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I have found that drawing like this creates an immediate connection like nothing else. Alright.
我发现这种绘画方式，能马上创造连结，是其他方式所不能比拟的。
So I call myself an illustrator and a graphic journalist.
我自称为插画家及图文记者。
I draw, I tell stories. I spend time with people looking and listening.
我画图，我说故事，我花时间观察人群。
And I take the words of the people that I speak with and I put it together with drawings that I do, mostly from life, just like you all just did.
我将访谈对象所说的话结合画作，题材多半来自生活，正如你们刚所做的。
I found that drawing like this does a lot of things that photography can't do.
我发现这种绘画方式，无法全然被摄影取代。
So when somebody points a camera at you, how do you feel?
当有人拿相机对着你，感觉如何？
A little objectified, right?
有点被物化了，对吧？
When I'm drawing, I hold my sketchbook low and it keeps an open channel between me and the person I'm drawing.
我画画时会把素描本放低，可以让我和被描绘的对象之间保持交流。
A lot of time somebody will see me drawing and they'll get curious.
常有人看到我在画画，会有点好奇。
They'll come over to me, and a real, authentic conversation begins.
他们会走过来，然后就开始了一场真实诚挚的对话。
Let me give you an example.
我来举个例子。
So a while back, I wanted to do a drawn story about how the public library serves our elders.
前阵子，我想做篇图画报导，主题是公立图书馆如何为老人服务。
But after spending a few days kind of lurking around with a sketch pad, looking over older folks' shoulders and asking them what they were reading, I wasn't really getting the story.
但花了几天，拿着画板四处潜伏，从老人们的身后看，问他们在读什么，我没找到想报导的故事。
Until I stumbled upon Leah.
直到我偶然遇到莉亚。
Leah is the first, and at the time was the only, full-time social worker dedicated to a library in the nation.
莉亚是全国第一位，也是当时唯一的图书馆专职社工。
Turns out, public library definitely serves our elders.
公立图书馆的确为老人服务。
It is also a social service epicenter of a city.
它也是城市的社会服务中心。
This is Charles. Charles works with Leah.
这位是查尔斯，他与莉亚共事。
And he does outreach within the library to folks who are experiencing homelessness.
他在图书馆负责延伸服务，对象是目前无家可归的人。
And he took me around, I carried my sketch pad and I was drawing everything I saw, and he showed me a very different library than I'd previously seen.
他带我参观，我带着画板，画下所见一切，他让我看见截然不同的图书馆面貌。
So computers that I assumed were for checking-out books, or, you know, looking at emails, were in fact a lifeline for folks who are searching for jobs and housing.
我设想电脑是用来借书或收电子邮件的，对找工作和房子的人而言， 电脑其实是生命线。
The sinks in the public restroom, they are a laundromat and showers for folks who are sleeping on the street.
公共厕所的洗手槽，街友靠它们来自助洗衣、洗澡。
A library is a safe, quiet place where anybody can go and find resources and rest for free.
图书馆是安全、宁静的地方，任何人都可以去找资源，去休息，且完全免费。
See, the moment I stopped looking for the story that I expected to see, an entirely new and richer truth was revealed.
当我不再寻找自己想要的故事时，全新而又丰富的事实就浮现出来了。
I found this to be true with everything and everyone I've ever drawn.
这个通则对我画过的人或事物都成立。
OK, so I draw from life, right, like you guys did.
我从生活取材，就像各位刚才做的一样。
And so I built myself a mobile studio in the back of a swanky Honda Element -- So that I could go anywhere, talk to anyone at any time and then draw and paint and sleep in the back.
我利用本田Element的后座为自己打造了间活动的工作室。这样我就能到任何地方，在任何时间和任何人交谈，然后在后座画画和睡觉。
It is very cozy.
非常舒适。
I was on the road in Utah, drawing and talking to people, when I spotted on the side of the road a hand-painted wooden sign.
有次我在犹他州的路上，画画并与人交谈，我注意到在路边有个手绘的木制招牌。
It said "Bootmaker." I stopped.
招牌上写着“鞋匠”，我停了下来。
A tall, white, handlebar mustached man wearing a cowboy shirt, opened the door and found me, a sketchbook-carrying, jumpsuit-wearing, urban, lefty lesbian, smiling like, waving like a dork.
一个高大，穿着牛仔衫，留着两撇胡子的白人打开门，看到了我，抱着素描本，穿着连体裤，还是个左撇子，像个傻子一样朝他微笑挥手。
When I spotted the stuffed cougar on the wall behind him, this vegetarian thought she knew all she needed to know about Don the bootmaker.
我注意到他身后的墙上都是美洲狮，作为素食者的我，以为已经知道靴匠老唐的一切。
But there we were.
但既来之……
So I asked him if he'd just show me quickly a little bit about his craft. He agreed.
所以我问他，是否愿为我简单介绍他的工艺品。他同意了。
And we ended up spending the whole day together, as I drew out Don in his workshop, and he told me about the sudden death of his beloved wife, about his deep, deep grief, and about this hunting trip that he was planning, and so looking forward to taking with his son.
我们整天都待在一起，当我在工作坊，画着老唐时，他告诉我爱妻的突然离开，他深切的悲恸，也告诉我计划中的打猎行程，并期待能与儿子同行。
Every tool in that shop held a story.
工作坊中的每件工具都有故事。
And he was so, so happy to share it with somebody who was genuinely curious and interested.
他很高兴能和真正好奇、感兴趣的人分享。
By the end of the day, Don and I looked very different to one another.
那天结束时，老唐和我眼中的彼此都不同了。
And this drawing, which ended up in my visual column in the New York Times or as Don likes to call it, the fake-news media now hangs framed on the wall of his big game trophy room.
这成为我的图画专栏，刊于《纽约时报》，或老唐喜欢称之为假新闻媒体，现在这图被裱框挂在他的狩猎品展间。
