My wife said I could post this only if I emphasized that it is fiction.
HOW TO DRAW FACES
Shot this little video at lunch on my Iphone and posted it to Twitter. I came up with the little exercise for my Vizthink Viznotes webinar. Folks seemed to dig it, so I’m posting it here.
The Iphone continues to inspire me with possibilities. Ideas spread to a thousand people…instantly.
Instant publication.
The best part of all? It can be quick and dirty. People forgive quality. Heck, they’re probably watching the thing on their phone…so why not shoot it on your phone?
THE WICHITA IS DEAD
See also: “I Am So Over The Rainbow“
* * *
I broke down and bought an Iphone yesterday.
Like any tool, first you get it, then you figure out what to do with it.
If you follow me on Twitter, you saw the following 3 images today, all taken real-time with the Iphone camera and posted online with Twitpic (#1, #2, #3) while I was making the poem.
When does the poem become the poem? When you make that first connection? (Here, it was linking “dead. Now what?” and “Wichita” and then finding “ding” in “including”.) When it’s completely blacked out, “set in stone”? What about leaving behind evidence that could point to other, better poems? Does seeing the process kill the magic?
All questions that popped in my head. Also: what else could we do with this?
What about crowd-sourcing? What if I got stuck on a poem, took a picture of the article, and asked Twitter what my next step should be? Who would the poem belong to?
* * *
HOW TO DRAW TREES?
After years of working at a newspaper, my uncle Jeff quit his job to follow his true passion: preaching. My aunt Connie commissioned me to draw him an image of a tree with strong roots for his 50th birthday.
This kind of assignment is rough for me, because I’m not a fine artist. For the kind of drawing and cartooning I practice, drawing isn’t just a drawing, it’s more like picture-writing. It’s about writing with symbols…either conveying some kind of information or telling a story.
The biggest problem was that I was trying to be clever by using a cross for the tree trunk:
I almost drove myself crazy trying to get it to look recognizable.
And so, after endless drafts, I learned a valuable lesson:
Don’t try to be clever. Just draw.
As Faulkner put it, “Kill your darlings.”
I threw the cross idea out the window, and went with what I love to do: tell a story in a series of simple pictures.
The bonus of all this was that the tree I drew as the “final” in the series turned out to be the best one I came up with:
So Meg and I headed off and got a three-panel frame:
Voila! A tree triptych.
A couple of days later, I learned another valuable lesson: Do some research.
Had I been more thorough with my Googling, I might have found Bruno Munari’s book, Drawing A Tree:
A tree is a slow explosion of a seed….When drawing a tree, always remember that every branch is more slender than the one that came before. Also note that the trunk splits into two branches, then those branches split in two, then those in two, and so on, and so on, until you have a full tree, be it straight, squiggly, curved up, curved down, or bent sideways by the wind.
You draw, you learn.
VISUAL ACOUSTICS
Notes on Visual Acoustics (see them bigger)
The architectural photographer Julius Shulman died last week. Meg and I had the good fortune to see a documentary about his life, Visual Acoustics, a few months back at the Blanton in Austin. I took notes in the dark, and then threw this little map together.
Meg (the architecture scholar) and I had quite a good conversation about Shulman’s work, and what happens when you represent a building with a photograph–when you take a 3-D experience like a building and reduce it to a 2-D piece of film. (There was a funny bit in the film when someone mentioned that to sell Modernism it has to be seen in 1-point perspective.)
My favorite part of the whole film was when Shulman said, “The camera is the least important part of photography.”
It’s not the tools, it’s the thinking.
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