TED2018
Christoph Niemann: You are fluent in this language (and don't even know it)
Christoph Niemann: Coñecemos ben esta lingua (e nin nos decatamos)
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Segundo o ilustrador Christoph Niemann, manexámonos con fluidez, sen nos decatar, na lingua das imaxes . Nunha agradable charla, apoiada na presentación dunha morea de enxeñosos e fantásticos debuxos, emprenderemos con Niemann un hilarante percorrido visual que nos amosará como conectan os artistas coas nosas emocións e a nosa mente sen necesidade de usar as palabras
Christoph Niemann - Illustrator, artist, author
With charm and incisive wit, Christoph Niemann sketches the moments of our shared experience. Full bio
With charm and incisive wit, Christoph Niemann sketches the moments of our shared experience. Full bio
Double-click the English transcript below to play the video.
00:12
I'm an artist.
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Son artista.
00:15
Being an artist
is the greatest job there is.
is the greatest job there is.
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Ser artista é o mellor traballo que hai.
00:18
And I really pity
each and every one of you
each and every one of you
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E teño mágoa
de todos e cada un de vostedes
de todos e cada un de vostedes
00:21
who has to spend your days
discovering new galaxies
discovering new galaxies
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por teren que pasar a vida
descubrindo novas galaxias
descubrindo novas galaxias
00:23
or saving humanity from global warming.
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ou salvando a humanidade
do quecemento global.
do quecemento global.
00:26
(Laughter)
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(Risos)
00:28
But being an artist
is also a daunting job.
is also a daunting job.
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Mais o de artista
tamén é un oficio frustrante
tamén é un oficio frustrante
00:32
I spend every day,
from nine to six, doing this.
from nine to six, doing this.
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Paso tódolos días, de nove a seis,
facendo isto
facendo isto
00:37
(Laughter)
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(Risos)
00:39
I even started a side career
that consists entirely
that consists entirely
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Mesmo comecei unha carreira alternativa
que consiste única e exclusivamente
que consiste única e exclusivamente
00:43
of complaining about the difficulty
of the creative process.
of the creative process.
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en laiarse do difícil que resulta
o proceso creativo
o proceso creativo
00:45
(Laughter)
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(Risos)
00:47
But today, I don't want to talk
about what makes my life difficult.
about what makes my life difficult.
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Mais hoxe non quero falar
do que fai difícil a miña vida,
do que fai difícil a miña vida,
00:51
I want to talk about what makes it easy.
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senón do que a fai sinxela.
00:54
And that is you
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E son vostedes
00:55
and the fact that
you are fluent in a language
you are fluent in a language
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e o feito de teren fluidez nunha lingua
00:58
that you're probably not even aware of.
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da que talvez nin sexan conscientes.
01:01
You're fluent in the language
of reading images.
of reading images.
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Vostedes poden ler con fluidez
na lingua das imaxes.
na lingua das imaxes.
01:06
Deciphering an image like that
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Descifrar unha imaxe coma esa
01:08
takes quite a bit
of an intellectual effort.
of an intellectual effort.
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supón certo esforzo intelectual.
01:10
But nobody ever taught you how this works,
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Mais ninguén lles explicou
nunca como facelo,
nunca como facelo,
01:12
you just know it.
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simplemente saben.
01:15
College, shopping, music.
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Universidade, compras, música.
01:17
What makes a language powerful
is that you can take a very complex idea
is that you can take a very complex idea
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O poder dunha lingua radica en que
un pode coller unha idea moi complexa
un pode coller unha idea moi complexa
01:21
and communicate it
in a very simple, efficient form.
in a very simple, efficient form.
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e comunicala
dun xeito simple e eficiente.
dun xeito simple e eficiente.
01:25
These images represent
exactly the same ideas.
exactly the same ideas.
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Estas imaxes representan
exactamente as mesmas ideas.
exactamente as mesmas ideas.
01:30
But when you look, for example,
at the college hat,
at the college hat,
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Mais cando ven o barrete, por exemplo,
01:33
you know that this doesn't represent
the accessory you wear on your head
the accessory you wear on your head
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saben que non representa
o complemento que poñen na cabeza
o complemento que poñen na cabeza
01:36
when you're being handed your diploma,
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cando lles entregan o diploma,
01:38
but rather the whole idea of college.
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senón o concepto de Universidade.
01:42
Now, what drawings can do
is they cannot only communicate images,
is they cannot only communicate images,
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Ben, o que pasa coas ilustracións
é que non só comunican imaxes,
é que non só comunican imaxes,
01:46
they can even evoke emotions.
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tamén evocan emocións.
01:49
Let's say you get to
an unfamiliar place and you see this.
an unfamiliar place and you see this.
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Supoñamos que chegan
a un lugar descoñecido e ven isto:
a un lugar descoñecido e ven isto:
01:52
You feel happiness and relief.
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sentirán ledicia e acougo.
01:53
(Laughter)
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(Risos)
01:55
Or a slight sense of unease
or maybe downright panic.
or maybe downright panic.
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Ou un leve desacougo
ou quizais un tremendo pánico.
ou quizais un tremendo pánico.
02:01
(Laughter)
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(Risos)
02:03
Or blissful peace and quiet.
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Ou unha gozosa calma e quietude
02:07
(Laughter)
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(Risos)
02:08
But visuals, they're of course
more than just graphic icons.
more than just graphic icons.
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As imaxes, porén,
son moito máis que iconas gráficas.
son moito máis que iconas gráficas.
02:13
You know, if I want to tell the story
of modern-day struggle,
of modern-day struggle,
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Se quixese contar unha historia
de loita da vida moderna,
de loita da vida moderna,
02:16
I would start with the armrest
between two airplane seats
between two airplane seats
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empezaría polo separador
entre dous asentos de avión
entre dous asentos de avión
02:20
and two sets of elbows fighting.
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e un par de cóbados pelexando.
02:22
What I love there is this universal law
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O que me encanta disto
é esta lei universal
é esta lei universal
02:25
that, you know, you have
30 seconds to fight it out
30 seconds to fight it out
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pola que sabes que tes
trinta segundos para loitar
trinta segundos para loitar
02:27
and once it's yours, you get to keep it
for the rest of the flight.
for the rest of the flight.
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e, unha vez é teu, gañas o dereito
a mantelo para o resto do voo.
a mantelo para o resto do voo.
02:30
(Laughter)
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(Risos)
02:32
Now, commercial flight
is full of these images.
is full of these images.
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Ben, os voos comerciais
están cheos de imaxes coma estas.
están cheos de imaxes coma estas.
02:36
If I want to illustrate
the idea of discomfort,
the idea of discomfort,
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Se quixer ilustrar a idea de incomodidade,
02:40
nothing better than these neck pillows.
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as almofadas para o pescozo.
02:42
They're designed
to make you more comfortable --
to make you more comfortable --
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Están deseñadas para estar máis cómodo.
02:45
(Laughter)
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(Risos)
02:47
except they don't.
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Só que non o estás.
02:48
(Laughter)
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(Risos)
02:52
So I never sleep on airplanes.
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Así que nunca durmo no avión.
02:54
What I do occasionally
is I fall into a sort of painful coma.
is I fall into a sort of painful coma.
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O que fago de cando en vez
é caer nunha especie de desagradable coma.
é caer nunha especie de desagradable coma.
02:59
And when I wake up from that,
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E cando acordo,
03:02
I have the most terrible
taste in my mouth.
taste in my mouth.
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fágoo un terrible sabor de boca.
03:05
It's a taste that's so bad,
it cannot be described with words,
it cannot be described with words,
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É tan malo que non se pode
describir con palabras,
describir con palabras,
03:08
but it can be drawn.
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mais pódese debuxar.
03:09
(Laughter)
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(Risos)
03:15
The thing is, you know, I love sleeping.
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A cuestión é que me encanta durmir.
03:19
And when I sleep, I really
prefer to do it while spooning.
prefer to do it while spooning.
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E, cando durmo, prefiro claramente
facelo en posición de culler.
facelo en posición de culler.
03:22
I've been spooning on almost a pro level
for close to 20 years,
for close to 20 years,
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Levo a durmir facendo a culler
a nivel experto case vinte anos,
a nivel experto case vinte anos,
03:26
but in all this time,
I've never figured out
I've never figured out
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pero, en todo este tempo,
non dei coa resposta
non dei coa resposta
03:29
what to do with that bottom arm.
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de que facer co brazo de abaixo.
03:31
(Laughter)
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(Risos)
03:34
(Applause)
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(Aplausos)
03:36
And the only thing --
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E o único,
03:39
the only thing that makes sleeping
even more complicated
even more complicated
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o único que fai que durmir
sexa incluso máis complicado
sexa incluso máis complicado
03:42
than trying to do it on an airplane
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que tentar facelo nun avión
03:44
is when you have small children.
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é ter nenos pequenos.
03:47
They show up at your bed at around 4am
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Preséntanse no teu cuarto
ás catro da mañá
ás catro da mañá
03:50
with some bogus excuse of,
"I had a bad dream."
"I had a bad dream."
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con algunha falsa escusa do tipo
"tiven un pesadelo"
"tiven un pesadelo"
03:53
(Laughter)
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(Risos)
03:55
And then, of course you feel
sorry for them, they're your kids,
sorry for them, they're your kids,
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E, claro, sentes mágoa por eles,
son os teus fillos,
son os teus fillos,
03:58
so you let them into your bed.
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así que lles deixas meterse.
03:59
And I have to admit, at the beginning,
they're really cute and warm and snugly.
they're really cute and warm and snugly.
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E teño que admitilo; ao principio,
son moi lindos, doces e aloumiñeiros.
son moi lindos, doces e aloumiñeiros.
04:03
The minute you fall back asleep,
they inexplicably --
they inexplicably --
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Pero en canto adormeces,
inexplicablemente,
inexplicablemente,
04:06
(Laughter)
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(Risos)
04:08
start rotating.
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comezan a arrolar.
04:09
(Laughter)
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(Risos)
04:12
We like to call this the helicopter mode.
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Gústanos chamarlle "modo helicóptero".
04:14
(Laughter)
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(Risos)
04:16
Now, the deeper something is etched
into your consciousness,
into your consciousness,
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Ben, canto máis profundo
estea gravado algo na consciencia,
estea gravado algo na consciencia,
04:21
the fewer details we need
to have an emotional reaction.
to have an emotional reaction.
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menos detalles se precisan
para suscitar unha reacción emocional.
para suscitar unha reacción emocional.
04:25
(Laughter)
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(Risos)
04:28
So why does an image like this work?
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Por que funcionan imaxes coma esta?
04:31
It works, because we as readers
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Porque, como lectores,
04:33
are incredibly good
at filling in the blanks.
at filling in the blanks.
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somos tremendamente bos enchendo ocos.
04:37
Now, when you draw,
there's this concept of negative space.
there's this concept of negative space.
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Ao debuxarmos, existe un concepto
chamado "espazo negativo"
chamado "espazo negativo"
04:41
And the idea is, that instead
of drawing the actual object,
of drawing the actual object,
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Que consiste en que
no canto de debuxar o obxecto real
no canto de debuxar o obxecto real
04:43
you draw the space around it.
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debuxamos o espazo que o rodea.
04:46
So the bowls in this drawing are empty.
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As cuncas desta ilustración
están baleiras.
están baleiras.
04:49
But the black ink prompts your brain
to project food into a void.
to project food into a void.
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Pero a tinta negra impele o noso cerebro
a encher o oco con comida.
a encher o oco con comida.
04:56
What we see here is not a owl flying.
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O que aquí vemos
non é un moucho voando.
non é un moucho voando.
05:00
What we actually see
is a pair of AA batteries
is a pair of AA batteries
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Realmente son un par de pilas AA
05:02
standing on a nonsensical drawing,
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chantadas nun debuxo sen sentido,
05:04
and I animate the scene
by moving my desk lamp up and down.
by moving my desk lamp up and down.
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e animo a escena movendo a miña lámpada
de escritorio arriba e abaixo.
de escritorio arriba e abaixo.
05:08
(Laughter)
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(Risos)
05:10
The image really only exists in your mind.
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En realidade, a imaxe
só existe nas súas cabezas
só existe nas súas cabezas
05:13
So, how much information do we need
to trigger such an image?
to trigger such an image?
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Canta información precisamos
para crear esta imaxe?
para crear esta imaxe?
05:18
My goal as an artist
is to use the smallest amount possible.
is to use the smallest amount possible.
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O meu obxectivo como artista
é empregar a menor cantidade posible.
é empregar a menor cantidade posible.
05:23
I try to achieve a level of simplicity
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Tento acadar un nivel de simplicidade tal
05:25
where, if you were to take away
one more element,
one more element,
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que se retirásemos un só elemento máis
05:28
the whole concept would just collapse.
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todo o concepto se esfumaría.
05:31
And that's why my personal favorite tool
as an artist is abstraction.
as an artist is abstraction.
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E por iso, a miña ferramenta favorita
como artista é a abstracción.
como artista é a abstracción.
05:36
I've come up with this system
which I call the abstract-o-meter,
which I call the abstract-o-meter,
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Inventei este sistema
ao que lle chamo o abstractómetro,
ao que lle chamo o abstractómetro,
05:39
and this is how it works.
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e así é como funciona:
05:40
So you take a symbol, any symbol,
for example the heart and the arrow,
for example the heart and the arrow,
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Collemos un símbolo, calquera,
por exemplo o corazón e mais a frecha,
por exemplo o corazón e mais a frecha,
05:44
which most of us would read
as the symbol for love,
as the symbol for love,
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que a meirande parte de nós lería
como o símbolo do amor,
como o símbolo do amor,
05:47
and I'm an artist, so I can draw this
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e, como artista que son, debúxoo
05:49
in any given degree
of realism or abstraction.
of realism or abstraction.
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cun determinado grao
de realismo ou abstracción.
de realismo ou abstracción.
05:53
Now, if I go too realistic on it,
it just grosses everybody out.
it just grosses everybody out.
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Se o fago demasiado realista,
anoxaría a todo o mundo.
anoxaría a todo o mundo.
05:57
(Laughter)
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(Risos)
05:59
If I go too far on the other side
and do very abstract,
and do very abstract,
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Se me paso no outro senso
e o fago moi abstracto
e o fago moi abstracto
06:03
nobody has any idea
what they're looking at.
what they're looking at.
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ninguén terá nin idea de que está a ver.
06:06
So I have to find
the perfect place on that scale,
the perfect place on that scale,
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Así que teño que achar
o punto axeitado na escala,
o punto axeitado na escala,
06:08
in this case it's somewhere in the middle.
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que neste caso está
nalgures polo medio.
nalgures polo medio.
06:11
Now, once we have reduced an image
to a more simple form,
to a more simple form,
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Unha vez que teñamos reducida a imaxe
a unha forma máis simple,
a unha forma máis simple,
06:16
all sorts of new connections
become possible.
become possible.
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poden emerxer todo tipo
de novas conexións.
de novas conexións.
06:20
And that allows for totally
new angles in storytelling.
new angles in storytelling.
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E iso abre un abano de posibilidades
totalmente novo á hora de contar historias
totalmente novo á hora de contar historias
06:24
(Laughter)
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(Risos)
06:27
And so, what I like to do is,
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Entón, o que me gusta
06:29
I like to take images from really remote
cultural areas and bring them together.
cultural areas and bring them together.
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é tomar imaxes procedentes de áreas
culturais dispares e combinalas.
culturais dispares e combinalas.
06:36
Now, with more daring references --
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Claro, con referencias atrevidas,
06:38
(Laughter)
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(Risos)
06:41
I can have more fun.
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pásoo mellor.
06:43
But of course, I know that eventually
things become so obscure
things become so obscure
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Pero sei que ás veces as referencias
tórnanse tan escuras
tórnanse tan escuras
06:46
that I start losing some of you.
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que empezo a perdervos a algúns.
06:48
So as a designer, it's absolutely key
to have a good understanding
to have a good understanding
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Así que como deseñador
é crucial entender ben
é crucial entender ben
06:53
of the visual and cultural
vocabulary of your audience.
vocabulary of your audience.
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o vocabulario visual
e cultural da audiencia.
e cultural da audiencia.
06:58
With this image here,
a comment on the Olympics in Athens,
a comment on the Olympics in Athens,
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Con esta imaxe, concibida para ilustrar
os Xogos Olímpicos de Atenas,
os Xogos Olímpicos de Atenas,
07:03
I assumed that the reader
of the "New Yorker"
of the "New Yorker"
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asumín que o lector do New Yorker
07:05
would have some rudimentary
idea of Greek art.
idea of Greek art.
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tería certa idea rudimentaria
da arte grega.
da arte grega.
07:08
If you don't, the image doesn't work.
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Se non a ten, a imaxe non funciona.
07:10
But if you do, you might
even appreciate the small detail,
even appreciate the small detail,
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Mais se a ten, se cadra aprecia
os pequenos detalles,
os pequenos detalles,
07:13
like the beer-can pattern here
on the bottom of the vase.
on the bottom of the vase.
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coma o patrón de latas de cervexa
da base do xerro.
da base do xerro.
07:16
(Laughter)
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(Risos)
07:19
A recurring discussion I have
with magazine editors,
with magazine editors,
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Unha discusión recorrente
que teño con editores de revistas,
que teño con editores de revistas,
07:23
who are usually word people,
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que adoitan ser xente
máis de "palabras",
máis de "palabras",
07:25
is that their audience, you,
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é que o público, vostedes,
07:29
are much better at making
radical leaps with images
radical leaps with images
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acepta os saltos radicais nas imaxes
con moita máis facilidade
con moita máis facilidade
07:32
than they're being given credit for.
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do que eles pensan.
07:35
And the only thing I find frustrating
is that they often seem to push me
is that they often seem to push me
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E o único que me resulta frustrante
é que, adoito, semellan empurrarme
é que, adoito, semellan empurrarme
07:39
towards a small set
of really tired visual clichés
of really tired visual clichés
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contra un conxunto de clixés
visuais xa moi esgotados
visuais xa moi esgotados
07:43
that are considered safe.
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considerados seguros.
07:44
You know, it's the businessman
climbing up a ladder,
climbing up a ladder,
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Xa saben, o empresario subindo unha escada
07:47
and then the ladder moves,
morphs into a stock market graph,
morphs into a stock market graph,
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que logo se move e se muda
nun gráfico da bolsa de valores
nun gráfico da bolsa de valores
07:50
and anything with dollar signs;
that's always good.
that's always good.
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e algo co símbolo do dólar,
iso sempre está ben.
iso sempre está ben.
07:53
(Laughter)
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(Risos)
07:55
If there are editorial decision makers
here in the audience,
here in the audience,
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Se houber persoas na sala
que toman decisións editoriais,
que toman decisións editoriais,
07:58
I want to give you a piece of advice.
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quero darlles un consello.
08:00
Every time a drawing
like this is published,
like this is published,
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Cada vez que se publica
unha ilustración coma esta,
unha ilustración coma esta,
08:03
a baby panda will die.
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un bebé panda morre.
08:05
(Laughter)
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(Risos)
08:06
Literally.
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Literalmente.
08:07
(Laughter)
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(Risos)
08:09
(Applause)
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(Aplausos)
08:13
When is a visual cliché good or bad?
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Cando é bo ou malo un clixé visual?
08:17
It's a fine line.
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Hai unha fina liña.
08:18
And it really depends on the story.
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E a verdade é que depende da historia.
08:21
In 2011, during the earthquake
and the tsunami in Japan,
and the tsunami in Japan,
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En 2011, durante o terremoto
e o tsunami de Xapón,
e o tsunami de Xapón,
08:25
I was thinking of a cover.
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estaba a matinar nunha portada.
08:27
And I went through the classic symbols:
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E fun pasando polos típicos símbolos:
08:29
the Japanese flag,
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a bandeira xaponesa,
08:31
"The Great Wave" by Hokusai,
one of the greatest drawings ever.
one of the greatest drawings ever.
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"A grande onda" de Hokusai,
un dos mellores debuxos da Historia.
un dos mellores debuxos da Historia.
08:35
And then the story changed
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E logo todo cambiou
08:38
when the situation at the power plant
in Fukushima got out of hand.
in Fukushima got out of hand.
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cando se perdeu o control da situación
na central de Fukushima.
na central de Fukushima.
08:42
And I remember these TV images
of the workers in hazmat suits,
of the workers in hazmat suits,
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E lembro ver na tele as imaxes
dos traballadores con traxes hazmat,
dos traballadores con traxes hazmat,
08:46
just walking through the site,
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andando cara a alí,
08:48
and what struck me
was how quiet and serene it was.
was how quiet and serene it was.
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e o que me impactou foi
o sosego e a quietude da situación.
o sosego e a quietude da situación.
08:52
And so I wanted to create an image
of a silent catastrophe.
of a silent catastrophe.
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Entón, quixen crear o retrato
dunha catástrofe silenciosa.
dunha catástrofe silenciosa.
08:56
And that's the image I came up with.
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E isto foi o que se me ocorreu.
08:59
(Applause)
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(Aplausos)
09:00
Thank you.
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Grazas.
09:02
(Applause)
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(Aplausos)
09:05
What I want to do is create
an aha moment, for you, for the reader.
an aha moment, for you, for the reader.
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O que quero facer é provocar un momento
Eureka! entre vostedes os lectores.
Eureka! entre vostedes os lectores.
09:10
And unfortunately, that does not mean
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E por desgraza, iso non significa
09:12
that I have an aha moment
when I create these images.
when I create these images.
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que eu sinta ese Eureka!
cando creo esas imaxes.
cando creo esas imaxes.
09:15
I never sit at my desk
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Cando sento ao escritorio
09:16
with the proverbial light bulb
going off in my head.
going off in my head.
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non me aparece de súpeto
a mítica lámpada luminosa na cabeza.
a mítica lámpada luminosa na cabeza.
09:21
What it takes is actually a very slow,
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O que ten lugar realmente é un lento
09:24
unsexy process of minimal design decisions
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e pouco atractivo proceso
de toma de exiguas decisións estéticas
de toma de exiguas decisións estéticas
09:27
that then, when I'm lucky,
lead to a good idea.
lead to a good idea.
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que, se teño sorte,
conducen a unha boa idea.
conducen a unha boa idea.
09:31
So one day, I'm on a train,
and I'm trying to decode
and I'm trying to decode
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Así que, un día estaba nun tren
tentando descifrar
tentando descifrar
09:34
the graphic rules for drops on a window.
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que regras rexen a configuración
das pingas nunha fiestra.
das pingas nunha fiestra.
09:37
And eventually I realize,
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E decateime.
09:38
"Oh, it's the background
blurry upside-down,
blurry upside-down,
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"Oh, é o fondo borroso e do revés,
09:42
contained in a sharp image."
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contido nunha imaxe nítida".
09:43
And I thought, wow, that's really cool,
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E pensei que a idea era moi chula,
09:45
and I have absolutely no idea
what to do with that.
what to do with that.
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mais non tiña nin idea
de que facer con ela.
de que facer con ela.
09:48
A while later, I'm back in New York,
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Tempo despois, de volta a Nova York
09:50
and I draw this image of being stuck
on the Brooklyn bridge in a traffic jam.
on the Brooklyn bridge in a traffic jam.
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representei neste debuxo a idea de quedar
atoado nun atasco na ponte de Brooklyn.
atoado nun atasco na ponte de Brooklyn.
09:55
It's really annoying,
but also kind of poetic.
but also kind of poetic.
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É moi molesto mais
dalgún xeito tamén poético.
dalgún xeito tamén poético.
09:58
And only later I realized,
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E só máis tarde me decatei
10:00
I can take both of these ideas
and put them together in this idea.
and put them together in this idea.
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de que podía coller
esas dúas ideas e xuntalas nestoutra.
esas dúas ideas e xuntalas nestoutra.
10:04
And what I want to do
is not show a realistic scene.
is not show a realistic scene.
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E o que quero non é amosar
unha escena realista,
unha escena realista,
10:09
But, maybe like poetry,
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senón, se cadra como a poesía,
10:11
make you aware that you
already had this image with you,
already had this image with you,
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facerlles tomar consciencia
de que xa tiñan consigo esa imaxe,
de que xa tiñan consigo esa imaxe,
10:15
but only now I've unearthed it
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pero que só agora a saco á superficie
10:17
and made you realize that you
were carrying it with you all along.
were carrying it with you all along.
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e fago que se decaten de que levan
con ela dentro todo este tempo.
con ela dentro todo este tempo.
10:21
But like poetry,
this is a very delicate process
this is a very delicate process
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Porén, como a poesía,
este é un proceso moi delicado
este é un proceso moi delicado
10:25
that is neither efficient
nor scalable, I think.
nor scalable, I think.
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que coido que non se pode medir en termos
de eficiencia nin tratar de amplificar.
de eficiencia nin tratar de amplificar.
10:30
And maybe the most
important skill for an artist
important skill for an artist
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Se cadra a capacidade
máis importante dun artista
máis importante dun artista
10:34
is really empathy.
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realmente é a empatía.
10:36
You need craft and you need --
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Precísase ter arte,
10:39
(Laughter)
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(Risos)
10:41
you need creativity --
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precísase creatividade,
10:42
(Laughter)
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(Risos)
10:44
thank you --
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grazas,
10:45
to come up with an image like that.
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para idear unha imaxe así.
10:47
But then you need to step back
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Mais despois precísase
tamén dar un paso atrás
tamén dar un paso atrás
10:49
and look at what you've done
from the perspective of the reader.
from the perspective of the reader.
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e observar a túa obra
dende a perspectiva do lector.
dende a perspectiva do lector.
10:53
I've tried to become a better artist
by becoming a better observer of images.
by becoming a better observer of images.
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Tratei de converterme nun artista mellor
volvéndome un mellor observador de imaxes.
volvéndome un mellor observador de imaxes.
10:59
And for that, I started
an exercise for myself
an exercise for myself
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Para iso, comecei un exercicio persoal
11:01
which I call Sunday sketching,
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ao que lle chamo bosquexos de domingo,
11:03
which meant, on a Sunday, I would take
a random object I found around the house
a random object I found around the house
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e que consiste en coller cada domingo
un obxecto aleatorio que atope pola casa
un obxecto aleatorio que atope pola casa
11:09
and try to see if that object
could trigger an idea
could trigger an idea
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e ver se este dá desencadeado unha idea
11:13
that had nothing to do
with the original purpose of that item.
with the original purpose of that item.
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que non teña nada que ver
co seu propósito orixinal.
co seu propósito orixinal.
11:17
And it usually just means
I'm blank for a long while.
I'm blank for a long while.
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Adoito, isto implica
quedar en branco un bo anaco.
quedar en branco un bo anaco.
11:21
And the only trick that eventually works
is if I open my mind
is if I open my mind
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O único truco que ás veces funciona
é abrir a mente
é abrir a mente
11:24
and run through every image
I have stored up there,
I have stored up there,
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e percorrer tódalas imaxes
que teño alí almacenadas,
que teño alí almacenadas,
11:28
and see if something clicks.
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para ver se algo fai "clic".
11:30
And if it does, just add
a few lines of ink to connect --
a few lines of ink to connect --
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E se o fai, engádolle
algunhas liñas de tinta para conectar,
algunhas liñas de tinta para conectar,
11:35
to preserve this very short
moment of inspiration.
moment of inspiration.
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para evitar que eslúa
ese curto intre de inspiración.
ese curto intre de inspiración.
11:40
And the great lesson there
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E a gran lección é
11:42
was that the real magic
doesn't happen on paper.
doesn't happen on paper.
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que en realidade a maxia
non acontece no papel,
non acontece no papel,
11:45
It happens in the mind of the viewer.
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senón na mente do espectador.
11:48
When your expectations and your knowledge
clash with my artistic intentions.
clash with my artistic intentions.
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Cando as súas expectativas e coñecementos
se atopan coa miña intención artística.
se atopan coa miña intención artística.
11:55
Your interaction with an image,
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A súa interacción cunha imaxe,
11:58
your ability to read, question,
be bothered or bored or inspired
be bothered or bored or inspired
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a súa capacidade para ler, preguntar,
anoxarse, aburrirse ou inspirarse
anoxarse, aburrirse ou inspirarse
12:03
by an image
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por mor dunha imaxe
12:04
is as important
as my artistic contribution.
as my artistic contribution.
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é tan importante
como a miña achega artística.
como a miña achega artística.
12:07
Because that's what turns
an artistic statement
an artistic statement
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Porque iso é o que realmente muda
unha manifestación artística
unha manifestación artística
12:13
really, into a creative dialogue.
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nun diálogo creativo.
12:17
And so, your skill at reading images
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E, polo tanto,
a súa capacidade para ler imaxes
a súa capacidade para ler imaxes
12:19
is not only amazing,
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non só é abraiante,
12:21
it is what makes my art possible.
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tamén é o que fai a miña arte posible.
12:24
And for that, I thank you very much.
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E por iso, doulles as grazas.
12:27
(Applause)
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(Aplausos)
12:30
(Cheers)
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(Aclamacións)
12:36
Thank you.
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Grazas
12:37
(Applause)
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(Aplausos)
ABOUT THE SPEAKER
Christoph Niemann - Illustrator, artist, authorWith charm and incisive wit, Christoph Niemann sketches the moments of our shared experience.
Why you should listen
Christoph Niemann is the master of the deceptively simple. His work -- which often combines line drawing or brushwork with physical objects, or eschews drawing altogether in favor of LEGO -- has appeared on the covers of the New Yorker, WIRED and the New York Times Magazine and has won many awards. He has drawn live from the Venice Art Biennale and the Olympic Games in London, and he has sketched the New York City Marathon -- while running it. He created the New Yorker's first augmented reality cover as well as a hand-drawn 360-degree VR animation for the magazine's US Open issue.
Niemann is the author of many books, including the monograph Sunday Sketching, WORDS and Souvenir. With Nicholas Blechman, he published the book Conversations. With Jon Huang, he created the kids' apps Petting Zoo and Chomp. His work is subject of an episode of Abstract, a new original Netflix series.
Christoph Niemann | Speaker | TED.com