living in the truth, Surprise, Uncategorized

The “Other”, DACA & Diversity Watercolor Studies

Flamingo with chick

Illustration: “Flamingo and chick”, Watercolor and gouache by Black Elephant Blog author (2018)

Thinking about the intense efforts (as, for instance, reported upon just yesterday on the Lawfare Blog, “Beware the Slippery Slope…) by some to paint (figuratively speaking) people as “other” and somehow lesser human beings just because of their birth circumstances and, in the case of DACA young people, because of the choices of their parents, I have forged ahead during some quiet spells recently with some illustrations related to the volume on ‘diversity’ I have in mind.

Peacock 2

Illustration: “Green-gold Peacock”, Watercolor, gouache, and gold gel pen by Black Elephant Blog author (2018)

Painting–literally painting–is definitely a way to displace some energy that otherwise would be fruitlessly wasted watching the already-absorbed news, for instance.  It’s also very interesting to consider trying to explain concepts of diversity and discrimination through a medium (drawing) that is addressed to children.

Hippos

Illustration: “Hippos by the Water”, Watercolor and pen-and-ink by Black Elephant Blog author (2018)

Why now?  It appears to me that current events must capture the minds of those concerned about individual human tragedies, including families being separated, which are being reported in the news.   How a nation treats its own people, moreover, and other nations’ people tells us a lot about its future (and its security).

Flamingos

Illustration: “Flamingos on Rocks”, Watercolor and gouache by Black Elephant Blog author (2018)

There is no better age to gain lifelong appreciation of the world’s diversity and wonder–and to nurture lifelong curiosity and thirst for learning–than  when very young…  Ensuring that children retain their curiosity is essential now more than ever to the survival of the planet.  The issues we face are not in some far off future.  They are here and now.  Already mankind needs unprecedented amounts of talent and imagination to cope with very real challenges we face today–challenges which inevitably will combine and interact in ways we can’t precisely predict.

Giraffes

Illustration: “Giraffes”, watercolor and gouache and pen-and-ink  by Black Elephant Blog author (2018)

 

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Innovation, Risk, Surprise, Uncategorized, Uncertainty, urban sketching

Painting Pan & Avoiding Panic

Painting in the outdoors, or “plein air,” is a popular past-time for artists and great practice for everyone who wants to learn to appreciate their surroundings with new eyes. I am most likely to be found doing this on weekends when I have painting pals who want to be outdoors.  But a few (most, actually) of the people with whom I correspond do not have much time to paint whether in or out of doors, so I thought I’d write a post about what art is teaching me about readiness for the unexpected.

The other day, I found myself in a setting devoted to sustainable gardening and wild meadows where my subject turned out to be a small garden statue of the ancient Greek god of the wilds, fields, and flocks, Pan, with his man-like body and a goat’s hind legs.  The word “panic” is derived, I’ve since learned, from Pan’s name.

photo-of-pan-playing-pipes

Illustration:  Photo of garden statue of Pan at the River Farm, Alexandria, Virginia

This subject promised to be challenging, especially given changing circumstances. Sunlight vied with overcast skies, changing the shadows on the figure every few minutes.  In addition, a wedding was scheduled for these very grounds in a short time, so planning ahead was of the essence.  First off was a quick sketch to familiarize myself with this scene, and gain some idea of lights and darks.

sketch-of-pan-playing-pipes

Illustration:  Quick sketch in terracotta watercolor pencil by Black Elephant Blog author

Such a sketch can boost confidence for the next step, though it is true that you never know how a sketch is going to turn out and many sketchbooks, like diaries, are private partly for this reason.  Nor, increasingly, do we know what we will face, so sketching (or  a rehearsal or a “scenario”of any kind) is a way to increase our readiness for the unexpected, a subject that received more attention in the early days of this blog.

Seeing Things Differently and Avoiding Panic  Learning how to see in different ways, sometimes very quickly–including connecting with others who see things differently–is fundamental to survival, not only for the artist.  It has been called various things including cognitive agility, mindfulness, and “rapid reflection.” But I’ve observed that it often doesn’t get the attention you’d expect for something so critical.  In fact, in too many places, people are incentivized to ignore the unfamiliar and to treat it as irrelevant until an altogether too-obvious change in the status quo forces (some of) them to reconsider…and sometimes that is too late.   (Even in the absence of crisis, such a disinterest in the world can harden into a lack of curiosity which calcifies one’s situational awareness at a dangerously low level.  This has proven in the past to be particularly bad for living species of all kinds–not to mention modern-age businesses–and is especially risky in today’s world where we–and all our things, such as watches, cars, and phones–are more interconnected than ever before.)

pan-playing-pipes

Illustration:  Watercolor on Arches Hot Press by Black Elephant Blog author

Topping off this day  of plein air painting was the opportunity to see the movie, “Sully,” on the inspirational pilot and the first responders on that incredible day when a fully-loaded passenger plan had to land on the Hudson River.  From painting Pan in the wilds, I was confronted with wild scenes that would leave most of us panic-stricken if we were in the midst of them.

sully-photo

Illustration: Photo from indiewire: http://www.indiewire.com/

But this is a film of human strength and prowess, strong team work, and genuine leadership.  From the pilot and his co-pilot, to the crew, the ferryboat operators, air traffic control, and many other responders, the rapid response to this unprecedented event demonstrated the value of consciously preparing (across disciplines, stovepipes, and other boundaries) for the unexpected.    In this case, one imagines that such pre-crisis teamwork contributed to enhancing preparedness for an unprecedented situation.  Remembering the importance of the  “human factor”, as per Sully when he explains himself to the NTSB (National Transportation Safety Board), is the critical difference.  His performance seems to be an example of “rapid reflection” crisis management in action; this film carefully adheres to the facts of the crisis as it actually unfolded and, therefore, truly is a “must-see” for all those in top management, whatever the field.

I’ve been reminded regularly that true artists respect unintended consequences  whereas experts of other stripes too often don’t.  Artists regularly experiment with techniques and materials, and absorb others’ approaches like sponges; many experts of other stripes too often don’t. There is seemingly an important paradox in this.

In an age when many clearly believe it is more acceptable to bash experts than to emulate them, the aspiring artist knows that study of others’ solidly perfected techniques–and, beyond this, historical appreciation as to what has been humanly possible and achieved over time–leads to greater consciousness of our individual shortcomings and more rapid recognition of the truly exceptional (as the film, Sully, also reminds us).  Recognizing these gaps can inspire us to be more curious and to learn more.  At the same time, experts themselves must prepare for circumstances never before seen (and, thus, for which there is no sketch, textbook or field of expertise). Indeed, a certain cognitive and doctrinal flexibility seems necessary, at a minimum, lest very deep expertise lead us to think that everything can be scripted, measured, and predicted ahead of time–as the differences between the NTSB and Sully demonstrated in the film.

The artist with skill in applying paint (or ink or any other medium) to paper or canvas–and expertise such as pilot Sully’s extraordinary tacit knowledge of the limits of his airplane, his ability to derive quickly from different inputs the most sensible course of action, as well as his abiding awareness of the value of human life–demonstrate human capacities  that total reliance on computers, for instance, or checklists can never achieve.

So, while it is true that you generally don’t want the pilot of your commercial jet to be creative in getting you from point A to B, the movie, Sully, does show us that adaptation in the face of the unexpected requires a degree of mindfulness  (and openness to ongoing learning) that cannot be assumed.  At their best, therefore, artists and experts of all types, whether commercially successful or not, seem to combine deep knowledge with a degree of cognitive flexibility that is hard to sustain from deep within “stovepipes” of all types, from academia to industry.  Dealing effectively with this conundrum seems to me to one of the most important things we could do these days.

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Risk, Surprise, Uncategorized, Uncertainty, urban sketching

Pictures at an Exhibition: From Sketches to Paintings

As the summer winds down, it’s time to prepare for an opportunity extended to local artists to submit about 10 paintings each to a “solo exhibition” through an Art-in-Public-Places program.  Of course, nine or ten pieces are quite a lot when most of your work is inside sketchbooks.  So, I’ve decided to see if I can convert some of my sketches from earlier in the year into a piece or two which could be included in the final selection of pieces to display.

Inevitably some of the “freshness” (and free-style/sloppy look) of starting a sketch right on-site, especially in a spot so beautiful as the one below, gets lost in the translation process to another sheet of paper far from the scene.  Though, it must be said, there are advantages too of this post-sketch revision, including no exhaust fumes from the local bus lines laboring up the steep road behind you, no tourists impatiently waiting to take your spot, and no surprisingly rapid drying of your watercolors in the heat of direct and intense sunlight.

San Miguel Draft 2

Illustration: Photo of painting in progress

In any case, here to the right is a photo of a recent attempt to re-do a sketch into another piece.  The sketch at the top of the easel is in a sketchbook and crosses the dip between pages.  It is from  earlier this summer when overlooking the Mexican town of San Miguel de Allende .  Below it is the work-in-progress.

This latter attempt  is seen in a  more finished state in the photo at the bottom of the post.  This is on Saunders Waterford paper (a popular U.K. brand) which I’m finding appealing but seemingly a tad more ‘thirsty’ than the Arches brand, relevant when it comes to issues of transparency raised in the previous post.  (Update: I am close to completing a v2 of this view on Arches hot press.)

As time goes on, I try to factor in lessons I’ve picked up from the reading I’m doing.  For instance, finding those dark values is the first order of business, according to Charles Reid in his book Watercolor Secrets, and then you can move to the lighter values.  This makes sense but is still counterintuitive and even contradicts what I’ve learned in some classes.  (If you need to go back and pump up some lights, there is also a fairly expensive liquid Arches “paper” as a form of white-out for watercolorists–it comes in most shades of watercolor paper whites. It seems a bit like cheating until one reads that John Singer Sargent no less resorted to white gouache rather liberally for similar reasons.  More on gouache and “body color” (and British and American watercolor practices in history) in an upcoming post.

Achieving a balance of transparent and opaque watercolor effects requires skill not only with a brush but also familiarity with the interactions between the types of paper, the amount of water,  and the characteristics of the paints you’re using.  Jim Kosvanec’s book on Transparent Watercolor Wheel (discussed in the previous post) is sure to sensitize any reader to the different qualities of both papers and paints (as of the book’s time of publication in 1994).  And, a heightened awareness of the “staining” and “attacking” qualities of some pigments when they are mixed with transparent ones brings to mind at least metaphorically some real-life situations.   Whether we are dealing with pigments or policies, it seems we must concede (in plain English) that some things just don’t mix: they create “mud.”  Come to think of it, such interdependencies are the stuff of life itself, ever more so given the interconnectivity of everyone and everything on the planet these days. (Who knew that the art of watercoloring might translate to a still larger stage?) Maybe the next time I’m at this overlook, I’ll be able to apply what I’ve learned so far right there in ‘plein air’.  That would be terrific!

San Miguel watercolor

Illustration: Watercolor and pen-and-ink, “San Miguel de Allende (v1)” on Saunders Waterford paper by Black Elephant Blog author

 

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Uncategorized, urban sketching

Fly Fishing Sketch at Violettes Lock, MD

Lazy days of summer continue with brilliant light and colors to challenge aspiring artists, some of whom gathered yesterday near Violettes Lock in Maryland, roughly a half an hour’s drive from downtown Washington, D.C..  The lock is one of about 75 locks, which were used in the 19th century (especially before the advent of the railroad) to regulate the amount of water coming into the C&O canal (which stands for Chesapeake & Ohio).  The canal used to be a major waterway for transporting goods between Washington, D.C. and Cumberland, MD and the main cargo tended to be coal from the Allegheny Mountains, according to Wikipedia.  Today it’s mostly a scenic route along the Potomac River for weekend hikers, bikers, and dog walkers.

At Lock #23, named after the last lockkeepers, the Violettes, to work here, there is a gently sloping patch of ground into a large, calm body of water, which obviously is a popular spot for kayakers , other boaters, and the occasional fly fisherman as seen here.

Violettes Lock 2

Illustration:  Bistre ink sketch by Black Elephant Blog author

The colors of the scene changed frequently over the course of several hours, as boaters arrived and departed from the rocky little beach in front of me.

I saved the watercolors for later, finding it a challenging enough scene to do in ink only while at the site.

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Uncategorized

Plein Air Watercolor Sketching

These days, when so very much is so obviously at stake more even than usual, it is sometimes a great solace to lose oneself in sketching a complex scene, without too much regard for the outcome.  The weather has turned marvelous, helping this bit of escapism to flourish.  Moreover, a new set of field watercolors has arrived, making experimentation–as well as getting outside–absolutely the order of the day.

Yarka paints

Illustration:  Photo of newly arrived Yarka St. Petersburg paints set up with a bit of Uhu Tac under each pan and marked for “lightfastness” according to the manufacturer’s claims

So, when early this week I found myself enjoying a park-like setting together with  some of those closest to me, it was quite natural to sketch some architectural scenes around me.

There is always so much detail that one can’t capture particularly in a short time, but perhaps the impression of these majestic buildings, part of a national historic landmark-registered site in Towson, Maryland, comes through in the watercolor sketch.  If the news at large gets still more difficult to absorb, it appears that one remedy will be to focus on some really ornate rococo architectural details!!  (And, while it is too early to evaluate the Yarka paints, it already has been fun to try them out.)

 

Towson MD

Illustration: Watercolor sketch in a Stillman & Birn Beta journal, “Towson, Maryland”, by Black Elephant Blog author

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Risk, Surprise, Uncategorized, urban sketching

Plein Air Sketching in Frederick, Maryland

Bell Tower photo

Illustration: Photo of Bell Tower in Baker Park, Frederick, Maryland

When it seems like water may pour from the sky at any moment (as it has done for nearly the past 10 days in this area), having all your watercolor kit out in the open may not be the wisest move. So in a recent gathering of sketchers and painters in a Maryland park, when the skies and winds suggested rain, it seemed safer to stick with a pencil sketch–at first.

Illustration:  Pencil sketch of Bell Tower in Baker Park, Frederick , Maryland by Black Elephant Blog author

Illustration: Pencil sketch of Bell Tower in Baker Park, Frederick , Maryland by Black Elephant Blog author

The subject in this case was a functioning bell tower–complete with enormous bells  ringing out not just the hour on the hour, but various melodies all day.  To be working on a sketch or a painting in the open air, with breezes, and flowering trees all around, while enjoying the sound of bells ringing out even the national anthem (Francis Scott Key  of Frederick wrote the “Star-spangled Banner” national anthem in the early 1800s) is a special treat indeed.  But here we were in the midst of a well-maintained park which also features a covered bridge and a theater pavilion in the historic district of Frederick, Maryland. The bell tower dates from 1941 and is named after one of the leading citizens of Frederick, Joseph Baker, whose philanthropy helped to ensure the creation of this beautiful park.

The iffy weather discouraged many from participating in this plein air event, but those who made it were amply rewarded when the skies cleared, and the entire lawn was lit up in the colors of a brilliant spring day.

Bell Tower Frederick W:C 1

Illustration: Watercolor and pen-and-ink sketch, “Baker Park Bell Tower,” on Arches watercolor board by Black Elephant Blog south

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Innovation, Risk, Surprise, Uncategorized

Urban Sketching in Pastel

University classes are just about done but, just across the river, students in my pastel class are still in high-gear, clearly in no hurry to have this series of classes end.   Here is a practice pastel worked up in the studio class after some sketches made not long ago.  In the ever-expanding armory of art supplies, NuPastels have been joined now by Sennelier half-stick pastels in 120 colors.  This is a messier medium than watercolor, for sure, and a whole lot more “forgiving.”  It is just about as different as it could be, in fact.  But, how do people go “urban sketching” –especially if traveling abroad–with such an array of tools–hard and soft pastels, paper of all kinds, etc?  More “problems” to solve! 🙂

Illustration:  Pastel sketch, "Japanese Garden at the Hillwood Estates, Washington, D.C."  by Black Elephant author

Illustration: Pastel sketch, “Japanese Garden at the Hillwood Estates, Washington, D.C.” by Black Elephant author

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Innovation, Risk, Surprise, Uncategorized, urban sketching

Valuing the Value Study

There’s nothing like being reminded for the umpteenth time to do a “thumbnail.” For those who don’t know, this is a (usually small) simple sketch or two before attempting to dive right into drawing or painting the work you have in mind. Often it takes a teacher to get through to you on this; for those more accustomed to “multi-tasking” and thinking it is doing some good, it requires a bit of discipline to keep slowing down.

Illustration:  Value study sketch (Hillwood Mansion grounds) by Black Elephant Blog author

Illustration: Value study sketch (Hillwood Mansion grounds) by Black Elephant Blog author

In my experience, this business of reinforcing what we’ve already supposedly learned is one of the main benefits of keeping anchored in a class or two–so that your habits do not become too sloppy. And of course you keep learning new stuff even as you are reminded about the “old stuff.”

So, in the current class in pastel painting, the teacher handed out this handy little value chart (which I’ve protected in a little plastic sheath–see photo below).

Illustration:  Photo of value scale

Illustration: Photo of value scale

When we do thumbnails or sketches, one purpose (besides mapping out a composition) is to do a value study–a study of the “values” or the tones or shades of contrast. While it is tempting (and normal) to jump right to the details, I have learned that the details often blind us to the really important things in art (and elsewhere?…) –like values, shapes and shadows. This requires re-training the brain for many of us.  Doing value studies is the most direct form of problem-solving I’ve encountered so far in my art education. (And it seems quite transferable to other fields requiring problem-solving.)

While can be more fun to jump straight into colors (and sometimes, depending on what you are seeking to achieve, it is a good idea!), learning to see the values, shapes and shadows has its own delights. Doing this in different media, including water-soluble graphite…

Value Study in Graphite crayon

Illustration: Value study in water-soluble graphite by Black Elephant Blog author

and conte crayon

National Gallery of Art value study

Illustration: Conte crayon value study of Richard Serra metalwork sculpture (East Wing, National Gallery of Art) by Black Elephant Bog author

also provides valuable learning opportunities.

So during a recent visit to the majestic, privately-run Hillwood Museum and Gardens estate in the heart of Washington, D.C., the grounds were so beautiful underneath a

Hillwood photo

Illustration: Garden sculpture at the Hillwood Mansion and Gardens, Washington, D.C. –Photo by Black Elephant Blog author

clear blue sky that it was nearly impossible to go inside. Instead the sights of flowering trees and bushes, the gentle slope of the “Lunar Lawn”, and ornate garden sculptures were captivating. Frankly, it was a challenge to detect the “values” in different shades in such a riot of bright color. In addition, the diversity of people, from all over the world, and particularly Russian families, made it an even more memorable afternoon.  (The Hillwood Estate of Marjorie Meriweather Post features the most comprehensive collection of Russian imperial art outside of Russia, according to its website.)

Such a glorious visit to the Hillwood mansion gardens has provided much fodder for future practice in value studies and beyond…

  •    A small Japanese garden, for instance, features two   whimsical bridges, leading to a roughly sketched out ‘work-in-progress’ in pastel.

Pastel work-in-progress

  • And, a toddler sitting in the tall grass already has provided inspiration for a series of sketches and value studies…

    Boy sketch 1

    Illustration:  Sketch of Toddler sitting in tall grass at Hillwood Mansion, Washington, D.C. by Black Elephant Blog author

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Innovation, Surprise, Uncategorized, urban sketching

Sketching al fresco

Beautiful weather ensures motivated sketching and even follow-through to completed watercolors–especially if it all can be done ‘al fresco’.  Keeping a pencil handy can help the hand and eyes stay limber, and make the most of even the unlikeliest compositions. This is a quick sketch for a potential watercolor done during a pause while passing by this restaurant earlier today.   (It is fairly easy to sketch diners who are deeply engaged–as all these people were–in their conversations on a gorgeous afternoon.)Dining al fresco sketch

In the little oasis where this scene adjoins other restaurants around a fountain and near a lake, the calm is reenergizing and the colors extraordinary–if you have time to look.  Here, in real-life, there were a lot of colors, including bright red tulips standing tall in a circle of yellow flowers in the big cement pots in the foreground, and bright tropical blue pillows on low-slung couches in the rear. Can this scene of colors and calm be captured in a watercolor or a pastel? There’s only one way to find out!  And a bit later, with the help of some (Daniel Smith) Venetian Red, Cobalt Teal Blue, and Raw Sienna watercolors (as well as a few of the magical watercolors from the Sakura Koi pocket set):

Plaza 4

Illustration: Watercolor and pen-and-ink on Arches Cold Press 140# paper by Black Elephant Blog author

 

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Innovation, Risk, Surprise, Uncategorized, Uncertainty

Sketching is Seeing

Illustration:  Photo of entrance to Sketching Room at the National Gallery of Art (April 2016)

Illustration: Photo of entrance to Sketching Room at the National Gallery of Art (April 2016)

As the university semester comes to an end, the focus in our class is on tying  strands of inquiry together in an in-class simulation exercise. This week the students received a one-page scenario “sketch.” Scenario practice typically involves multiple (completely contrasting and credulity-stretching) stories or sketches for the purposes of ‘rehearsing the future,”  increasing agility of thinking and planning today, and enhancing readiness for the unexpected.   We do this because our course focuses on unconventional problems which in turn require unconventional approaches to problem-solving, examined earlier on this blog as in here, here, and here.  (The current relevance attached in some circles to the importance of becoming more aware of our decision-making processes, and impediments to solving the complex problems of today, can be seen in projects and events such as this upcoming presentation, “Missing the Slow Train:  How Gradual Change Undermines Public Policy and Collective Action”  at the Wilson Center in Washington, D.C.)

But, our  classroom process differs from standard scenario practice, though the goals remain similar. Having just considered case studies in the importance of “reframing the question” in order to design more effective problem-solving approaches to complex challenges, the students (who come from all over the world) have been given an intentionally unbounded rapidly-unfolding crisis situation in the form of a very sketchy sketch.  This scenario is ambiguous in terms of ‘ownership’ or national or jurisdictional boundaries or  even the exact facts on the ground  (simulating reality).  The students must even decide “who” they are in this simulation, in devising their plans by next week. Time is short, the situation completely unfamiliar, and two subgroups are working, respectively, in pre-crisis and post-crisis modes.  Within these groups people must work together outside of their usual lanes and routines. There is no one in charge, at least initially.  Usually the results are pretty impressive, surprising, and it’s a fun, albeit serious, way to end the semester.  We all learn something in the process.

Boy sketching

Sketching something imaginary?

We naturally start with sketches whether we are contemplating building a new deck on the house, designing a new organizational initiative, imagining something which we don’t see, or drawing a cartoon. Sketching has a role in seeing, as emphasized quite dramatically this very week (!) by a whole room devoted to sketching (complete with free sketchbooks and pencils) at the entrance to the National Gallery of the Art in Washington, D.C. So sketches can be something we draw, or practice (as on a stage,) or simulate in a classroom or a video game.

tulips and capitol

Photo: U.S. Capitol, Washington, D.C. taken by Black Elephant Blog author

Meanwhile a gorgeous Spring has provided the perfect palette to practice sketching in different media.

Bridge photo

Illustration: Photo by Black Elephant Blog author

Toggling between so many sketch-able things has produced many “works-in-progress” and aspirations to finish them!

bridge pastel 1

Illustration: Work -in-progress pastel sketch by Black Elephant Blog author

But each one is a step in a path towards hopefully something more polished.  Sketching is also good for incubating ideas, sometimes over a period of many years, in notes, notebooks, doodles, and …sketches… awaiting a moment perhaps involving serendipity when well-honed ideas can finally be implemented.  (Most of us know of people in history who, for various reasons (like survival) kept their own ideas and sketches hidden, like “The Origin of Species” written in the early 19th century, for a quarter of a century or more.)

Lakeside watercolor 1

Illustration: Work-in-progress watercolor by Black Elephant Blog author

It turns out, as many teachers have said over the past year, process matters if we are to make progress on tough challenges (whether in art, education, public health, or security matters) and create better outcomes.  Complacency and routines can be deadly in this regard.

How curiously different is the world of artists from the world of those in many other professions.  Artists must be original in order to have a chance at being successful, much as Georgia O’Keeffe was in adopting her various styles.  But so many other professions discourage originality in part because it’s impossible to manage traditionally. As  more and more challenges at the level of cities, regions, nations, and the world at large demand originality and creativity, traditional organizations are stumbling, although some are trying to adapt.  It’s a tall order for most of them, but necessary.  Would we better off  if creativity and originality were emphasized, rather than stifled, beginning in primary school?  One wonders.  Meanwhile, it’s  no wonder sketching is catching on like wildfire:  sketch away!

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Surprise, Uncategorized

Going Pastel

Joining the ranks of the pastel artists can feel like crossing over to another world; upon introduction where one is welcomed with curiosity, we mention our “medium” and this apparently already says a lot about us to the pastel artists.  Like how we approach a piece of paper, and what color our paper usually is (white, in the case of watercolor people).  Everything we have learned is just the opposite in pastel, where among the pros the affection for this medium is a self-declared addiction.

Pastel

Illustration: Pastel by Black Elephant Blog author

Like every other endeavor, there’s a certain initial outlay that’s unavoidably necessary when seriously endeavoring to take on a new medium.  Pastel has its own papers and tools. I started with a box of 96 NuPastels and was quite amazed at the colors they produced.  But for blending and other effects, the more experienced all have additional favorites, and it can “add up” pretty quickly.  (I was really glad the NuPastels worked so well as I felt less compelled to immediately go out and stock up on the allegedly even better stuff.)  In addition, pastel pencils are necessary for finer details.  There’s lots to experiment with…  Most of the members of the group I’m learning with have a headstart and produced wonderful things some of which seem like frescos ready for display.  There’s another exciting journey ahead!  And another medium, pretty well-suited to urban sketching, by the way, to add to those I’ve already adopted.

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Innovation, Risk, Surprise, Uncategorized, Uncertainty

Bridge Over Colored Water

Spring is finally here. This sketch made just yesterday in a bright and glorious sun is of a bridge with its destination obscured.

Bridge Over Colored Water

Illustration: Watercolor by Black Elephant Blog author

In other developments, experimenting now with Strathmore Aquarius II paper, converted into an accordian sketchbook, per instructions generously provided by urban sketcher Marc Taro Holmes on his blog, Citizen Sketcher; the sketchbook is for an upcoming trip out West later this week and will be featured here in the future.

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Innovation, Risk, Surprise, Uncategorized, Uncertainty

Profiles in Watercolor

An out-of-print book, called Watercolor Solutions, by Charles Reid, is proving helpful in slowing down enough to grasp some important concepts related to watercolor painting! The book can be borrowed at a local library or you can pay about $50 for a used copy.  Reid is a highly respected watercolor artist and teacher who has an excellent way of explaining things; there are a couple of his lessons on YouTube.

In his book, he explains things as basic as how to hold, wet, and shake water off a brush. In addition, he explains how to mix colors on the palette and directly on the paper.  There are exercises in drawing profiles, portraits, and figures.   Reid recommends abandoning sketching, and to instead do contour drawings by keeping your pencil on the paper and doing one line (outline), stopping only to check on your location, but not lifting your pencil from the paper.

Here is one practice watercolor I did based on his instructions:

Portrait 1

Illustration: Watercolor and pencil sketch on Arches 140 1b CP paper by Black Elephant Blog author

and another based on Reid’s explanation on “Adjusting Values from Photos”.  This latter section inspired me to try my hand at practicing the values by trying to copy Reid’s own method of  painting of John Singer Sargent  at work painting.  What is fascinating in this section is his description of how to “lose edges.”  It means focusing exclusively on shadow shapes and not, for instance, where the edges of an umbrella or neckline or coat are; the purples below thus sort of run together, per Reid’s own painting example on p. 85 of the hardcopy of his book.

Portrait 2

Illustration: Copy after “John Singer Sargent” by Charles Reid in watercolor and white gouache with pencil underdrawing on Arches 140 lb CP paper by Black Elephant Blog author

 

From this experience so far, it is clear that there are good habits to work on developing, related to how much water is on the brush and how the colors are mixed and used.  Aside from all the lessons in the book, another challenge is not to ruin a library book with paint splatters.  Reid’s explanations are so helpful; it’s clear that complementing class instruction with a book like this is the way to go, at least for me (and maybe for some others!)

 

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Risk, Uncategorized

Sketching-on-the-go

Sketching is about solving problems, sometimes very quickly and–interestingly, in most successful art, according to professional artists–over-riding what your analytic brain is telling you.  It involves careful observation, composition, shading, meaning, and even purpose (including story-telling and “narratives”) usually within some constraints related to time or weather or materials or ability. This week just having a pencil in my bag has made a brief ride on the subway more interesting.

Illustration:    Pencil sketch using Staedtler 0.7mm mechanical pencil by Black Elephant Blog author

Illustration: Pencil sketch on notepaper using Staedtler 0.7mm mechanical pencil by Black Elephant Blog author

But sketching people “live” is fraught with complications.  At a minimum, when people know they are being sketched, they typically no longer act naturally.  Some people are intrigued, or even flattered, while others–especially women, it seems to me–are mildly alarmed or annoyed.

Illustration:  Pencil sketch in Stillman & Birn Alpha series sketchbook by Black Elephant Blog author

Illustration: Pencil sketch in Stillman & Birn Alpha series sketchbook by Black Elephant Blog author

Experienced teacher-sketchers advise inviting the subject to see (or even accept as a gift) the sketch if you, the sketcher, are detected sketching; that will sometimes ease tensions.

FullSizeRender

Illustration: Pencil sketch by Black Elephant Blog author

In some countries, the idea of sketching people without their approval seems to cross a line of propriety.

In any case, a sketch is generally not a finished painting-like piece, but a way to practice and even expose your weaknesses in drawing. The sketch below, done in a brief spurt this week while waiting in a cafe for someone to arrive, shows my botched effort to depict a drawing of a planter painted on the wall to the rear.

Cafe Sketch 3

Illustration: Sepia graphite (Artgraf Tailor made in Portugal) water-soluble wash in  Stillman &Birn Beta series sketchbook by Black Elephant Blog author

In the end, it really doesn’t matter because it’s sketching, which falls into the category of rehearsals, practice, and education. Even focusing on an umbrella, or a toe, can be a useful sketching practice.  I was using ArtGraf sepia graphite in water-soluble form for the first time, and that was really fun.

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Risk, Uncertainty

Sculpture Garden Night Skating Sketch

A very snowy  week is coming to an end, leaving wonderful winter scenes in its wake.

night skating on the mall

Illustration: Watercolor and pen-and-ink sketch,  “Night Skating in the National Gallery Sculpture Garden, Washington, D.C.”  by Black Elephant Blog author

With so much closed due to snow, there’s been time to experiment with night scenes in watercolor and to give “hot press” watercolor paper a whirl. It took a couple of tries to start to get the hang of the paper, with its smooth surface, but it’s fun.

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Innovation, Risk, Uncategorized, Uncertainty

Driving Innovation on the Fuel of Creativity

When Bill Gates says, as he did recently, that we must “drive innovation at an unnaturally high pace” to transition to a globally-applicable non-carbon source of energy in time (to save the planet), it raises the question (or ought to) of what’s involved in doing that?  If creativity is the “fuel” of innovation, how does one go about gaining and sustaining that fuel source?  Do we wait, in a comfortable sunny spot, for inspiration to hit us?

Zoo sketch 1

Illustration: Watercolor, gouache, graphite and bistre ink by Black Elephant Blog author

Sometimes we think of creativity as something that occurs to us when we are relaxed, doing something routine like driving through a toll booth or even–or most likely–when we are doing nothing at all…  Is that what we must accelerate?  Or are there more reliable means of spurring and sustaining innovation (and creativity) ?  There have been a number of books on this subject, including on the need for “entrepreneurial states,” but in fact there’s been little noticeable tie-in of this material to the renewable energy challenge Gates and others are highlighting.

With the onset of a new university semester (as soon as suitable paths to class are plowed through the snow) looking at some of these issues, and investigating what it means to be innovative, or creative, in the workplace, this blog soon will turn to the experience of Pixar Studios as related by its co-founder, Ed Catmull, in Creativity, Inc.:  Overcoming the Unseen Forces That Stand in the Way of True Inspiration, (New York, Random House, 2014).  Some of what he has to say may surprise you but all of it is relevant to all of us when tied to prospecting for pathways to a sustainable energy future.  How to sustain a creative work environment is the challenge, and the theme, of this book–to be highlighted here soon.  Given that the author is from Pixar Studios, it comes as no surprise, but still is surprisingly fascinating, to see that he has a lot to say about art, sketching, paying attention, and hand-drawn approaches to animation.  Coming up next…

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Innovation, Risk, Surprise, Uncertainty

Wax-Resist & Creative Intelligence

A recent two-day artists’ workshop in “wax-resist techniques” provided loads of food for thought not just about this artistic process but also about the importance of thinking ahead to what you are trying to achieve…and how to get there.

Tulum wax resist 4

Illustration: Tulum, Yucatan Mayan structure in ink wash (Higgins waterproof black India ink) with wax marks, charcoal, Conte crayon, and Char-koal pastels by Black Elephant Blog author

It is normal to fall back too readily on what we think we know and on what we expect to see, and this blocks our ability to learn new things and see things in new ways–  which is so fundamental to art, innovation, business success, and progress.  As Ed Catmull, the author of Creativity, Inc. (Random House, New York, 2014) writes, “the best managers make room for what they do not know… not just because humility is a virtue but because until we adopt that mindset, the most striking breakthroughs cannot occur.”

As a newcomer to the wax resist technique, however, I found myself falling back onto old habits and ways of thinking.   Without a doubt, these were blocking my ability to internalize and apply these new approaches.   The wax resist approach, like any other truly artistic approach, benefits from taking a great deal of time studying the subject first.

“This process insists that you have a goal or else you get into trouble,” warned the instructor. “The wax is not forgiving,” he said.  “Everything you don’t plan” comes back to bite you.

The process involves repeated washes, first with plain water, and then ink washes, and a lot of intervals of drying the paper.

Drying art

Illustration: Drying the paper after one of the ink washes (after an initial waxing of the image)

This activity needs a large workspace that is forgiving of water drips and ink splashes!  The stipulated paper dimensions in this workshop were large too, so as to better capture details with the wax.  This paper  takes a beating, with multiple washes, and being hung to dry on a line after each wash (often after some time on the floor so that still wet ink wouldn’t run down the page.)

What is difficult to realize ahead of time is the repeated and gradual nature of the process of building up the darks and the clever use (not over-use as in the example here) of the wax.  This is not about painting or “rendering”, but it takes a while for the novice wax resist-user to grasp this.

Materials for Wax Resist

Illustration: Photo of some of the materials used in the ink wash and wax resist project

Now that class is out, there’s so much to practice.  Fortunately, the necessary supplies are readily available–such as Gulf Wax which can generally be found in a grocery store.  It’s the thought process that is more difficult to acquire.  It takes time and guidance, persistence, and, for the best results as demonstrated by our instructor, clearly some enormous talent that few of us can assume.

This workshop was an extraordinary learning experience relevant to much more than art. It underscored the huge gaps in our thinking processes when it comes to learning how to re-perceive what is right in front of us.  Such ability to reframe the obvious in new lights (and darks) is key  to achieving anything artistic, let alone the sort of breakthrough innovations we increasingly acknowledge are needed for (nothing less than) the future of the planet.   Strategic and design thinking come together in use of wax resist in this process, as well probably in other applications, such as watercolor painting.

Tulum watercolor sketch

Illutration: Watercolor and pen and ink sketch of Mayan structure at Tulum in Quintanaa Roo, Yucatan by Black Elephant Blog author

For goals of still larger scale, such as enabling a global transition to a low-carbon economy, how to create environments that can accelerate our ability to grasp these ways of thinking will be the subject of future posts.  The experienced artist who also is an effective teacher has a crucial role to play in the transition to the needed new thinking.

 

 

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Uncategorized

Museum Sketching and the Art of Serendipity

As the weather gets colder, sketchers tend to move inside.  Groups of them sometimes get together inside museums where, after an initial meet-and-greet, they disperse to go sketch before reconvening to share and discuss their results.

Sketching in museums presents many challenges not least of which is whether to stand or sit.

Often I will choose to sketch where I can sit because I can take my time noticing things about what I am sketching. This means more randomness in the selection of what I am sketching, as the choice relates more to the seat than the view.

Such an artificial constraint can be good as it forces me to focus on things I might ignore otherwise. And so it happened recently that the empty couch I spotted was facing this painting by Antoine Watteau (1684-1721). Upon taking a seat, I realized that I knew nothing about him or this painting.

Gallery Photo

Photo of Painting by Antoine Watteau

The painting itself is quite challenging, and not one I normally would consider sketching.  Adding to the complexity of the scene is a sculpture on either side of this painting in the National Gallery of Art in Washington, D.C.  One wonders why these three pieces are positioned together here.

Sketching, I’ve learned, helps you notice details you might otherwise miss. In a sense, sketching is a way of paying attention.  Some people describe it as a form of meditation.   And this sort of paying attention, as well as seeking out contradictions and analogies, are crucial to innovation, as was reported on just this past weekend in the New York Times on “How to Cultivate the Art of Serendipity.”    But, as this article discusses, we don’t know how to make processes fundamental to innovation happen reliably.

We do know many innovative breakthroughs involve uncovering possibly overlooked combinations.  Having a “wide horizon” is essential, according to Jaime Holmes, author of a book, Nonsense: The Power of Not Knowing, discussed earlier on this blog. Holmes memorably noted that “recognition means closure, and it marks the end of thinking, looking, and listening.  When we recognize an object, we make unconscious assumptions about it.”   He emphasizes others’  research concluding the importance of having a process of “pulling insights from other fields,” also called an “analogy finder technique.” Ambiguity tolerance can be measured, moreover, he writes.   People’s “heightened need for closure” can be manipulated and people are more likely to jump to conclusions or “entrench their existing views” in conditions of uncertainty when instead “dwelling calming” within uncertainty “will help you make a more rational decision.”

Gallery Sketch

Illustration: Watercolor and Platinum Carbon pen and ink by Black Elephant Blog author  (watercolor added afterwards)

So back in the museum, at the end of an hour, by allowing a random thing like the placement of a couch affect the choice of subject to sketch, I ended up more curious about these art pieces in front of me. I learned, for instance, that Watteau was an innovator for his time, pushing the boundaries of the art world.

Watteau portrait

Photo:  Portrait of Antoine Watteau (Source: Wikipedia)

When our group of sketchers reconvened, it was possible to see others’ selections of sketching subjects and media. One could not fail to be impressed with the process of discovery evident in each one.  We gained some familiarity with new subjects even if we could not name them!

 

 

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Surprise, Uncategorized, Uncertainty

Urban Sketching In Mississippi and Louisiana

On this long Thanksgiving holiday weekend some of the biggest birds are not on the table but are actually flying overhead and putting on quite a show.

Pass Christian MS

Illustration: Watercolor and Platinum Carbon pen and ink by Black Elephant Blog author

Pelicans, for instance, and hawks gracefully surf upon the ocean breezes along the Gulf Coast of Mississippi and Louisiana.

Here light bounces off of trees and tall marsh reeds in a way that challenges an”urban sketcher” or anyone else who wants to pick up a pencil and sketch.

Seagulls fly in huge formations along the shoreline around the picturesque shrimping boats and over the beautiful old town of Bay St. Louis, Mississippi.

Bay St Louis MS

Illustration: Watercolor, white Jelly Roll pen, and Platinum Carbon pen and ink by Black Elephant Blog author

deck scene

Illustration: Photo of a sketching scene in the French Quarter of New Orleans, LA

 

In New Orleans, itself, of course, there are “sketchable” scenes everywhere, and from every angle!!  And artists are everywhere, and of all kinds.  It will take quite a while to absorb all this…

 

 

It turns out that there is almost no better imaginable spot to paint than on a spacious deck above the endlessly fascinating streets of the French Quarter in New Orleans.

With family and friends around and time to enjoy the sights together and catch up on everyone’s news, it has been a time of great thanksgiving indeed!

 

NOLA deck view

Illustration: Watercolor and Kuretake brush pen with black ink by Black Elephant Blog author

 

 

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Risk, Uncertainty

Strategic Intelligence on a Rainy Night

It was a dark and stormy night, but you wouldn’t have known it inside the brightly lit and charming home of the organizer of last week’s salon gathering featuring a timely and informative talk by the author, Michael Maccoby, of a new book, Strategic Intelligence: Conceptual Tools for Leading Change (Oxford University Press, 2015). True to form, this salon–held in the heart of Washington,D.C.– convened a diverse array of professionals, including a photographer, a portrait painter, members of the military and national media, teachers, an energy research expert, consultants, psychologists, retired think tank professionals, and recent university graduates.

Lead Speaker Image 1

Illustration: Pencil and ink sketch by Black Elephant Blog author

Salons seem to be pretty rare in this age of instant news and busy schedules.  This form of idea exchange has been around for several hundred years, perhaps reaching its height of popularity in the 18th century…  On this evening, what brought us together, in these uncertain times less than a week after the devastating attacks in Paris and Beirut, was the subject of leadership.

After the dinner plates were cleared, the evening’s speaker, Dr. Michael Maccoby, took his place in front of the hearth where he faced the approximately 30-40 guests who were seated in the living room and into the hallway.

Attendees 1

Illustration: Pencil and ink sketch by Black Elephant Blog author

Dr. Maccoby has worked in many corporations and taught at several universities, and spent several decades studying what effective leadership entails.  His academic background is in psychology and anthropology and he also has focused for many years on issues related to technology, work , and character.  He also studied philosophy as a Woodrow Wilson Fellow at the New College Oxford.

Speaker 1

Illustration: Pencil and ink sketch by Black Elephant blog author

He noted that there are countless studies available on leadership, many of them so deeply flawed that one leadership expert has even published a book called, “Leadership B.S.”  He offered his insights based on many decades of research and dealing directly on these issues with people in positions of leadership in both commercial and government fields.  He noted that there are many definitions of leadership but all fall short. Leadership is not, however, management.  He suggested that the interesting question is not the definition but instead:  “Why are people following this leader?”

“Some very effective leaders are not easy to characterize,” said Maccoby, mentioning names of some people he’s met whom many in the world associate with the concept of “leaders” but who do not actually fit the bill. In addition, leadership training often is very bad because it is decoupled from context, separated from the work, underestimates people’s capabilities, and the people “who go into leadership training programs often don’t want to be dealing with people.”

But leaders all need to work in teams; “even narcissistic leaders only succeed if they create a team.”  Maccoby added:

  • “A great leader creates a common purpose that others will buy… “
  • “The best leaders have developed a philosophy.”

Great leaders have three qualities, according to Maccoby:

  1. Purpose
  2. Passion about purpose
  3. Courage

Maccoby quoted Samuel Johnson as saying that “courage is probably the most important” quality because nothing can be accomplished without it.  “Courage comes from the heart… it is different from bravery,” said Maccoby.

Effective leaders also have “profound knowledge” and “insight from the heart rather than the intellect,” added Maccoby.  “One of the major challenges today is to move from tribalism to interactive humanism,” he said, so these attributes are ever more necessary to coping successfully with the complex challenges of our world.

The U.S. constitution is based on such a philosophy, he added.

In this context, “strategic intelligence” is a quality of an effective leader.  Its essential attributes are:

  1. First and foremost, “foresight.”  An effective leader is always aware of changing threats and opportunities. (Maccoby added that studies have shown that the weakest quality of the U.S. government [historically] is “strategy,” suggesting that this is an area that needs attention.)
  2. Vision” is the second attribute of an effective leader. It involves “taking what you see and creating something.”
  3. An effective leader is also adept at “systems thinking.”  He or she can envision a system that will bring you where you want to be.
  4. An effective leader also is engaged in “partnering” not only internally but externally to the leader’s organization.
  5. He or she also engages and continually motivates people, enabled in doing so through their “profound knowledge.”  This knowledge [as explained in Maccoby’s book] involves understanding of systems, variation, and knowledge creation, as well as motivation.
  6. An effective leader also understands psychology.
Book Cover 1

Illustration: Photo of Book

The phrase “strategic intelligence” is composed of “strategy”, which means “the art or skill of careful planning toward an advantage or desired end” and “intelligence,” which means “the faculty of understanding; intellect.”  In Dr. Maccoby’s book, he explains the skills needed for strategic intelligence and examines four different primary leadership types.  He notes the work of a psychologist, Robert Sternberg, who distinguished between different types of understanding and different sets of intellectual skills.  For instance:

“Analytical intelligence,” writes Maccoby, “is the type tested in IQ exams.”  It includes analysis, memory, logic, and problem solving.  Analytic intelligence is necessary, but not sufficient for strategic intelligence.  Someone with only this kind of understanding and ability will do well on tests but not in relationships.”

Doing well in relationships requires “practical intelligence,” notes Maccoby, which is a “kind of understanding necessary for partnering and motivating, but it is not enough for foresight and visioning.”

Foresight and visioning requires “creative intelligence,” including “pattern recognition essential to making sense of changes in the business environment that either threaten or indicate opportunities for the organization,” writes Maccoby in his new book.  “Visioning requires systems thinking, the ability to see the interaction of elements that combine to achieve a purpose, and imagination.”

A Q&A period followed Dr. Maccoby’s presentation.  Differences among audience members occasionally sparked debate, sometimes over things which happened over 20 years ago, reminding us that understanding our past is also key to strategic intelligence.  As the daily headlines suggest, mounting complexity, ambiguity, and contradictions are demanding  alot not just of leaders but of individuals around the world.  Effectively leading change in such a context is a challenge which deserves careful study.   Dr. Maccoby’s latest work makes an important contribution which hopefully will get the attention it deserves from those who need his insights the most.

 

 

 

 

 

 

 

 

 

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Uncategorized

Carousel Study

The fall’s been spectacular here, with nearly every day too nice to spend inside. Between meetings, a fantastic opportunity to see original John Singer Sargent watercolors up close, and driving from point A to point B, however, it’s been tough to get a sketch in.

But here’s an attempt this week to capture the twilight and the fading but still beautiful fall colors as a carousel made its last rounds of the year opposite the American Museum of Natural History in Washington, D.C.

Carousel 4

Illustration: Watercolor and pen and ink study by Black Elephant Blog author

Next up on this blog, coverage of an excellent in-town and in-home salon event this week–an event that gathered attendees from diverse fields including the military, art, the media, consulting, energy research, and psychology–featuring the author of a new book on Strategic Intelligence: Conceptual Tools for Leading Change, Michael Maccoby, (Oxford University Press, 2015).

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Innovation, Risk, Surprise, Uncertainty

Sense-making in a “Shapeless” World

It’s been said that we’re living in a “shapeless” world. What is meant by this is that our understandings about the geopolitical shape of our world has become fuzzy, hazy, or contradictory.  People, whether formally recognized as decision-makers or not, must make decisions. Some are becoming aware of having to work harder to make make sense of things.  They might wonder if they have the necessary tools to do so.  Often, however, people (especially experts) would not want to admit such uncertainty.

Illustration: Watercolor and Platinum Carbon pen and ink by Black Elephant Blog author on Arches 140 lb. Cold Press paper (October 2015)

Illustration: Watercolor and Platinum Carbon pen and ink by Black Elephant Blog author on Arches 140 lb. Cold Press paper (October 2015)

There is a deeply-held belief in modern life that knowing things and eliminating uncertainty gives us more power and security, and that anyone who exhibits uncertainty and/or reflectiveness is therefore weak and indecisive.  (This is related, as well, to being perceived as  “doer”–a “climber”, a “mover” and a “shaker.”)  Deeply ingrained concepts of success are tied to our perceptions of others as confident, bold, and expert.   Certainly, we know, the stock market does not like uncertainty, and that’s because it’s made up of people having to make decisions. People do not like uncertainty and, for some potential setbacks, go so far as to buy insurance to protect themselves so as to better manage risk.

Up to now at least, accumulating facts, expertise, and scientific knowledge–and mastering the material world–seemed to suffice for decision-makers.  So, what’s changed today?  Cannot the facts of any matter provide us the answers we need to steer a safe course through choppy waters?

Of course, it is debatable what shape the world was in when it had more shape in our minds: the “Cold War” comes to mind. It gave shape to things, but perhaps not a shape most of us, at least those with any appreciation of history, would care to repeat. There also was the shape of the 1990s when it seemed to many that technological advances and globalization would inevitably lift all boats.  The Financial Crash of 2008 upended many experts’ basic beliefs about the essential shape of the world, and many experts today acknowledge that nothing yet has taken the place of the old certainties now pretty much ripped to shreds.

Into this incoherence comes a new book that may help us to self-diagnose, at least. Our yearning for “shape” is the focus of this book by Jamie Holmes, a “Future Tense Fellow”, at the New America Foundation, Nonsense: The Power of Not Knowing, (Crown Publishers, New York, 2015).  Drawing from many interviews and lively case studies, Holmes looks at how we make sense of the world. He studies the neurological wiring that makes us calm or agitated in varying states of certainty or uncertainty.  He finds that uncertainty is an “emotional amplifier”:  “it makes anxiety more agonizing, and pleasure especially enjoyable.”  Holmes examines how the world of medicine has changed in a data-abundant world, for instance.  And he delves deeply into  how our sense-making minds naturally work to solve the puzzles of every day existence.  So, what has changed that makes the world seem shapeless, at least to some, today?

The paradox of modern existence, according to Holmes, is that “technological acceleration–in transportation, communication, and production–should provide more free time” but, in fact, most of us feel “continually squeezed” by overwhelming options and limited time to assimilate and evaluate information,” he writes.

Indeed, abundant information has created more uncertainty!  So much information “makes even the simplest decisions–where to eat, which health plan to sign up for, which coffee maker to buy–more fraught.”

Avoiding this reality or denying it would be of little use, Holmes writes.  “Managing uncertainty is fast becoming an essential skill.”  In his prologue, he cites economist Noreen Hertz’s argument that “one of today’s fundamental challenges is “disorder–a combination of the breakdown of old, established orders and the extremely unpredictable nature of our age.””

In his book, Holmes demonstrates that “being able to handle ambiguity and uncertainty isn’t a function of intelligence.”  (Interesting too that being a “superforecaster” also is not a function of intelligence (see previous post).  But it is an emotional challenge.  This is because individuals have varying needs for “closure,” a concept developed by psychologist, Arie Kruglanski, Holmes writes.  People who understand this concept, even merely intuitively, actually can manipulate others’ discomfort with ambiguity.  “When our need for closure is high, we tend to revert to stereotypes, jump to conclusions, and deny contradictions.”  This is the stuff of radical and dangerous shifts in popular attitudes over the course of history; it merits our deeper understanding.

What’s important in this work is Holmes’ seemingly original and certainly unusually accessible treatment of the importance of contextual circumstances in changing individuals’ need for closure.  This trait is not as hard-wired as many of us might assume.

Learning how to deal with what we don’t understand is a critical skill becoming more necessary for all of us in this “shapeless” and still fairly new century, according to this author.  It turns out that uncertainty and contradictions provide the environment for people to unleash their creativity.  Making sense of a shapeless world requires imagination and other cognitive skills which most people have but may not have had occasion to exercise as much as they would have liked.

Speaking of which: due to an abundance of choices, and must-do’s, today, this subject will be continued at a later date here on this blog, of that I am fairly certain.  Understanding what our options are for making sense of complexity is a subject that deserves our undivided attention.  Having read this book, I am confident that it does too.  So, to be continued…

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Uncategorized

The Shape of the New (unfinished)

Already the week is nearly over and it’s been quite full, making it impossible to get through the nearly 500 pages of the new book, The Shape of the New: Four Big Ideas and How They Made the Modern World. At least, I’ve made it through the section on Adam Smith, and partially through the section on Marx.  Still to come are the chapters on Charles Darwin and Thomas Jefferson. Amid warnings in the media about the state of the global economy, and on the heels of the UN General Assembly Meeting focused on sustainable development goals, it seems safe to say that this book is super timely. It’s clear that it’s well-written and thoughtful, making one want to know how the authors bring it all together in the end. It’s just that, with the spectacular weather we’ve been having, it’s been hard to avoid the stronger pull of the outdoors, and some very special sketching opportunities.

Illustration: Watercolor and pen and ink by Black Elephant Blog author

Illustration: Watercolor and pen and ink by Black Elephant Blog author

Apropos of the “shape of the new,” one of the sketching sessions this week occurred alongside the Cylburne Mansion in Baltimore where a metals magnate during the “Gilded Age” in the late 19th century built his home. Situated today on a large parkland which comprises the Cylburne Arboretum, this is a spectacularly beautiful place, where flowers and trees are abundant and crowds non-existent.  As one reads in The Shape of the New, the onset of the Industrial Age which gave rise to a new elite made mansions like this one possible in the late 19th century.

The Freer and Sackler Galleries were another stop earlier in the week on an equally majestic day weather-wise.  There is a small exhibit about the ancient city of Palmyra–once known as the “city of palms”–in modern-day Syria, there. It is impossible not to reflect on how the antiquities so recently destroyed managed to last, outdoors no less, for nearly two millennia up to our present times.

Palmyra statue

Illustration: Photo of the sculpture of Haliphat

Here it is possible to wonder where the shape of the new is headed.  The lone statue of an elegantly dressed and wise-looking young woman, known as “Haliphat,” seems to be trying to tell us something across the ages.  Unlike so much in Palmyra, she survives, here in this exhibit, so we may yet learn what this statue conveys across nearly 2,000 years.

On the way out, a muscular statue of a guard towered over us, and seemed to demand to be sketched.  He represents one of two guardians (the other was positioned at the far end of the hall) of Buddha and hails from the 14th century.

A subsequent post will return to The Shape of the New.

Illustration: Pencil and ink sketch of a

Illustration: Pencil and ink sketch by Black Elephant Blog author

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Innovation, Risk, Surprise, Uncertainty

Reading in a New Fiscal Year

Lake scene 2

Illustration: Watercolor and ink by Black Elephant Blog author

Today begins a new month, a new fiscal year even, and fall is in the air. Since every now and then, someone asks what I am reading, I have turned my attention to the question myself.  Some books on innovation have been covered earlier on this blog, particularly here.   But, why begin with innovation if we are not sure where, when or why, it matters?  Context can be helpful.

Upcoming on this blog, therefore, will be a few brief overviews of some important, and possibly even provocative, books which provide fresh optics on historical contexts, and which were published in the last year.  Some of these books review how we got to now and make suggestions for how to move forward.

These include:

The Shape of the New:  Four Ideas and How They Made the Modern World, by Scott L. Montgomery and Daniel Chirot.

Fields of Blood:  Religion and the History of Violence, by Karen Armstrong, an expert on comparative religion.

This Changes Everything:  Capitalism vs. The Climate, by Naomi Klein, who may be familiar to some for her investigation into “disaster capitalism.”  This book is so sweeping “and of such consequence,”  in the view of The New York Times,  that it is “almost unreviewable.”

But, to lighten the load, some fun reading is also in order.  I recommend:

Illustration: Painting by Giovanni Boldini (1888) - Wikipedia

Illustration: Painting of Madame Marthe de Florian by Giovanni Boldini (1888) – Wikipedia

A Paris Apartment, by Michelle Gable, a book which also came out last year. It is based on the true story of an apartment the contents of which came to light in 2010, 70 years after its tenant had hurriedly left Paris.

Illustration: Self-portrait of Giovanni Boldini (1892), from Wikipedia

Illustration: Self-portrait of Giovanni Boldini (1892), from Wikipedia

In the apartment among antiques and other valuables, which had been untouched or unseen by anyone in all this time, was an original painting of a beautiful lady. Martha de Florian, by Giovanni Boldini.  Boldini was a contemporary of Edgar Degas, whose life and works was discussed earlier on this blog, in mid- and late-19th century Parisian artistic circles.

The painting depicts Madame Marthe de Florian whose diaries also were in the apartment when it was opened in 2010.

The novel, A Paris Apartment, recreates this true story in a fictional modern context.  The author has a fresh writing style which makes the most of her talents for creating realistic dialogue and alternating between periods of time separated by more than a century. Boldini himself–not to mention Madame de Florian–come alive here in a story that includes other better known figures of their time.  All this…a true story…and a fictional story…because of one real-life dusty old apartment filled with stuff no one wanted for nearly a century.

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Innovation, Surprise, Uncertainty

Drawing From Life

In an open life studio, where all types of artists gather to practice drawing or painting from a professional model’s pose, it is striking how differently the participants depict the model in their artwork. No “analytical objectivity” is possible here; everyone sees the same model quite differently.  It  is impossible for any two people’s drawing to be alike, or even for the same person to repeat exactly the same drawing a second time.

Illustration:  Watercolor and pen and ink by Black Elephant Blog author

Illustration: Watercolor and pen and ink by Black Elephant Blog author

In what ways might this process of deciding what to draw, and how, be related to “design thinking”?  From considering the future of countries and even economics, there seems to be more attention being paid to the need for thinking differently, if not even ahead. Some experts on international affairs seem to be exercising design thinking, for instance, when they posit alternative futures for a country like the United States, as in the new book by Ian Bremmer, Superpower: Three Choices for America’s Role in the World (2015). What is different about the thinking processes that enable us to consider alternative futures or to plan for the consequences of unpredictable developments?

Certainly art students are encouraged to have a plan and to think ahead to where their brush is going, where the light is coming from, what kind of paper they have, and to pay attention to the shadows, “cools” and “warm” values. Splashing colors on a page may work for some but for most of us learning how to think about techniques, and gaining confidence through practice, are necessary. It’s a sort of strategic thought process. It is difficult to get the hang of it at first.  Being comfortable with taking risks is part of the process, clearly: an ink blot here or a dribble of water there might damage what seemed before to be coming along just fine. Alternatively, that ink blot or water stain might make this painting really special!

In art as in life, the decisions that must be made seem endless, and each one bears heavily on the final result.  But the artist gets to make his or her own decisions usually, and must live with the results.

In a more populated context with many people potentially affected by the outcome of decisions, what is the process of consultation and deliberation that must be followed? How to deal with the inevitable inkblots, and their unintended consequences?  Is the factory-model of organization helpful or hurtful in such times; what are the alternatives?  With highly integrated challenges mounting (along with the rise of intricately networked systems riding on technologies few people really understand), what insights could we be drawing now to build upon in the future? Who will create these insights, and how?  How will we know where the brush is going, and to what end? Who will be wielding the brush in an interconnected age such as ours? …  Per request a future post or two will list some reading possibilities.

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Innovation, Risk, Surprise, Uncertainty

Bridging Old and New in Frame Innovation

According to the author, Kees Dorst, of Frame Innovation:  Create New Thinking By Design,  (The MIT Press, 2015), we are “collectively being tripped up by today’s problems.”  Tackling emerging complex, dynamic and networked problems with old approaches makes no sense, he writes; “the trusted routines just don’t work anymore.”  They require a “radically different response.”  But what do those responses look like, and how do organizations large and small mobilize them?

head sketch

Sketch by Black Elephant Blog author

Dorst argues that the interest in “design thinking” up to now has often led to ineffective responses.  He says that this is because, up to now, we have tended to turn to the “designers” to generate solutions, “rather than [recognize and enlist]…the key ability of expert designers to create new approaches to problem situations,” or “framing.”

The creation of new “frames” to approach problem situations is the key, and a special element of designers’ problem-solving practices, writes Dorst (citing Whitbeck 1998).  Dorst’s book introduces fresh practices based on lessons learned so far on how to link sound design approaches to real-world problems in different domains.  From designing high-speed rail links to dealing with challenges involved in social housing and reducing crime rates, he shows how designers are confronting the complexity of a situation head-on.  From elegant 19th century-era hotels in places which tend to attract large numbers of people with 21st century tastes to large government institutions struggling to adapt to cross-sector challenges, devising cost-effective and future-sensitive ways to update our problem-solving approaches seems like a ‘no-brainer,’ doesn’t it?  But it turns out that, while obviously necessary, it is far from easy, especially for those working in long-established organizations.

Illustration:  Watercolor, ink wash, Faber & Castell gold Pitt artist's pen, and Gelly Roll white pen (view from a park in Baden-Baden)

Illustration: Watercolor, pen, ink wash, Faber- Castell gold Pitt artist’s pen, and Gelly Roll white pen (view from a park in Baden-Baden, Germany) on Stillman & Birn paper Alpha-series by Black Elephant Blog author


 In Dorst’s view, “we have an unprecedented need to extend our problem-solving repertoire so that it can address these issues.  Future posts on this blog will look at some of these strategies, but–in the meantime–those who are interested in this subject will find  Dorst’s book useful. (So, in a belated response to the reader who asked on this blog some weeks ago something like, “is this really anything new?”, it appears that Dorst’s answer would be: yes, we are dealing (or, failing to deal) with a new class of problems that are highly complex and cannot be solved by those working within a single sector.)

Coming up, a bit more on this, and some recommendations for related books and links.

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Innovation, Risk, Surprise, Uncertainty

Sketching and Frame Innovation

Anyone who sketches or attempts to create anything new is attempting to create a new way of seeing something, even if just for themselves, in their own sketchbooks, or–as I did last night–on the back of an envelope.  They are, to varying degrees, storytellers.   Urban sketchers certainly are storytellers or, if you will, citizen reporters, and “plein aire” artists, drawing and coloring what they see! Those who tell stories about their sketches, their sculptures, their jewelry-making projects, their workshops, or other sorts of creative endeavor are providing narratives to put a frame around the effort.  So sketching leads straight to frame innovation…which is getting serious attention in some business and academic circles.

Illustration:  Watercolor, gouache, and ink by Black Elephant Blog author

Illustration: Watercolor, gouache, and ink by Black Elephant Blog author

It appears that artists have a lot to teach those of us who have depended primarily (so far…) on our analytic brains to carry us forward. And who, after all, isn’t an artist, given a chance? What happens when our analytic brains are simply not up to the challenges (some of which may be “black elephants”) ahead?  A few posts back began to look at a book on this subject published by MIT Press recently.

This post thus will segue back into the discussion of frame innovation raised a few weeks ago here on this blog (and to which there may be a few more unanswered questions by now).  One question so far raised, for instance, is whether the ideas behind “frame innovation” are, in fact, anything new?  The next few posts will consider this and related issues.

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Surprise

Five Trees in dem Schwarzwald

So, today was another beautiful day, a perfect day for a hike in the Black Forest, or Schwarzwald. Our origination point was the small “Kur” hamlet tucked in between forested hills called Bad Wildbad. A stream runs through the middle of the town, which has a massive sanitorium building straight out of an earlier age looming above it. Bad Wildbad 2 This town, in a smaller version of Baden-Baden, is centered around thermal natural spring baths and also lined with outdoor waterfront cafes, hotels, and stylish shops.  People were out enjoying the sunshine and a coffee on the terraces along the stream, accompanied by the soothing sound of the waterfalls below. Initially our destination was the Sommerberg Bahn, a small train that glides up (and down!) railway tracks at a very steep angle to and from the top of the berg, or mountain.

Sommerberg Zug im Wildbad

Sommerberg Zug im Wildbad

The scenery was gorgeous at the top of the mountain with hiking trails going every which way and intersecting here and there, with “Skiihütte” (skiers’ huts) helpfully positioned at the crossroads, in case you need a rest or want to measure your pulse. (The bigger Skiihütte offer steaming plates of wurst and salad along with beer or lighter drinks.)  It seems important to mention that there even were raised hiking trails on platforms at least thirty feet above our heads that extended through the trees in a wide circuit (the “Treetop Path”), making the hiking experience easily accessible–and particularly scenic–for those who wanted to see the sights from a yet higher vantage point, including those who are wheelchair-bound.

There is a Nordic method to calisthenic hiking and it involves hiking poles. This method reportedly burns up more calories and leads to greater fitness. So, many people getting on and off the Sommerberg Zug had their hiking poles (a bit like ski poles) with them. While you are on the Sommerberg Bahn, you may pass by people sunning themselves on their otherwise apparently private terraces  (alongside their drying laundry arrayed on racks to catch the sun). There are a great many Kliniks and sanotorium in this area, reminding one perhaps of The Magic Mountain by Thomas Mann.

It seems doubtful that anyone is in a hurry here, so probably it would be a great place for sketching.  It would be painless, for sure, to check in here for a few months!!  In any case, although the watercolors were along for the ride, the circumstances were such that only a simple sketch of one of the Skihütte sites was possible. This is the site of the Fünf Baüme, or the Five Trees, a surprising spot in several ways.

Ski hut Since this spot is surrounded by trees, it is natural to ask, as we did, why it is called “five trees.” Soon we spotted the reason; there were five trees growing together and protected by a fence just to the right of the hut. A clearing above the hut had permanent recliners–sort of anti-gravity chairs for hikers or, possibly, for sketchers passing by.  Below the hut, through the trees, a horizon of mountains and tree tops as well as blue sky was visible.  The many trees in the foreground were all possible shades of green–a fabulous place to take a rest, as several hikers and bikers did while this sketching was underway.

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Charleston Doodles

Charleston, South Carolina is a city with something for everyone, especially doodlers and sketchers.  Drop into any downtown art supply store and the people there will be happy to share with you their favorite sketching places. This city is known as the “Holy City” due to its many churches; the skyline is dominated by steeples. From expansive beaches to cobblestone streets, graceful buildings, breezy balconies, and beautiful flower boxes and fountains, there is so much to see that it can be overwhelming.  It’s best to try to soak in the sights from many vantage points.

Charleston 2

Illustration: Pen and ink and watercolor by Black Elephant Blog author

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Eastern Market Meanderings

For locals and tourists, the Eastern Market in Washington, D.C. on Capitol Hill is a fun place, full of surprises. These are sketches done in situ in a Stillman & Birn 5 1/2 ” x 8 1/2″ Alpha series sketchbook, as urban sketching practice.  Capturing a lot of information,in a short time,with attention to shades of difference, context, and composition–is what this sketching activity involves.

Illustration:  Pen and ink by Black Elephant blog author

Illustration: Watercolor and pen and ink by Black Elephant blog author

Although this is “Capitol Hill,” it does not seem like a place for people in a hurry, generally speaking.  Even in slow motion, however, people are difficult subjects for sketching.  Hopefully it will get easier!

Illustration:  Watercolor and pen and ink by Black Elephant blog author

Illustration: Watercolor and pen and ink by Black Elephant blog author

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Risk, Surprise, Uncertainty

Face Painting 101

The introductory course to watercolor portrait painting has just concluded. Now it’s time to practice what we learned–and, while we learned a lot, there’s so much more to practice. The teacher gave us a handout (one of several, actually) to take with us, as an aid; it reads:

Illustration:  Studio watercolor exercises in pencil and watercolors by Black Elephant Blog author

Illustration: Studio watercolor exercises in pencil and watercolors by Black Elephant Blog author

“Drawing from life is not about fiction. It is about telling the truth by means of line and space. It is a trace, but a double-track one: the truth from without by the one from within. But how can I reach out there to your face, from within my locked self? Measuring misleads to a dead image. Skill and concept, to a generalization, to a face not yours. In order to get your face to this sheet of paper, a miracle has to occur. The utmost attention, hand and eye at their sharpest, will not suffice. Drawing demands a most intensive state of feeling.” – Avigdor Arikha, July 1983

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Monuments and Movies

Seeing the film, “Tangerines,” and coming across a monument in Washington, D.C. to a poet, writer, and artist from Ukraine, Taras Schevchenko–all on the same day–inevitably leaves one thinking about wars, conflict, and so much that actually goes unseen–and (therefore?) unthought–most days.  Both the movie  and the monument are well-worth seeing.

Illustration:  Pen and ink and watercolor by Black Elephant Blog author

Illustration: Pen and ink and watercolor by Black Elephant Blog author

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Innovation, Risk, Surprise, Uncertainty

Frame Innovation in Change-Resistant Organizations

An important book has accompanied the traveler/doodler author of this blog, making it possible, at least, to consider taking some notes on it.  The book is called Frame Innovation:  Create New Thinking By Design, by Kees Dorst (The MIT Press, 2015).  Dorst is a Professor of Design Innovation at the University of Technology, Sydney, Australia and at Endhoven University of Technology in the Netherlands.

Illustrations:  Pen and ink and watercolor by Black Elephant Blog author

Sketchbook on-site illustrations: Pen and ink and watercolor by Black Elephant Blog author

As one reads the book, it is clear that the book’s author has been researching and developing case studies of the concept of design thinking–as applied to practical and often seemingly intractable social and urban problems–for many years.  Although the text of this book is necessarily abstract in places–explaining, for instance, the difference between traditional analytic approaches of “deduction,” and “induction” and design thinking approaches of “abduction” and design abduction”–the author is quick to remedy this through his use of case studies and helpful word-graphics. ((To fast-forward a moment to the topic of a future blog post or two, the basic issue here is a very big and momentous idea.  It is that our traditional methods of analytical reasoning, deduction and induction, “are not enough if we want to make something. If we want to create new things–or new circumstances–we need different approaches, for which even “normal abduction” (the reasoning pattern behind conventional problem-solving using tried and tested patterns of relationships) is insufficient.))

As explained in the series foreword by the editors of this new MIT Press series on design thinking and theory, design challenges today “require new frameworks of theory and research to address contemporary problem areas.”  Often problem-solving for modern challenges requires “interdisciplinary teams with a transdisciplinary focus.”  According to the editors, three contextual challenges define the nature of many design problems today.  These issues affect many of the major design problems that face us in whatever field we’re working.  They include:

–a complex environment in which many projects or products cross the boundaries of several organizations and stakeholder, producer, and user groups;

–projects or products that must meet the expectations of many organizations, stakeholders, producers, and users; and

–demands at every level of production, distribution, reception, and control.

Past environments “were simpler,” write the editors, and “made simpler demands.”   To meet modern challenges, experience and development are still necessary, but “they are no longer sufficient.”  “Most of today’s design challenges require analytic and synthetic planning skills that cannot be developed through practice alone,” they write.  What is needed, they say, is “a qualitatively different form of professional practice that emerges in response to the demands of the information society and the knowledge economy to which it gives rise.”

Designers today confront complex social and political issues, the editors note, quoting the work of Donald Norman, (“Why Design Education Must Change,” 2010).  What the authors are talking about is the fact that education today is not training professionals in ways to take integrated approaches to solve complex, inter-sector problems and imagining new futures.  The book by Kees Dorst is the first in the series and, based on this writer’s close reading of it, it represents an excellent start to this ambitious (and profoundly needed) project.

Dorst argues that society today is being “tripped up” by the “emergence of a radically new species of problem:  problems that are so open, complex, dynamic and networked that they seem impervious to solution.”  He writes:  “What all the news stories show us is that it makes no sense to keep trying to tackle these problems the way we used to.  The trusted routines just don’t work anymore.  These new types of problems require a radically different response.”

In the spirit of the focus of this blog–understanding “surprise” and the ways and whys for when we get “tripped up”–future posts will examine some of the important ideas in Dorst’s book.

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Summer Open-Air Markets

Plaza Final

Illustration: Watercolor and pen and ink by Black Elephant Blog author

Today was the first day of the year for a Saturday morning market, marking the official beginning of summer for this neighborhood!  It was a busy scene; hence, not a lot of blank white space in the sketch.

Nearby, a tall fountain was the centerpiece for more practice urban sketching, this time in a plaza ringed with trees.

Illustration:  On-site sketch with pen and ink and watercolor by Black Elephant Blog author

Illustration: On-site sketch with pen and ink and watercolor by Black Elephant Blog author

But elsewhere, clearly some preferred to be distant from the crowds!

Illustration:  On-site sketch in pen and ink and watercolor by Black Elephant Blog author

Illustration: On-site sketch in pen and ink and watercolor by Black Elephant Blog author

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The Art of Looking Ahead

As the semester draws to a close, students in my course are considering a “super wicked problem,” meaning a highly complex crisis, in the form of a single scenario.  They are working separately in two subgroups; one, on a “before-crisis contingency planning” team; and the other, on a “post-crisis rapid response” team.  In our final class, they will present their findings.

Frankly, the challenges they must wrestle with are simply enormous.  Impossibly enormous, but then again when we look around the world today, such impossibly enormous challenges seem to be the “new normal”.  This scenario-based approach is meant to incorporate much of what we’ve been learning this year about complexity and resilience.  Without this experience, there is a danger we might apply old methods of problem-solving to new classes of challenges.

Illustration:  Pencil and pen and ink by Black Elephant Blog author

Illustration: Pencil and pen and ink by Black Elephant Blog author

Such thinking requires what some variously call “the art of looking ahead,” “applied forward reasoning,” contingency planning, or–most recently–“frame innovation.”  It turns out that these skills generally are not ones that business schools or other forms of higher education traditionally emphasize.  Are such skills needed in the workplace today?  As luck would have it, some new books are just out on the subject, and this blog will look at them.

First up is a new book called Anticipate:  The Art of Leading Through Looking Ahead (American Management Association, 2015), by Rob-Jan de Jong, who is a faculty member of Wharton’s “Global Strategic Leadership” executive program.  There are useful tips in this book, so it’s worth giving a flavor of them here.

Early in the book, de Jong notes that “leaders need the ability to look ahead [but] there’s very little understanding of how to develop this competence and improve visionary capacity.”  Many people mistakenly believe it takes too much time, or you’re either born with this capacity or you aren’t.  Summing up wide-ranging research in leadership and business strategy, de Jong notes that sensitivity to context (aka “context sensitivity”), or something leadership expert Warren Benning, calls “adaptive capacity,” is essential for leaders.  Companies that had a “strong sense of sensitivity to their environment” outlasted many which did not, according to work by Arie de Geus, author of The Living Company.

“Short-termism” is  more typical in the business world, and it’s a disease, according to de Jong.  It means valuing short-term gains “above long-term, somewhat foreseeable, consequences,” he writes. Unfortunately, according to McKinsey research five years after the 2008 financial crisis, “little of that learning” about the need to keep a “clear future-oriented perspective” has occurred in many companies it studied.  de Jong concludes:  “Short-termism is the biggest enemy of developing visionary capacity for both the organization and the individual leader.”  So what can be done? de Jong says it starts with “personal vision.”  This matters, he writes, because without vision, there is no hope.

The Elements of Vision include that it is “future-oriented.”  Many people find it difficult to exercise imagination about the future and to promote beliefs that “cannot be backed up by factual experiences, research, and other quantifiable data.”

Yet, a powerful vision moves “beyond the obvious into the unknown,” according to de Jong. It also challenges the status quo and “breaks through existing paradigms.”  de Jong cites IKEA’s founder, Ingvar Kamprad, as an example; Kamprad built the IKEA empire on the idea that “design furniture should not only be accessible to the happy few.”  A vision also energizes and mobilizes.   According to management and leadership expert, Abraham Zaleznik, whose work de Jong cites, managerial leadership–as of the time he wrote his article in 1977 on the difference been leaders and managers–does “not necessarily ensure imagination, creativity, or ethical behavior in guiding the destinies of corporate enterprises.”  de Jong proceeds to investigate the qualities of “visionary leaders.”

First, it is necessary to enhance one’s ability to “tap the imagination,” and de Jong cites, with examples, the work of world-renown creativity guru and expert on “lateral thinking,” Edward de Bono, in this section.  The needed imagination depends on “perceptual capacity.”  When we are too busy to notice changes in our surroundings, we can be said to be living in the “permanent present,” de Jong writes, which was the state of man in the earliest stage of human evolution.  Fortunately the development of the “frontal lobe” over time enabled more reflective (and strategic) thinking capacities (so the basic equipment is there).

Based on his own extensive research and interviews with hundreds of senior leaders, de Jong has concluded there are two critical developmental dimensions for growing your “visionary capacity.”  They are:

1) Your ability to see things early–those “faint warning signals” often “at the periphery of our attention.”

2) Your ability to “connect the dots” and to create “coherence in the future you face and turn it into a ‘bigger picture’ story”.

de Jong quotes Alan Mulally, a former CEO of Ford:  “The first thing a leader does is to facilitate connections between the organization and the outside world.”  Mullaly, as CEO, took steps to institutionalize the process of “context scanning” through the creation of a weekly Business Plan Review meeting.

The second step of connecting the dots involves more than detecting things that might be changing. It involves connecting and integrating these signs into a larger coherent context of future possibilities. “Trend hoppers” are different from “visionary leaders,” de Jong explains, and “historians” and “followers” are also different in important ways.  There are, moreover some real dangers in “over-reliance on the past,” he writes, in a section that deserves a lot of attention these days.

de Jong notes that making sense of the weak signals in the noise is harder because “the average person consumes about 34 gigabytes of content” and 100,000 words of information in a single day.” He continues:

“Without specific effort, you will only be able to identify events that were early manifestations of change in retrospect.  But that’s usually when it’s too late.”  Therefore, the effort to “connect the dots” must be focused on the implications of changing  realities for one’s business or other professional or life endeavor.

It is necessary to have “context intelligence” to identify and make sense of early signals of change, de Jong writes. The people who do this with the highest levels of adaptive capacity are called “first-class noticers” by leadership and management experts he cites, including Warren Bennis.  Strategic advantage depends on this adaptive capacity.

Developing our ability to notice novelties or things we typically filter out takes effort, even training.  There are many methods for this, and de Jong has created some of his own.  In general, however, he recommends methods for envisioning future facts, and discusses the power of scenario planning, as developed by Pierre Wack and Kees van der Heijden, as central to promoting strategic conversation and awareness. He identifies the psychological obstacles to strategic capacity as including “frame blindness,” or a loss of peripheral vision.  Overconfidence is another culprit.  “Mindlessness” occurs when we “are trapped by categories,” run on “automatic behavior” or operate from a single perspective, according to Harvard psychologist, Ellen Langer, whose work de Jong cites. Such mindlessness can occur–indeed, might be more likely to occur–when we are fully focused and aware of what we are doing.

Clearly, the art of looking ahead requires some practice but is indispensable in tumultuous times.  Next, this blog will look at another new book: Frame Innovation:  Create New Thinking by Design.

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Georgetown, Washington, D.C.

Illustration:  Pen and ink and watercolor by Black Elephant Blog author

Illustration: Pen and ink and watercolor by Black Elephant Blog author

In upper Georgetown today, an open-air bazaar was set up alongside Wisconsin Avenue with lots of tents sheltering beautiful things–original Dutch clogs and pillows from everywhere–for sale. The patisserie was packed with people, music playing everywhere. In such a holiday atmosphere on this otherwise ordinary workday afternoon, there was plenty to celebrate–and time to sit high up on Book Hill behind the Georgetown Public Library!  The steeply sloped lawn with the tall buildings of Rosslyn, Virginia in the distant skyline–and bright sun, cool breezes, and pink petals wafting down from a nearby dogwood tree–made for a perfect spot to sketch, even at an angle.

Illustration:  Pen and ink and watercolor by Black Elephant Blog author

Illustration: Pen and ink and watercolor by Black Elephant Blog author

On the sidewalk below, a tall man in a finely tailored suit glided by, his wife and small son by his side.  Wearing a bowler hat and a thick handlebar mustache, he seemed right out of an earlier century, making a brief appearance in ours: the family group was moving too fast to capture in sketches.  By contrast, these women were not in any apparent hurry, enjoying a spot in a field of dandelions.  For the sketchers, they stayed just long enough to leave an impression.

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