremonial, 13:11 something more than something that had just been picked for its design. 13:16 In fact, Futura had authority, 13:18 had legitimacy and had power because of this choice. 13:21 There's one other thing I want to talk about in closing. 13:24 And that is that Futura tells a story. 13:28 And this is what I love about typefaces, is that all of them tell stories. 13:32 And in this case, this typeface tells a very powerful story 13:35 about assimilation, about something being taken into America 13:38 and being made part of its culture. 13:40 And that's one of the best and worst things America does, 13:43 is we take things into our culture and we spit them out back again 13:46 and claim them our own. 13:48 And in this case, Futura mirrors exactly what happened with the technology 13:51 undergirding the whole system. 13:53 Futura was a German typeface, taken in, made into an American commodity. 13:57 And so were the technologies: 13:59 the rockets, the scientists all came from Germany as well. 14:02 So in some ways, this German typeface on an American plaque 14:05 perfectly mirrors what happened with the technology. 14:07 And in this case, 14:09 when you think about this story, you realize that typography on the moon 14:14 represents legitimacy, represents authority, 14:17 and this gave them, the astronauts, the power to get to the moon. 14:21 Thank you. 14:22 (Applause)

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