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VIZTHINK AUSTIN 6-18-2008

Vizthink Austin June 18, 2008 Sketchnotes

see it bigger

Here’s a little map I did during the second-ever Vizthink meetup in Austin last night. Local graphic facilitators Marilyn Martin and Sunni Brown moderated, and they did a great job. Met some good folks, learned a few things…it was a good time. If you’re an Austinite interested in visual thinking, keep your eyes and ears open for the next meeting at the Vizthink site.

Oh, and by the way: my post “For Successful Powerpoint Presentations, Look To Cartoonists” was chosen as the winner to the Vizthink prompt, “PowerPoint: A powerful tool poorly used or a poor tool overused?“

They said,

He not only had an interesting take on the topic but his post actually spun off a good amount of discussion on his own blog and beyond.

So thank YOU, my brilliant readers. Your comments make everything posted here much smarter. Cheers!

RECOMMENDATIONS

I don’t know what possessed me—I chronicle most of the stuff I’m reading / watching / looking at / listening to on my tumblelog and twitter and muxtape—but here’s a big bunch of stuff that I’ve dug in the past couple of months:

what it is by lynda barry

What It Is by Lynda Barry

What more can I say about this book?

It’s collage, it’s a writing textbook, it’s a memoir…it’s everything. It’s big. It’s hardcover. It’s awesome.
beach house devotion

Devotion music by Beach House

Quiet, soft, and beautiful. Lots of organ and reverb. Good hangover music.
and then there were none

And Then There Were None… by Agatha Christie

There was something magical about an island — the mere word suggested fantasy. You lost touch with the world — an island was a world of its own. A world, perhaps, from which you might never return.

Hmmm. A group of strangers stranded on a mysterious island, all with shady pasts that come back to haunt them…sound familiar?

My wife is an Agatha Christie nut. This was the first thing of hers I’ve ever read. 173 lightning fast pages. Fun read.
away from her

Away from Her a film by Sarah Polley

So sad, but so good. And the first time directing for Sarah Polley. She was quoted as saying the film was about

the opposite kind of love than we usually celebrate in films, which is new love without knowledge and without hardship.

It’s also a terrific example of how short stories fleshed out (as opposed to novels being compressed) make better films. (See also: In The Bedroom)

My favorite line (from the Alice Munro short story):

She said there ought to be one place you thought about and knew about and maybe longed for but never did get to see.
giant

Giant a film by George Stevens

PT Anderson was once asked to name 3 films that he loved but no one had ever heard of. He replied,

I like films that people HAVE heard of: The Treasure of the Sierra Madre, Giant, The Big Lebowski.

I recommend all three, too. Giant is a 3-hour epic set in West Texas. (Shot in Marfa.) James Dean. A gorgeous, young Elizabeth Taylor. What’s not to like?
knockemstiff by donald ray pollock

Knockemstiff by Donald Ray Pollock

I first heard about this book last year when my parents sent me clips from their local newspapers.

This is the book I wanted to write as an undergrad: an updated Winesburg, Ohio set in the Southern part of the state. I grew up about 30 miles from the real Knockemstiff, but I never really belonged there, not the way Donald Ray Pollock belonged: he worked at the Mead paper plant in Chillicothe for 30 years before he started writing, and got his MFA at Ohio State. He knows his place and writes about it beautifully.

This is a strong first book — but it can tough to read all the dark stories (note: it’s full of sex, booze, foul language, and drug use) at once. I recommend spreading them out. Standout stories for me were “Real life” and “Discipline.”
no more heroes

No More Heroes a videogame by Suda51

This is a violent videogame for the Wii, in which you play a hipster assassin with a lightsaber. It’s basically a GTA ripoff, but the art is great, and the game is full of little side missions which really make it entertaining. A good buy for $30.
pilot g2 gel pens

PILOT G2 BOLD POINT GEL PEN

Holy crap these things are awesome. If you want to lay down a big fat line, these babies will do the trick. 1mm > .07mm.
some like it hot

Some Like It Hot A film by Billy Wilder

Billy Wilder is quickly becoming one of my favorite directors: I especially love The Apartment, which also stars Jack Lemmon. And Marilyn Monroe is gorgeous, of course…
thoreau at walden by john porcellino

Thoreau at Walden by John Porcellino

John Porcellino is definitely in my top 5 favorite cartoonists, and his simple, zen lines are perfect for adapting Thoreau into comics.
lykkeli-youthnovels

Youth Novel music by Lykke Li

I can’t really describe her music. I always play it when I’m walking to the bus…
dan in real life

Dan in Real Life a film by Peter Hedges

If Eddie Campbell says something is good, you know it’s good. This really surprised me. It’s a story about nice people who get into a genuine conflict. Probably why it didn’t get very good reviews: no explosions or incest or whatever…

Phew. That was too much work. I think I’ll save this kind of thing for the next year-end lists.

What stuff are y’all into right now?

JESSICA ABEL AND MATT MADDEN AT AUSTIN COMICS

matt madden and jessica abel at austin books and comics

Jessica Abel and Matt Madden were in town this weekend to promote Jessica’s La Perdida and Life Sucks, and their brand-new comics textbook collaboration, Drawing Words and Writing Pictures (great title). Yesterday they talked about the books (in that order) at Austin Books and Comics. There was a small crowd, not much A/C, and a keg of beer!

hot technical details

The biggest treat was that we got to buy a copy of the new textbook, which doesn’t officially come out for a week or so:

Some things I took away from their talk:

  • Jessica’s early stuff was drawn with a pen very realistically, with tons of detail, so for La Perdida, she went for a sketchy, brush drawn look, which she thought turned out to be more realistic, because readers could fill in the world around the significant, selected details. This came out as sort of an off-the-cuff remark, but as Meg pointed out to me, it’s one of the most important lessons of comics: less is sometimes more, and since every comic drawing is a visual metaphor, there’s a balancing act when it comes to the level of abstraction in your drawings (see McCloud).

After she said that, when I was flipping through the book I found this cool example:

Can't draw? Read this

  • Meg mentioned how much the technical skills (pencilling, layout, inking) of comics resemble architecture. That got me thinking: someone who wanted to study comics in a traditional academic setting would likely first think to seek out say, life-drawing and creative writing classes, which are fine, but they might be better served by design (typography, page layout, the grid), screenwriting (dialogue, visual storytelling), or poetry (economy of words, laying them out in space).
  • Their book is aimed at three different types of comics creators:
    1. Students in the classroom
    2. Ronin — lone warriors out on their own
    3. Nomads — small groups (i.e. a writing group that meets once a week at a coffee shop)

    The book is formatted so that each type of creator can benefit from the lessons.

  • Men seem to like the idea of having a separate studio space away from the house, while women seem to prefer a room at home. (At least it’s the same for Meg and me. Discuss.)
  • Matt and Jessica have a new baby, and Meg noted that people always seem to ask “male-oriented” questions at those events—she wanted to ask how you keep a house running and still find time to create (but didn’t…and it would’ve been a great question, too!)
  • Comics is a language, people!
  • Jessica’s #1 productivity tip: get a calendar, and stick to it! (More details)

productivity tip

Since both Matt and Jessica are teachers at SVA, I asked them if they saw any pitfalls, teaching comics in the academy. Is there a chance that comics programs could turn out like MFA writing programs, with students turning out uniform, quiet, lit’ry, “workshopped” New Yorker types of short stories?

They both agreed that “it all comes down to the teachers,” and “if comics can’t withstand being taught in the academy, what kind of medium is it?”

I mentioned Lynda Barry’s new book as a great antidote to the “bad” kind of creative writing teaching, and Matt had a great reply:

remember that lynda barry learned her techniques at the academy

(He was referring to Lynda’s art teacher in college, Marilyn Frasca.)

Overall, I think this book is extremely well done and worth checking out by anyone who’s interested in making comics—it’s probably the first book I’ve ever seen that could actually serve as the lone textbook for a comics-making class. I think it will sell like hotcakes, and, as Jessica and Matt hinted, we’ll definitely see a sequel focusing on “advanced” topics such as coloring and webcomics.

My complete notes from the talk, if anyone’s interested:

abel-madden-1

abel-madden-2

Thanks to Matt and Jessica for swinging down to Austin!

THE POWER OF MYTH AND JOSEPH CAMPBELL ON ART-MAKING

MINDMAP OF JOSEPH CAMPBELL'S THE POWER OF MYTH

Do ever feel like when you’re reading, you aren’t really learning anything, but you’re re-discovering what you already had inside you? That’s how it felt after reading The Power of Myth, a book companion to the PBS mini-series featuring Bill Moyers and mythologist Joseph Campbell in conversation. Having never read any Campbell (I’m starting on The Hero With A Thousand Faces next) I found it to be a great introduction to his worldview.

Campbell had a lot of wisdom for artists, but here are two of the more practical excerpts.

On having a “sacred place”:

[A sacred place] is an absolute necessity for anybody today. You must have a room, or a certain hour or so a day, where you don’t know what was in the newspapers that morning, you don’t know who your friends are, you don’t know what you owe anybody, you don’t know what anybody owes to you. This is a place where you can simply experience and bring forth what you are and what you might be. This is the place of creative incubation. At first you may find that nothing happens there. But if you have a sacred place and use it, something eventually will happen….

[O]ur life has become so economic and practical in its orientation that, as you get older, the claims of the moment upon you are so great, you hardly know where the hell you are, or what it is you intended. You are always doing something that is required of you. Where is your bliss station? You have to try to find it. Get a phonograph and put on the music that you really love, even if it’s corny music that nobody else respects.

On how to read:

Sit in a room and read—and read and read. And read the right books by the right people….When you find an author who really grabs you, read everything he has done. Don’t say, “Oh, I want to know what So-andso did”—and don’t bother at all with the best-seller list. Just read what this one author has to give you. And then you can go read what he had read. And the world opens up in a way that is consistent with a certain point of view. But when you go from one author to another, you may be able to tell us the date when each wrote such and such a poem—but he hasn’t said anything to you.

(This is something that both my friend Brandon and George Saunders have suggested.)

Great book. Highly recommended. Here are some other excerpts.

the power of myth

MATT STONE @ UT

Went to see John Pierson interview Matt Stone, co-creator of South Park last night at the Austin City Limits studio on campus here at the University of Texas. Here’s a little write-up. I took some crummy sketchbook notes—could not for the life of me figure out how to draw him, so I just drew him as Kyle.

Matt Stone at the University of Texas

I have a kind of sentimental attachment to South Park: it came out the summer after my parents divorced, and my dad and I used to sit around in his little apartment and watch it and laugh our heads off. Humor when we needed it.

So, it was a real pleasure to hear him speak about the show, and his collaboration with Trey Parker. His thoughts were funny and intelligent.

Some highlights for me:

  • The show was originally supposed to be a “X-Files set in the mountains” with all the townspeople seeing aliens, etc. That premise got quickly worn out, but they kept the small town setting, which would later serve as a little microcosm for America, keeping the show continually fresh.
  • Their method of cut-outs was born out of procrastination: they do each show in only a week, and the quickness of the whirlwind process keeps them from getting bored. Stone said he barely remembers the shows after they finish them. He quoted Danny DeVito as saying, “Movies are never finished, only abandoned.” (There’s a different origin to that quote, but it’s true for all art forms.)
  • Stone said they always used to start a project by making a trailer first, and they’d use that to shop it around.

  • He listed three things that make his job the best job in Hollywood:

    1. Complete creative control
    2. Working with friends
    3. Living five minutes away from work

    When you think about it, that’s the formula for any great job…

  • Speaking of formulas, here’s the formula to most South Park episodes:
    1. A controversial issue
    2. Two extreme sides screaming at each other
    3. Kids stuck in the middle

    And again, when you think about it, that pretty much describes America.

Lots of other topics were discussed: Youtube, the original “The Spirit of Christmas” short, the Scientology Episode, the Britney Spears Show, lawyers, the 80s, the writer’s strike, Cannibal: The Musical!, and the genius Universal Studios Employee video.

Great, great event. Thanks to Janet for inviting me!

Matt Stone at the University of Texas

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