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The folks at PBS asked me to be a guest blogger for their “Remotely Connected” blog. I blogged about the upcoming NOVA episode, “What Are Dreams?”

Read my post at the Remotely Connected blog

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Yet another movie I drew at SXSW 2009 is streaming online for free: RIP! A REMIX MANIFESTO, a documentary about Girl Talk, fair use, and remix culture. Head over to Pitchfork.TV this week to watch it.

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If you read this before the end of tonight, you can watch 45365—the best movie I saw at SXSW 2009—for free online at Hulu.

A couple of brothers from Sidney, Ohio (really nice guys, too) made a documentary about their small hometown. I grew up not far from Sidney, and I can tell you it’s the most honest and moving portrait of home that I’ve seen.

These are a couple sketches I made during the movie and the Q&A a few months back.

• Hulu.com Interview with Bill and Turner Ross
• The Official Site

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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.

Over 100 people signed up for Tuesday’s Vizthink “Visual Note-taking 101″ webinar put on by me, Sunni Brown, Mike Rohde, and moderated by Dave Gray (with great support from Ryan Coleman and Chris Pascucci…thanks, guys!)

It was a rad way to spend 3 hours: I taught the first section called “But I Can’t Draw!” that tried to get people thinking about drawing as building or collage using a simple alphabet (line, point, circle, square, triangle). We learned to draw stick figures and faces…oh, it was good fun. AND I found out that I really, really love teaching: what could be better than sharing your passion with eager students?

Here are a couple of screengrabs from my session:

UPDATE: Here’s a short version of my “How To Draw Faces” activity:

I drew live in Sketchbook Pro during Mike and Sunni’s presentation, and here are the results:

Mike Rohde’s Sketchnoting presentation

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Map of Sunni Brown’s, “The Art of Listening” presentation

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Here are two thrilling shots of me in action:

And here’s my webinar setup:

Mike has a good recap that pretty much covers everything that went down, including notes from my section and notes from the awesome participants, and Sunni has posted her tips on listening for graphic recording and visual note-taking.

I also highly recommend checking out the notes tagged viznotes on Flickr and all the great Twitter chatter about the event.

(And for fun, go see Rob Court’s cartoon of my dog Milo, who started whimpering about 2/3 of the way through.)

You can see two little slideshow excerpts from my presentation: “The Battle Between Pictures and Words” and “Anatomy of a Mind Map”

And be sure to check out VizThink!

Here are a couple more sneak-preview slides for my part of the VizthinkU Visual Note-Taking 101 seminar. I took my map of Carl Jung’s Memories, Dreams, Reflections and broke it down into pictures, modifiers (speech balloons, captions, etc.) and words.

Here’s a little sneak-preview of the slideshow introduction I’m working on for my portion our Visual Note-Taking 101 webinar that’s a week from today! (Register here.)

I got the idea from some sumi-e doodles and quotes I collected a couple years ago, thinking about my formal (and informal) education:

…lately I find myself frequently torn between whether I’m really an artist or a writer. I was trained and educated as the former, encouraged into the world of paint-stained pants and a white-walled studio where wild, messy experiments precipitate the incubation of other visual ideas— though I’m just as happy to sit at a desk in clean trousers with a sharp pencil and work on a single story for four or five days in a quiet and deliberate manner. In short, I’m coming to believe that a cartoonist, unlike the general cliché, is almost—bear with me now—a sort of new species of creator, one who can lean just as easily toward a poetic, painterly, or writerly inclination, but one who thinks and expresses him- or herself primarily in pictures.—Chris Ware, Introduction to The Best American Comics 2007

“When you have the talent to be able to write and to draw it seems a shame to choose one. I think it’s better to do both.”
—Marjane Satrapi

A comics-art curriculum is interdisciplinary. As comics-art students learn to become literate and visually literate, they need to develop a vast array of skills. They need classes in drawing, writing, computer art, literature, storyboard, and character design. They need research skills, so they can make their stories convincing and make their characters behave and look real enough to come alive on the page or screen.—James Sturm, “Comics In The Classroom”

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On May 12th, I’ll be doing a Vizthink webinar with my friends Sunni Brown, Mike Rohde, and Dave Gray (as moderator) on visual note-taking. Price is $99, but you get access to the live session AND the recording AND it all goes to the good cause of keeping the Vizthink staff and community afloat financially.

Visual note-taking 101: Techniques for making your notes more visual and memorable
with Mike Rohde, Sunni Brown and Austin Kleon

Tuesday, May 12, 2009 | 11:00am EDT (15:00 GMT) | 3 Hours

Ever since Leonardo put pen to paper, visual note-taking has been a route to improve the quality of your thinking, make information more memorable, and make your ideas easier to share with others. Learn practical techniques and “tricks of the trade” from modern visual note-taking masters Mike Rohde, Sunni Brown and Austin Kleon. In this three-hour course you will learn how to use visual note-taking to improve your listening skills and take better, more memorable notes. The focus of this class will be on how to write, sketch, and diagram ideas live, in real time, as you hear them. Many of the techniques you will learn will also help to improve your skills in drawing your ideas at the flip chart or whiteboard.

Get more information and register here. (Also: dig the new VizthinkU portion of the Vizthink website!)

Sunni does graphic facilitation for a living, so she’s used to talking about her and her work, but this will be the first time that Mike or I have dug in and tried to explain what it is that we do.

The seminar will be in three parts. Sunni will talk about the art of listening and Mike will talk about being an editor vs. a stenographer. My part is called, “But I can’t draw!” I’ll be addressing folks’ fears of the pen, and talking about how there’s a a drawing alphabet just as there is a writing alphabet, and if you just learn the alphabet, you can draw anything. I’ll be using some cartoon theory, Lynda Barry’s “Two Questions”, Ed Emberley’s “Make A World”, and ripping off Dave Gray’s stuff on how to draw.

(TIP: I’ll be collecting a lot of my materials for the talk under the tumblr tag “But I Can’t Draw!” if you want a sneak-preview.)

This should be a lot of fun. I’m thrilled to be associated with these folks, and a little overwhelmed at the prospect of teaching with them: after all, it’s been only three years since I learned that this stuff even had a name…

Please let me know in the comments if you have any specific questions you’d like to have answered or topics you’d like addressed!

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UPDATE: Here’s a sneak-preview of the introduction/bio slideshow I’m making for my portion:

UPDATE: A recap of the event.

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Here are my notes from one of my favorite writers, Tom Perrotta, in conversation with John Pierson during a Master Class at UT. Thanks to John for inviting me.

Some words of wisdom: The enemy of good caricature is fear of what your subject might think of the results. (I drew Tom at the Texas Book Festival in 2007.) Lucky for me, Tom’s a really nice guy…

If you want some good reading, go buy some of his books!

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Some notes doodled while watching the Chuck Jones documentary, Memories of Childhood.

* * *

I asked my mother, what should I teach my kids? She said don’t teach them anything, just give them lots of supplies.

—Cartoonist Tony Millionaire

I have been thinking about art supplies and parenting.

Chuck Jones spoke fondly of his wonderful mother, and quoted Gertrude Stein, “Artists don’t need criticism, they need love.” Jones’ father was physically abusive, and yet “he served a purpose,” as Jones recounted in his autobiography, Chuck Amuck!:

But—now listen—every time Father started a new business, he did three things: 1. He bought a new suit. 2. He bought acres of the finest Hammermill bond stationery, complete with the company’s letterhead. 3. He bought hundreds of boxes of pencils, also complete with the company name.

EVERY TIME FATHER’S
BUSINESS FAILED, HIS CHILDREN INHERITED
A FRESH LEGACY OF THE FINEST DRAWING
MATERIALS IMAGINABLE.

[…]

NOT ONLY THAT!

We were forbidden—actually forbidden—to draw on both sides of the paper. Because, of course, Father wanted to get rid of the stationery from a defunct business as soon as possible, and he brought logic to bear in sustaining his viewpoint: “You never know when you’re going to make a good drawing,” he said.

[…]

We also had perhaps the most vital environmental rule of all: parents who gave us the opportunity to draw, free from excessive criticism, and free from excessive praise—Mother, because she felt that children in the exploration of life could do no wrong, and Father…because he only wanted to get rid of that paper as soon as possible.

Turns out, access to art supplies is a big factor in the life of a young artist. Here’s the cartoonist Lynda Barry:

My mother was actually upset by me reading, and she hated for me to use up paper. I got screamed at a lot for using up paper. The only blank paper in the house was hers, and if she found out I touched it she’d go crazy. I sometimes stole paper from school and even that made her mad. I think it’s why I hoard paper to this day. I have so much blank paper everywhere, in every drawer, on every shelf, and still when I need a sheet I look in the garbage first. I agonize over using a “good” sheet of paper for anything. I have good drawing paper I’ve been dragging around for twenty years because I’m not good enough to use it yet. Yes, I know this is insane.

There’s also a “good cop/bad cop” parenting element that seems to pop up. Here’s Milton Glaser:

In my parents I had the perfect combination—a resistant father and an encouraging mother. My mother convinced me I could do anything. And my father said, “Prove it.” He didn’t think I could make a living. Resistance produces muscularity. And it was the perfect combination because I could use my mother’s belief to overcome my father’s resistance. My father was a kind of a metaphor for the world, because if you can’t overcome a father’s resistance you’re never going to be able to overcome the world’s resistance. It’s much better than having completely supportive parents or completely resistant parents.

Ample supplies, a resistant father, and an encouraging mother. Sure, it’s Freudian, but I like it.

And God help the aspiring artists with perfect childhoods!

Alex Gregory for the New Yorker: