TED2018
Christoph Niemann: You are fluent in this language (and don't even know it)
克里斯托夫 · 尼曼: 你能流利地使用这种语言（甚至不知道它的存在）
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插图画家克里斯托夫 · 尼曼说，我们没有意识到自己能流利地使用图像语言。在这场令人兴致盎然的谈话中，尼曼利用一幅幅诙谐的、异想天开的图画，带领我们体验了一次有趣的视觉旅程，展示了艺术家们如何挖掘我们的情感和思想——一切都是无言的。
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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我是一位艺术家。
00:15
Being an artist
is the greatest job there is.
is the greatest job there is.
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成为一名艺术家，是最好的工作。
00:18
And I really pity
each and every one of you
each and every one of you
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我很同情你们每一个人，
得花时间去发现新的星系，
00:21
who has to spend your days
discovering new galaxies
discovering new galaxies
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或者拯救人类免受全变暖的影响，
00:23
or saving humanity from global warming.
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（笑声）
00:26
(Laughter)
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但作为一名艺术家，
也是一项艰巨的工作。
也是一项艰巨的工作。
00:28
But being an artist
is also a daunting job.
is also a daunting job.
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00:32
I spend every day,
from nine to six, doing this.
from nine to six, doing this.
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我每天从9点到6点都是这样的状态。
00:37
(Laughter)
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（笑声）
00:39
I even started a side career
that consists entirely
that consists entirely
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我甚至开始了一个副业，
00:43
of complaining about the difficulty
of the creative process.
of the creative process.
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完全为了抱怨创作过程的艰辛。
（笑声）
00:45
(Laughter)
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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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但是我今天并不想谈论这些困难，
00:51
I want to talk about what makes it easy.
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而想谈谈如何让事情变得简单。
00:54
And that is you
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那就是你们，
00:55
and the fact that
you are fluent in a language
you are fluent in a language
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和你们能理解的流利语言，
00:58
that you're probably not even aware of.
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而你们可能都没有意识到这一点。
01:01
You're fluent in the language
of reading images.
of reading images.
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你能流利地阅读图像语言。
01:06
Deciphering an image like that
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解读这些图像
01:08
takes quite a bit
of an intellectual effort.
of an intellectual effort.
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需要运用相当多的智力。
01:10
But nobody ever taught you how this works,
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但没有人教过你怎样做，
01:12
you just know it.
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你天生就知道。
01:15
College, shopping, music.
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大学、购物和音乐。
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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使语言变得强大的是，
你从中能领略复杂的想法，
你从中能领略复杂的想法，
并以一种简单而有效的
方式进行沟通。
方式进行沟通。
01:21
and communicate it
in a very simple, efficient form.
in a very simple, efficient form.
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01:25
These images represent
exactly the same ideas.
exactly the same ideas.
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这些图像代表着完全相同的想法。
01:30
But when you look, for example,
at the college hat,
at the college hat,
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但是，当你看到，例如毕业帽，
这并不只是代表在你被授予毕业证书时
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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戴在你头上的配件，
01:36
when you're being handed your diploma,
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而是象征着大学教育这个整体概念。
01:38
but rather the whole idea of college.
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01:42
Now, what drawings can do
is they cannot only communicate images,
is they cannot only communicate images,
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图画可以做的，是它们
不仅可以传达图像，
不仅可以传达图像，
甚至可以激发情感。
01:46
they can even evoke emotions.
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假设你在一个陌生地方看到这个图像，
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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01:52
You feel happiness and relief.
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就会感到快乐和宽慰。
01:53
(Laughter)
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（笑声）
01:55
Or a slight sense of unease
or maybe downright panic.
or maybe downright panic.
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或是有点不安，甚至全然的恐慌。
02:01
(Laughter)
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（笑声）
又或是幸福和宁静。
02:03
Or blissful peace and quiet.
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02:07
(Laughter)
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（笑声）
02:08
But visuals, they're of course
more than just graphic icons.
more than just graphic icons.
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但在视觉方面，它们又
不仅仅是图像符号。
不仅仅是图像符号。
02:13
You know, if I want to tell the story
of modern-day struggle,
of modern-day struggle,
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如果我想讲述现代斗争的故事，
02:16
I would start with the armrest
between two airplane seats
between two airplane seats
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我会从飞机座椅之间的扶手开始，
还有两个互不相让的胳膊肘。
02:20
and two sets of elbows fighting.
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02:22
What I love there is this universal law
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我喜欢一个通则，
02:25
that, you know, you have
30 seconds to fight it out
30 seconds to fight it out
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在30秒内，谁占有了扶手，
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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谁就可以在其余的
飞行时间里拥有这个扶手。
飞行时间里拥有这个扶手。
（笑声）
02:30
(Laughter)
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02:32
Now, commercial flight
is full of these images.
is full of these images.
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在商业航班里充满了这些图像。
02:36
If I want to illustrate
the idea of discomfort,
the idea of discomfort,
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如果我想说明不舒服的想法，
没有比这些颈枕更好的了。
02:40
nothing better than these neck pillows.
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02:42
They're designed
to make you more comfortable --
to make you more comfortable --
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它们旨在让你更舒适——
（笑声）
02:45
(Laughter)
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02:47
except they don't.
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但常常事与愿违。
02:48
(Laughter)
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（笑声）
02:52
So I never sleep on airplanes.
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所以我从不在飞机上睡觉。
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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偶尔我会陷入一种痛苦的昏迷状态。
02:59
And when I wake up from that,
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当我醒来时，
03:02
I have the most terrible
taste in my mouth.
taste in my mouth.
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我口中会有一种最可怕的味道。
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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这是一种很糟糕的味道，
难以用文字来形容，
难以用文字来形容，
但可以把它画出来。
03:08
but it can be drawn.
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03:09
(Laughter)
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（笑声）
03:15
The thing is, you know, I love sleeping.
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问题在于，我喜欢睡觉。
03:19
And when I sleep, I really
prefer to do it while spooning.
prefer to do it while spooning.
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当我睡觉时，更喜欢揽着太太。
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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近20年来，我几乎一直
保持着专业的姿势，
保持着专业的姿势，
03:26
but in all this time,
I've never figured out
I've never figured out
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但我从未想过
03:29
what to do with that bottom arm.
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在下面的手臂怎么办。
03:31
(Laughter)
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（笑声）
（掌声）
03:34
(Applause)
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03:36
And the only thing --
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唯一的事情——
03:39
the only thing that makes sleeping
even more complicated
even more complicated
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唯一让睡眠变得比在飞机上睡着
03:42
than trying to do it on an airplane
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还要困难的，
03:44
is when you have small children.
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是当你有了小孩。
他们会在凌晨4点走到你的床边，
03:47
They show up at your bed at around 4am
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编造一些借口，比如
“我做了一个恶梦。”
“我做了一个恶梦。”
03:50
with some bogus excuse of,
"I had a bad dream."
"I had a bad dream."
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03:53
(Laughter)
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（笑声）
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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你当然会为此感到难过，
毕竟是亲生的孩子，
毕竟是亲生的孩子，
就让他们上床吧。
03:58
so you let them into your bed.
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开始时他们表现得很乖，
令你温暖又舒适。
令你温暖又舒适。
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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04:03
The minute you fall back asleep,
they inexplicably --
they inexplicably --
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但当你再睡着的那一刻，不知怎的，
（笑声）
04:06
(Laughter)
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04:08
start rotating.
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他们就开始摆出横七竖八的姿势。
（笑声）
04:09
(Laughter)
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我们喜欢称之为直升机模式。
04:12
We like to call this the helicopter mode.
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04:14
(Laughter)
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（笑声）
另外，有一些更深入的东西
被刻进了你的意识中，
被刻进了你的意识中，
04:16
Now, the deeper something is etched
into your consciousness,
into your consciousness,
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04:21
the fewer details we need
to have an emotional reaction.
to have an emotional reaction.
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只需要比较少的细节，
就能触动情绪的反应。
就能触动情绪的反应。
04:25
(Laughter)
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（笑声）
为什么像这样的图像能引起共鸣呢？
04:28
So why does an image like this work?
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04:31
It works, because we as readers
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因为我们做为阅读者，
擅长于填补缺失的部分。
04:33
are incredibly good
at filling in the blanks.
at filling in the blanks.
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04:37
Now, when you draw,
there's this concept of negative space.
there's this concept of negative space.
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当你画画时，有一种负空间的概念。
04:41
And the idea is, that instead
of drawing the actual object,
of drawing the actual object,
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其核心做法不是绘制实际的物体，
04:43
you draw the space around it.
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只是画出它周围的空间。
所以图中的碗是空的。
04:46
So the bowls in this drawing are empty.
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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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但黑色的墨水会促使
你将食物投射到空间中。
你将食物投射到空间中。
04:56
What we see here is not a owl flying.
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这里看到的并不是飞行的猫头鹰。
05:00
What we actually see
is a pair of AA batteries
is a pair of AA batteries
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实际上是一对 AA 电池
05:02
standing on a nonsensical drawing,
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放在一张荒诞的画上，
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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我通过上下移动台灯的光线，
让场景动起来了。
让场景动起来了。
05:08
(Laughter)
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（笑声）
05:10
The image really only exists in your mind.
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图像只存在于你的脑海中。
那么，需要多少信息
才能触发这样的一个图像？
才能触发这样的一个图像？
05:13
So, how much information do we need
to trigger such an image?
to trigger such an image?
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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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艺术家的目标是用尽可能少的信息。
05:23
I try to achieve a level of simplicity
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我想要达到的极简程度，
05:25
where, if you were to take away
one more element,
one more element,
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就是只需要拿走一个元素，
05:28
the whole concept would just collapse.
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整个概念都会崩塌。
05:31
And that's why my personal favorite tool
as an artist is abstraction.
as an artist is abstraction.
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我作为艺术家，
最喜欢用抽象做工具。
最喜欢用抽象做工具。
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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我想出一个称之为抽像仪表的系统，
这是它的工作原理。
05:39
and this is how it works.
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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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你拿其中一个符号，
例如心脏和箭头，
例如心脏和箭头，
人们都会视之为爱情的象征，
05:44
which most of us would read
as the symbol for love,
as the symbol for love,
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05:47
and I'm an artist, so I can draw this
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我是艺术家，可以把它画出来，
并以任何现实或抽象的程度来呈现。
05:49
in any given degree
of realism or abstraction.
of realism or abstraction.
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05:53
Now, if I go too realistic on it,
it just grosses everybody out.
it just grosses everybody out.
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如果它过于现实，
就会让所有人难以接受。
就会让所有人难以接受。
05:57
(Laughter)
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（笑声）
05:59
If I go too far on the other side
and do very abstract,
and do very abstract,
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如果我做得太抽象，
就没人能看懂了。
06:03
nobody has any idea
what they're looking at.
what they're looking at.
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06:06
So I have to find
the perfect place on that scale,
the perfect place on that scale,
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所以我必须找到平衡点，
06:08
in this case it's somewhere in the middle.
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位于仪表标尺上接近中间的某处。
06:11
Now, once we have reduced an image
to a more simple form,
to a more simple form,
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一旦将图像变得更简单，
06:16
all sorts of new connections
become possible.
become possible.
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就会增加各种新联系的可能性，
06:20
And that allows for totally
new angles in storytelling.
new angles in storytelling.
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出现不同的，讲故事的新角度。
（笑声）
06:24
(Laughter)
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因此我喜欢做的是，
06:27
And so, what I like to do is,
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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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从很偏远的文化区域拍摄图像，
并将它们整合在一起。
并将它们整合在一起。
06:36
Now, with more daring references --
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更大胆的参考资料——
06:38
(Laughter)
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（笑声）
使我可以获得更多的乐趣。
06:41
I can have more fun.
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06:43
But of course, I know that eventually
things become so obscure
things become so obscure
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但最终事情变得太模糊，
就会让你们中的一些人失去兴趣。
06:46
that I start losing some of you.
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06:48
So as a designer, it's absolutely key
to have a good understanding
to have a good understanding
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因此，作为设计师，关键是要
对关于观众视觉和文化的词汇
对关于观众视觉和文化的词汇
06:53
of the visual and cultural
vocabulary of your audience.
vocabulary of your audience.
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有着很好的理解。
06:58
With this image here,
a comment on the Olympics in Athens,
a comment on the Olympics in Athens,
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这张图片评论了雅典奥运会，
07:03
I assumed that the reader
of the "New Yorker"
of the "New Yorker"
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我默认《纽约客》的读者
对希腊艺术有些基本的了解。
07:05
would have some rudimentary
idea of Greek art.
idea of Greek art.
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否则，图像就不起作用了。
07:08
If you don't, the image doesn't work.
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如果你有一定的理解，
甚至会欣赏那些细节，
甚至会欣赏那些细节，
07:10
But if you do, you might
even appreciate the small detail,
even appreciate the small detail,
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07:13
like the beer-can pattern here
on the bottom of the vase.
on the bottom of the vase.
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就像花瓶底部的啤酒罐图案。
07:16
(Laughter)
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（笑声）
07:19
A recurring discussion I have
with magazine editors,
with magazine editors,
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我与杂志编辑们一起反复讨论过——
07:23
who are usually word people,
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他们是文字方面的行家——
07:25
is that their audience, you,
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他们的观众，也就是在座的各位，
07:29
are much better at making
radical leaps with images
radical leaps with images
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能够赋予图像比其原本所要表现的意图
07:32
than they're being given credit for.
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更加跳跃式的含义。
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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而唯一让我感到沮丧的
一件事是，他们经常
一件事是，他们经常
07:39
towards a small set
of really tired visual clichés
of really tired visual clichés
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迫使我设计一小部分
老套的视觉图像，
老套的视觉图像，
07:43
that are considered safe.
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认为这样做很保险。
07:44
You know, it's the businessman
climbing up a ladder,
climbing up a ladder,
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比如商人爬上梯子，
07:47
and then the ladder moves,
morphs into a stock market graph,
morphs into a stock market graph,
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然后梯子移动，变成股票市场图，
07:50
and anything with dollar signs;
that's always good.
that's always good.
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任何有美元符号的东西；
这些总是好的。
这些总是好的。
07:53
(Laughter)
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（笑声）
07:55
If there are editorial decision makers
here in the audience,
here in the audience,
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如果观众中有编辑决策者，
07:58
I want to give you a piece of advice.
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我想给你们一些建议。
08:00
Every time a drawing
like this is published,
like this is published,
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每次发布这样的图片时，
08:03
a baby panda will die.
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就会有一只熊猫宝宝死掉。
08:05
(Laughter)
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（笑声）
说真的。
08:06
Literally.
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（笑声）
08:07
(Laughter)
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08:09
(Applause)
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（掌声）
怎么判定视觉上的陈词滥调是好是坏？
08:13
When is a visual cliché good or bad?
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08:17
It's a fine line.
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有一个准则。
这取决于故事背景。
08:18
And it really depends on the story.
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2011 年，在日本的地震和海啸期间，
08:21
In 2011, during the earthquake
and the tsunami in Japan,
and the tsunami in Japan,
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08:25
I was thinking of a cover.
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我正在构想一个封面。
08:27
And I went through the classic symbols:
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审视经典的符号：
08:29
the Japanese flag,
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日本国旗，
08:31
"The Great Wave" by Hokusai,
one of the greatest drawings ever.
one of the greatest drawings ever.
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北斋的 “大浪”，是有史以来
最伟大的绘画之一。
最伟大的绘画之一。
08:35
And then the story changed
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然后故事变了，
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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福岛电厂的情况失控。
08:42
And I remember these TV images
of the workers in hazmat suits,
of the workers in hazmat suits,
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我记得这些穿着
防护服工人的电视画面，
防护服工人的电视画面，
08:46
just walking through the site,
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仅仅是走过那地方，
那种宁静和安祥的感觉
却令我印象深刻。
却令我印象深刻。
08:48
and what struck me
was how quiet and serene it was.
was how quiet and serene it was.
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所以我想创造一个静默的灾难图象。
08:52
And so I wanted to create an image
of a silent catastrophe.
of a silent catastrophe.
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08:56
And that's the image I came up with.
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这就是我设计的画面。
08:59
(Applause)
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（掌声）
谢谢。
09:00
Thank you.
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09:02
(Applause)
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（掌声）
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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我想为各位，为读者们
创造一个顿悟时刻。
创造一个顿悟时刻。
09:10
And unfortunately, that does not mean
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不幸的是，这并不意味着
09:12
that I have an aha moment
when I create these images.
when I create these images.
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当我创造这些图像时，
正处于灵光乍现的时刻。
正处于灵光乍现的时刻。
我坐在办公桌前的时候，
09:15
I never sit at my desk
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09:16
with the proverbial light bulb
going off in my head.
going off in my head.
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脑海中象征灵感的灯泡从不会熄灭。
09:21
What it takes is actually a very slow,
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它需要经历一个缓慢的，难熬的过程，
09:24
unsexy process of minimal design decisions
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为最细微的设计决策而绞尽脑汁，
如果我的运气还不错，
就会得到一个好主意。
就会得到一个好主意。
09:27
that then, when I'm lucky,
lead to a good idea.
lead to a good idea.
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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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有一天在火车上，我正在尝试解读
09:34
the graphic rules for drops on a window.
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窗玻璃上水滴的图形规则。
最后意识到，
09:37
And eventually I realize,
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09:38
"Oh, it's the background
blurry upside-down,
blurry upside-down,
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“哦，模糊不清，上下颠倒的背景，
包含在了一幅清晰的图像中。 “
09:42
contained in a sharp image."
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09:43
And I thought, wow, that's really cool,
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我想，哇，真的很酷，
但却不知道如何应用这种场景。
09:45
and I have absolutely no idea
what to do with that.
what to do with that.
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不久之后，我回到了纽约，
09:48
A while later, I'm back in New York,
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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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在交通拥堵中画出了这张
在布鲁克林大桥上被困的图片。
在布鲁克林大桥上被困的图片。
09:55
It's really annoying,
but also kind of poetic.
but also kind of poetic.
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这个场景让人感到
心烦意乱，但也蕴含着诗意。
心烦意乱，但也蕴含着诗意。
后来我才意识到，
09:58
And only later I realized,
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我可以融合那两个想法，
来得到一个新想法。
来得到一个新想法。
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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10:04
And what I want to do
is not show a realistic scene.
is not show a realistic scene.
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而我的目的并不是展现真实的场景。
10:09
But, maybe like poetry,
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也许就像诗歌那样，
10:11
make you aware that you
already had this image with you,
already had this image with you,
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让你意识到你已经拥有这个图象，
10:15
but only now I've unearthed it
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但直到现在我才发掘出來，
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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让你意识到它一直伴随着你。
10:21
But like poetry,
this is a very delicate process
this is a very delicate process
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但也就像诗歌一样，
这是一个非常微妙的过程，
这是一个非常微妙的过程，
既不高效，也不能随意
应用到其他场景中。
应用到其他场景中。
10:25
that is neither efficient
nor scalable, I think.
nor scalable, I think.
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10:30
And maybe the most
important skill for an artist
important skill for an artist
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艺术家最重要的技能
10:34
is really empathy.
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也许真的是同理心。
10:36
You need craft and you need --
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你需要草图，你需要——
10:39
(Laughter)
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（笑声）
你需要创造力——
10:41
you need creativity --
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10:42
(Laughter)
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（笑声）
10:44
thank you --
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谢谢——
来构思出这样的图像。
10:45
to come up with an image like that.
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但是你还需要退后一步，
10:47
But then you need to step back
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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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从读者的角度去看你做了些什么。
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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我试着通过成为一个更好的观察者，
去成为更好的艺术家。
去成为更好的艺术家。
10:59
And for that, I started
an exercise for myself
an exercise for myself
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为此，我开始锻炼自己，
11:01
which I call Sunday sketching,
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我称这个过程为周日草图，
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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在星期天，我会利用一个
在房子周围随机找到的物品，
在房子周围随机找到的物品，
并尝试查看该对像
是否可以触发一个
是否可以触发一个
11:09
and try to see if that object
could trigger an idea
could trigger an idea
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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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这与该物品的设计初衷无关的想法。
通常，很长一段时间里，
我的大脑都是一片空白。
我的大脑都是一片空白。
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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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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最终唯一有效的技巧，
就是我能敞开心扉，
就是我能敞开心扉，
并浏览存储在脑海里的每张图片，
11:24
and run through every image
I have stored up there,
I have stored up there,
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11:28
and see if something clicks.
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试图从中得到灵感。
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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如果有，只需添加
几行墨水即可建立连接——
几行墨水即可建立连接——
11:35
to preserve this very short
moment of inspiration.
moment of inspiration.
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紧握住这个电光石火间的灵感。
11:40
And the great lesson there
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我最大的收获就是，
真正的魔法不会发生在纸上。
11:42
was that the real magic
doesn't happen on paper.
doesn't happen on paper.
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11:45
It happens in the mind of the viewer.
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它只发生在观众的脑海中。
11:48
When your expectations and your knowledge
clash with my artistic intentions.
clash with my artistic intentions.
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也就是，当你的期望和知识
与我的艺术意图发生碰撞时。
与我的艺术意图发生碰撞时。
11:55
Your interaction with an image,
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你与图像的互动，
你的阅读、提问、烦恼、厌烦
或受图像启发的
或受图像启发的
11:58
your ability to read, question,
be bothered or bored or inspired
be bothered or bored or inspired
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12:03
by an image
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能力，
和我的艺术贡献一样重要。
12:04
is as important
as my artistic contribution.
as my artistic contribution.
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12:07
Because that's what turns
an artistic statement
an artistic statement
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因为正是这一点让一种艺术陈述
真正变成了创意对话。
12:13
really, into a creative dialogue.
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12:17
And so, your skill at reading images
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所以，你理解图像的能力
12:19
is not only amazing,
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不仅令人惊叹，
也是让我的艺术成为可能的原因。
12:21
it is what makes my art possible.
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12:24
And for that, I thank you very much.
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为此，我非常感谢各位。
12:27
(Applause)
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（掌声）
12:30
(Cheers)
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（掌声，站立）
12:36
Thank you.
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谢谢。
（掌声）
12:37
(Applause)
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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