Tag: Art

Vincent van Gogh on the Two Types of Idlers

Self-Portrait by Vincent van Gogh (1889)
Self-Portrait by Vincent van Gogh (1889)

The anthology Ever Yours: The Essential Letters, contains 265 of Vincent van Gogh’s letters, which is nearly a third of all the surviving letters he penned.

In a long and winding letter to his brother Theo dated Thursday, 24 June 1880, van Gogh shines light on his independent mind.

Now one of the reasons why I’m now without a position, why I’ve been without a position for years, it’s quite simply because I have different ideas from these gentlemen who give positions to individuals who think like them.

Later, in the same letter, he defines two types of idlers.

I’m writing you somewhat at random whatever comes into my pen; I would be very happy if you could somehow see in me something other than some sort of idler.

Because there are idlers and idlers, who form a contrast.

There’s the one who’s an idler through laziness and weakness of character, through the baseness of his nature; you may, if you think fit, take me for such a one. Then there’s the other idler, the idler truly despite himself, who is gnawed inwardly by a great desire for action, who does nothing because he finds it impossible to do anything since he’s imprisoned in something, so to speak, because he doesn’t have what he would need to be productive, because the inevitability of circumstances is reducing him to this point. Such a person doesn’t always know himself what he could do, but he feels by instinct, I’m good for something, even so! I feel I have a raison d’être! I know that I could be a quite different man! For what then could I be of use, for what could I serve! There’s something within me, so what is it! That’s an entirely different idler; you may, if you think fit, take me for such a one.

In the springtime a bird in a cage knows very well that there’s something he’d be good for; he feels very clearly that there’s something to be done but he can’t do it; what it is he can’t clearly remember, and he has vague ideas and says to himself, ‘the others are building their nests and making their little ones and raising the brood’, and he bangs his head against the bars of his cage. And then the cage stays there and the bird is mad with suffering . ‘Look, there’s an idler’, says another passing bird — that fellow’s a sort of man of leisure. And yet the prisoner lives and doesn’t die; nothing of what’s going on within shows outside, he’s in good health, he’s rather cheerful in the sunshine. But then comes the season of migration.

Ever Yours: The Essential Letters sheds light on the turbulent and beautiful life of history’s greatest luminaries.

Vincent van Gogh on How To Live


Van Gogh didn’t become popular until shortly after his death. To this day it’s unclear whether his letters drove the initial interest in his art.

The anthology Ever Yours: The Essential Letters, contains 265 of Vincent van Gogh’s letters, which is nearly a third of all the surviving letters he penned.

On the third of April, 1878, in a noteworthy letter to his brother Theo, van Gogh sheds light on his intentions about how to live.

I’ve been thinking about what we discussed, and I couldn’t help thinking of the words ‘we are today what we were yesterday’. This isn’t to say that one must stand still and ought not try to develop oneself, on the contrary, there are compelling reasons to do and think so.

But in order to remain faithful to those words one may not retreat and, once one has started to see things with a clear and trusting eye, one ought not to abandon or deviate from that.


As far as being an homme intérieur et spirituel is concerned, couldn’t one develop that in oneself through knowledge of history in general and of certain people of all eras in particular, from biblical times to the Revolution and from The Odyssey to the books of Dickens and Michelet? And couldn’t one learn something from the work of the likes of Rembrandt or from Weeds by Breton, or The four times of the day by Millet, or Saying grace by Degroux, or Brion, or The conscript by Degroux (or else by Conscience), or his Apothecary, or The large oaks by Dupré, or even the mills and sand flats by Michel?

It’s by persevering in those ideas and things that one at last becomes thoroughly leavened with a good leaven, that of sorrowful yet always rejoicing, and which will become apparent when the time of fruitfulness is come in our lives, the fruitfulness of good works.

The ray from on high doesn’t always shine on us, and is sometimes behind the clouds, and without that light a person cannot live and is worth nothing and can do nothing good, and anyone who maintains that one can live without faith in that higher light and doesn’t worry about attaining it will end up being disappointed.

Vincent believed that one must pay the price to achieve the kind of success that was deserved — “that a victory achieved after lifelong work and effort is better than one achieved more quickly.”

He who lives uprightly and experiences true difficulty and disappointment and is nonetheless undefeated by it is worth more than someone who prospers and knows nothing but relative good fortune.


Do let us go on quietly, examining all things and holding fast to that which is good, and trying always to learn more that is useful, and gaining more experience.

Woe-spiritedness is quite a good thing to have, if only one writes it as two words, woe is in all people, everyone has reason enough for it, but one must also have spirit, the more the better, and it is good to be someone who never despairs.

Living means we will inevitably experience sorrow and disappointment.

If we but try to live uprightly, then we shall be all right, even though we shall inevitably experience true sorrow and genuine disappointments, and also probably make real mistakes and do wrong things, but it’s certainly true that it is better to be fervent in spirit, even if one accordingly makes more mistakes, than narrow-minded and overly cautious. It is good to love as much as one can, for therein lies true strength, and he who loves much does much and is capable of much, and that which is done with love is well done.


If one were to say but few words, though ones with meaning, one would do better than to say many that were only empty sounds, and just as easy to utter as they were of little use.

Love is the best and most noble thing in the human heart, especially when it has been tried and tested in life like gold in the fire, happy is he and strong in himself who has loved much and, even if he has wavered and doubted, has kept that divine fire and has returned to that which was in the beginning and shall never die. If only one continues to love faithfully that which is verily worthy of love, and does not squander his love on truly trivial and insignificant and faint-hearted things, then one will gradually become more enlightened and stronger.

The sooner one seeks to become competent in a certain position and in a certain profession, and adopts a fairly independent way of thinking and acting, and the more one observes fixed rules, the stronger one’s character becomes, and yet that doesn’t mean that one has to become narrow-minded.

It is wise to do that, for life is but short and time passes quickly. If one is competent in one thing and understands one thing well, one gains at the same time insight into and knowledge of many other things into the bargain.

It’s sometimes good to go about much in the world and to be among people, and at times one is actually obliged and called upon to do so, or it can be one way of ‘throwing oneself into one’s work unreservedly and with all one’s might’, but he who actually goes quietly about his work, alone, preferring to have but very few friends, goes the most safely among people and in the world. One should never trust it when one is without difficulties or some worry or obstacle, and one shouldn’t make things too easy for oneself. Even in the most cultured circles and the best surroundings and circumstances, one should retain something of the original nature of a Robinson Crusoe or a savage, for otherwise one hath not root in himself, and never let the fire in his soul go out but keep it going, there will always be a time when it will come in useful.

We must launch out into the great sea of life.

Launching out into the deep is what we too must do if we want to catch anything, and if it sometimes happens that we have to work the whole night and catch nothing, then it is good not to give up after all but to let down the nets again at dawn.

So let us simply go on quietly, each his own way, always following the light ‘sursum corda’, and as such who know that we are what others are and that others are what we are, and that it is good to have love one to another namely of the best kind, that believeth all things and hopeth all things, endureth all things and never faileth.

And not troubling ourselves too much if we have shortcomings, for he who has none has a shortcoming nonetheless, namely that he has none, and he who thinks he is perfectly wise would do well to start over from the beginning and become a fool.

We are today what we were yesterday, namely ‘honnêtes hommes’, but ones who must be tried with the fire of life to be innerly strengthened and confirmed in that which they are by nature through the grace of God.

Ever Yours: The Essential Letters is a collection of some of Vincent van Gogh’s best letters which shed light on a remarkable talent and his artistic notions.

The Eulogy Test: How to Live a Life of Small Kindnesses

Give Give give

“It’s easy to miss the real point of our lives even as we’re living them,” writes Arianna Huffington in her book Thrive. “And it is very telling what we don’t hear in eulogies.”

You never hear, ‘George increased market share by 30 percent,’” Huffington said at a recent event at Soho House in New York City. What you do hear in eulogies, she says, are stories of “small kindnesses.” Interestingly that’s also how to get ahead in the workplace.

In Make Your Mark: The Creative’s Guide to Building a Business with Impact Shane Snow, Chief Creative Officer at Contently, picks up this thread:

It’s well known that details make good art great. Subtle word choices separate great poets from amateurs. Small flourishes define superlative architecture. Tiny considerations make products world-class (“Jobs spent days agonizing over just how rounded the corners should be,” writes Walter Isaacson about the Apple II in Steve Jobs).

I think the same can be said about building a great business. Tiny considerations in the interactions companies have with their customers are all about focusing on people before profits—and, paradoxically, this can yield huge returns. This is the mentality that Wharton professor Adam Grant talks about in his research on corporate “givers” versus “takers.” In various now-famous studies in his book Give and Take, Grant has shown that the most successful people in the workplace tend to be the ones who give selflessly to others without expectation of returned favors. Research by Jim Stengel, former global marketing head at Procter & Gamble, shows that this also works at a corporate level. Businesses “center[ed] on improving people’s lives outperform their competitors,” he writes, after studying a decade of market performance of fifty thousand brands.

In Thrive, Huffington argues that power and money have too long been life’s main yardsticks of success, and that we should measure our achievements instead by four new metrics: Wisdom, Wonder, Well-Being, and Giving. If the eulogy test is an indication, Giving is likely the most memorable of the four.

“It’s tempting to reserve the giver label for larger-than-life heroes such as Mother Teresa or Mahatma Gandhi, but being a giver doesn’t require extraordinary acts of sacrifice,” Grant writes in Give and Take. “It just involves a focus on acting in the interests of others.”


When I look at other fast-growing companies with voracious users, I see small kindnesses everywhere. Uber recently upped the ante for me on car services when I got into one of its town cars in San Francisco. The driver had placed fancy jars of candies in the console for passengers. It was a small thing, but somehow it made me feel like the most important customer in the world. I gave him five stars. Tumblr’s terms of service reflect a culture of fun and user-centeredness: they use plain English and colloquialisms and throw in humor to make the read bearable. Few people read terms of service, and Tumblr doesn’t have to do this; they do it because they care about the little things. Google has famously kept its home page to a minimum number of words (currently I see sixteen, mostly the header and footer) in order to respect users’ time and not distract from the one thing they want: search. And Google periodically brings smiles to our faces by replacing its logo with themed “Doodles” on special occasions, such as the fiftieth anniversary of Dr. Who or Frankenstein author Mary Shelley’s birthday.

make your mark

This is a huge departure from the paradigm that’s dominated business for the last century. Instead of focusing on themselves, thoughtful companies are now asking what Eisenberg asks: “How can I put a smile on my audience’s face, in lieu of getting in their face?”

If I had my way, every business would adopt the manifesto that’s painted on the front wall of the Manhattan office of my friends at NextJump.com. The block letters read, “Our Mission: Do all the little things, so that others can do the things they were meant to do.” Free tattoos, fun “About Us” pages and invoices, plainspoken terms of service, and smile-inducing logo hacks are small investments, especially when compared with the costs of customer acquisition through advertising. But these kindnesses pay big dividends and are some of the ways new companies can hack the ladder to credibility and customer success in a short time. As Dr. Grant says, the more they give, the more successful they are. Indeed, a culture of tiny kindnesses isn’t just good for the world. It’s good for business.

Make Your Mark and Thrive add to our wisdom on how to live a meaningful life.

Building a Business and Making Your Mark

99u Don't hate Create

While ‘managing by bestseller’ is a misguided approach to fixing organizational problems, there is a lot to be learned from the leading experts and entrepreneurs on what’s different about building a business today.

Make Your Mark: The Creative’s Guide to Building a Business with Impact, edited by Jocelyn Glei, features insights from twenty-one leading experts and entrepreneurs to explore the principles that propel some of today’s most successful companies.

It’s about “applying the forces of business to creativity.”

In the foreword to the book, Scott Belsky, the Founder of Behance and author of Making Ideas Happen, points to one of the fundamental problems with creativity: it’s often undiscoverable. And if it’s undiscoverable it has no impact.

Creativity has many definitions.

For me, creativity is solving problems in new ways and conceiving new ways of looking at the world.

Creativity can be expressed in many forms, like art, science, and thought.

But creativity is all too often undiscoverable and incomprehensible.

Art, without distribution and discovery, moves nobody. Did it ever exist? Science, without clear explanation and advocacy, won’t be understood by the masses. Will it make an impact?

Creation, he argues, “must be made accessible for consumption.” Creativity alone, is not enough. We need to make it consumable by channeling and packaging it.

99u Make your Mark

The best businesses are purpose driven. But you can’t go far without an incredible product experience. What guides all great product development are the twin ideals of “an unstoppable enthusiasm for bringing something great into the world and a relentless focus on usability.” Making good products takes time.

Excellense is doing

Enter Sebastian Thrun, the leader behind the team that created Google Glass and the Google Self-Driving Car. He’s also the co-founder of Udacity, which is trying to disrupt education by improving the learning experience. Thrun does a Q&A in the book and it’s one of the best things I’ve read recently.

How do you focus your energies at the beginning of a project?

When thinking about products, I like to use a mountain-climbing analogy. The first step is to pick a peak. Don’t pick a peak because it’s easy. Pick a peak because you really want to go there; that way you’ll enjoy the process.

The second thing is to pick a team you trust and that’s willing to learn with you. Because the way mountain climbing really works is that you can’t climb the entire route perfectly. You have to know that you are going to make mistakes, that you’ll have to turn around, and that you’ll have to recover.

You also have to maintain your sense of purpose. For a long time, it may feel like you’re on the wrong path, but you must have the resilience to forge ahead. You just have to keep moving uphill.

It’s about the process not the outcome.

For me, the journey is much more delightful if you can derive pleasure from the process every day, rather than at the end of the year. If your goal is to IPO and get rich, then you’re going to be in for a very long, very sad ride. Because most people don’t IPO and don’t get rich.

Our most important asset is our time, so I think it’s best to manage your time well right now and be happy about it, rather than focus on some deferred goal, like buying a fancy car in the future. The data shows that people who are rich aren’t any happier, so you might as well derive your happiness from what you are doing today.

How does iteration figure into your process? Do you think it’s best to create a functional prototype as soon as possible?

To return to the mountain idea, if you think about it, there’s no other way to get up the mountain than taking a hundred thousand steps. You could have all the meetings and all the documentation and work for weeks on end to make the perfect plan. But in my opinion, all you’ve done at that point is lost time. You’ve done nothing. You’ve learned nothing.

Sure, if this mountain has been climbed ten thousand times before, then you just get the book, and the maps, and you follow the same steps. But that’s not innovation. Innovation is about climbing a mountain that no one has climbed before. So there ought to be some unknowns along the way because no one has solved the problem yet.

And when you’re innovating, sheer thinking just won’t work. What gets you there is fast iteration, and fast failing. And when you fail, you’ve done something great: you’ve learned something. In hindsight, it might look a little embarrassing, and people will say, “You should’ve known that.” But the truth is you couldn’t have known because it’s unchartered territory. Almost every entrepreneur I know has failed massively many, many times along the way.

What’s the most common mistake that people make when they’re developing a product?

One mistake I see a lot is the eternal thinker, the perfectionist. This is the person that builds all the components without putting them together, because there’s perfection in component development. And they have this idea that if you only put things together right before launch, everything will go fine. Of course, that never happens.

The second mistake I see is more of a character issue, which is being discouraged by failure. Where you do something three or four times, spend half a year in development, and think, “Oh my god, I’m not there yet, let me change my career . . .” So that’s a lack of perseverance.

The last one I see is being driven by fear. When your competitor does something new, you become fearful and decide that you’re going to change course. But every single time you do this, you’re already behind your competitor and that’s just a bad idea. You have to have faith in yourself, and believe in your vision.

At some time, everybody is driven by fear. But we need to—as much as we can—take fear out of the game. One way to do this is to imagine that you are already successful. You’ve looked into the future, and you’ve succeeded. What would you enjoy doing today given that knowledge?

make your mark

Clearly, certain personality types are more comfortable with iteration and failure than others. Do you think you can learn to be if it doesn’t come naturally?

It’s obvious to me that there’s a certain personality type that can deal with failure more than others. But I think this awareness can also be acquired, especially when you realize that the failures that come out of experimentation really don’t relate to you as a person. It’s just the course of innovation; failure is a systemic part of that process.

For instance, if you’re driving a car, and after three hundred miles the car runs out of gas, no one takes offense because the “failure” is inherent to the car, not to you. It’s not your failure to operate the car correctly. We all know that you have to refill the gas tank; that’s just the way it is. So if we think of failure in innovation in the same way—as having to refill the gas tank regularly—we can take it much less personally.

That’s a great metaphor. So you think the idea of constant—and playful—experimentation is the best mind-set for innovation?

It’s very uncommon for people to have the attitude of “Wow, I don’t know.” In childhood, researchers call this a “growth mind-set”—this idea that you’re comfortable with the fact that you just don’t know something yet, or that you just can’t do something yet. But most people are raised with this feeling that they know everything.

But if you know everything, you can’t possibly innovate, right? It’s impossible, because there is nothing new to learn or discover.

There’s this funny saying that I like: “After high school, kids know everything, after their bachelor’s degree, they know something, and after a PhD, they now know that they know nothing.”

I think that the ability to see how much more there is to know and be humble about it is actually a good thing. Returning to the mountain metaphor, every mountain climber I know of feels small in the mountains and enjoys the feeling of being small. No matter what you do, the mountain is always bigger than you are.

Make Your Mark is the third book in 99u’s “missing curriculum” for creative leaders. The two prior ones are Manage Your Day-to-Day: Build Your Routine, Find Your Focus, and Sharpen Your Creative Mind and Maximize Your Potential: Grow Your Expertise, Take Bold Risks & Build an Incredible Career.

The Book of Trees: Visualizing Branches of Knowledge

“There certainly have been many new things
in the world of visualization; but unless
you know its history, everything might seem novel.”

— Michael Friendly


It’s tempting to consider information visualization a relatively new field that rose in response to the demands of the Internet generation. “But,” argues Manual Lima in The Book of Trees: Visualizing Branches of Knowledge, “as with any domain of knowledge, visualizing is built on a prolonged succession of efforts and events.”

This book is absolutely gorgeous. I stared at it for hours.

While it’s tempting to look at the recent work, it’s critical we understand the long history. Lima’s stunning book helps, covering the fascinating 800-year history of the seemingly simple tree diagram.

Trees are some of the oldest living things in the world. The sequoias in Northern California, for example, can reach a height of nearly 400 feet, with a trunk diameter of 26 feet and live to more than 3,500 years. “These grandiose, mesmerizing lifeforms are a remarkable example of longevity and stability and, ultimately, are the crowning embodiment of the powerful qualities humans have always associated with trees.”

Such an important part of natural life on earth, tree metaphors have become deeply embedded in the English language, as in the “root” of the problem or “branches” of knowledge. In the Renaissance, the philosophers Francis Bacon and Rene Descartes, for example, used tree diagrams to describe dense classification arrangements. As we shall see, trees really became popular as a method of communicating and changing minds with Charles Darwin.

The Kept

In the introduction Lima writes:

In a time when more than half of the world’s population live in cities, surrounded on a daily basis by asphalt, cement, iron, and glass, it’s hard to conceive of a time when trees were of immense and tangible significance to our existence. But for thousands and thousands of years, trees have provided us with not only shelter, protection, and food, but also seemingly limitless resources for medicine, fire, energy, weaponry, tool building, and construction. It’s only normal that human beings, observing their intricate branching schemas and the seasonal withering and revival of their foliage, would see trees as powerful images of growth, decay, and resurrection. In fact, trees have had such an immense significance to humans that there’s hardly any culture that hasn’t invested them with lofty symbolism and, in many cases, with celestial and religious power. The veneration of trees, known as dendrolatry, is tied to ideas of fertility, immortality, and rebirth and often is expressed by the axis mundi (world axis), world tree, or arbor vitae (tree of life). These motifs, common in mythology and folklore from around the globe, have held cultural and religious significance for social groups throughout history — and indeed still do.


The omnipresence of these symbols reveals an inherently human connection and fascination with trees that traverse time and space and go well beyond religious devotion. This fascination has seized philosophers, scientists, and artists, who were drawn equally by the tree’s inscrutabilities and its raw, forthright, and resilient beauty. Trees have a remarkably evocative and expressive quality that makes them conducive to all types of depiction. They are easily drawn by children and beginning painters, but they also have been the main subjects of renowned artists throughout the ages.


Our relationship with trees is symbiotic and this helps explain why it permeates our language and thought.

As our knowledge of trees has grown through this and many other scientific breakthroughs, we have realized that they have a much greater responsibility than merely providing direct subsistence for the sheltered ecosystems they support. Trees perform a critical role in moderating ground temperature and preventing soil erosion. Most important, they are known as the lungs of our planet, taking in carbon dioxide from the atmosphere and releasing oxygen. As a consequence, trees and humans are inexorably intertwined on our shared blue planet.

Our primordial, symbiotic relationship with the tree can elucidate why its branched schema has provided not only an important iconographic motif for art and religion, but also an important metaphor for knowledge-classification systems. Throughout human history the tree structure has been used to explain almost every facet of life: from consanguinity ties to cardinal virtues, systems of laws to domains of science, biological associations to database systems. It has been such a successful model for graphically displaying relationships because it pragmatically expresses the materialization of multiplicity (represented by its succession of boughs, branches, twigs, and leaves) out of unity (its central foundational trunk, which is in turn connected to a common root, source, or origin.)

While we can’t go back in time it certainly appears like Charles Darwin changed the trajectory of the tree diagram forever when he used it to change minds about one of our most fundamental beliefs.

Darwin’s contribution to biology—and humanity—is of incalculable value. His ideas on evolution and natural selection still bear great significance in genetics, molecular biology, and many other disparate fields. However, his legacy of information mapping has not been highlighted frequently. During the twenty years that led to the 1859 publication of On the Origin of Species by Means of Natural Selection, Darwin considered various notions of how the tree could represent evolutionary relationships among specifics that share a common ancestor. He produced a series of drawings expanding on arboreal themes; the most famous was a rough sketch drawn in the midst of a few jotted notes in 1837. Years later, his idea would eventually materialize in the crucial diagram that he called the “tree of life” (below) and featured in the Origin of Species.

Darwin was cognizant of the significance of the tree figure as a central element in representing his theory. He took eight pages of the chapter “Natural Selection,” where the diagram is featured, to expand in considerable detail on the workings of the tree and its value in understanding the concept of common descent.


A few months before the publication of his book, Darwin wrote his publisher, John Murray: “Enclosed is the Diagram which I wish engraved on Copper on folding out Plate to face latter part of volume. — It is an odd looking affair, but is indispensable to show the nature of the very complex affinities of past & present animals. …”

The illustration was clearly a “crucial manifestation of his thinking,” and of central importance to Darwin’s argument.

As it turned out it was the tree diagram, accompanied by Darwin’s detailed explanations, that truly persuaded a rather reluctant and skeptical audience to accept his groundbreaking ideas.

Coming back to the metaphor, before we go on to explain and show some of the different types of tree diagrams, Lima argues that given the long-lasting nature of the tree and its penetration into our lives as a way to organize, describe, and understand we can use the tree as a prism to better understand our world.

As one of the most ubiquitous and long-lasting visual metaphors, the tree is an extraordinary prism through which we can observe the evolution of human consciousness, ideology, culture, and society. From its entrenched roots in religious exegesis to its contemporary secular digital expressions, the multiplicity of mapped subjects cover almost every significant aspect of life throughout the centuries. But this dominant symbol is not just a remarkable example of human ingenuity in mapping information; it is also the result of a strong human desire for order, balance, hierarchy, structure, and unity. When we look at an early twenty-first-century sunburst diagram, it appears to be a species entirely distinct from a fifteenth-century figurative tree illustration. However, if we trace its lineage back through numerous tweaks, shifts, experiments, failures, and successes, we will soon realize there’s a defined line of descent constantly punctuated by examples of human skill and inventiveness.

Types of Tree Diagrams

Figurative Trees
Figurative Trees

Trees have been not only important religious symbols for numerous cultures through the ages, but also significant metaphors for describing and organizing human knowledge. As one of the most ubiquitous visual classification systems, the tree diagram has through time embraced the most realistic and organic traits of its real, biological counterpart, using trunks, branches, and offshoots to represent connections among different entities, normally represented by leaves, fruits, or small shrubberies.

Even though tree diagrams have lost some of their lifelike features over the years, becoming ever more stylized and nonfigurative, many of their associated labels, such as roots, branches, and leaves, are still widely used. From family ties to systems of law, biological species to online discussions, their range of subjects is as expansive as their time span.


Tree-Eagle Joachim of Fiore

tree of consanguinity-compressed

the common law-compressed

Vertical Trees

vertical trees

The transition from realistic trees to more stylized, abstract constructs was a natural progression in the development of hierarchical representations, and a vertical scheme splitting from top or bottom was an obvious structural choice. … Of all visualization models, vertical trees are the ones that retain the strongest resemblance to figurative trees, due to their vertical layout and forking arrangement from a central trunk. In most cases they are inverted trees, with the root at the top, emphasizing the notion of descent and representing a more natural writing pattern from top to bottom. Although today they are largely constrained to small digital screens and displays, vertical trees in the past were often designed in larger formats such as long parchment scrolls and folding charts that could provide a great level of detail.

La Chronique Universelle-compressed

Horizontal Trees
horizonatal tree

With the adoption of a more schematic and abstract construct, deprived of realistic arboreal features, a tree diagram could sometimes be rotated along its axis and depicted horizontally, with its ranks arranged most frequently from left to right.

Horizontal trees probably emerged as an alternative to vertical trees to address spatial constraints and layout requirements, but they also provide unique advantages. The nesting arrangement of horizontal trees resembles the grammatical construct of a sentence, echoing a natural reading pattern that anyone can relate to. This alternative scheme was often deployed on facing pages of a manuscript, with the root of the tree at the very center, creating a type of mirroring effect that is still found in many digital and interactive executions. Horizontal trees have proved highly efficient for archetypal models such as classification trees, flow charts, mind maps, dendrograms, and, notably, in the display of files on several software applications and operating systems.


Web trigrams-compressed

The Book of Trees: Visualizing Branches of Knowledge goes on to explore multi-directional, radial, hyperbolic, rectangular, Voronoi, and circular tree maps as well as sunbursts and icicle trees.

The Notebooks of Paul Klee

"Ingres is said to have created an artistic order out of rest; I should like to create an order from feeling and, going still further, from motion."
“Ingres is said to have created an artistic order out of rest; I should like to create an order from feeling and, going still further, from motion.”

Paul Klee was a painter who wrote extensively about color theory. His lectures, Writings on Form and Design Theory, taught at the German Bauhaus school of art in the 1920s, were published in English as the Paul Klee Notebooks. They are considered as important to modern art as Leonardo da Vinci’s A Treatise on Painting was for the Renaissance.

Giulio Carlo Argan, in the Preface to the first volume of Klee’s notebooks, writes:

The writings which compose Paul Klee’s theory of form production and pictorial form have the same importance and the same meaning for modern art as had Leonardo’s writings which composed his theory of painting for Renaissance art. Like the latter, they do not constitute a true and proper treatise, that is to say a collection of stylistic and technical rules, but are the result of an introspective analysis which the artist engages in during his work and in the light of the experience of reality which comes to him in the course of his work. This analysis which accompanies and controls the formation of a work of art is a necessary component of the artistic process, the aim and the finality of which are brought to light by it …

Herbert Read called the collection “the most complete presentation of the principles of design ever made by a modern artist – it constitutes the Principia Aesthetica of a new era of art, in which Klee occupies a position comparable to Newton’s in the realm of physics.”

And now, these astonishingly beautiful works of art are available online (Volume 1: The Thinking Eye (PDF, 23 Megabytes), Volume 2: The Nature of Nature (PDF, 43 MBS))

If you’re like me, prepare to spend the rest of your day in this treasure trove of amazingness.

Paul Klee 1
Paul Klee 2
Paul Klee 3
Paul Klee 4
Paul Klee 5
Paul Klee 6
Paul Klee 7

Still curious? The notebooks make an excellent addition to your budding art library.