Inspirational Sketches With Quotes

These rough sketches, which are born in an instant in the heat of inspiration, express the idea of their author in a few strokes, while on the other hand too much effort and diligence sometimes saps the vitality and powers of those who never know when to leave off.

We pencil-sketch our previous life so we can contrast it to the technicolor of the moment.

Want the change. Be inspired by the flame where everything shines as it disappears. The artist, when sketching, loves nothing so much as the curve of the body as it turns away. What locks itself in sameness has congealed. Is it safer to be gray and numb? What turns hard becomes rigid and is easily shattered. Pour yourself like a fountain. Flow into the knowledge that what you are seeking finishes often at the start, and, with ending, begins. Every happiness is the child of a separation it did not think it could survive. And Daphne, becoming a laurel, dares you to become the wind. - Sonnets To Orpheus, Part Two, XII

As far as I can recall, the initial shiver of inspiration [for Lolita] was somehow prompted by a newspaper story about an ape in the Jardin des Plantes, who, after months of coaxing by a scientist, produced the first drawing ever charcoaled by an animal: this sketch showed the bars of the poor creature's cage.

She loves relentlessly. It’s the way of her being. She is love and it’s her mightiest strength.

It is the greatest of all mistakes, to do nothing because you can only do little...

She is a fortress build with fortitude. She goes on when she’s deadbeat. She can’t quit, because others are watching. She smiles instead.

She’s not a girl. She’s been through hurricanes of emotions, she fought the armies of fears, she passed the trickiest life’s trials. She matured like wine through humid darkness, cold and time. She came out fizzy and sweet.

The whole world's a canvas for our sketches Horizons as far as the mind stretches A work of art with soft edges Waiting to come alive Now's the time

Want the change. Be inspired by the flame where everything shines as it disappears. The artist, when sketching, loves nothing so much as the curve of a body as it turns away.

The Sonnets to Orpheus, Part Two, XII Want the change. Be inspired by the flame where everything shines as it disappears. The artist, when sketching, loves nothing so much as the curve of the body as it turns away.

Each time you love—be it a man or a child, a cat or a horse—you add color to this world. When you fail to love, you erase color.” She smiles. “Love, in any of its forms, is what takes this journey from a bleak black-and-white pencil sketch to a magnificent oil painting.” She touches my cheek. “It’s the sweet fruit that paints the field and wakes our senses. I’m not saying you must be on a constant quest for it, but please, if love comes to you, if you find it within your grasp, promise me you’ll pluck it from the vine and give it a good looking-over, won’t you?

It was an irresistible development of modern illustration (so largely photographic) that borders should be abandoned and the "picture" end only with the paper. This method may be suitable for for photographs; but it is altogether inappropriate for the pictures that illustrate or are inspired by fairy-stories. An enchanted forest requires a margin, even an elaborate border. To print it coterminous with the page, like a "shot" of the Rockies in Picture Post, as if it were indeed a "snap" of fairyland or a "sketch by our artist on the spot", is a folly and an abuse.

Inspirations sleet through the universe continuously. Their destination, as if they cared, is the right mind in the right place at the right time. They hit the right neuron, there's a chain reaction, and a little while later someone is blinking furiously in the TV lights and wondering how the hell he came up with the idea of pre-sliced bread in the first place. Leonard of Quirm knew about inspirations. One of his earliest inventions was an earthed metal nightcap, worn in the hope that the damned things would stop leaving their white-hot trails across his tortured imagination. It seldom worked. He knew the shame of waking up to find the sheets covered with nocturnal sketches of seige engines for apple-peeling machines.

I could wish to spy the nakedness of their hearts, and through the different disguises of customs, climates, and religion, find out what is good in them, to fashion my own by. It is for this reason that I have not seen the Palais Royal - nor the facade of the Louvre - nor have attempted to swell the catalogues we have of pictures, statues, and churches - I conceive every fair being as a temple, and would rather enter in, and see the original drawings and loose sketches hung up in it, than the Transfiguration of Raphael itself.

Henry Luce to his Time magazine writers: "Tell the history of our time through the people who make it.

Doodles are not about performance; they are somewhere between practice and delving.

My lines do not borrow your love - they create art so I can admire it forever.

The art is already in the picture.

There are stars inside the universe nobody ever wrote about; so what keeps us from hoping and loving the ones we see each day?

There are people, primarily women!--who are what I call 'conduits of emotion.' In their company, the half dead can come alive. They need not be beautiful women or girls. It's a matter of blood warmth. The integrity of the spirit." He turned the page of his sketch pad and began anew, whistling thinly through his teeth. "Thus an icy-cold soul, in the presence of one so blessed, can regain something of his lost self. Sometimes!

Tonight I saw Jesus with the eyes on my face. He looks half lion and half man. But not more like a lion and not more like a man, rather the same, I have never seen anything like the face of Jesus before, %100 one thing but %100 another thing: a lion man!” “Where did you see Him at?” “On the surface of my blanket as I lay in bed. He was suddenly drawn onto it, like a sketch, and that same moment I knew He was showing His face to me, finally.” “Why do you think He did that?” “I think He thought it was about time.

They fall silently the steps of her arrival - crossing snow so pale  even the morning sky would fall  into nights amber (if it knew of her ways & worth);  for she has entered the palace of gold  - her hair braided with hope tainted with autumn leaves that seem like a hanged man's rope - for her name is war and  her crown is crafted out of grief.

My goal in life is to inspire people, transform hearts, and bring joy. I long for people to feel accepted, valued, and loved just as they are.

Ever theatrical, Jackie also viewed the home as a grand set: a malleable, working stage on which to play out the daily sketches of life...

We always hide our souls whenever we create something that praises the heart.

As much as Henry Kissinger wanted to attribute historical movement to impersonal forces, he too conceded to "the difference personalities make".

We place too much of ourselves inside art - so we become part of it and never feel quiet again for the people, we created it for, nor the meaning we gave it.

The right way is art.

A poet may create or reminds; yet for both - the art is embraced by words.

The art is already in the picture; we only have to set the colours free for hearts that have not seen love yet.

She is a mother. When you look at her, you see the purest love of all. That love gives her away. That kind of love only mothers radiate.

She sees the best in the world. Not because she is exposed to the best. She’s exposed to the same madness as everybody else. She chooses to see the beauty in all.

There is something liberating about sketching on a support that you will not keep, like your paper place mat or on the paper covering the table. It will help you desacralize the drawing and make the moment you put the pen in contact with the paper less solemn. Part of why some of us are so daunted by the mere task of starting a drawing is because we turn it into a task

A fat easy gentleman gave me several bits of paper, with coupons attached, with a warning not to separate them which instantly inspired me with a yearning to pluck them apart, and see what came of it.

He done his level best. Was he a mining on the flat.. He done it with a zest.. Was he a leading of the choir.. He done his level best. If he'd a reg'lar task to do, He never took no rest.. Or if 'twas off and on the same.. He done his level best. If he was preachin' on his beat, He'd tramp from east to west, And north to south ..in cold and heat.. He done his level best. He'd Yank a sinner outen (Hades), And land him with the blest; Then snatch a prayer'n waltz in again, And do his level best. He'd cuss and sing and howl and pray, And dance and drink and jest, He done his level best. Whate'er this man was sot to do He done it with a zest; No matter what his contract was, He'd do his level best...

Storytelling entails weaving a narrative out of the disturbing, strange, inspirational, and unremarkable detritus of life. By picking among the litter of our personal experiences to select evocative anecdotes to weave into a narrative format, we reveal which of life’s legendary offerings prove the most sublime to us. Acts of omission are momentous. Our narration of personal sketches divulge what factoids inspire us or do not stir us into action, or contain obdurate truths that prove virtually impossible to crack.

Compassion is the ultimate beauty. Compassion is the elegance of heart. Compassion makes you the most attractive person, more lovable than being rich or smart. While you can work on your degree, then get the job and make good money, there is no diploma for compassion. You have to learn it by yourself.

The Bell Ringing Woman described me about the importance of every place in detail,while giving me her detailed sketches about the inland places,I noticed her headdress,which was made of silk and feathers bedecked in it. There are different colors of feathers there, as I knew,each feather had her color of mind.

They always told each other about the parts of the day they had spent apart, sketching in detail so the other could see it, so it became a memory they seemed to share in common. They were good at talking. Sharing stories. Everything he did only seemed to take root when he told her about it. There were times when he arrived home as breathless as an inspired poet with the urgency to talk to her.

What I remember most clearly is how it felt. I’d just finished painting a red fire engine-like the one I often walked past near my grandparents’ house. Suddenly the teachers, whose names I've long forgotten, closed in on my desk. They seemed unusually impressed, and my still dripping fire engine was immediately and ceremoniously pinned up. I don’t know what they might have said, but their unexpected attention and having something I’d made given a place of honor on the wall created an overwhelming and totally unfamiliar sense of pride inside me. I loved that feeling, and I wanted to feel it again and again. That desire, I suppose, was the beginning of my career. I have no idea where my fire engine painting ended up, but I never forgot the basic layout. Several decades later, it served as the inspiration for this sketch for an illustration in a book called Why the chicken crossed the Road.

THE ANTHEM OF HOPE Tiny footprints in mud, metal scraps among thistles Child who ambles barefooted through humanity’s war An Elderflower in mud, landmines hidden in bristles Blood clings to your feet, your wee hands stiff and sore You who walk among trenches, midst our filth and our gore Box of crayons in hand, your tears tumble like crystals Gentle, scared little boy, at the heel of Hope Valley, The grassy heel of Hope Valley. And the bombs fall-fall-fall Down the slopes of Hope Valley Bayonets cut-cut-cut Through the ranks of Hope Valley Napalm clouds burn-burn-burn All who fight in Hope Valley, All who fall in Hope Valley. Bullets fly past your shoulder, fireflies light the sky Child who digs through the trenches for his long sleeping father You plant a kiss on his forehead, and you whisper goodbye Vain corpses, brave soldiers, offered as cannon fodder Nothing is left but a wall; near its pallor you gather Crayon ready, you draw: the memory of a lie Kind, sad little boy, sketching your dream of Hope Valley Your little dream of Hope Valley. Missiles fly-fly-fly Over the fields of Hope Valley Carabines shoot-shoot-shoot The brave souls of Hope Valley And the tanks shell-shell-shell Those who toiled for Hope Valley, Those who died for Hope Valley. In the light of gunfire, the little child draws the valley Every trench is a creek; every bloodstain a flower No battlefield, but a garden with large fields ripe with barley Ideations of peace in his dark, final hour And so the child drew his future, on the wall of that tower Memories of times past; your tiny village lush alley Great, brave little boy, the future hope of Hope Valley The only hope of Hope Valley. And the grass grows-grows-grows On the knolls of Hope Valley Daffodils bloom-bloom-bloom Across the hills of Hope Valley The midday sun shines-shines-shines On the folk of Hope Valley On the dead of Hope Valley From his Aerodyne fleet The soldier faces the carnage Uttering words to the fallen He commends their great courage Across a wrecked, tower wall A child’s hand limns the valley And this drawing speaks volumes Words of hope, not of bally He wipes his tears and marvels The miracle of Hope Valley The only miracle of Hope Valley And the grass grows-grows-grows Midst all the dead of Hope Valley Daffodils bloom-bloom-bloom For all the dead of Hope Valley The evening sun sets-sets-sets On the miracle of Hope Valley The only miracle of Hope Valley (lyrics to "the Anthem of Hope", a fictional song featured in Louise Blackwick's Neon Science-Fiction novel "5 Stars".

The bird sketch holds my attention. I never intended to get pierced or tattooed when I came here. I know that if I do, it will place another wedge between me and my family that I can never remove. And if my life here continues as it has been, it may soon be the least of the wedges between us. But I understand now what Tori said about her tattoo representing a fear she overcame - a reminder of where she was, as well as a reminder of where she is now. Maybe there is a way to honor my old life as I embrace my new one.

Every morning, as I walk into Pixar Animation Studios—past the twenty-foot-high sculpture of Luxo Jr., our friendly desk lamp mascot, through the double doors and into a spectacular glass-ceilinged atrium where a man-sized Buzz Lightyear and Woody, made entirely of Lego bricks, stand at attention, up the stairs past sketches and paintings of the characters that have populated our fourteen films—I am struck by the unique culture that defines this place. Although I’ve made this walk thousands of times, it never gets old.

Want the change. Be inspired by the flame where everything shines as it disappears. The artist, when sketching, loves nothing so much as the curve of the body as it turns away. What locks itself in sameness has congealed. Is it safer to be gray and numb? What turns hard becomes rigid and is easily shattered. Pour yourself out like a fountain. Flow into the knowledge that what you are seeking finishes often at the start, and, with ending, begins. Every happiness is the child of a separation it did not think it could survive. And Daphne, becoming a laurel, dares you to become the wind. Sonnets to Orpheus II, 12

Truth, says instrumentalism, is what works out, that which does what you expect it to do. The judgment is true when you can "bank" on it and not be disappointed. If, when you predict, or when you follow the lead of your idea or plan, it brings you to the ends sought for in the beginning, your judgment is true. It does not consist in agreement of ideas, or the agreement of ideas with an outside reality; neither is it an eternal something which always is, but it is a name given to ways of thinking which get the thinker where he started. As a railroad ticket is a "true" one when it lands the passenger at the station he sought, so is an idea "true," not when it agrees with something outside, but when it gets the thinker successfully to the end of his intellectual journey. Truth, reality, ideas and judgments are not things that stand out eternally "there," whether in the skies above or in the earth beneath; but they are names used to characterize certain vital stages in a process which is ever going on, the process of creation, of evolution. In that process we may speak of reality, this being valuable for our purposes; again, we may speak of truth; later, of ideas; and still again, of judgments; but because we talk about them we should not delude ourselves into thinking we can handle them as something eternally existing as we handle a specimen under the glass. Such a conception of truth and reality, the instrumentalist believes, is in harmony with the general nature of progress. He fails to see how progress, genuine creation, can occur on any other theory on theories of finality, fixity, and authority; but he believes that the idea of creation which we have sketched here gives man a vote in the affairs of the universe, renders him a citizen of the world to aid in the creation of valuable objects in the nature of institutions and principles, encourages him to attempt things "unattempted yet in prose or rhyme," inspires him to the creation of "more stately mansions," and to the forsaking of his "low vaulted past." He believes that the days of authority are over, whether in religion, in rulership, in science, or in philosophy; and he offers this dynamic universe as a challenge to the volition and intelligence of man, a universe to be won or lost at man’s option, a universe not to fall down before and worship as the slave before his master, the subject before his king, the scientist before his principle, the philosopher before his system, but a universe to be controlled, directed, and recreated by man’s intelligence.

Of all the old festivals, however, that of Christmas awakens the strongest and most heartfelt associations. There is a tone of solemn and sacred feeling that blends with our conviviality, and lifts the spirit to a state of hallowed and elevated enjoyment. The services of the church about this season are extremely tender and inspiring. They dwell on the beautiful story of the origin of our faith, and the pastoral scenes that accompanied its announcement. They gradually increase in fervor and pathos during the season of Advent, until they break forth in full jubilee on the morning that brought peace and goodwill to men. I do not know a grander effect of music on the moral feelings than to hear the full choir and the pealing organ performing a Christmas anthem in a cathedral, and filling every part of the vast pile with triumphant harmony.

Situation awareness means possessing an explorer mentality A general never knows anything with certainty, never sees his enemy clearly, and never knows positively where he is. When armies are face to face, the least accident in the ground, the smallest wood, may conceal part of the enemy army. The most experienced eye cannot be sure whether it sees the whole of the enemy’s army or only three-fourths. It is by the mind’s eye, by the integration of all reasoning, by a kind of inspiration that the general sees, knows, and judges. ~Napoleon 5   In order to effectively gather the appropriate information as it’s unfolding we must possess the explorer mentality.  We must be able to recognize patterns of behavior. Then we must recognize that which is outside that normal pattern. Then, you take the initiative so we maintain control. Every call, every incident we respond to possesses novelty. Car stops, domestic violence calls, robberies, suspicious persons etc.  These individual types of incidents show similar patterns in many ways. For example, a car stopped normally pulls over to the side of the road when signaled to do so.  The officer when ready, approaches the operator, a conversation ensues, paperwork exchanges, and the pulled over car drives away. A domestic violence call has its own normal patterns; police arrive, separate involved parties, take statements and arrest aggressor and advise the victim of abuse prevention rights. We could go on like this for all the types of calls we handle as each type of incident on its own merits, does possess very similar patterns. Yet they always, and I mean always possess something different be it the location, the time of day, the person you are dealing with. Even if it’s the same person, location, time and day, the person you’re dealing who may now be in a different emotional state and his/her motives and intent may be very different. This breaks that normal expected pattern.  Hence, there is a need to always be open-minded, alert and aware, exploring for the signs and signals of positive or negative change in conditions. In his Small Wars journal article “Thinking and Acting like an Early Explorer” Brigadier General Huba Wass de Czege (US Army Ret.) describes the explorer mentality:   While tactical and strategic thinking are fundamentally different, both kinds of thinking must take place in the explorer’s brain, but in separate compartments. To appreciate this, think of the metaphor of an early American explorer trying to cross a large expanse of unknown terrain long before the days of the modern conveniences. The explorer knows that somewhere to the west lies an ocean he wants to reach. He has only a sketch-map of a narrow corridor drawn by a previously unsuccessful explorer. He also knows that highly variable weather and frequent geologic activity can block mountain passes, flood rivers, and dry up desert water sources. He also knows that some native tribes are hostile to all strangers, some are friendly and others are fickle, but that warring and peace-making among them makes estimating their whereabouts and attitudes difficult.6

I WANT TO end this list by talking a little more about the founding of Pixar University and Elyse Klaidman’s mind-expanding drawing classes in particular. Those first classes were such a success—of the 120 people who worked at Pixar then, 100 enrolled—that we gradually began expanding P.U.’s curriculum. Sculpting, painting, acting, meditation, belly dancing, live-action filmmaking, computer programming, design and color theory, ballet—over the years, we have offered free classes in all of them. This meant spending not only the time to find the best outside teachers but also the real cost of freeing people up during their workday to take the classes. So what exactly was Pixar getting out of all of this? It wasn’t that the class material directly enhanced our employees’ job performance. Instead, there was something about an apprentice lighting technician sitting alongside an experienced animator, who in turn was sitting next to someone who worked in legal or accounting or security—that proved immensely valuable. In the classroom setting, people interacted in a way they didn’t in the workplace. They felt free to be goofy, relaxed, open, vulnerable. Hierarchy did not apply, and as a result, communication thrived. Simply by providing an excuse for us all to toil side by side, humbled by the challenge of sketching a self-portrait or writing computer code or taming a lump of clay, P.U. changed the culture for the better. It taught everyone at Pixar, no matter their title, to respect the work that their colleagues did. And it made us all beginners again. Creativity involves missteps and imperfections. I wanted our people to get comfortable with that idea—that both the organization and its members should be willing, at times, to operate on the edge. I can understand that the leaders of many companies might wonder whether or not such classes would truly be useful, worth the expense. And I’ll admit that these social interactions I describe were an unexpected benefit. But the purpose of P.U. was never to turn programmers into artists or artists into belly dancers. Instead, it was to send a signal about how important it is for every one of us to keep learning new things. That, too, is a key part of remaining flexible: keeping our brains nimble by pushing ourselves to try things we haven’t tried before. That’s what P.U. lets our people do, and I believe it makes us stronger.

With the news that he would soon be a daddy again, Steve seemed inspired to work even harder. Our zoo continued to get busier, and we had trouble coping with the large numbers. The biggest draw was the crocodiles. Crowds poured in for the croc shows, filling up all the grandstands. The place was packed. Steve came up with a monumental plan. He was a big fan of the Colosseum-type arenas of the Roman gladiator days. He sketched out his idea for me on a piece of paper. “Have a go at this, it’s a coliseum,” he declared, his eyes wide with excitement. He drew an oval, then a series of smaller ovals in back of it. “Then we have crocodile ponds where the crocs could live. Every day a different croc could come out for the show and swim through a canal system”--he sketched rapidly--“then come out in the main area.” “Canals,” I said. “Could you get them to come in on cue?” “Piece of cake!” he said. “And get this! We call it…the Crocoseum!” His enthusiasm was contagious. Never mind that nothing like this had ever been done before. Steve was determined to take the excitement and hype of the ancient Roman gladiators and combine it with the need to show people just how awesome crocs really were. But it was a huge project. There was nothing to compare it to, because nothing even remotely similar had ever been attempted anywhere in the world. I priced it out: The budget to build the arena would have to be somewhere north of eight million dollars, a huge expense. Wes, John, Frank, and I all knew we’d have to rely on Steve’s knowledge of crocodiles to make this work. Steve’s enthusiasm never waned. He was determined. This would become the biggest structure at the zoo. The arena would seat five thousand and have space beneath it for museums, shops, and a food court. The center of the arena would have land areas large enough for people to work around crocodiles safely and water areas large enough for crocs to be able to access them easily. “How is this going to work, Steve?” I asked, after soberly assessing the cost. What if we laid out more than eight million dollars and the crocodiles decided not to cooperate? “How are you going to convince a crocodile to come out exactly at showtime, try to kill and eat the keeper, and then go back home again?” I bit my tongue when I realized what was coming out of my mouth: advice on crocodiles directed at the world’s expert on croc behavior. Steve was right with his philosophy: Build it, and they will come. These were heady times. As the Crocoseum rose into the sky, my tummy got bigger and bigger with our new baby. It felt like I was expanding as rapidly as the new project. The Crocoseum debuted during an Animal Planet live feed, its premiere beamed all over the world. The design was a smashing success. Once again, Steve had confounded the doubters.

One persistent attempt to find a thread in the history of mankind focuses on the notion of Reason. Human history, on this view, is the unfolding of rationality. Human thought, institutions, social organization, become progressively more rational. The idea that Reason is the goal or end-point of the development of mankind can fuse with the view that it also constitutes the principal agency which impels humanity along its path. It seems natural to suppose that changes in human life spring from growth of our ideas, our ways of thought. What is conduct if not implementation of ideas? If we improve, is it not because our ideas have improved? Though somewhat suspect as the fruit of vainglorious self-congratulation by nineteenth century Europeans, the role of thought and reason still deserves some consideration. The problems and difficulties facing a reason-centred view of history are considerable. No doubt the idea is far less popular now than it was in the heady days of rationalistic optimism, which stretched, in one form or another, from the late eighteenth to the early twentieth centuries. But, in a sober and not necessarily optimistic form, it remains necessary to attempt some kind of sketch of the cognitive transformation of mankind, from the days of hunting to those of computing. The nature of our cognitive activities has not remained constant: not only have things changed, but the change has also been deep and fundamental. It is not merely a matter of more of the same. The changes that have occurred have been changes in kind. A convenient baseline or starting point for the discussion of this problem is provided by the blatant absurdity of some at least of the beliefs of primitive man. Many of us like to think that the standards of what is acceptable in matters of belief have gone up, and that the advance of reason in history is manifest in this raising of standards. We have become fastidious and shrink from the beliefs of our distant ancestors, which strike us as absurd. Perhaps, so as not to prejudge an important issue, one ought to say-it is the translations frequently offered of some of the beliefs of some primitive men which now seem so absurd. It may be—and some have indeed argued this—that the absurdity is located not in the original belief itself but in its translation, inspired by a failure to understand the original context. On this view, it is the modern translator, and not the savage, who is guilty of absurdity.

One persistent attempt to find a thread in the history of mankind focuses on the notion of Reason. Human history, on this view, is the unfolding of rationality. Human thought, institutions, social organization, become progressively more rational. The idea that Reason is the goal or end-point of the development of mankind can fuse with the view that it also constitutes the principal agency which impels humanity along its path. It seems natural to suppose that changes in human life spring from growth of our ideas, our ways of thought. What is conduct if not implementation of ideas? If we improve, is it not because our ideas have improved? Though somewhat suspect as the fruit of vainglorious self-congratulation by nineteenth century Europeans, the role of thought and reason still deserves some consideration. The problems and difficulties facing a reason-centred view of history are considerable. No doubt the idea is far less popular now than it was in the heady days of rationalistic optimism, which stretched, in one form or another, from the late eighteenth to the early twentieth centuries. But, in a sober and not necessarily optimistic form, it remains necessary to attempt some kind of sketch of the cognitive transformation of mankind, from the days of hunting to those of computing. The nature of our cognitive activities has not remained constant: not only have things changed, but the change has also been deep and fundamental. It is not merely a matter of more of the same. The changes that have occurred have been changes in kind. A convenient baseline or starting point for the discussion of this problem is provided by the blatant absurdity of some at least of the beliefs of primitive man. Many of us like to think that the standards of what is acceptable in matters of belief have gone up, and that the advance of reason in history is manifest in this raising of standards. We have become fastidious and shrink from the beliefs of our distant ancestors, which strike us as absurd. Perhaps, so as not to prejudge an important issue, one ought to say - it is the translations frequently offered of some of the beliefs of some primitive men which now seem so absurd. It may be — and some have indeed argued this — that the absurdity is located not in the original belief itself but in its translation, inspired by a failure to understand the original context. On this view, it is the modern translator, and not the savage, who is guilty of absurdity.

Life is a painting dream and sketch your own life.

Blue Bottle wanted to help customers find coffee they’d love. But coffee beans all look alike, so photos wouldn’t be helpful. To find useful solutions, the team did Lightning Demos of websites selling everything from clothes to wine, looking for ways to describe sensory details such as flavor, aroma, and texture. In the end, it was a chocolate-bar wrapper that provided the most useful idea. Tcho is a chocolate manufacturer in Berkeley, California. Printed on the wrapper of every Tcho bar is a simple flavor wheel with just six words: Bright, Fruity, Floral, Earthy, Nutty, and Chocolatey. When Blue Bottle looked at that wheel, they got inspired, and when we sketched, someone repurposed the idea as a simple flavor vocabulary for describing Blue Bottle’s coffee beans: In Friday’s test, and later, at the new online store, customers loved the simple descriptions. It’s a prime example of finding inspiration outside your domain (and yet another reason to be grateful for chocolate).

Creation is not a moment of inspiration but a lifetime of endurance. The drawers of the world are full of things begun. Unfinished sketches, pieces of invention, incomplete product ideas, notebooks with half-formulated hypotheses, abandoned patents, partial manuscripts. Creating is more monotony than adventure. It is early mornings and late nights: long hours doing work that will likely fail or be deleted or erased—a process without progress that must be repeated daily for years. Beginning is hard, but continuing is harder. Those who seek a glamorous life should not pursue art, science, innovation, invention, or anything else that needs new. Creation is a long journey where most turns are wrong and most ends are dead. The most important thing creators do is work. The most important thing they don’t do is quit.

My day begins at dawn as I take my cup of strong black espresso outside to watch the sunrise. I learned this ritual from my mother, who worked in a bread shop. Bakers are the great philosophers of the world, mostly because they have to get up early. When the world is quiet, great art is created - or, at the very least, conceptualized. Now is the moment to sketch, make notes, and dream.

It may take some time to figure out, but eventually it'll dawn upon you that there isn't a blueprint for life and that we are actually sketching as we go.

Even at her sickest, she tried to create at least one drawing every single day. Sometimes she drew stuff out of her head. Other times, she sketched nurses and orderlies and other patients. Once, she was so tired that she could barely sit up, but she struggled through a detailed drawing of her own scrawny fingers holding a pencil.

Full disclosure, I’ve sketched you before. You’re my muse.” My heart stops beating at that little tidbit. “What? Why?” “Dunno,” he says, biting down on the end of the charcoal pencil and flipping his sketchbook open. “Just saw you, and bam…inspiration hit.

Association of dissimilar ideas “I had earlier devised an arrangement for beam steering on the two-mile accelerator which reduced the amount of hardware necessary by a factor of two…. Two weeks ago it was pointed out to me that this scheme would steer the beam into the wall and therefore was unacceptable. During the session, I looked at the schematic and asked myself how could we retain the factor of two but avoid steering into the wall. Again a flash of inspiration, in which I thought of the word ‘alternate.’ I followed this to its logical conclusion, which was to alternate polarities sector by sector so the steering bias would not add but cancel. I was extremely impressed with this solution and the way it came to me.” “Most of the insights come by association.” “It was the last idea that I thought was remarkable because of the way in which it developed. This idea was the result of a fantasy that occurred during Wagner…. [The participant had earlier listened to Wagner’s ‘Ride of the Valkyries.’] I put down a line which seemed to embody this…. I later made the handle which my sketches suggested and it had exactly the quality I was looking for…. I was very amused at the ease with which all of this was done.” 10. Heightened motivation to obtain closure “Had tremendous desire to obtain an elegant solution (the most for the least).” “All known constraints about the problem were simultaneously imposed as I hunted for possible solutions. It was like an analog computer whose output could not deviate from what was desired and whose input was continually perturbed with the inclination toward achieving the output.” “It was almost an awareness of the ‘degree of perfection’ of whatever I was doing.” “In what seemed like ten minutes, I had completed the problem, having what I considered (and still consider) a classic solution.” 11. Visualizing the completed solution “I looked at the paper I was to draw on. I was completely blank. I knew that I would work with a property three hundred feet square. I drew the property lines (at a scale of one inch to forty feet), and I looked at the outlines. I was blank…. Suddenly I saw the finished project. [The project was a shopping center specializing in arts and crafts.] I did some quick calculations …it would fit on the property and not only that …it would meet the cost and income requirements …it would park enough cars …it met all the requirements. It was contemporary architecture with the richness of a cultural heritage …it used history and experience but did not copy it.” “I visualized the result I wanted and subsequently brought the variables into play which could bring that result about. I had great visual (mental) perceptibility; I could imagine what was wanted, needed, or not possible with almost no effort. I was amazed at my idealism, my visual perception, and the rapidity with which I could operate.

Professor followed me out to the studio. Pollack considered coming along then changed her mind and returned to snoozing on the couch. Once in front of the easel, I let loose. I sketched Lark smiling. Painted Lark laughing. Grabbed charcoal and drew her sleeping. My muse inspired me to create one image of her after another. Eventually, I sketched her expression when she had an orgasm. Hands covered in paint and charcoal, I sat down and stared at the pictures I’d created. As Lark looked back at me from all of my creations, I accepted what I had been hiding from all morning. I was in love with Lark. The fantasy of her had transformed into the reality of loving her. She was everything I hoped for all those nights when I wished to know her. Now, I knew her and she was better than the fantasy. Lark knew how to make me feel like a man, strong and protective. She also understood how to keep my head from lodging up my arrogant ass. Her teasing made me laugh and kept me in line. I wanted my tiny fighter to smile at me always.

Well! Being born into this world there are, I suppose, many aims which we may strive to attain. The Imperial Throne of the Mikado inspires us with the greatest awe; even the uttermost leaf of the Imperial Family Tree is worthy of honour and very different from the rest of mankind. As to the position of a certain august personage (i.e. the Mikado's regent) there can be no question, and those whose rank entitles them to a Palace Guard are very magnificent also - their sons and grandsons, even if they fall into poverty, are still gentlefolk. But when those who are of lower degree chance to rise in the world and assume an aspect of arrogance, though they may think themselves grand, it is very regrettable. Now there is no life so undesirable as that of a priest. Truly indeed did Sei Shô-nagon write, 'People think of them as if they were only chips of wood.' Their savage violence and loud shouting does not show them to advantage, and I feel sure that, as the sage Zôga said, their desire for notoriety is not in accordance with the sacred precepts of Buddha. To retire from the world in real earnest, on the contrary, is indeed praiseworthy, and some I hope there may be who are willing to do so. A man should preferably have pleasing features and a good style; one never tires of meeting those who can engage in some little pleasant conversation and who have an attractive manner, but who are not too talkative. It is a great pity, however, if a man's true character does not come up to his prepossessing appearance. One's features are fixed by nature; but, if we wish to, may we not change our hearts from good to better? For, if a man though handsome and good-natured has no real ability, his position will suffer, and in association with men of a less engaging aspect his deficiency will cause him to be thrown into the background, which is indeed a pity. The thing to aim at, therefore, is the path of true literature, the study of prose, poetry, and music; to be an accepted authority for others on ancient customs and ceremonies is also praiseworthy. One who is quick and clever at writing and sketching, who has a pleasant voice, who can beat time to music, and who does not refuse a little wine, even thoughhe cannot drink much, is a good man.

Well! Being born into this world there are, I suppose, many aims which we may strive to attain. The Imperial Throne of the Mikado inspires us with the greatest awe; even the uttermost leaf of the Imperial Family Tree is worthy of honour and very different from the rest of mankind. As to the position of a certain august personage (i.e. the Mikado's regent) there can be no question, and those whose rank entitles them to a Palace Guard are very magnificent also - their sons and grandsons, even if they fall into poverty, are still gentlefolk. But when those who are of lower degree chance to rise in the world and assume an aspect of arrogance, though they may think themselves grand, it is very regrettable. Now there is no life so undesirable as that of a priest. Truly indeed did Sei Shô-nagon write, 'People think of them as if they were only chips of wood.' Their savage violence and loud shouting does not show them to advantage, and I feel sure that, as the sage Zôga said, their desire for notoriety is not in accordance with the sacred precepts of Buddha. To retire from the world in real earnest, on the contrary, is indeed praiseworthy, and some I hope there may be who are willing to do so. A man should preferably have pleasing features and a good style; one never tires of meeting those who can engage in some little pleasant conversation and who have an attractive manner, but who are not too talkative. It is a great pity, however, if a man's true character does not come up to his prepossessing appearance. One's features are fixed by nature; but, if we wish to, may we not change our hearts from good to better? For, if a man though handsome and good-natured has no real ability, his position will suffer, and in association with men of a less engaging aspect his deficiency will cause him to be thrown into the background, which is indeed a pity. The thing to aim at, therefore, is the path of true literature, the study of prose, poetry, and music; to be an accepted authority for others on ancient customs and ceremonies is also praiseworthy. One who is quick and clever at writing and sketching, who has a pleasant voice, who can beat time to music, and who does not refuse a little wine, even though he cannot drink much, is a good man.

Cal opens a drawer, pulls out a sketch pad and charcoal and sets them down on a drafting table. 'Let's draw.' I smile the way I did as a child when receiving a fresh box of 64 Crayola crayons, unabashedly showing all my teeth. I remember how much I used to love to draw, and I wonder why I don't do it anymore. I write, I guess. I draw with words, but when I see Cal's pad and charcoal, I'm overwhelmed with the feeling that it's not the same. I use my words, my artist's charcoal to describe what I'm thinking. He draws with an imperfect fluidity, pausing only occasionally to shade the drawing with his thumb or brush the paper with the back of his hands. He listens and nods and doesn't interrupt. And when I'm done speaking he looks at the drawing, and his eyes get really big. Slowly, he turns his pad around for me to see. My heart stops and then starts. 'Yes,' I say. It's perfect. Alive with added detail and beautiful Inuit soulfulness I couldn't have even imagined sitting outside in my car. My fear is gone. There's a tingling in my skin, like I can feel the thousand needle pricks to come. I am alive.

Genevieve…” He sat directly beside her, his flat abdomen exposed to the firelight, his expression suggesting he’d welcome eagles tearing at his flesh rather than endure her touch. “I wanted to sketch you without your shirt, but I was afraid to ask. I wanted to sketch you—” The look he gave her was rueful and tender. “You will be the death of me, woman.” He sounded resigned to his fate, and Jenny liked it when he called her woman in that exasperated, affectionate tone. She did not like it quite as well when he hoisted her bodily over his lap, so she sat facing him and his exposed, lacerated torso. “You will note the absence of any felines,” Elijah said, hands falling to his sides. “And yet, I must warn you, Genevieve, indulging your curiosity is still ill-advised.” He thought this was curiosity on her part, and some of it was, but not curiosity about what happened between women and men. Jenny’s curiosity was far more specific, and more dangerous than he knew: she wanted to know about Elijah Harrison, and about Elijah Harrison and Genevieve Windham. “My parents will be home in a few days, Elijah, possibly as soon as this weekend.” The notion made her lungs feel tight and the whisky roil in her belly. He trapped her hands and stopped her from tracing the muscles of his chest. “It’s all right. I understand. Explore to your heart’s content.” A pulse beat at the base of his throat. She touched two fingers to it. “It’s late, you don’t owe me—” He kissed her, a gentle, admonitory kiss, like Jock’s cautionary growl. She took his meaning: no more trying to coax enthusiasm from Elijah for her company, no more trying to inspire him to reassurances that he felt something special for her. He would permit her curiosity and nothing more. The

He rose and held out a hand to her, and Jenny hoped it wasn’t the whisky inspiring Elijah’s overture. She gave him her hand and was tugged into an embrace, Elijah’s cheek resting against her hair. “While you sketch your cat, visit the sick with your mother, and seethe with frustrated artistic talent. Let’s hear a curse, Genevieve. Let the drink, the lateness of hour, and the company inspire you, hmm?” No cat came between them, no stays, no layers of proper attire. Held against Elijah’s body, Jenny felt the implacable structure of a large, fit man. His person was as soft and giving as a sculptor’s block of raw marble, but much, much warmer. “The only curse I know is damn—double damn.” “That’s a start, like a few lines on a page. Damn has promise, but it needs embellishment. Bloody double damn?” He spoke near her ear, his breath tickling her neck. “Bloody is vulgar and graphic. Also quite naughty, and daring.” “All the better. Come, let’s be vulgar and graphic on the subject of my sketches for the day.” He

In 1829 Rossini was at an age which has often proven critical in the lives of musicians, painters and writers. Lapses into silence far more complete than Rossini's, creative failures, suicides, and unanticipated deaths have been common in the middle to late 30s. As Charles Rosen has noted, 'It is the age when the most fluent composer begins to lose the ease of inspiration he once possessed, when even Mozart had to make sketches and to revise'.

One persistent attempt to find a thread in the history of mankind focuses on the notion of Reason. Human history, on this view, is the unfolding of rationality. Human thought, institutions, social organization, become progressively more rational. The idea that Reason is the goal or end-point of the development of mankind can fuse with the view that it also constitutes the principal agency which impels humanity along its path. It seems natural to suppose that changes in human life spring from growth of our ideas, our ways of thought. What is conduct if not implementation of ideas? If we improve, is it not because our ideas have improved? Though somewhat suspect as the fruit of vainglorious self-congratulation by nineteenth century Europeans, the role of thought and reason still deserves some consideration. The problems and difficulties facing a reason-centred view of history are considerable. No doubt the idea is far less popular now than it was in the heady days of rationalistic optimism, which stretched, in one form or another, from the late eighteenth to the early twentieth centuries. But, in a sober and not necessarily optimistic form, it remains necessary to attempt some kind of sketch of the cognitive transformation of mankind, from the days of hunting to those of computing. The nature of our cognitive activities has not remained constant: not only have things changed, but the change has also been deep and fundamental. It is not merely a matter of more of the same. The changes that have occurred have been changes in kind. A convenient baseline or starting point for the discussion of this problem is provided by the blatant absurdity of some at least of the beliefs of primitive man. Many of us like to think that the standards of what is acceptable in matters of belief have gone up, and that the advance of reason in history is manifest in this raising of standards. We have become fastidious and shrink from the beliefs of our distant ancestors, which strike us as absurd. Perhaps, so as not to prejudge an important issue, one ought to say-it is the translations frequently offered of some of the beliefs of some primitive men which now seem so absurd. It may be—and some have indeed argued this—that the absurdity is located not in the original belief itself but in its translation, inspired by a failure to understand the original context. On this view, it is the modern translator, and not the savage, who is guilty of absurdity.

Creation is not a moment of inspiration but a lifetime of endurance. The drawers of the world are full of things begun. Unfinished sketches, pieces of invention, incomplete product ideas, notebooks with half-formulated hypotheses, abandoned patents, partial manuscripts. Creating is more monotony than adventure. It is early mornings and late nights: long hours doing work that will likely fail or be deleted or erased—a process without progress that must be repeated daily for years. Beginning is hard, but continuing is harder. Those who seek a glamorous life should not pursue art, science, innovation, invention, or anything else that needs new. Creation is a long journey where most turns are wrong and most ends are dead. The most important thing creators do is work. The most important thing they don’t do is quit. The

Maybe just a bored vandal, camped out at night centuries after the wall had been build, inspired by the stars and his own loneliness to sketch his own likeness.

Think about when you were a child -- curious, carefree, and not so critical of yourself. Chances are that you liked to draw or color, but that you stopped doing so at some point along your journey to adulthood. Here's the thing: It is perfectly okay to draw like your six- or eight-year-old self.

Try to consider journaling time a gift instead of a chore -- a time you are giving to yourself to reflect and relax, all while improving your communication and creative-thinking skills.

Trust me, even Rembrandt made paintings he wasn't happy with. It is all part of the creative experience. As often as you will put down something you are proud of, you will also put down something you are embarrassed by and want to tear up and throw away, but I urge you not to and instead to simply work around it.

Life takes so many interesting and unexpected turns. Drawing, painting, and writing about your days can provide you with a sense of peace and a deeper understanding of your thoughts and dreams. I know that drawing can be humbling and sometimes frustrating when you first begin. But if you practice a little bit each day, you will see gratifying improvement. It is important to remember that you can approach your sketch journal from so many creative angles, expressing and releasing your memories and creativity simultaneously.

What if you have a pen and you can sketch a dream of another's? Sounds beautiful, right? It is even more wonderfully beautiful when you actually do it, for dreams are connected like all of our souls. Dreams are like little stars of our soul, and when you paint one with the stardust of your soul, be it yours or another's, the sky of your soul would always sparkle with the light of a tranquil smile. There is nothing more valuable than holding a hand and telling that person that you believe in that soul and that nothing is truly impossible, after all each and every soul is a reflection of this infinite Universe. There is no treasure richer than a smile of a heart, and when you sprinkle your goodness around and embrace all with the bliss of your own soul, with the love of your heart and the light of your mind, your door of happiness would always be unlocked where you can walk in anytime, and no matter how dark this cave of reality might be, the sky inside that door is always the brightest with a thousand sunshine of an infinite halo of dreams. I know and I have seen that when you are good while most of the people around would embrace you, get inspired and try to walk with you, there would also be a few who would doubt you and even try to pull you down by demotivating or derogatory words but do not let them win over your stardust, rather shine so bright that even their darkness is eaten up by your light. Let your good heart be your strength and walk with courage that God is the ultimate witness and the judge of all. Don't even halt for a second to think if you would help another, no matter how distant that person might be, in fact even if that person hasn't been good to you, or scarred you, you stay true to your path and treat everyone with compassion and love and know that in the book of Life every chapter finds a beginning and an ending, you paint that ending with a smile on the heart of every person you meet, knowing that smiles are the brightest sunshine of this Universe. The world might try to distract you and your mind might try to tell you that it doesn't matter, but then stay focused on this journey of Love and listen to your heart who knows that everything matters at the end of the day, after all nothing goes in waste ever. Help everyone even if that costs you something, because your help might just bring the most needed smile in a heart and every smile shines with a thousand radiance. Go an extra mile, and stay connected with every soul you have met in this voyage of Life because everyone you have come across has shaped your soul and your destination bit by bit. Value friends and family and say thank you and sorry often, not as a formality but as a reminder that every action or thought counts, knowing that relationships bloom like a watered plant. Resonate love and light and stay kind, no matter what falls on your path, because eventually all it takes is an iota of love to declutter a cloud of darkness. Let the goodness of your heart be your guide and keep holding that pen to sketch a dream of another's, because every dream is a painting of a soul in the Infinite canvas of this beautiful Universe. So, I decide to hold the pen and sketch a dream of another's. Do you?

If you had to pick a favorite place where you live, what would it be? It could be an inspiring place like a beautiful park or a lookout point. Or it could be a library, a café, or even your own front yard. Once you’ve settled on a special spot, bring sketching, writing, or painting supplies to this place. Make sure you have a comfortable spot to sit, then observe your surroundings. Notice the details, from the smells and sounds to the emotions you experience, as you sit. Now try to re-create this space in the creative medium of your choice — a story, poem, drawing, song, comic book, short movie — whatever you want. Express yourself via your chosen art medium. It doesn’t have to be perfect. When you’re done, challenge yourself to share your work with at least one person.

A poet may create or reminds.

Strong sketches can contribute to the validity and realization of promising concepts. Understanding perspective can assist in capturing initial bursts of inspiration with well-structured sketches, before they are forgotten.

I have had to relinquish the idea of finishing and content myself with doing.

When was the last time I’d walked into an art store? I couldn’t remember. But this store was like entering Mecca. Every kind of medium you could dream of was there. And the sketch pads alone made me ache to take them all home. There’s something really special about an art store. Here you have colors and blank paper of every size and every color, every saturation and every combination at your fingertips. Everyone walks out of the store with essentially the same thing. But it’s what happens after it all leaves the store . . . the possibilities are endless. I couldn’t possibly count the amount of times that just being in an art store had inspired a new piece, or changed my direction on a current project. I honest-to-God breathed a sigh of relief just being in this store. How in the world had I ever been gone from this world for so long? Does anyone truly know the beauty of a brand-new box of perfectly sharpened, never-been-used colored pencils? Can anyone ever really appreciate the curve of a brand-new sable paintbrush, edge never before dipped into a vibrant cerulean acrylic and swirled across a virgin canvas? Simply put, it’s something I’d never take for granted again.

If talent exists, my definition of it is this: it is the capacity to spend innumerable hours doing something and to believe that somehow it matters. And perhaps if God had a hand in it, it was in planting that tenacity in some of us.

When two fixed points are projected in succession on a screen they are seen as two traces of a single movement in which they even lose their distinct existence. Here what happens is that the external forces insert themselves into a system of equivalents that is ready to function and in which they operate upon us, like signs in a language, not by arousing their uniquely correspondent significations but, like mileposts, in a process which is still unfolding, or as though they were picking out a path which, as it were, inspired them from a distance. Thus perception is already expression. But this natural language does not isolate; it does not ''bring out" what is expressed, but allows it to adhere in its own way more to the "perceptual chain" than to the "verbal chain." When Gestalt theorists show that the perception of motion depends upon numerous figural moments and ultimately on the whole structure of the field, they are sketching in the same way as the perceiving subject a sort of thinking apparatus which is his incarnate and habitua! being. The accomplishment of motion and change of location emanate from a field structure apart from which they are unintelligible.

In short, an argumentation sketch may be able to inspire and lead us in our reflections. We can take one step further by acknowledging that there may be other ways - for example, the aphoristic and even mystical style exemplified in the Lao Zi and to some extent Nietzsche's writing - to express (the author's) and inspire (the readers') reflections than argumentation (argumentation sketch included). This style has its benefits, especially if what is to be expressed has some form of internal tension, or if what is to be said is ineffable in a way. This is the issue underlying the problem of writing in Plato's Phaedrus, the problem of speaking about the inspeakable Dao in the Lao Zi, the problem of how to express oneself without being trapped in one's words in the Zhuang Zi, and the problem of how to assert nothingness in Buddhism.

I need it [the sketch of me] to remind myself that I can be this girl, that this girl is inside of me. This hopeful, strong person.

Sometimes letting go leads to your best results.

Questions and topics for discussion 1) What do you think it means to be a Bossypants? Do you know anyone personally that you would describe as a Bossypants and did the society you live in ever try to drown her? 2) The lessons Tina has learned from her work as a writer, a boss, a performer, and a producer are lessons that can be carried across a wide array of disciplines. (For instance, from her instructions about improv: Always speak in statements.) Which moments resonated the most for you? 3) In Chapter 4, Tina realizes that she has been guilty of holding her gay friends to a double standard—enjoying their company but still expecting them to stay in a “half-closet.” Have you ever had a moment like this? In a related question, do you think young pop stars today experience too much pressure to pretend to be a lesbian with Madonna? 4) While working at the YMCA in Chicago, Tina experienced some personal low points. But it also propelled her into pursuing her improv career. Have you ever experienced a similarly transformative period? During your transformation, did you ever spin around and pretend to be Wonder Woman? 5) What are some of your favorite SNL sketches or 30 Rock episodes? Should we just act them out? 6) Which other celebrities, besides Kim Kardashian, do you think may have been engineered by Russian scientists to sabotage our athletes? 7) Are there more specifics you would add to “The Mother’s Prayer for Its Daughter”? 8) Tina writes a love letter to Amy Poehler. Do you have friends who inspire you in the same way that Amy inspires Tina? ACTIVITY: Write a love letter to Amy Poehler and mail it to her home address (p. 291).

Simplicity, balance, character, direction and relation of the limbs to each other, with their proportions and general symmetry of the whole, must be apprehended in a flash and put down in long lines, without lingering on less important details of form, for there is little time to hesitate in making a ten-minutes sketch. The quicker we draw, the better, so long as we can keep up the tension of our eyes, brain and hand all working together at the same time. The moment one of these three faculties gets out of gear or tired, the vitality of the drawing is lost. An intelligent model in a good pose inspires us enormously to produce an artistic and living drawing. A drawing done in a few minutes, in a red-hot fever of excitement and with concentrated observation, following the contour of the form from start to finish, is far more living than the often elaborated drawings of a cataleptic, relaxed figure, dumped upon the traditional throne, so often seen in art schools ; for the essence of life figure drawing lies in the outline. There is no short cut, no royal road to excellence : the only way is by persistent study and cultivation of visual memory.

So before working to design the thing right, we must first be sure we’re designing the right thing. This calls for a process of diverging and converging twice. The “Double Diamond” asks us to discover many possible paths and goals before we define the problem and craft the plan; and then to develop and test prototypes before deciding upon and delivering the solution.[ 45] Figure 1-8. The Double Diamond. At the heart of design is our ability to model the world as it is and as it might be. This is powerful. A sketch or prototype can spark insights and change minds. Goals and vision may shift in a “now that I see it” moment. In recent years, business has begun to adapt these practices to strategy and planning under the aegis of Design Thinking. Post-its and prototypes engage our brains, bodies, colleagues, customers, and ecosystems in distributed cognition. Design helps us solve wicked problems by exploring paths and goals. And it works for individuals and teams, not just big business. In short, design is a great fit for planning, and its practices are the inspiration for this book.

Anyone can learn how to draw.

The Douglas Coupland–esque environment in which I work every day does not deter me from laying it down on paper; on the contrary: celebrate dullness, I say.

And this time, the muse who had sparked his attention had been a true one. Not a passing fancy, sufficient to stimulate a sketch or two, but an out-and-out, flesh-and-blood Calliope, Clio, or Erato. A muse to inspire a masterwork.