Podcast appearances and mentions of david dibble

Don't miss this interview with David Dibble, creator of 3D Healthcare and Co-Founder of A Loving Organization Consortium!  David breaks down the relationship between love and fear, and how those emotions drive our thoughts, belief and memories. He tells us how leading with love vs fear leads to very different results.  He shares how approaching systems change with love and focusing on both the systems and the people within it, it's possible to scale the transformation process. Learn more about David's work in the healthcare space: https://thenewagreements.com Learn more about David: https://daviddibble.com Topical time codes: 2:21 - Creating systems change 5:09 - Love vs fear 8:16 - Love is transformational 11:01 - What fear really is 14:12 - Guiding people through fear, into love, for scalable transformation     

To improve outcomes, we have to improve systems. David Dibble explores a systems plan to fix the systems problems in healthcare, with Jim Cagliostro.   Episode Introduction  David explains the law of dissipating structures, how systems, not people, produce 94% of outcomes, and why reorder is a ‘'flight towards chaos.'' He also explains why the C-suite and frontline employees are different systems in healthcare, highlights the importance of a ‘'pull'' strategy, and shares why systems improvement means everybody wins.      Show Topics   Systems, not people, produce 94% of outcomes Understanding the law of dissipated structures Covid exposed the fragility of systems in healthcare Overcoming resistance to change in the C-suite 3D change management uses a ‘'pull'' strategy The ‘'golden triad'' of change agents  You can't solve problems with the same thinking used to create them     02:39 Systems, not people, produce 94% of outcomes David said the work of W. Edwards Deming, and Illya Prigogine was his inspiration for working in systems.  ‘'When I first ran into his work I went, oh my gosh. I mean, this whole notion that systems were producing 94% of outcomes and not people, I mean, that was news to me. I had always, like everybody else, assumed that, well, if we just got the people to behave differently we would get the results that we wanted, and it turned out that was not actually the way things work. So I learned about the power of systems. And then at the same time I ran into the work of a brilliant man named Ilya Prigogine, and he had won a Nobel Prize in 1977 for his law of dissipated structures. And so I ended up taking Deming's work and Prigogine's work, and maybe a few other bits and pieces out there, and looking at how I could implement that work in my own business. And it turned out to be a real boon for us. We had, at the time, I think about a thousand competitors nationwide, and after we implemented this systems improvement model in my own business, we probably rose into the top 15 in quality, technology, service. So all of a sudden our business was better.''   05:59 Understanding the law of dissipated structures David outlined the steps of dissipated structures which lead to ‘'reorder'' and natural system change.  ‘'Well, we are actually experiencing (in healthcare) what happens when the law of dissipated structures is at work anywhere in the universe. And the law of dissipated structures is actually very simple, but it's incredibly powerful and we don't get to vote on it, it's basically doing what it does. And what it does is it dictates that all systems will resist change when the environment is calling out for them to change. So we normally think of resistance to change as not a good thing, but it turns out it's actually necessary to create systematic change. So it resists change, and in that resistance to change it creates more complexity within the system. That complexity requires more energy coming into the system than the system can dissipate. Now, this stresses the system, and stress causes dysfunction in the system, and as the system continues to resist change, eventually it becomes so stressed that it can't contain the stress energy anymore and it enters what Prigogine called reorder, and reorder is basically a flight toward chaos. And of course, a flight to chaos means that we can't even identify it as a system anymore, but the energy is still there from the original system, and now it begins, slowly, generally over time, to come back together into a completely new system. And that completely new system is operating at a higher level of functionality in the changed environment, and is, again, stable in the changed environment, until it again begins to resist change again as the environment changes and goes through the process again.''   09:51 Covid exposed the fragility of healthcare David said the law of dissipated structures is at work in healthcare right now. ‘'I think the thing that's most important for what I would call mainstream healthcare, these are the big medical centers and everything that's attached to the big medical centers and the center of the macro system, is that the law of dissipated structures is at work in your organization right now, top to bottom. It is most evident in care delivery, and particularly since COVID, because what COVID did is it exposed the fragility and the already stressed care delivery systems, particularly in acute care settings. And what that did, COVID literally pushed some of those acute care settings into reorder. And the thing that is, I think, really important is that stress in systems is passed on to the people who work in those systems, and it's passed on to them both physically and mentally. And so we start looking at what's happened to staff, exhaustion, and then on the mental side we've got burnout and PTSD, and all sorts of things that are basically driving them off the job. And I think people, management and leadership in healthcare, should be very aware of what is happening down on the care delivery level, because that care delivery level is literally producing those numbers that are so important to leadership. They're producing the revenue numbers, they're producing the cost numbers, they're producing the margins, and unless we go down and we start improving those systems and start saving staff from these toxic systems down there, it's definitely going to affect those numbers that leadership and management are focused on.''   13:49 Overcoming resistance to change in the C-suite  David explained why focusing on the numbers is the way to communicate with the C-suite.  ‘'So when you talk to the people in leadership, I talk to them about the things that are important to them. I talk to them about profits and, okay, how do you really maximize profits? … So you can go in and you can say, "Well, let's talk a little bit about how can we maximize profitability, and how can we create huge ROIs for doing something, and how can we do it with the least possible risk to you," And this is important, "and you not really having to change much of what you're doing." You know how it is up there, it's like, oh my God, they've already tried so many of these things. The programs came in, even Deming, you can't implement it and sustain it in healthcare, and then it was Total Quality Management and Six Sigma and Lean and Lean Sigma and Toyota. None of them can you implement and sustain in healthcare, because all of those programs are not really programs, they're management models… let's say, at the top, you have to change your management model, and that has just never happened. It's just not going to happen. So in speaking to the people in the C-suite, I would talk about the things that are important to them, I would talk about the numbers. In talking to the people that are actually delivering the care, I would talk about what's important to them. I would say, "Okay, we're going to be looking at improving the quality of care, improving safety, taking the stress out of the job, reducing burnout, reducing turnover, addressing shortages." I would also talk to the people at the top about addressing shortages, I mean that's, I think, a potential existential problem for everybody.''   17:32 3D change management uses a ‘'pull'' strategy  David said a pull strategy is 100% voluntary, fixing systems and people at the same time.   ‘'I think one of the things that's really important too is the implementation strategy. If you look at pretty much all of the systems improvement programs that healthcare has attempted to implement, they all use a top-down push strategy. So the top buys into the program at least and says, yeah, we're going to implement, I'll make it a lean, and we're going to have whatever we need to do, but basically we're going to push it down into the organization. And eventually it's going to be pushed onto staff, and staff is going to be told, "You're going to do this." …and so now we get the pushback. And so what staff does is they know, they just wait it out, it'll be another flavor of the month, this too shall pass, and eventually the energy that was on getting this new program going starts to fade and things go back to pretty much the way they were. So whatever it is that we implement has to reverse that, and you have to use a pull strategy. So for instance, when we implement 3D change management, it all uses a pull, it's 100% voluntary, top to bottom. Nobody is asked to do anything they don't want to do. And the other thing is that in the implementation of the model, it must be healing to the people who implement it. In other words, you've got to give them their voice. You've got to actually work on the things that are important to them. They have to see that they can be successful in making a difference, and that all is healing. And so the idea that not only are we fixing the systems, we're fixing the people too at the same time.''   21:20 The ‘'golden triad'' of change agents in healthcare David explained how just three can successfully succeed change.  ‘'So we've made it so inexpensive that you can pretty much find the budget to get started pretty much anywhere. So it has to be really inexpensive. The ROIs, you've got to point out what is the return going to be for this? And then finally, you have to get a commitment from them not to kill the program before it can show success, which is generally within 90 days. So if we just have that from the top, we're in good shape. Now the bottom, all you need to do is you need to seed it. Now, it's better if you can go beyond seeding, but to seed it into a hospital, and you really only need three change agents to be trained, you need a change agent nurse, a change agent physician, and a change agent from admin, and titles don't matter, but just someone who cares about other people and wants to help and wants to do good, and that, we call it the golden triad. We can train those three people and literally seed it into pretty much any healthcare system, and we can start the work and the work will grow organically. You don't have to do a thing. The success is where it's been seeded, they'll talk about it in the hallways, and that sort of thing, and the next thing you know there'll be other departments saying, well, when do we get to do this? So it's a totally different way, and notice it's all a pull strategy. We're not going into a department and saying, "Okay, you're going to have to do this now." I think this is the setup that allows for a 3D, whether it's problem solving, change management, or systems redesign, to be successful.''   25:06 ‘'You can't solve problems with the same thinking used to create them'' David explained why implementing changes means being willing to expand your mindset. ‘'I think if you were looking at legacy programs, and stuff like that, yes, it is overwhelming for everybody, but I do not think this is overwhelming. I think it's just a matter of being willing to open your mind a little bit to another possibility that's completely different than everything else that we have looked at. I would call it from legacy mindsets. I mean, Einstein said, "You can't solve problems with the same thinking used to create them," and I think that we have quite a bit of that at the top in healthcare, and it's not a bad thing, we're all in the same boat. The mind naturally filters anything unlike itself. It's a dissipated structure. It's there in the same thing as the systems. And so it's not bad, but if we really want to look at expanding and taking the overwhelm away and getting started, then I think we have to expand our mindsets a little bit to include, it's not overwhelming and it's actually fairly straightforward.'' Connect with Lisa Miller on LinkedIn Connect with Jim Cagliostro on LinkedIn Connect with David Dibble on LinkedIn Check out VIE Healthcare and SpendMend    You'll also hear:  If we want to improve outcomes, we've got to improve the systems. ‘'It turns out that the physical universe, from the macro, which might be a cluster of galaxies in deep space, to the quantum level, is all systems and subsystems, and in nature, 100% of all the outcomes that we experience are a function of those systems and subsystems.'' Thinking differently about the C-suite, the ‘'profit maximization system.'' ‘'Their job is basically to maximize profits and make sure that the financials are good. Now, the people in care delivery aren't really interested in that that much. They're different systems.'' Why team players are vital for success: ‘'If you don't care about others and if you're not a team player, you can't do this work.'' The law of dissipative structures is not waiting around. ‘'…the thing to remember too is, there's a little bit of a ticking clock on all of this….and at some point the law of dissipative structures is going to have its way unless we intervene, particularly at the care delivery level for healthcare.'' Leadership tips: Why we all need to take time out to reflect and expand our awareness. ‘'But in order to go beyond what's already there, I think we need those moments of reflection, in particular around what are the things we do on automatic that just have not been working.'' What To Do Next:   Subscribe to The Economics of Healthcare and receive a special report on 15 Effective Cost Savings Strategies.   There are three ways to work with VIE Healthcare:   Benchmark a vendor contract – either an existing contract or a new agreement. We can support your team with their cost savings initiatives to add resources and expertise. We set a bold cost savings goal and work together to achieve it.  VIE can perform a cost savings opportunity assessment. We dig deep into all of your spend and uncover unique areas of cost savings.  If you are interested in learning more, the quickest way to get your questions answered is to speak with Lisa Miller at lmiller@spendmend.com or directly at 732-319-5700.  

https://dibbleart.com Biography David Dibble (b. 1977) was raised on a farm in Davis County, Utah, where he was influenced by the landscape from an early age.  Formal Art education was followed by six years as a color artist for Blue Sky Studios (20th Century Fox), and six years teaching Illustration at Brigham Young University.    David and his family now reside in Orem, Utah, where he paints full time, seeking a divine connection with the land. His work brings awareness to the beauty and nobility of agriculture.  He also continues to offer his expertise to animation studios worldwide.

https://dibbleart.com Biography David Dibble (b. 1977) was raised on a farm in Davis County, Utah, where he was influenced by the landscape from an early age.  Formal Art education was followed by six years as a color artist for Blue Sky Studios (20th Century Fox), and six years teaching Illustration at Brigham Young University.    David and his family now reside in Orem, Utah, where he paints full time, seeking a divine connection with the land. His work brings awareness to the beauty and nobility of agriculture.  He also continues to offer his expertise to animation studios worldwide.

Processes in the healthcare system affect operations, quality of care provided to patients, physician job satisfaction, and more. Therefore, a simple, fast, and effective healthcare process improvement method is important to promote a healthy work environment, address burnout, and improves the standards of quality healthcare.   David Dibble is the founder and CEO of New Agreements, Inc., a trainer, consultant, and systems thinker.  As an expert in system optimization and organizational transformation, he developed the 3D Change Model - The Four and New Agreements at Work. This new model is a systems-based, bottom/up transformation in healthcare that uses the pull strategy, grows organically, and creates exceptional leaders. In this episode, he shares with us his knowledge of systems and processes focusing on the healthcare industry.   Topics discussed: (1:39) Experience in process improvement (2:59) Deming Model and the push strategy (9:25) The 3D Change Model and the pull strategy (15:54) Train-the-Trainer Facilitator Certification Program (17:36) Culture and systems of the healthcare workplace (22:22) Complexities in the healthcare system   Resources: Checklist Manifesto Book: https://www.amazon.com/s?k=the+checklist+manifesto&ref=nb_sb_noss UAB Article on Impact of 3-D Change Model: https://lnkd.in/d5ZaGUeD   Connect with David Dibble: Linkedin: https://www.linkedin.com/in/davidbdibble/ Website: Https://TheNewAgreements.com    **Dr. Drummond is not in any way connected or sponsored by New Agreements Inc.   Learn more about Dr. Dike and The Happy MD: https://linktr.ee/dikedrummond   We would love to hear your feedback. Send us your review on Apple Podcasts/Itunes, or in other directories through this link: https://www.podchaser.com/podcasts/physicians-on-purpose-1546320

Scott L. Christensen must paint - it is core to his very being. His keen eye and probing curiosity of nature reveal a deep love of not just being outdoors – but, rather, immersed in it with all senses engaged. His response to the landscape is visceral. He wants the viewer to feel a deep emotional connection with the landscape. The viewer is not a mere passing observer of a Christensen painting, but is also a participant in the scene – curious, seeking answers to their own internal questions. Nature's beauty presents a cacophony of options. This excites Scott – he looks forward to the process of problem-solving and experimentation that long precedes making the first mark of a painting. Outdoor painting is just the beginning of the process. Developing ideas is fundamental to Scott's approach. Through this process of ideation, Scott seeks to find the key of a painting just as a composer decides the key of a song. It's a process that Scott Christensen appropriately likens to Managing Chaos. Links: Scott L. Christensen Website: https://www.christensenstudio.com Facebook: https://www.facebook.com/scott.christensen.33 Instagram: https://www.instagram.com/scottchristensenstudio/ Adventure of Painting Website: https://www.adventureofpainting.com Instagram: https://www.instagram.com/adventureofpainting/ Vision X Live 2021 Replay: Scott L. Christensen: Simple Is Core https://www.visionxlive.com/replay2021 Mentions: Rob Kapilow https://www.robkapilow.com Beyond the Easel with Christine Lashley and Scott L. Christensen https://www.christinelashley.com/event/138100/beyond-the-easel-bte William (Bill) F. Reese: http://www.williamfreese.com/index.html Coach Chris Carlisle https://twitter.com/coachcarlisle?lang=en Quarterback Russell Wilson https://en.wikipedia.org/wiki/Russell_Wilson Pete Carroll https://www.seahawks.com/team/coaches-roster/pete-carroll The Civil Wars cover of Michael Jackson's Billie Jean https://youtu.be/441mR2zsQbg Puddle's Pity Party https://www.youtube.com/user/PuddlesPityParty Tennessee Whiskey - Dean Dillon https://www.youtube.com/watch?v=abzh4-nhWD4 Ida, movie directed by Pawel Pawlikowski https://www.youtube.com/watch?v=oXhCaVqB0x0 Gunsmoke TV series https://www.imdb.com/title/tt0047736/ Doug Dirkson acting coach and artist: http://douglasdirksonfineart.com/about Alfred Hitchcock & Method Acting - Did Method Actors Not Belong In Hitchcock's Movies? – Robert Bellissimo At The Movies https://youtu.be/SQBt7ZQeHc4 Richard Sherman football cornerback https://en.wikipedia.org/wiki/Richard_Sherman_(American_football) Seattle Seahawks https://www.seahawks.com/ Vermeer Painting Restoration Reveals a Portrait of Cupid Hidden for Over 350 Years https://mymodernmet.com/vermeer-dresden-painting-restoration/ Federick W. Becker https://store.sternfinearts.com/fbecker.html Edgar Payne https://en.wikipedia.org/wiki/Edgar_Alwin_Payne Kevin Macpherson https://www.kevinmacpherson.com/ Russell Chatham https://en.wikipedia.org/wiki/Russell_Chatham Clyde Aspevig https://www.clydeaspevig.com/ Quang Ho https://quangho.com/ Jason Saunders https://www.saundersfineart.com/ Carol Anderson https://www.carolynanderson.com/ David Dibble https://www.dibbleart.com/ T. (Tim) Allen Lawson https://tallenlawson.com/ Scott Burdick https://www.scottburdick.com/page/15559/scott-burdick Susan Lyon https://www.susanlyon.com/ About the Artful Painter: Website: https://theartfulpainter.com/ YouTube: https://www.youtube.com/c/CarlOlsonArt This page may contain affiliate links from which I earn a small commission. When you click on links to various merchants on this site and make a purchase, this can result in this site earning a commission. As an Amazon Associate, I earn from qualifying purchases.

In this episode, Dr. JB has an in-depth conversation with Mr. David Dibble on how the Law of Dissipative Structures, when applied to the healthcare system, clearly demonstrates the immense amount of stress within the system and the fast-approaching flight into chaos the system will experience if the stress is not alleviated. Connect with our guest, Mr. David Dibble: Email: david@thenewagreements.com Website: https://thenewagreements.com/ LinkedIn: https://www.linkedin.com/in/davidbdibble/

In this episode, Dr. JB has an in-depth conversation with Mr. David Dibble on how the Law of Dissipative Structures, when applied to the healthcare system, clearly demonstrates the immense amount of stress within the system and the fast-approaching flight into chaos the system will experience if the stress is not alleviated. Connect with our guest, Mr. David Dibble: Email: david@thenewagreements.com Website: https://thenewagreements.com/ LinkedIn: https://www.linkedin.com/in/davidbdibble/

Preacher: Rev. David Dibble, UPCI Missionary to Micronesia

Preacher: Rev. David Dibble, UPCI Missionary to Micronesia

What if you could make money off of artwork you did years ago? That’s what Gina Lee does. She has a class on SVS where you can learn about how you can take artwork that you have already done or how to create new artwork that can be used for licensing (i.e. paper plates, decorations, etc.) You can check out that class here. This next week we will be releasing a Part 2, which will cover: Trend forecasting, developing your personal style so it’s more desirable to licensers, and how to create vision boards to help direct your work for what you want to do for licensing. Jake is reading, Keep Going” by Austin Kleon. One section is all about “Create For the Sake of Creating” and Austin talks about how you can sometimes just create something and then toss it, shred it or burn it. Create just for the sake of creating. It makes the creation all focused on the joy that comes from creating, not the end product. Sometimes we get so focused on the end product, whether or not we can scan it, share it, etc, that we lose sight of the joy of creation. Oftentimes kids only care about the experience of creating, they aren’t so focused on making something perfect. Sometimes it’s nice to not be so focused on the end product. Our topic today is: How to Convey a Message or Story With Your Art The Kick in the Creatives podcast covered this topic and they are tagging other podcasts to cover the same topic; we were tagged by them to go over this topic and they are wanting us to tag another podcast to then talk about this. Out tag is:(“One Fantastic Week”)(https://podcasts.apple.com/us/podcast/one-fantastic-week/id949599706). Storytelling As illustrators here, we are going to focus on how to convey a story with your art. Jake overheard this experience, when Will was teaching a class with Brian Ahjar about creating great backgrounds. Brian is really good at telling good stories with his art. Will and Brian were critiquing students work in their interactive class and the problem many of the students were having was that they were telling story fragments. Brian’s critique on a lot of the pieces was: “I don’t know what the story is.” Oft times the illustration can confuse the viewer more than it communicates something clearly. Just because you’re drawing a picture doesn’t mean that you are saying anything. That’s a problem you see a lot of times with amateur illustration work they just draw a character or an environment with no story in mind and oftentimes people don’t know what’s going on or have any deeper questions that they want to know more about after seeing the illustration. That’s what we want to go over: how to tell a story and why that’s so important as illustrators. Longevity, if something is going to be interesting for a long period of time, then it needs a story. On the other hand, sometimes people run into the problem where they tell too much story and it doesn’t give the viewer any work to do or allow the viewer to participate at all; there is a good middle ground where people can come back to it again and again, and depending on where they are in life, they can maybe read the image in a different way. Sometimes people paint a barn that has really no story to it, and unless it’s just amazing if it’s not telling a story then it’s not going to be as interesting. If you aren’t telling a specific story, often what you draw asks questions rather than answers questions. Sometimes you are asking more questions and making things more confusing than you are answering. I.e. Will saw this student’s illustration where there was this happy woman in the foreground looking over her shoulder and a happy dog trailing behind her, and then in the background there is a girl that is upset, but there are not cues as to why the child is upset. You might imply that this woman is the child’s mom and that she was happy from just disciplining her daughter. It seems that she almost has glee that her kid is upset, which probably wasn’t the illustrator’s intent. That’s an example of asking more questions than you are answering. You are asking more questions than you are answering, that is starting to move away from illustration and more towards fine art. Which can oftentimes be a lot more abstract and wanting the viewer to ask questions and think more. David Dibble does these amazing barn paintings, with terrific color, light and shadow, but when doing that these are more of a gallery piece, a decoration for someone with a lot of money to hang on their wall. They are a decoration. The piece’s purpose isn’t so much to communicate a specific story. Your job as an illustrator is to tell a story. Every image spurs a question in your viewer. Every image should elicit some sort of emotional response from the viewer It should make them laugh, or make them interested in the story or in the character, make them want to turn the page to see what is going to happen next, make them angry, inspire them, give them awe, etc. Really cool concept art: creates a feeling of really wanting to see the movie and make the viewer want to see those characters in the movie. Sometimes it is an action that is not resolved until the next page and it makes you want to flip the page to see what happens next. For illustrators, generally the response you want to evoke should be the same for a broad audience. I.e. a scary illustration for a scary book, you want everyone to feel the same way, there is some intent behind it. While for fine art they desired response may be more open and it may be a lot more open to interpretation. Always include a character or some sort of evidence of a character. Don’t make your images merely decorative. Will was giving a portfolio review and the very first image was really nice but it wasn’t telling a story. Sometimes as an artist you will make these “pinnacle pieces” that are better than anything else you’ve done. If you are trying to build a portfolio to do children’s book work, you don’t want to lead with a piece that isn’t telling a story. What are you saying to a potential client? Why the need for a character? Even if it’s a landscape it could be a castle in the distance, or a rusty car in the corner. It is almost like we are programmed to look for people and stories. If there is no character or evidence of a character it is hard to connect with the image, it just seems like a travel photograph. When there is a “character” like a rusty car it gets us to be involved in the story and it helps the viewer start to become involved with the story. An image of a snowscape is one type of scene vs. a snowscape with footprints in the snow. Use small details to add more depth to your images. Use small details to add more storytelling depth to your images. If Jake is drawing a character he will try and give a character a quirky addition to their outfit, or they are riding something interesting, or if they are riding a horse they are carrying something behind them, etc. Why do little details help to tell a story? They add character depth. Those little details tell a lot about the character and become very character building. All details are an extension of the character. If you look at a brand new neighborhood most of the houses look about the same and have very little character. They look like Monopoly pieces. However, if you look at that same neighborhood 50 years later you will have a very different experience. Fast forward 50 years, the houses will have all sorts of details that tell a story about the people who live there, the houses and all of their details have become extensions of the characters that live there. All of the details point to the character and tell a lot about them. Beginners often are resistant to using reference. It is an acquired skill to spend more time preparing for an illustration. Doing research before diving in and cranking out an illustration. Will used to have that disease and would just sit down and bust out an illustration in a couple of hours. I.e. Will saw a student’s illustration where there was this street corner, with a more contemporary car by a bus stop but it had a bench that was totally made up out of the student’s head. It didn’t look like any bench Will had seen before. It totally took Will out of the image and became a distraction. If you are draw a bench in a park, you could look at different periods of time or places and draw a bench that would feel accurate with the story that you want to tell. Lack of details can distract from the story. You don’t have to be a slave to your reference and copy it exactly. But let it inform your work. If you are trying to develop your own style, then make sure that all of the parts of your image match and feel like they are in the same world. You don’t want everything to feel informed and then have this wonky bench that doesn’t seem to fit in. You can’t make up an entire universe that has no reference point for the viewer. Lee illustrated this book called, Arctic White and the whole book is in a more rural setting with animal pelts, dogs, and bobsleds etc. and it’s about this girl who gets sick of the greys of her world and wants to see more color. Lee feels like when he introduced the new colors in the story he used the wrong color pallette and it felt like it was from WalMart and the colors were too bright and saturated, he wishes he had used colors that felt a little more natural, like ground up pigments, and that would fit in that world better. Look at the details in your piece and see if any of the details are detracting from the image or enhancing the image. Avoid the climax. You never want to show the actual climax. Your illustration should be something happening right before the climax or something that is happening right afterwards. I.e. a kid running down the sidewalk and he falls and trips on a stick. Do you show the kid tripping and his knee scraping on the ground? Or the kid running about to hit the stick and you can imply what will happen? Or show a broken stick and the kid on the ground crying? Which has the most storytelling power? Our April Art Contest is focused on that: “The moment before” The sequel to a book Will illustrated, Bonaparte Falls Apart, is Bonaparte Plays Ball, and in this story there is a part where he hits a homerun. Do you want to show the ball hitting the bat or the ball having already been hit? It’s actually boring to see the ball hitting the bat. You want to show the before or after, “Is he going to hit a homerun?” Or “Oh! He hit a homerun!” In terms of playing with the moment, Lee likes to think of the different sounds or level of activity that come with it. Whether something is quiet or loud. When you are thinking of pacing or if you are leading up to an action you can think of the different levels of “sound” that your images have. You can think about if you want your image to be loud or more quiet. Right before an action there is a heightened sense of potential energy, but it is still more quiet. i.e. someone lighting a fuse of dynamite. The actual explosion of the dynamite, is a loud moment. The aftermath, it’s more quiet again. You can think of the story and it’s pacing and what each moment need. You want to have moments of quiet balanced with the louder moments. You want to have the reader fill in the gaps. What to leave out is just as important as what you leave in. i.e. The Road Runner cartoons: a lot of action is just implied and not shown. So much of animation is anticipation. So much of what the Coyote does is just planning and scheming and building up the anticipation. You can build up anticipation and make the viewer start to wonder what is going to happening? You want to leave some things to imagination. Use composition and point of view. Think about worm’s eye view or bird’s eye view, they both have different emphasis, one makes things look large, the other makes things look small. The worst point of view to use is the mushy middle. Not at eye level, not at birds eye view, etc. When we are floating 12 feet above the ground looking down on something and it doesn’t feel intentional. You are the director, you get to decide where the camera is facing. David Hohn and Lee give a teacup and teapot assignment where students have to create 50 different images all playing with the camera and point of view. After the first 20 the students have to start becoming creative and that’s when the best stuff comes out. POV: Point of View. Compositionally, you can create an image where there is a visual hierarchy. Maybe there is an image with an initial focal point but then after seeing that there is a second or third layer of the composition that you then can notice. I.e. Illustration of a deserted island with volcano erupting (first read), and then after further looking at the image you see villagers escaping to boats, and all of these other details, building a wall to help slow down lava, etc. Give your viewer something to explore. Add details that your viewer will find the more they look at and explore the illustration. Add details or sometimes hidden things, where as they look at the image they want to explore it more. In Bonaparte Falls Apart, the main character is a skeleton, and there are lots of other scary characters like Blacky Widow. When they introduce Blacky Widow (she’s a black widow) Will tried to add spiderweb motifs to the furniture. And it gives the viewer something to look like other than the action. Where’s Waldo: it’s completely designed for exploration. Don’t be afraid to add those types of details to your illustration. Lee read this book, based off of A Christmas Carol but it’s all mice and everything is made out of things that mice would use, he read this to his son a few times, and it wasn’t until he had read it a few times that he noticed that the human version of the story was taking place in the background at the same time. Sometimes the detail is just fun stuff, sometimes it’s essential stuff. One time details weren’t clear in the text so Lee had to try and add details in the illustration to help make the story more clear. Little Critters books: there’s like a spider or some sort of bug in every illustration. Richard Scarry does it too, it’s the gold bug. Use Lighting to tell the story. How can you use lighting to tell the story? Just by changing the time of day that totally changes the illustration. If someone is running through the forest during the middle of the day, it’s one thing but if you change it to them running through the forest during the middle of the night, it’s completely different. Lee does a lot with time of day and seasonal cues but not so much with lighting or distinct light and shadow now. Will did this illustration of an attic. But then he lit it as if there was a little beam of light coming through the window and just by adding a beam of light it hit 5 different objects and it told a different story because of the objects it was emphasizing. The place with the highest contrast usually becomes the focal point, unless you have a spot of super saturated color that might stand out more. The highest contrast point becomes the focal point. Show something impossible that couldn’t happen becoming a reality. MC Escher’s crazy drawings. Lee likes to do illogical solutions for logical problems. Guy Billout: does something unexpected in each piece. Always ask self, Why am I drawing this piece? How can I make this interesting? If it’s not interesting draw more thumbnails until it is. There needs to be interest to it or some sort of storytelling. Lee tries to do something that is unexpected in each piece. There has to be some sort of hook to it, whether it is in the environment, etc. In Summary How to tell a story with your art: Every image spurs a question in your viewer. Every image should elicit an emotional response in the viewer. Always include a character or some evidence of a character. Use small details to add more depth to your images. Don’t show the climax, focus on the before or the after. Use composition and point of view Give the viewer something to explore Tell the story using lighting. Show something impossible becoming a reality. LINKS Svslearn.com Jake Parker: mrjakeparker.com Instagram: @jakeparker, Youtube: JakeParker44 Will Terry: willterry.com. Instagram: @willterryart, Youtube: WillTerryArt Lee White: leewhiteillustration.comInstagram: @leewhiteillo Alex Sugg: alexsugg.com Tanner Garlick: tannergarlickart.com. Instagram: @tannergarlick If you like this episode, please share it, subscribe, and we’d love it if you left a review! These podcasts live and die on reviews. If you want to join in on this discussion log onto forum.svslearn.com, there is a forum for this episode you can comment on.

Eric Rhoads interviews artist David Dibble, who addresses the keys to getting the most out of an art workshop, how to grow as a painter if you've never gone to art school, and much more.

Recent interview with David Dibble the author of a new book entitled The New Agreements for Leadership

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At age 24, David Dibble started a company in a garage with $5000 and built it to a profitable $10 million in sales & 200 employees. Based upon the work of Deming & Senge, he became an expert in workplace systems and began consulting, adding a much needed “raising consciousness” piece to the standard systems improvement work.   For 25 years, I have been doing Four New Agreements for Leaders and Managers consulting and training, growing leaders and fixing businesses. This stuff really works!   He was recently guided to leave Dibble LEADERS as a lever for bettering our world through a new model for leadership in the workplace. The Four New Agreements For Leaders & Managers Training has the aim of creating a real movement toward a more skilled and enlightened leader model needed to solve the seemingly intractable problems in the workplace and the world.

David Dibble’s pioneering work in the area of DreamWork, CharacterTypes (Inner Astrology), Conscious Systems and DreamWork Coaching are now being widely recognized. He has written four books including DreamWork Dream Interpretation and CharacterTypes–Models for Relating. David is the winner of the prestigious “T” Award for Innovation in Coaching. He is the creator of ConsciousSystems for Coaches, bringing both systems and consciousness to the coaching profession. David studied for eight years with don Miguel Ruiz and is one of two people worldwide licensed to teach The Four Agreements at Work. He is a highly skilled, yet practical spiritual teacher. His mission, imparted to him in a powerful dream, is to take DreamWork into the world in such a way that it becomes a catalyst for raising human consciousness globally.

Management consultant, systems thinker and author David Dibble offers us a new way to Manage our workplaces. Instead of fear based top down strategy, David has a methodology based on Toltec wisdom that proffers Love as the answer.