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THE SIKETCHNOTE HANDt 00K VIDEO EDITION:

The illustrated guide to visual note taking Mike Rohde Peachpit Press Peachpit Press is a division o f Pearson Education. Copyright Š 2013 by Michael D. Rohde Acquisitions Editor: Nikki Echier McDonald Development Editor: Anne Marie Walker Proofreader: Liz Welch Production Editor: katerino, Malone Indexer: James Minkin Cover Design and Illustrations: Mike Rohde Interior Design and Illustrations: Mike Rohde Video Producer: Brian A r t k a Media Producer: Eric G e o ff roy

NOTICE OF RIGHTS

, . TA HAT TE 'A SM ! M

- - - - ,

Y

Alt rights reserved. No part of this book may be reproduced or transmitted in any form

by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission o f the publisher. For information on getting permission f o r reprints and excerpts, contact permissions@peachpit.com.

NOTICE OF LIABILITY The information in this book is distributed on an "As Is" basis without warranty. While every precaution has been taken in the preparation o f the book, neither the author nor Peachpit shall have any liability to any person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the instructions contained in this book or by the computer software and hardware products described in it. TRADEMARKS Many o f the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. Where those designations appear in this book, and Peachpit was aware of a trademark claim, the designations appear as requested by the owner of the trademark. All other product names and services identified throughout this book are used in editorial fashion only and f o r the benefit of such companies with no intention o f infringement of the trademark. No such use, o r the use o f any trade name, is intended to convey endorsement or other affiliation with this book. ISBNI3:17g-0-321-gg511-1 ISBNIO: 0-321-55511-2 9 g 7 6 5 LI 321 Printed and bound in the United States o f America


To Gail, Nathan, Linnea, and Landon, thotnk you for your support on this long and challenging journey. You are the reason I work so hard to create things and share tvly ideas.

i love you.


17 Dr TAKING ON A PROJECT OF THIS MAGNITUDE is a great reminder of just how r'' valuable my family, friends, colleagues, and community are. Without them, I'm certain The Sketchnote - Handbook would not have happened. N SAIL, you are the first and most important person on the list. Even though you were expecting a baby, you encouraged and supported me on many late nights and weekends. Thanks for sharing the vision with me. I love you! NATHAN, LINNEA, AND LANDON, thanks for supporting me during the creation of the book and video. As your dad, I hope my work makes you proud. VON GLITSCHKA, you get credit for sparking this book over Thai food in Portland. Thanks for believing in me and pitching my book idea just minutes a f t e r dinner.

NIKKI MCDONALD, you've been behind me on this book from the beginning to the end. Thanks for considering my book idea, selling it to your team, and keeping me on track and encouraged through the long, hard creation process. Most important, thanks for helping me create something truly unique and different. ANNE MARIE WALKER, you've been a fabulous editor, challenging me to make the book better. Thanks for keeping me on my toes and making my prose look so good. AMY VAN VECHTEN, thanks for providing excellent direction and feedback on the video project. Thanks for trusting me and Seal Team Sketchnote as we worked. PEACHPIT, your team has been ajoy to work with. Everyone was professional cknd so easy to work with. Thank you Nancy, Glenn, Katerina, Mimi, Lupe, Charlene, Eric, Liz, and James for making my f i r s t book experience a great one.

DAVID FUGATE, thanks for your expert guidance through the book contract process. I couldn't have asked for a better agent.

vi


BRIAN ARTKA, you're a great friend and an amazing videographer. Thanks f o r

capturing my vision and helping me "Be Mike" for the camera. DELVE WITHRINGTON, thanks for creating fonts of my hand lettering. Your typefaces have saved me many long hours of drawing every letter by hand. GABE WOLLENBUR6, you have a great knack for timing. Thanks f o r making the video script happen when I hact no idea how to even begin the process.

FEATURED SKETCHNOTERS: Binaebi Akah, Creighton Berman, Boon Chew, Veronica Erb, Jessica Esch, Alexis Finch, Michelle George, Eva-Lotta Lamm, Gerren Lamson, Matthew Magain, Timothy Reynolds, Francis Rowland, Chris Shipton, Paul Soupiset, and kyle Steed, thanks for your contributions. STEPHEN MORK, thanks for creating an uplifting and cool soundtrack. Your music adds an important richness and positive vibe to the video.

MARK FAIRBANKS AND CYNTHIA THOMAS, thanks for sharing your Translator space f o r the video shoot and f o r your encouragement throughout the project. JON MUELLER, thanks for speaking on the video and allowing my sketchnotes of your talk to become such a key p a r t of the book and video. I've been honored to call you a friend and appreciate your guidance in the creation of my f i r s t book.

FRIENDS AND COLLEAGUES , thanks for your reviews and feedback about the book and video in production. This is (A better book because of your help.

TOTHE SKETCHNOTING COMMUNITY, thanks for your support through the years. I'm excited to see where our community will go and how it will grow once this book

reaches new readers and viewers.

vil


ABOUTTHIJ LITHOR MIKE ROHDE has a passion f o r simple and usable design solutions. That passion, along with his lifelong habit of recording concepts and observations through sketching and doodling, inspired him to develop sketchnotes—a practical art that translates simple and complex ideas into easily recalled bits o f information. Professionally, Mike focuses on user interface, user experience, visual design, and icon design f o r mobile and web applications at Govnoll Research + Design in Milwaukee, Wisconsin. As a sketchnoter, Mike provides live, real-time sketchnotes of events, meetings, and experiences in venues across the United States. In his illustration practice, Mike uses his unique drawing style to amplify and clarify ideas. His work has been featured in REWORK, the best-selling book by Jason Fried and David Heinenleier Hansson; The $100 Startup, a best-selling book by Chris Guillebeau; 11 CI The Little Book o f Talent b9 Daniel Coyle. Community and sharing are important cornerstones of Mike's philosophy, as evidenced by the creation of The Sketchnote Army, w e b s i t e dedicated to finding and showcasing sketchnotes and sketchnoters from around the world. Mike has also shared his thinking, design process, and samples of his design and illustration work at his personal website, rohdesign.com, since 2003. Mike lives with his wife, Gail, and children, Nathckn, Linnea, and Landon, just outside of Milwaukee. He's an avid Green Bay Packers fan. Learn more about Mike at rohdesign.com.

ix


CONTENTS WHAT E

SKETCHNOTES? • Sketchnotes Were Born of Frustration% • How Are Sketchnotes Created? • Can I Create Sketchnotes? • %decks, Not Art% • One Step at a Time

WillY SKETCHNOTE?26 • Sketchnoting Eng M i •• Sketc a g e s Your Whole Sketchnoting Creektes ot Visual Map n d hnoting Helps Your Concentrtio a n • Sketchnoting Taps Your Visual Language Sketchnoting •• Creating I sis Relaxing Is Dynamic and Fun!

LISTEN UPI 'of

• The Ke9s to Listening • M9 Listening Approctch • practice Your Listening Ski IS

ErcHA P OE torlive

c Resectech

S

S

• Gather Materialis • Arrive 41,9 • Cr'eate G . • SketchnoteTit/ • Photograph • Scan, Tune er Post

• Anatomy °fa Sketchnote to Pinish • A Sketchnote from Start

56


SKETCH4OT mo. APPROACHES, 1HIE RCHY, AND PERSONALIZATION122 NG te

PES OF • ge atti me s k 0 e t c h n o t i n 9

t I n k A proach E I C I H N O T E S 8 • Two-stage Sketchnoting • Two-stage Penc • Style Plus Thinking • Two-stage Rough to Refined Approach • Structure, Then Style! • Creatiny a Hierarchy • The Art & Structure Scale • PerSOnaliZO,tiOrt • Sketchnotiny Patterns • Commentary • Linear • Humor • Radial • Whims • Vertical • Path • Modular • Skyscraper • Popcorn

• Patterns Are Startin g Pointsy

KILLStelt TEClitgliQUES SOT COWING • Sias &Techniques of u A •i c StetentS D r a n t • 5 Basic elements EXerCiSe •ht r a t t i n g PeOpte e• Drawing People exercise 5• Praying faces e• tordOing f aces exercise s • Drominglype n • Drawing 'Type exercise l • Penmanship e • Drawing Visuat elements t .130,11aavistwayubrar9 EXerelSe • Visual Ubrox s • Drawing Metaphor loots for SI(etchnoting • • S

g


INT OEY ' T O N \

IT WAS THE WINTER Of 2006 AND I COULDN'T TAKE I I I- was done. Fed up. I vowed not to take another note with a mechanical pencil or ANYMORE. with a giant notebook until I'd found a better way to take notes. Thinking back, I'm not sure how note taking had become such a burden. In high school and college, I enjoyed expressing ideas visuallti—easily blending words

with drawings, diagrams, cknd typography in my notebooks. Somewhere in the process of growing up and getting ajob, I lost my way. The relaxed, visual note-taking approach from my college days had morphed into a fanatically detailed, text-only death march. Ironically, I became a great note taker who couldn't stand taking notes. The solution to my note-taking problem was a blank pocket Moleskine, stacked neatly on my bookshelf. I'd bought it on Ck whim (A few months before and I realized t h a t its small size, paired with an unerasabte pen, could be a perfect way to challenge my overly detailed, note-taking mind-set. In January 2007, I brought my Moleskine and a gel pen to Chicago f o r a conference to try sketchnoting. Could I take fewer but better notes? If I focused on quality, could I live with seeing my mistakes in pen? Would adding drawings to my notes bring back my joy of note taking? Could taking notes become fun again? The answer to these questions wcks a resounding yes! As I captured my f i r s t sketchnotes, I was able to stow down and listen f o r big ideas. I loved the no-turning-back attitude of using a pen. Best of all, I had ck great time taking notes again. Ever since that mind-altering experience, I've been working hard through my Wog, The Sketchnote Army, and at live presentations and workshops to share my passion for sketchnoting. I take great pleasure in talking (About why sketchnoting enables you to take better notes, explaining how to create sketchnotes, and persuading people to give sketchnoting a try. This passion f o r sketchnoting is

xii


what drove me to spend hundreds of hours writing, illustrating, and designing this book. I want you to enjoy taking notes as much as I do, and I hope that by the end of this book you will.

WHO IS THIS BOOK FOR? Whether you believe you can or can't draw, I'm here to tell you that anyone who can make marks on paper can benefit from this book. Sketchnotes Ckre about hearing and capturing meaningful ideas, not how well you draw_ Take it from me, you can create sketchnotes• In this book, I will show you how to draw simple objects, create custom lettering, and use other hand-drawn elements to help you express your thoughts visually. Even if you can't draw a straight line, you can learn to sketchnote with a little practice.

cfrifoos3ANG? Use Pyiptc,p(es• c 4c+Iiav1 1 ç ; re‘pIe pctAet.us l e e t T W O -SlyDAJG'• 1,144a4 imi5sC11-kue • k raiNc191 E ' W 1 e e g p e e , , p k e .

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My f i r s t sketchnotes • 0X Intensive 2007

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WHAT IS THE SKETCHNOTE HANDBOOK? The Sketchnote Handbook is a simple, ViStAat Manua( designed to teach you basic sketchnoting concepts, ckpproaches, and techniques quickty, so you can s t a r t creating sketchnotes ilinkYlediCkte19• Each page of this book has been lovingly hand-sketched to show you how much fun it is to learn from notes that incorporate pictures and words equally. Rather thool write a lot of words ckbout sketchnoting, I decided that if I was going to talk the talk, I'd better walk the walk (or, nlaybe, sketch the sketch?). So, I created the entire book as one, long, fun—hopefully inspiring—itlustration.

gi CI T E P h T T E

ASLL___grogb ( 1 Hike to oso W h o m e 0 to find photos of t h : for rviere cspeaker . 7 oft mg title page. 1 , A compfoted title r o o d g to go. , 1 7 / ONCE I'VE SETTLED IN,1checkthe topic aandthe speal,er's name, verif g spellings and sometimes 7 4 find a photo on o f phone to create avisuallg m interesting title page f or the speak.er or the topic. 1 , complete my title before the 0 speaker begins, so I can focus 0 on the talk rather than rushing to create a title at the start 4 of the presentation

,

The Sketchnote Handbook • Chapter 4

X I V

SKETCHNOT the tall< begins, EWhen listen, sgnthesize the Ideas h e a r i n g a n s t a r t drawing w h ' about as tthinking I sketchnoteS in m9 sketchboo l,

0 H

J2 ,.nrgou / ' ' ' t' ' ' Z1,•"="2',:=2= Po M E •';:,. a -,-.e: ,- __D.,,A

: R i x w PHOTOGRAPe W h e n I'm done s e t c h r i c o t i n g , I shoot photos of rjaTATuell .h , ,et.chnotes.Tihs Rkoilykti E rC9 s ,IYAmediostel9 S h . r e w gwhat gou've r created via social e media, and photos e a serve as a good : haaup 9 " ' " ' a 4 n ; 1 L . t W sketchnotes. I t t r ts o o , s 9 like to shoo 0 . t h F. g s t as . s.glo P h o , t o s O of e moro detAll and to view on rool,Ile deocos. m P :

121.

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THE SKETCHNOTE COMMUNITY Of course, I'm not the only person in the world who sketchnotes. I'm amazed and energized by the wide variety of people all over the world who create and actively share their sketchnotes. I love the sense of community that has sprung up around this process, and I've made a great many friends through sharing and discussing sketchnotes online and at conferences. I invited IS of these friends—leading sketchnoters from around the world—to each create a two-page spread for this book that shares a bit about who they are, how they came to sketchnoting, and a tip or two to help you take better notes. What I hope you'll notice from looking at their work at the end of each cho,pter is that everyone sees the world differently; everyone processes information d i ff e r e n t l y ; everyone has their own, unique style, and that's part of what makes sketchnoting so much fun! There's no right way Or wrong wcty to do it. I will teckch you the basic principles of sketchnoting, but the reo,ljoy will come when you start creating sketchnotes and discover how taking notes can unleash your creativity and make paying attention, even at the most boring meetings, something you look forward to doing.

REACH OUT As you learn from this book, I encourage you to share your own sketchnotes At The Sketchnote Handbook Flickr group (www-flickr-comigroupst thesketchnotehandbook)- I plan on hanging out there a lot, and I'd love to see how you've taken this process and made it your own. You can view more of my work and contact me through my personal website at rohdesign-com or on Twitter at twitter.comirohdesign. I look forward to hearing what you think of the book and learning about your sketchnoting experiences.

IT'S Til : . TO GET STI' LET'S ,11 tAJ TAKE SOIL.,. l i ' ,••••• : D . 6 R i J, O T E S I ,,/z) A W .

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W A S M U S T , T E D by the highly detaited, text-only notes I was taking at conferences and in meetings. The stress escalated as I worked hard to capture

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every last detail in very large, lined notebooks. Worse, I never looked at my notes after their completion.

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A PENCIL /was so worried about - - - - 1 making mistakes, I took hly notes in pencil, so I could erase any errors.

A LARGE, LINED NOTEBOOK Because I tried to capture every detail, I needed large pages t o store all o f that information.

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CHALLENGED MYSELF to write and draw notes more

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I was able to focus on the BIGGER PICTURE, expressing CONCEPTS with drawings, type, and text.

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* I CoINEDaNA E * ivr THISPROCESS:

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SKETCHNOTES AREN'T DRY AND DETAILED BUT ARE Simple and Clear.

personality WAS BAKED INTO MY SKETCHNOTES LIKE CHOCOLATE CHIPS iN A BATCH Of

chocolatechipcookies.


-

SKFTrt • . '. rs0S SUM_ • ,J T E a r e

They're built from meaningful thoughts and ideas your mind collects and squirrels away during:

TALKS 1 1PANELS

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— I f

Experiences 1 •-•( , 1 ) ,


THIS VISUAL and HOLISTIC APPROACH to note taking engages your mind so you can understand the ideas you're hearing wilile activating your hand to turn those ideas into concrete, VISUAL NOTES.

BECAUSE YOUR MIND AND BODY ACT TOGETHER, YOU CAN RECALL MORE Of WHAT YOU HEAR AND DRAW. 11


SKETCHNOTERS INFUSE THEIR OWN

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111 PrusF -K i 1 A Fromdrawing and handwriting style tol the ideas included and how those l ideas are expressed on the page. —v— A C o d , 5 1 , 4 1 0 1 ; \

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R ere, EACH SKETCHNOTE IS UNIQUE EVEN THOUGH THE UNDERLYING PRINCIPLES 1 Of SKETCHNOTING REMAIN THE SAME.

12


How are sketchnotes CEATED?

SKETCHNOTES are crectted in real time while listening to a presentation, talk, or panel discussion. To sketch note, you listen closely to meaningful ideas, consider what the9 mean, and then create a visual map of them. The goal is to forgo the details and instead listen for big ideas that resonate, converting those ideas into visual notes t h a t include both words and pictures.

MIL-alger JU create sketchnoJs with pen and paper or digitally, the approach is the same.


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,

THE M I E S T I O N : •

Canyou create sketchnotes? 1 . ( KIDS draw • constantly! • • • You were a kid once: 1bei you -drew like crazy.

MANY PEOPLE tell me they can't create sketchnotes becctuse they can't draw. YOU can draw; you just need to awaken your grade schoot

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They doodle ideas with ease and wilt

draw what they imagine without

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1 KIDS1 VAIN TO EXP1SS IDEAS. They don't worry about how perfect ( their drawings are, as long as their

I D

A E CONVEYED.

15


5 asic Elements â&#x20AC;˘ CIRCLE S Q U A R L T R I A N G L E L I N E

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EVERYTHING YOU WANT TO DRAW CAN BE CREATED WITH THESE 5 ELEMENTS. Can gou identifg the 5 basic elements in these simple drawings?

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ONCEYOU REALIZE how the objects around you are made from these 5 elements, it becomes easier to draw all sorb of things.

16


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16


â&#x20AC;˘Even the roughest drawingscanexpress ideas effectively. INSTEAD Of WORRYING ABOUT WHAT

YOU CAN'T DRAW, START WITH SIMPLE ITEMS

YOU CAN D 'PAW.

The chapters that follow and lots of practice, will help 9ou build * your d r a w i n g s k i l l s . 19


NE IISTEP

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AT A TIME. WHEN YOU'RE STARTING ANYTHING NEW, IT MAKES SENSE TO TAKE IT SLOW & BUILD ON SUCCESS.

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Take the first step: Reserve a small area in your regular notes to try some sketchnote techniques — even if it's a drawing of the speaker.

As you experiment and try out the simple techniques in this book, you can add more toots to your visuat-thinking tootbox, and as a result, add more richness to your notes, one step at a time. •

20


RECAP got+ Regular notes were frustrating, so used drawings to help express the big ideas. â&#x20AC;&#x201D;3 Setting limitations helped me become more deliberate with what captured. Sketchnotes are rkh, visual notes that act as a map of the ideas you see and hear. 0 4 Keeping an active mind and body helps you engage and recall more detail later on. -410 Sketchnotes let you add your own personality, creating richer notes. You can draw nearly anyhing using just a square, circle, triangle, line, and dot. Sketchnotes are about ideas, not art! One step at a time. Build on success. 1 1 N E X


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WHY SPEW& EXTRA ErIFORT CREAMING SKRIntlics'orES PLAIN 00: TEXT NOTES NNE 0000 ENCOMIA? BECAUSE SIKETCHNIOTONG ENGAGESYOUR MOM IN MORE WWI amid THeY ifeELPYou I REMEMBERMORE DETAIL T H A N P L A


SKETCH NOT G EllgA(• es

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THE DUAL COMO THEORY, proposed in the 1970s by Allan Paivio, suggests that tile brain processes information using two primary (tunnels: verbal and visual.

VER5A11. * V I S U A L ' Concepts as words

C o n c e p t s

as inick9es 27


WHEN BOTH MODES are ACTIVE, YOUR BRAIN CREATES AN ASSOCIATIVE LIBRARY of WORDS and IMAGES with MENTAL CROSS-REFERENCES BETWEEN THEM. P G C AT < HOUSE

•• • • . • • • • • • • • • • • • • • • • • • • •••••••••••)

CAR APPLE

SKETCHNOTINe activates verbal and visual modes to capture concepts. YOUR WHOLE BRAIN is absorbed in hearing, synthesizing, and seizing ideas. • ••

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28


SKETCHNOTING C EATES A

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When your brain codes verbal and visual concepts together, it's also building a visual map of what you are hearing, seeing, and thinking. 4

ENO/WING your whole bro,in has other positive effects, like improving your memory and remit.

29


THEVISUAL MII \ PYOU C EATE IA

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Can help you recall the details of a presentation. I often recall thoughts, feelings, and other details when viewing my sketchnotes•

SXSW 2012 sketchnotes

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RF — wcr") , to start. / had Qt fun drawing ,,, , e z d a i r the lettering. EvERYRFR R.FP; A b a i - q t , e , 0 ; I CAN STILL A 0 1 . R E V I V E MY -f, t 1 "Aloolop. -8 THOUGHTS The pie chart came to me early in MI 6+-4, c o m 1 e0 141 i the presentation I t turned out k YEARS LATER. \tt a bit like Pac Man, which liked. - f i -c while waiting f o r the panel

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could be so expensive to pursue was very important, so I captured it as a bold headline to focus my attention.

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iN AN EXAMPLE STUDY, a group of 1 40 v o l u n2-minute t e e r sphone message. 20 of the participants a monotonous l i s boxes t e white n listening, e d shaded the other 20 simply listened. t o

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THE GROUP OF 20 DOODLERS l'PECALLED % MORETHANTHENON-DOODLERS. Source: The Guardian, Feb 26, 2001


SKETCHNOTING HELPS c r u r C O N CREATING SKETCHNOTES from the ideas you are Cheo,ring helps focus your mina on the present moment. E N When your mindandbodyare working in tandem, there is Tlittle room left for distractions. R A T


Ci) Asyou practice andimprove your sketchnoting techniques,

LISTENIN6 andD 'PAW/NO at thesametime will feel more

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WHEN I SKETCHNOTE, I'm completely engaged with what i'm listening to and turning into

Sketchnates The focused activity of listening, analyzing ideas, and mapping those ideas on paper puts me

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SKETCHNOTING T PS _g a g -ADETAILED A SIMPLE DESCRIPTION DRAWING u 째 V . S U LComplexideascan oftenbeexpressed

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I n u l l i t u l l i l l u t l i r t H l t I V I M n i t 1 1 1 A TREEtis a Wood r i perenniat plant, 1 typicat19 - having a 1 single stem or trunk I growing to a I [ I considerabte height F (

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and bearing lateral branches at some distance from the ground.

moreeffectively as drawings.


Drawinganideacanoften take just a fraction of the time neededtodescribethesame ideain verbal detail. o

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Thisis especially important whenyou're processingideas in real time, andideas arecomingin fast.

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SKETCHNOTING IS

WHENVTOOK PLAIN OLl NOTES, WASALWAYS

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O N VISUALLY.

I was able to relax, listen for key points, and capture those ideas

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C r e a ti n feeling I get from being The S completely connected while k using my full verbal eand visual thinking skills t keepsme sketchnoting. cSKETCHNOTING allows 9ou to relax, in the speaker's points, handengage have fun turning what's in your into visual notes you'll want to nhead share and refer to again and again. o t e s

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ECAP W M process concepts in verbal and visual modes. + D Using both modes creates cross-references, forming a visuoil map of what you capture. u a Your visual map can help you recall details l days, montls, and even years later. c o Sketchnoting improves your concentration because when you're engaged there's little d room for distraction. i n â&#x20AC;&#x201D;3 Practicing your sketchnoting technique again g and again helps it feel more natural. t h. + Sketchnoting can help you get into a zone. e o 0 4 Simple drawings can be quicker to create and more effective t 'Ian detailed verbal descriptions. r y s--+ Sketchnoting relaxes you; you let go of details in favor of large ideas. u g NEXT: LISTEN LIPI g e s t

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CHAPTER 3

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•CAPTUIVNG cREATING 5KETcHotivrE5 BEGINS VOTH ACTIVE liSTENING SKolbS• AFTER ALI D ACCUIRATsLY 0 ot u EFFECTIVE SWEICHI4QcrE5t eODEAS t t Y0OmTo oe m i r MT aU R l Pt 4 HT E H AOR S I EN G I D


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LOSTENI o• / FOCUS o s ELIMINATE e MIME SE m e % •

your attention on the speaker.

the distractions around you.

yourself in the presentation.

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ACTIVE LISTENING can help you synthesize and capture big ideas as sketch notes. •

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IMMPSE My Mind INTHEPresentation giving my undivided attention and managing distractions allows me to concentrate completely on the message being shared. When I'm successful, I'm absorbed in the ideas I'm hearing and I'm able to synthesize them and process the information on paper.

CACHEIdeas Through practice I've learned to hold an idea in my brain's cache area â&#x20AC;&#x201D; a temporary 0 space where I store thoughts \ I , -/ 1 - listening for the next idea. - - - - - 4 , ' /while ;---0 I sometimes use my cache and 1 combine it with ideas i have â&#x20AC;&#x2DC; I i i r c l i a ' l 0 on paper to help identify connections between ideas. % 0 m i d

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EC 6NIZE Patterns When I'm listening actively, I can often pick up patterns in a speaker's presentation. Listening for patterns helps me illustrate those patterns in my sketchnotes, like these:

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SE M N I â&#x20AC;&#x2DC;,

3 clear, logical steps â&#x20AC;&#x201D; much like a sermon.

MEANDE IN STOieYTEILLIN6 3 seemingly unrelated stories t h a t connect a t the end o f a presentation.

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P Acta y LISTENING SKILLS! our LISTENING SKILLS STRENGTHEN WITH USE. Find opportunities to apply these listening techniques at meetings and conferences, and while watching video presentations online. •

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Asyou train your ears and mind, your ability to listen and to capture ideas will keepimproving. •

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ECAP -Raring 1111 curate information. * C aâ&#x20AC;&#x201D;+ When you listen actively, your mind can spot patterns and cache ideas. p t0 4 Give your undivided attention. u râ&#x20AC;&#x201D;9' i Eliminate and filter distractions. n immerse your mind in the presentation. g s k0 4 Cache ideas. e J" ecognize patterns. t c- 4 Practice to improve your listening skills h at every opportunity. n o NEXT: THE SKETCHNOTING PROCESS t e s b e g i n

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A n n YEARt oF RIPER IENCE DEVEIPPED MOWN sicETCoogoroma PRoCrE55 THAT WoRKS WELL FOR ME AND CAN HELP You CREATE A pRocESSAIR gm% -e o

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E E A E THESTEPS FOLLOW WHEN SKETCHNOTING EVENTS: I.

iPads are great tools for research before and at an event.

Before I arrive onsite, I research the event, the speakers, and the topic.

RESEARCH GIVES ME INSIGHT and confidence, especial(9 when sketchnoting People or ideas that I'm new to.

S as as anbackup addition o to printed pages i illy electronic research tools. k y ) e t i m e s I ' l l b wokod - • •• r 14 •••• • • 6. . . . t o . ' i

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GAME MATE IALS

GATHERING KEY MATERIALS before arriving at an event is critical. I like to bring two or three Moleskine sketchbooks; multiple pens; and rel9 iPhone to access photos and research motterials, and to act as a flashlight in a pinch. A book light is useful if the venue is dark.

ALWAYS BRING BACKUPS You never know when a pen might run out of ink or a sketchbook might get damaged. Bring spares along to be safe.

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A f e w years ago, I was a t an event in Chicago when my sketchbook literally came apart at the SEAM& Now!always carry at least one spare sketchbook, j u s t in case.


A OVE EA LY I arrive at a presentation eart9 and scout out the best seating. Spots underneath lights and ctose to the front attow me to hear and see the speaker.

SITTING IN THE MIDDLE OF A ROW can reduce anno9ances or disruptions if others are coming in late or leaving eart9.

Seek out a light source.

Choose a middle seat.

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CEATE A TITLE

A completed title page, ready to go.

I like to use my iPhone to find photos o f the speaker f o r reference on my title page.

ONCE I'VE SETTLED IINI, I check the topic and the speaker's name, verif9 spellings, and sometimes find a photo on vn9 phone to crectte visual19 interesting title page for the speckker or the topic. â&#x20AC;˘ Mt

complete my title iuldfore the speaker begins, so I can focus on the talk rather than rushing to create a title at the start of the presentation. 60


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When the talk begins, I listen, synthesize the ideas I'm hearing, and start drawing what I'm thinking about as sketchnotes in m9 sketchbook.

ATIRM6 THATYOU D R u f r e s DO -->iftwd, 77 ' 176 ei E w oR Gaf T s 2 V 1A " E E qs 4RS ; f , _i novo "(f 1 , k 5rE r P 1al A • r A completed sketchnote. "- t " 'f t r ".N o , oy ? , 3 ' T When I'm done sketchnoting, 1 A • I shoot photos of m9 I I sketchnotes. This is N

PHInT

a great way to immediately share what you've created via social medict, and photos serve as a good backup of your sketchnotes•

I like to shoot each page as a single image. Photos o f single pages provide more detail and are easy to view on mobile devices.

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C,A When I 9et home, I scan my sketchnotes at high resolution, ackius $ t he contrast, and fix any typos or errors in Photoshop• Final scans are exported to PNG formatted files for sharing online. T U use the same • PN6 files of my sketchnote scans E to create a P letter-sized, printable PDF S document. T • 10

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Sketchnotes scanned and

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assembled as a P O F d o c p , erit


CONFE ENCE ORGANIZE share sketchnotes to promote their upcoming events to potential attendees because they capture the event simply and visually. Organizers often like to give away copies of the sketchnotes as PDF documents or printed booklets to their attendees. These after-event documents work

SUMMIT BASECAMP

well as hand9 offline references. This created printed as bookiet___"! was a g i f t for the attendees Of SUkritilit Basecamp by the organizers. Booklets can also work grectt as a promotional item f o r the organizers.

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frITE ANATC"" i c I've created a map of sketchnote elements from an existing Jsketchnote so you can see and better understand each element. *TITLES Titles are ideal for defining sketchnotes• They can include an event name, speaker names, date, location, and topic. Multiple talks at the same event can follow a consistent design for unity, or each speaker's title can be fun and unique.

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*TYPOS APHY Typography is usefut to emphasize ideas, create a hierarchy and structure, and even estctbtish a mood.

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* D I M M S & D WINGS Diagrams and drawings make for more interesting elements. A few pen strokes can illustrate complex ideas quickly.

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*HANDW M I 6 Handwriting is helpful for adding a detailed description if a diagram or information is needed.

*DIVIDERS Dividers like rules, dotted lines, and so on can help sepctrate ideas from ectch other visually, creating order and structure.

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*AR OWS Arrows point out detaits and Can help focus attention on specific drawings, t9pograph9, or text, and the9 can provide a connection between multipte ideas.

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*BULLETS Bullets are useful for identifying a series of ideas or highlighting a single idea among drawings or text. Different types of bultet icons can further define ideas.

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*ICONS Icons are handy to use throughout a sketchnote document to identify ideas visually as repeating elements.

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*CONTAINE

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Containers connect various elehients together in a single grouping to represent an overall idea or topic.

*SIGNATURES Signatures are an optional wa9 to identify sketchnotes. If you're creating sketchnotes for your own use, no signature is required.

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To help 9ou see the progression of a sketchnote from s t a r t to finish, I've labeled each section with a number and provided a brief a e s c r i p t o n to show wh9 cknd in which order each area was drawn. The title creation was done before the event, using Ck photo of t h e speaker, Jon Mueller, on m9 iPhone. For the f i r s t idea, I captured "A THING THAT YOU DO." Jon talked about a snare drum, so m9 f i r s t drawing was of a drum. Here I've f i t t e d "DRUMS WERE MY THING" into this snug space on the right side of the snare drum drawing. An arrow points to another idea lower on the page. I added a "DO MY OWN THING" concept in the lower-right area. Here I emphasized the idea of snare drums being verboten.

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radial pattern to organize the talk information. I'll talk about sketchnote patterns in Chapter 5.

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SKETCHN tIE from STIVT to FINISH Here Iadded a drawing of Jon's drum setup as I pictured it in M y mind's eye. I added the titte after drawing the image. This description of Jon's approach to sending sounds through snare drums was key to the presentation, so I gave it focus with large, ALL CAPS typography. I used a separator to create a break between the top and bottom. Jon mentioned driving to Boston, creating a record, and touring the country, so I added it just below the separator. Here's another sepctrator using dashed lines. To wrap up my sketchnotes, I used bold type to to emphasize the speaker's final thought.

On the second page of my sketchnotes, I used a linear pattern for the information with heavier emphasis on drawings and typography.

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A NE A IT EA LIM Being prepared helps you relax when the time comes to listen, cacheideas, and draw them.

78


ECAP -c 1

0 4 Use my process as a starting point, and make it your own. Research speakers and topics to gain insight and confidence. 1$11 + you're sketchnoting. B early, scout your location, and use the a Arrive extra time to create a title before the event. c k Photograph your sketchnotes right after ar+ u event to share them, and to have a backup. p 0s 4 Shared sketchnotes are great resources for a attendees and work well as PR tools. r e The anatomy of a sketchnote includes the k title, typography, diagrams & drawings, handwriting, dividers, arrows, bullets, icons, e containers, and signatures. y t NEXT: TYPES OF SKETCHNOTES o b e i n

79


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CHAPTER 5

ts 111 2 1 = 1 = 2 1 . ,

SkEircHNOTES AREA BLEND 9•1! PERSONAL STyLE AND THE IDEAS YOU HEAR/

AmALYzE LET'S Ar SLAINIDING t N LOOK D STYLE C A 'WITH M I N I O N S / AND P rSTRUCTURE, a SKETcHlimOtrime PATrER459 f i l a o


P.r PLUS 17 Sketchnotes are beautiful because of their vctriety and personality. Each sketchnote is created in a distinct, individual style, reflecting the person who creates it. BUT MO 11tki than Just style, sketchnotes reveal , the thinking processes of their creator. •• Sketchnotes convey what the person is _ K I N G R hearing, how that , ntieolviloqfvl? 0 Cottect C C a p i - Process ( 0 efi e) v \J D FOCUS. o•00r9avtitekTciols) r eE ) I in) ipersovoi pyoctice. R I Sorrow 0 D :o WEEKLY. e oSeen IF v( Y , D ia Cr J O o i r Ovi-come.. f oi k *Desired e N s svkat 1 0 0 1 OF HEAD. , doig9 E 2 l too9evVvowgnclows H w DECIDE OUTCOME in ge Ne book. g of f'DcvE. , ACSI ON. . o(' , lig ORGANIZE ReMIND6RS REVC ' AN I N v e r s TH iE 1 PRODUCT m commirm ENT. 1 EXPERIENCE , v - a1 iroRY e2 1\1E i o c v, ; : d s • • - t o wvoHisr reseore prgryiet if V'C(P r e s p c m d i ,x i r \ c 6 _ e , TOP OW1-1Pir DOES y. i 9 0 'o s Z 1 ' k !v - i i k k •s z v r e* g Aga 0 BuslAess Model ( i5 1 , "A "d4' a t e s e g g k ro s k e i k• Getting Things Done Sunni Brown g n , y e , t s o i r 1 4 c t . a • v e . t o A i g r e . l . o g p o p o g i o i p o

C M , 1001LOOKLIKE?

person analyzes and processes information, and what is most relevant in that person's view.

1 7 5 Y If LOOKIMJ AT C SKETCHNOTES — h THEIR i STYLE AND ST c R UNDERSTAND ,BETTE HOW o 4 ATHEIR AUTHO m

, T H I N K S . J C

85


P=•' Prl' You may notice that many of the sketchnotes in this book are , beautifully illustrated. Professional illustrators and designers, with years of visual experience, have created them. FRr An 71" cDak 0A-----,G,NALL - - - ,Ro - D1yAN28 N,'N t . a 2,mmER, - effiammaLE" PICILIVELopERs,0 t0 l a QttWh ttr u - t t v, 1 ,,„ ++A p9" ) 4„ 41 J 0A( Sellt;164 &EARNING! 6 ------

... - - - - . . . . . . . . . ._ . . . . . . . . . .. . . . . . . , • „ . ,- - J 11 ___________ < 9 o6 / AIO 1 , a 1 edegzebt 4 , 1 4 . A A , a 4 THAN THE 1--J0H N S . R p / Arj F +,--wAlvr To FRAME. L E A R N To P LEAY p" p T rNSTP,HMENT , ON 1v A N PL/IY, r 1 > on a0 .t a tv , L r P. e r ti to a: Z • . M 4 k Y ) ' , i l e r: r ALL CAN'T PLEADMUTIC. i 7 PAD,, t i c r N R M M 2 u s i c r 1 ) PtE 1 0 , 8 8 1 0 Pro e / . c LovE .1-11EsouncEP7411NESS + NETWOLK = 6 1 6 3 L I o ' 1 hnow wRat3E1TER13. w E A 7 .: A " , 11) I " V , 4 : K L TTiE SZT FEEDBACKTS A LtA IlOa 1 / P - .; E T twmed 1 ;1 4 L D. .) R ISA S011000A16 R N I N 9P Om6 NEwrs I • 0 . .e . . . . . . . . . . . . . . , + l SEE HIS f 1 - V OH LEARN ro PLAy THE CELLO: - -, • • . m Low caw- " t . , . .. The c I1 ZAPSCHOOIS,WIHIOSEIN . 1 5iTY V i r F O R M U L A O .A s.) / M S • C •h OF1#3_k;ILit7jAND Muss : .. U RAARIK'S , [t SR ? TR 4 INISFACE CHANGES AccoRDINO To ! A C1113EEWEATER . A T HE N E l a o A r HAND,N 1 4 P ? - . L , P I . L 1 . 1 A , A 0 R JULY 10-12, NEWORLEANS, L A . U 3 N + . S Gerren Lamson • 1 3 1 E 4 E b W o1r l d 1 V , ) 2 0 ,1 2 . T ; W E . A 0 O 0 0 , R H E . L R . D ." 2 I 0 "I 1 L b 2 y + f 86 j i g

T im e6 v; t , g IF4YOU'RE NOT A N ARTIST, don't let these sketch notes 4 discourage you. Instead, look to them f o r inspiration and idecks, 4 " ' and , keep in mind that you're Just starting as a sketchnoter. 4 L Whatever your skill level, be happy with where you are. Create L K sketchnotes and have fun, and work to improve your skills.


1

AFr

STIRWIJR7

A helpful way to keep your current skills in perspective is to view sketchnotes the,t progress across a continuum:

SIMPLE G O O D ARTWORK A l l T W O R K

FANCY ARTWORK

1

1

GOOD G O O D GOOD STRUCTU E STRUCTURE STRUCTURE

ALWAYS GOOD SIN( R E REGA'sDLESS of ART QUALITY. 87


AT ONE END OF THE SCALE you'll see ideas represented as rough drawings by regular people. Even using simple drawings, these sketch notes use structure to capture ideas effectively on the page.

AT THE M I END you'll see beautiful illustrations created by experienced professionals. Although the art mcky be more refined, the key to a sketchnote is a logical organization that makes sense and captures the ideas.

88


•n ,7 , 1

THINK OF

ST Lit

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VY N T P.

89


SKETCHN

P TTE S

In the last five years I've reviewed many sketchnotes and have found that most fall into a few patterns:

LINEAR

RADIAL

VERTICAL

pr PATH

MODULAR

POPCORN

90

SKYSCRAPER


Fottowing the pattern of a printed book, the linear sketchnote format shows information dimonall9 from the top left to the bottom right of a page or spread of two pages.

GEOFTREI 0 , a 2 0 c/ ' (1 8 e--V ; . 1 \ A 0 \ A / ,3wfo ,4 1 v,-;0,5v4 5 c , s , Gb:,;-casQ, , , 6 e , /crt

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91


THE M E M PATTERN is what I typically use for My sketchnotes for two reasons: I like the stor9-like, linear two-page spreads I use in hardcover sketchbooks. R o Z w K i l o o f ( i (CLoo.-c P n OUreSee f o fmtm W E : 7 ciesbn SAM Flis — r Aeget9oLargi9phon 4 4 OTHER RES S e e l < iSm^ M A t t r i r HA efiatifrfreil •A 0 ESTIONS°.ASk toirselff fa 90 sgoimkt.141 t htelw U k c -will E Suse ) b e d) q Ags i 7 a ff e d * / by type ? / q-/o 6 °What ds b e e k e t i k/7/ n •1 o e r Fonts as 51HiOES: n AKA e t Act 9 h ,W7 (peNtvi ((4e,v5) W e A' h W (coivime MI .(7ttts p et e C a lt r U g te e Mike Rohde •l SXSW Interactive 2010 e i6 , fe4 a ,11 n 9 d / i V

GebStoK 2r_ti WebTyp raph,9

4Tigpography15 HOW cii:f weGAS

2WE5DES11611vER MAxe ryPe AGER 5 iPAIRTof ouR CRAM

92

1 1 b r K e b t s

Ara e l -


SKETCHNOTING in a linear pattern frees you to use as many pages (As needed to capture ideas. It's atso easy to read, because it foltows standard book structure that's been used for hundreds of years.

JUS DON'T U N OUT a PAOr sIDEFJ9.03Q,IS z

NI A

71

m r I N Y P E B R E 1-1.A.VE 'OONIC 5 I D E PROJECT5 Z 7 5 ITIA135 0 HAVE M E C Ii 3 Gerren Lamson • SXSW Interactive 2011 • 0 1 D O O N E

r-rttala P 2 -+a i f 01\15 = m L e moTniATI r 4 d iAW > na s0 s , d' i / 1 1 N " at p l e it z ,t e t Le o t nr r o.1 1 i •. t 01 1 o 11 n 1•s . 1•"

1 1

93


HOWEVER, the rigid ftow of linear sketchnotes cctn limit la9out options, whereas the free-form radiat sketchnote pattern, discussed next, provides more ftexibility•

N C 1* P R >. -O M tFt a Ia tL B L -1 I 3 & 1 1 1 d E NKrBUREAU i s TBSPORARSIM L•tR I t E M II N ØIC4, IY 'HIV10500TOr I N N O V d SCHOOLWA AT o S T E IG . i H N I E N L N I• HEisyroWl 1 N T • . F l 11111 E

BOOLESIGN

WOODD/PeR -

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1 (1" 1 n1 el 1 V I T HI I N r UNTION: dr i4 1 T e1f1 a at g r ; tM M I 44 a

Carolyn Sewell • TypeCon 2011

aegin4onelai ab ? ea t

9 1 4

N

ISNIMENS k i l i a c l "

E D S T b B E . . .


rArmAtt.. The radlial pattern rought9 follows the structure o f a bicycle wheel with the hub at the center and spokes radiating outward. The center of IR radial sketchnote may feature t h e name and drooming of the speaker or speakers who are presenting idects, or the central topic.

t HU; - ES 1 S H E S THE H OVE L L CONCEPT , AND E IDEAS CleEATE A C E DIATIN6 PATTERN MOVING OUTWARD h FAO M THE CENT ,L L H U B . 95


A R A D I A L SKETCHNOTE doesn't have to be a perfect circle, and the hub doesn't need to be in the center of the page. This pattern can appear as an organic shape and still follow a hub-and-spoke structure.

41 zz le tz za tt e0 0 , 0 00 0 0 ' . ' --

'1•4"b•fti•.._ --•••••••—

SYMMET IC A S Y M M E T IC CIRCULAR and EQUALIZED

ORGANIC and UNEQUAL

RADIAL CHNOT{ • aN.

96


THIS f D I A L SKETCHNOTE FEATURES THE SPEAKER'S NAME AND TALK TITLE AT THE TOP-LEFT CORNER. I D E cyl S t S u1 l , 0 ( 1 0 ) i ,L c i A rj( 1 2 4 92 I , S , 1r5 V P v c D t f f ( c H 0t K .1c \ C A s f I N A , V 1 0 1 cFgoii i e . SrN E P \ I O 11 ) U , ) r( 6 , / [ tNI 1 CATS 5

we/A

ai

M t 9 ,Wog 1-1) NE I

F - oHouNit;sE, 0,1(9000" 0 N 1 N A W E S M d Hische Eva-Lotta Lamm • Jessica 1 ) 4 . S . N C 3

USA Dougt CLiCKED yooK i r f i L E AND1 14 PoESw'r SHoN4 VP EIIst l A t o N T

vo? 3 o B $

(oReckTiAe.)

v

97


THIS S K E T C H N O T E EMPHASIZES THE CONFEI. ENCE NAME AT THE TOP OF THE PAGE. C)qahrlin'•Oncion

2011 Ve is 9019 to ek -intere,sting " tO g b o o * W a r 1 k

people••••

are, addina Nr-H716(

04 i P-eople,expec+ . same, C oic,fiblis col6tOo w l ° ur onoi cft(RA1Hevices M P EMOTI H L & - Evhcif reailqma-11-ers E X - I X T P Y E .RNLEMATIN aU 0 . 6 1 \ [ C

Amanda Wright c l C o n s t r u c t 2011

98

text_ text... 'chavIc anoVfeedback " i inotkR, r APPCINIT u WhiZS r -t s i V - tzm W uvrFo Q r a 1 ienc,e, 1 1ihe v(per st,fOik, , üick ( hc T ou S w • S A V A(

Fç n 1 ,t o io c tu r t c

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THE A D VA N TA G E of a radioa format is the freedom to add i n f o r m a t i o n wherever it fits in an outer spoke.

Because all of the spokes are connected to the central hub, clockwise, counterctockwise, or random patterns can work well w i t h the radiat sketchnote format.

Ach, d o t e s can sometimesmakea reader work a bit harder to comprehend the pattern of ideas,because the information is structured in a complex, nonlinear way.

99


1( Similar to a linear pattern, vertical sketchnotes present information in a single flow, from the top to the bottom of the page. 111•••••••••monco mmions ....... or

TOPIC Au.4.4.44 11.$4,444AAA— Arleta. *let.

vrAorrs yo•••••• • • " • •

, on. 0 . . • • • • • • • • • •••••••••••••••

THIS PATTERN can be handy because it allows you to continue adding information vertically, as needed. The vertical pattern Also provides a clear direction and structure for a reader to follow.

••••••••••••1•••• to.,••••••• foga•••0••••001 , • • 0• • • • • • • • • 0 0 . • •

100

11111111•1111111EnnommEm.--__

AS LINEA CAN THE . 4HT BE THE TONS VERTICAL LIMIT ONLY PATTE VEITICAL OFNYOU YD AS OPATTERN 1CAN 1U LON6 T PAPE Om' Dto) WIN6 J PPS CANVaSo W E V E I


414

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M Et B E R K Nib o t a r t l e U S• itS c A L . A 1 3 1 - C T# IkAS Htoft gARROS ' ' E ‘ 0 , 11AS To 6 . 0 . 1 . SF , oI N vX T JA R eP Y f A A eW N c% % ek I Ly t or I v a o 00 NMC.•S 0 C , A NOT e•AerTAL I N N C -A H o c K V SIVA< T T u sUi lMf r C L -

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M,A t t M a l i k EgER.1..10 HAS . 1 %R i RICA g SA t l < yWNSA 1 , 7 4 I f , A r Z t C . , , I , , , ! , , RV A L U K o N S ! di A A R a f t ' , 11PR SWF L A M P. 8 , R 1 A l oR. SETA, , y m 1 q C R a f k r R r o l l ; i , e Z a k 0 MAO-A &cot, 0 1 3 S e R tI° E S8 P '1 4 1P O rif R

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r e 1o) 2 ,P utoeorom Youk FRoDucrr 6 9 c-owey* L 1 , EbE NICE g piss los4

Chris Shipton • An9e1 investors

101


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Apo K E E p l i , Je A r A B I G U i t l y

Nuv,t.s.

Cassie McDaniel • eHealth 2012

102

1 . 4.,,ItifhST4• 0 {4 ,1 D0 0t V6 11,1 I F -i /00 c o 1t , P A L D A 1 4 4 S P 0 1 4 I 0 e 0 0 1 0 E M E R} Z O K I E 0T E C TCtP M F I D E - , s i c\e L E , , E L A D I I A C E , N N o S V , S ( / , 6 4 ) / VN5 0 , 4 5 C j o V g : ( : : S . 0 1 'TOO M V O N A I T I N G Too FA“CH C O c T. . . 1 Vit

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The path sketchnote pattern creates a path of information across the page verticalt9, horizontait9, or diagonalty. The path pattern can appear as a zigzag, c-shape, w-shape, or 6 k n 9 o r g a n i Z-S lope Path C-Shape Path c p a t h s h a p Organic Path e W 9 o S u h c a a n p e i m P

103 _ _ _ _ _ - • • • • • • • • i i i 1111111


USING A PATH PATTE 1 event 1 N orcthought a n process using a series of steps that work well when b e following an organic shape. p e r f e c t f o r t e _efol l l i n g 4 a%I) b1 o jeguaros L1wmaggariltworu t; 67 a&dice) a ; ‘out-1-als,o11 , nitto J D cmtitonc-ivao \A)rig )MD/Ma 0 A t 2 , 111 i o 1 n \ tIP E t s 1 (1 )cv• 11 : 4•• vsa5 1. 3 P-'toed I ,111AR 0 P o i N 1 t i , -1F4t6 6-H V k dsv 0 r" crytall tkIorld.R# i 9 A .28' 0 0•Rkrooarses• o a j 1 %1) t c 0 axwmgc6nwil c P 1 , ill n tqA C t i ® gouugaw p TIo 1 012A 9 k - p - / AS A t l TEgACy AN0 1 , o 1 AT I D 6 PIS n 1 9r LS /264U-9 1 v Agu,Nom L ‘St,e_I + ' o g m i , 1 1 . z ir - - I L 1 usE i t 7 ci . :2,2\ E g y \r 4e l e - 0o-toeV.SE 1 . s1 , 0 4 I 40 3 A T 0J A tc T t t I t 4 M5 - 4 r &nuke Schildt • Ton Zijistra n t t 1 1 O o l $ ' k I i Z r o 1I S 5 CAH 1 2 -0A 0

104


rfoOS 1 1 2 0 4 1 1 4 0 J l ' 3 6 0 ' 3

UXLs z• 7. hh, 1 2 , a et. 1,k I F O L t k 4

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t J 01:1

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,ctt-tr( c s U c X tl .i o 2 r h r d 0 , c A , i / c " i c

a r

f c c . / / , a , ,

Michele I d e Shlith • L e a h B u l e y

PATH PATTERNS do require a little planning, and if the information you're sketchnoting is more extensive than you've planned for, you may run out of room. 105


1111••••._

M The modular pattern divides a single page or spread of pages into distinct regions or modules. Each module holds separate bits of information or different speakers within a larger event.

"ril l A

AcoES \ c 2)-

CII vEtz5US

['EARNING' ..

FILMMAKER + VISUAL LEARNEg/TEAuklEA" " Itil LAYr To LEARN a E r s /N THE 14/P1

EtA0 . c_b:IVATION

LEA

' f l „ , • W A t i r r 0 L E A A N TO P L A Y

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A MODULAR PATTERN can work well if your goat is to organize information in a grid-like pattern or if you have many presentations to capture in a limited area.

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I m [ 2 I i u 1 N 3 T oA L running out of room with a IM odular sketchnote Avoid I by estabtishing the module spaces before you begin. ( You can base them on the number of spectkers or topics being 1 covered at the event. 06

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PrR The skyscraper pattern is similar to the modular approach but divides the page into a series of

talt, vertical panels, which contain separate bits of information.

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This pattern can work great for panel discussions where multiple people are speaking at different times.

TO CREATE A SKYSC 11 PER SKETCHNOTE, 11 use a vertical column for each speaker and add the person's name or portrait. When the panel discussion begins, simply add each person's comments into the appropriate column.

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MANAGING A SKYSCO3, Remember to pace yourself with the limited space of a skyscraper sketchnote. Focus on the key phrases and PER words that are 'meaningful. Work on boiling down the idea S K E T C H N O T you're hearing to its purest essence. E

110

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SKYSCRAPER SUICHNOTES, LIKE OTHER TIGHTLY S T ,DISADVANTAGE Of LIMITED SPACE, REQUIRING MORE QUOTE CAPTIPE. U C T SELECTIVE UR ED P A T T u g g u a w o w, rmo,g<n+d, E R N S 5sembil 1 5 3 0 OS 1104_1\210-1%1CY-16-kg--A4(iC e l l e r a i A I , Strait /15-5841da A - ( p c , R, 17,4,441el-S , - / ; 1 1 - 4 - 4 _ , H LARIU A-cisc3-41•E' --1 r:07 3 V 1, '• zE 6„ T (111/4C1 ' -4,1„ zaiu e o v t I t t o k , H r)s1A\ ,\\ ,,, reavAS awl- 1 ' mA 1 os to, ;s i 1 E 4i1ea3atMn,,,t R N .:(1: T v , o r vS k le a5 0 c )0 r a t , . 'Alz" i . u , P 4 . ' t • " , ' 7 . UStc5 ' W & 4 1 m , t•He.,r O r ) 7 a4 y . " e . p , k . .

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WITH THE P O P C O I N PATTERN, there is more emphasis on capturing information and less emphctsis on ptckcing it in a specific location. This approach can focus your mind on seizing ideas without worrying so much about their ptacement.

io 'NEVER, THE RANDOM ARRANGEMENT OF THE FREE窶認ORM POPCORN PATTERN CAN MAKE YOUR SKETCHNOTE MORE DIFFICULT TO FOLLOW BECAUSE OF THE HAPHAZARD PLACEMENT OF INFORMATION.

115


-•••••••••

ELI The patterns I've described are just some of the main ways you can structure your sketchnotes. Theseseven are starting points to help kick-start your sketchnoting skills. ACH PAM" F I N ! ' YOUR tt, ' T E S AND TO , P A R T I L A A R 5ITUA7IL,41.5. EXPERIMEN M I X , MATCH, AND DEVELOP YOU" OVIAI PATTERNS.

116


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0 4 Sketchnotes blend style and ilinking, expressing the creator's personality. —+ I f you're not an artist, use professionally illustrated sketchnotes as a model to inspire your own sketchnotes. 111 4 regardless of your artistic skills. A —* Even if you're just starting to draw, you l can make great skeichnotes with simple w drawings and a good framework. a —+ y The seven common sketchnoting patterns s are Linear, Radial, Vertical, Path, Modular, s Skyscraper, and Popcorn. -k- ) Each pattern has benefits and drawbacks. e Try each one to learn how different i patterns work in different situations. c - NEXT: SKETCHNOTINGAPPROACHES, m HIERARCHY, AND PERSONALIZATION o t e w

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122


THEREARE TWO DIFFERENT APIPPPOACHESTO CAPTURING SKETCHNOTES,

REAL-TVNit SKETCHNnirES

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BOTHAPPROACHES emphasize the use of visual elements and stress the imporEance of baking personality into your sketchnotes.

123

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EA! TIME S ETCH T I N G I, and many other sketch noters, create sketchnotes live and in reat time. When I into the speaker, listening for big ideas, and s9nthesizing n d / converting I'm hearing into visuat notes. w o r k i what n g SKETCHNOTING LIVE IS LIKE TAKING NOTES i n t7 h e A m o m TOOLBOX OF VISUAL ELEMENTS - WHOLE eTO n t , NOTES, LIKE THESE: YOUR J I ' . • TYPOGRAPHY • DIAGRAMS • BULLETS m • DIVIDERS • ICONS f • DRAWINGS o c D• HANDWRITING • ARROWS • CONTAINERS u s e dI , tT u nI eO d

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Working in real time meansyou're listening for bigideasas you work.

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LIVE SKETCHNOTING IS A Pit,ACTICE THAT IMP 'THE MORE YOU DO IT, THE BETTER LISTENING SKILLS, O V YOUR E S PATTEIPAI RECOGNITION, AND DRAWING SKILLS WILL GET. W I T H R E

125


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4F71 Some sketchnoters use-the second approach and create their notes in two stages â&#x20AC;&#x201D; capturing rough sketchnotes firstC andhthen I enhancing or re-creating them at a later time. NOT 1 IIN6 This0first variation of the two-stage approach to sketchnoting begins with real-time sketchnotes captured in pencil instead of ink. S At aTlater time, the sketchnoter inks over the A pencil lines, fine-tuning them and adding original detail. 6 This is 6k good time to add color with markers, pencil, or paint. i

E , P r " 1 L T e l I N K A P P


WITH THE PENCiL TO INK APPROACH, you're working through your idects twice, which means they are reinforced in your memory. You're still capturing notes in real time, but you have the additional task of inking every pencit line again to complete your sketchnotesâ&#x20AC;˘

PENCILli41 2 ETCHNOTES MAY LET YOU COte/atECTE S BUT IT CANALSO TAKE g TWICEAS MUCH TIME AS CiglATIN6 INKED SKETCHNOTES.

128


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129


r-r - of the two-stage sketchnoting A second variation approach uses rough notes of text and visuod elements, " which are redrawn as final sketchnotes at a later time. 1 This approach puts 5 less evrtphasis on Making perfect sketchnotes on the spot. For some, this tYta9 be a good 1 wa9 to ease into sketchnoting. Rou1ghmot T esO 2. Redrawn Notes R E F I N E D A P P YOU ARE PROCESSIINIG NOTES TWICE, which ma9 R help 9our comprehension. However, like the pencit to ink O method, this approach will likely take twice as much time as creating reo,t-time, inked sketchnotes. A C REAL-TIME SKETCHNOTING H TWO-STAGE SKETCHNOTING

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131


HOWEVER YOU CREATESKETCHNOTES,

remember: • •

IT'S AN ACTIVE P CT10E SKETCHNOTIN6 IS SOMETHIN6

ti D 132


E TING A1111E1•••••••-• When you create sketch notes, one of your key tasks , Is to construct a logical hierarchy of information. Defining a hierarchy helps you, otnd others reading ,i 9our sketchnotes, to understand the importance of the- information you've captured. 01lf

SPEAKER NAME and topic name set the overall context. HEADLINES describe the broad subtopics. SUBHEADS add detail to the headline's meaning. DESCRIPTIVETEXT adds more detait • BULLETPOINTS separate and define detail.

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I use a variety of etements to indicate which bits of information are key points in a sketchnote hierarchy. The top level in the hierarchy is the speaker's name and title.

The drawing o f a couch emphasizes point no. Descriptive text establishes the talk.

AndySianiey

Numbering o f the points o ff e r s a clear hierarchy.

Tet Re•F g u e . s -rtoNts!

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To help guide the reader's ese through the ftow of sour sketchnotes, here are some hands etements you can use to emphasize hierarchs.

Bold tgpe helps draw the e e to

important ideas.

4 â&#x20AC;&#x201D; U s i n g ALL CAPS is another wag to bring (Attention to i m p o r t a n t ideas.

The First Concept 2. The Second Concept c. First sub item b. Second sub item

Numbers work welt

f o r providing a more structured hierarchy.

4 - - Icons are great for marking keg ideas on t h e i r own Or in buffeted lists.

135 , )


PEP"Au2Aerrk, Sketchnotes are personal. When you're hearing and processing ideas, your opinion naturally comes into ptaYâ&#x20AC;˘

Your Personality determines the decisions you make about which ideas to capture and what those ideasmean to you. IN SIGNLANGUAGEINTERPRETING, the interpreter is charged with staying neutral, passing along exactlY is said by the spectker â&#x20AC;&#x201D; nothing more and nothing less.

,iketchnotes don't have to beneuiral. In fact, personal opinions expressed and embeddedin sketchnoir are intriguing, because they reveal what the sketchnote and r wthinking a s during the creation process. h e a r i n g 136

t


PERSONALIZATION TIPS Here are a few ideas for injecting your personality into the sketchnotes you create:

COMMENTARY If you agree, or better yet, if you disagree With an idea, capture your thoughts.

Opinionsembeddedin your sketchnotescanbecomeahandy reference for rememberingthose thoughts later on.

137


HUMOR If you find something that you hear funny, share your thoughts in context with the idea. Include humorous people, cartoon charctcters, or objects along with your humorous comments. Have fun!

WHIMSY Experiment with the style of type and elements you use as you sketchnote. You might use flourished script text and unusually shaped containers or icons; pla9 with graphical elements like swirls, lines, or stars to emphasize ideas.

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0 4 Real-time sketchnoting focuses on capturing the big, relevant ideas you hear. --.) Two-stage sketchnoting combines notes that are captured in a rough form first, and are either refined or re-created later on. am* Sketchnoting is founded on traditional note taking, but adds more detail through type, drawings, and other visual elements. â&#x20AC;&#x201D;+ Practice and repetition improve your real-time sketchnoting skills. ----) Use hierarchy and personalization to make sketchnotes unique and interesting. Tara* Skeichnotes don't have to be neutral. Opinion, humor, and whimsy are great ways to personalize your sketchnotes. NEXT: SKETCHNOTIN6 SKILLS AND TECHNIQUES


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CHAPTER 7 0

SKETCHNOTIINIG

SK and ITEN NIQ ES L L S

V i e l l M m a c z m i n a l l = = = g m r Vintmottiottasomm

IT'S TIME TO BUILD YOUR VISUAL NOTE TAKING TOOLBOX,'

146


-

LEANED:

SC / 4 ) 1EdWhat 1 ( sketchnotes are

E4Why you should create them Ell How to create sketchnotes El How to personalize sketchnotes

SKILI H LJVQUES in this chapter, you'll learn: i+ How to draw using the five bask shapes How to draw people simply and quickly How to draw faces and expressions 4 How to create four different typefaces 4 How to improve your penmanship 4. How to draw various visual elements 4 How to build your mind's visual library 4 Which tools to use for sketchnoting Tips for sharing your sketchnotes

147


ems 11 7 1 1 11

BEFORE YOU LEARN TO DRAW VISUAL ELEMENTS remember that sketchnotes are about capturing and sharing ideas, not art. Even bad drawings Can convey good ideas.

If you're not an artist or feel you can't draw well,

The foltowing exercises are designed to help you start stowly and build on your successes. You cotn do it!

148


* DRAW ALMOST ANYTHIN6 WITHTHESE 5 ELEMENTS.


THAT'S RIGHT! You can draw pretty much anything you can imagine with just five basic drawing elements

TheFIVE BkAC 1 L

A 1 4

THIS SIMPLER WAY of creating images is often a relief for non-artists who want to add drawings to their sketchnotes but think they can't draw.

150


FOR THE IDEA-FOCUSED DRAWINGS you want add to to sketchnotes, drawing complex ideas by building them with simple squctres, triangles, circles, lines, and dots is a handy technique. Can you spot the five elements in each of the following figures?

House

1 Pencil

Earth

Ca t

Car

iPhone

B

o

o

k

Factorg

Laptop

Satetlite

Radio

TV

Dog

Lightsaber

Robot

151


1 . te, .•ATOE •IP)flATE:• • THAN , • C • • .

museum q ;u a l i/4 t\Ti NS; •ILL UST" y • •focus INSTEAD on

QUICKLY C SIMPLE D'eAWINGS P ofTthe IDEAS 'EA IN IN YOLP HEAD 6 usingthe 5 basicelements.

152


Mâ&#x20AC;˘ P I ' T I V 7 5 FANCY ILLUSTRATIONS E 1 r I T E M S

5 SIMPLE DRAWINGS

Woman

11 Laptop

Lapt op Tree

Pie Chart

Pie C h ar t

o Book

Book Simple drawings by Mike Rohde Fancy illustrations by Greg Newman

FANCYILLUSTRATIONS AND SIMPLE DRAWINGS conve9 the same ideas, but simpler drawings are quicker to create. Whert 9c:wire working live, speed and effectiveness are critical. 153


IFPIE BASIC ELEMENTS Err"iSr Now it's time for you to draw! In the grid below, use the five basic elements—square, circle, triangle, line, and dot—to create drawings of each word in the grid. If you get stuck, skip to the next word. CAR

CLOCK

BOOK

LAPTOP

COFFEE M U G

B O AT

IGLOO

C AT

DOG

TRUCK

TRAIN

TRACTOR

LIGHTBULB

EARTH

S AT U R N

M O U N TA I N

TREE

HAMMER

WRENCH

HOUSE

0

15 1


FISH

BIRD

BUG

ROBOT

FLASHLIGHT

CAMERA

SUBMARINE

SANDWICH

HEADPHONES

MILK J U G

B AT T E R Y

TV

DVD

TV R E M O T E

M I N I VA N

BIKE

BASEBALL CAP

T- S H I RT

SHOES

TRASH C A N

HAMBURGER

PEN

PENCIL

W AT C H

155

,


D W I N S PEOPLE Drawing people quickly is a great skill to learn. There are Virta119 WayS to draw people â&#x20AC;&#x201D; s h o w you the two quickest ways-

THE STAR METHOD This method is used by professional graphic recorders f o r its speed and simplicity. Follow these four easy steps:

Draw the head

Draw a star-shaped body

11 4 1 4 4 0 Complete the body 4 3 Add faces, hair, clothes, etc.

156


1


THE6111'(,8 If METHOD Dave Gray taught we another way of drawing people using a rectangle, an oval, and several lines. I love this way of drawing people because it's quick and attows for embellishment if I have extra time. Fottow these six easy steps:

Draw a Body Start by drawing the person's body as a rectangle, which can be straight up and down for a format pose or at any angle for an active pose. The position of this rectangle sets much of the body's attitude and direction.

1

Draw a Neck Next, draw a neck as a line at the top of the rectangle. keep the neck short.

Draw a Head Draw a head as a circle or an oval at the top of the neck line. Make sure there is enough room inside the head f o r a face.

156


Draw Legs Using lines, add legs to the body because legs suggest the body's gesture more ctearty than arms. Bend the legs at the knees as needed. Use simple lines for the feet.

0

Draw Arms Next, draw arms in relation to the rest of the body, bending at the elbows. A simple line works welt for hands.

Draw a face Finally, use simple lines and dots to draw eyes, a nose, and a mouth. For the nose, a simple line works welt and can be pointed in the direction your person is looking.

Have fun adding more detckits to your person once the basic structure has been created.

159


PrOPLE E r In the grid below, - use the Gra9 Method to draw people. I've w r i t t e n some suggestions in the open grids to challenge 9ou a bit. Tr9 adding clothes, shoes, hats, I n cand i sother e details â&#x20AC;&#x201D; have fun! S TA N D I N G

RUNNING

'Ilk

WALKING

160

JUMPING


SITTING

ON T H E P H O N E

DAD & SON WALKING

B A C K PA C K E R

READING A BOOK

T E N N I S P L AY E R

KUNG FU M A S T E R

M A S T E RR C H E F

DANCING

1

i

161


p r i A l p r N r t a : \ fr47(12% My friend Austin Kleon has a way of drawing faces using a few straight and curved lines for eyebrows and mouths, a triangular nose, and dots for eyes. Using these etements in a bingo grid, you can quickly create nine different facial expressions:

EYEBROWS • • m • • • • • • •

,..........••••••

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s•

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IRAININC FACES Er :IcV• Now it's your turn to create faces using Austin's approach: •••••••Moimmeigodomet

0. , m , a 0 n ot o o m e r n el m a

Next, try thokt same technique on some blank faces:

163


•"'•'M

E

S

Exercise

Now it's time to create more faces. I've provided a few eye and mouth options, but feet free to make up your own. EYES elt1/4 e g N ;

BIFF

TEX

BOB

164

4

7

.

MOUTHS A y % 'Cr>

BUFFY

MOZZY

FRED

BIANCA

FRANKIE

M A I THE FACIAL EXPESSIONS CAN YOU CtsEATE?


Pawing TYPE

TYPE

TY rrnIVPA 165


tu W I N G TYPE A great way to immediately improve your plain text notes is to emphasize words with hand-drawn typography. In fact, you can create bolder or larger letterforms by hand in four easy ways:

SINGLE-LINE LETTERING Using a single line, these clean headlines can draw attention to a section you'd like to emphctsize in your sketch notes. Plus, drawing single-line lettering is easy and quick. , 1 • • • • • • • • • • • • •

stsAAL.L L E T T E R I N G

L4r3e Isiffierirt9 • Alt caps, small, single-line letters are great for establishing sections within a sketchnote.

Uppercase cknd lowercase single-line lettering is especickltg effective when used for headlines.

WHEN DRAWIN6 TYPE; JUST RELAX, AND LET THE LETTERS FLOW ONTO THE PA6E.

166


When crectting single-line lettering, slow down and deliberately create each character:

A B C D E P C - great thing about learning the single-line type method is The that many of these type crecttion methods are based on it. ) H I JLETTE K LV N TWO-LINE By drawing two lines in parallel, you can create bolder type. C You can also draw the type as a single line, adding a second line next to it

Next, you can close the ends of each character with a small line, and then fill in the gap with ink for bold, black letters.

DRAW V J R Liz i TERS WITH CONFIDENCE. NEVER HURRY.


7 1 -

TRIPLE-LINE LETTERING This bold lettering style begins with a single-lined letter, and then two lines are added on either side of the center line. dom.

-

As with two-line lettering, you can close the ends of each character with a small line, and then fill in the gap with ink for very bold, black letters. - - _ _ _ _ _ _

START SIMPLE & BUILD UP

i

Using the single-line lettering method allows you to quickly convert your letters to two- or triple-line lettering, simply by adding more lines, even at a later time. , 3 1 6 0 0 1 0 1111 0 1 - - - - -

( Alt three of these lettering methods start the same wag.

168


BLOCK LETTERING The block lettering approach requires a little more practice, skill, and time. When used properly, block lettering is a nice way to create a strong impression. Block lettering works well on title pages or when you want to emphasize a key point.

.0110111111•

Regutar btock lettering

Drop shadow added f

B i

l

o l

c l

k e

d

lettering in

WITH ALL of these hand-drawn lettering approaches, you may need to start the first few letters and leave the rest for later. This is fine — just remember to finish the words you've started drawing when the sketchnote is completed.

SPEEDY OAEADO- ..... i Started but incomplete

SPEEDY N O N E Cornpteted at a later time

169

—ea


m\WIINI6 TYPE Exerre Practicing hand-lettering techniques will help you quickly create type for your sketchnotes in a meeting. Use these pages to practice creating single-line, two-line, triple-line, and block lettering. SINGLE-LINE LETTERING:

ABC abc

TWO-LINE LETTERING:

A P 3 C a b L

170


TRIPLE-LINE LETTERING:

A C wiDc

BLOCK L E T T E R I N G :

ET 171


PEN IS MIGHT1E ummorl


Although large typographic elements work great for highlighting sections and ideas, you'll still need legible handwriting to capture detctited idects in your sketchnotes. 10 YEARS AGO i wrote only in ALL CAPS block letters after abo,ndoning lowercase handwriting. It took me months of practicing lowercase letter writing to get comfortable with it again. So, if your handwriting is rough and illegible, you Can change it! Just take it slow and keep working on it.

ALL cips LETTERING I - 0 + s of protc WAS T H e NoRNA k e t R o o t ottebreAtc• FOK tice ME YVARSAGO• -RAPt+ tutloif: My otd ALL CAPS handwriting

My lowercase handwriting

MIKE'S PENMANSHIP TIPS: Here are a few tips that help me when I need clear, legible writing:

Practice Just a few minutes a day does the trick.

Slow Down Focus on each letter, one at a time. Don't rush!

Relax Loosen your grip and relax your arm tension as you write.


••ANIN161 ' it,../m.r.,PNITs Visual etements add interest to your sketchnotes and can be a , variety of shapes and sizes. Here are a few you may find usefut to (earn as part of your practice routines: •/!!! Sit , •1/ , I _ o •••••••••••_. * ,tv 1 1 1 0 1 A , 1 1 0 4 b l _

BULLETS

4 . . . . . " . -

r _

17 1 4

. e . o n f t • . . . . . . .

LINES

CONNECTORS

_


4, •• ••

SEPARATORS

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-

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ICONS

at"1/4 o t •43' (21ZS 02

i

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175


1r7 • I V 1AP , you learn and practice drawing all the visual elements As you've explored in this chapter, you're actucttly building a visuat library of items. -• , Learning these techniques is a great way to acid selections to your visual library. Another activity is to chatlenge yourself to draw items from memory when you have some downtime. FOR EXAMPLE, using the exercise sheets in this chapter, use your memory and draw objects from your kitchen and office. Imagine your toaster, coffee maker, computer, or stapler, and draw it. Push your mind to think of small, obscure items and draw ectch one in the book using the five basic drawing etements. This visuat exercise challenges you to imagine things in your mind's eye and then draw them as simple objects.

KEEPP , C T you've I C filled the visuat library Once exercises I N G in this book, keep your mind in practice by creating new visuat librar9 objects using Wank sheets of paper, sticky notes, a pocket notebook — even the back of junk mail envelopes.

176


with a WELL-STOCKED

VISUAL

IN YOUR MEMORY,

drawingideas andobjects BECOMES EASIER.

177


VISUAL U Y E 11the grid below, draw as many items from your kitchen from ,memory as you Carl recall. Remember to use the five basic elements -to"draw ren : you're seeing in your head. theeimages

178


179


VISUAL LIBRARY Exercise: nffice In the grid below, draw as many items from your office from memory as you can recall. Remember to use the five basic elements to draw the ivnages you're seeing in your head.

1

1

e=6

180


181


p miNe !I\IF7A051-fr) S Metaphors are figures of speech that use the attributes of a known idea to describe another, apparent19 unrelated idea. Good metaphors lean on vivid imagery.

METAPHORS SHOULD BE BOLD & FUNNY The most successful metctphors I've captured as sketch notes have been bold and a bit Over the top. I like to use humorous ideas for drawn metaphors because funny images are surprising and more likely to stick in your head.

WORLD PEACE WORLD WIDE WEB

BUCI<ET LISTS

THE KEY TO CREATING METAPHORS Let your imagination have free rein when you're sketching metaphors. Don't be afraid to use crazy, silty, or wild drawings for your metaphors. The vvlost absurd drawings I've created for sketch notes are often the most memorable.

.

• •••3 JOHN LOST HIS HEAD TIME FLIES

182

1 1 1 1 1 1 1 1 1 1 1 1 • 1 1 1 1 1 • 1 1 1 1 = - _ _ _

HOT HEAD


Seekout the

SILLIEST, C I E S T, WILDEST IDEAS asMETAPHORS. THEMOST BIZARREIDEAS CAPTUREATTENTION AND ARE UNFOROETTABLE ,

183


fot An9 paper or notebook, pencil or pen will work just fine for sketchnoting. However, there are pens and papers that work better for some than others. I use pocket-sized Moteskine sketchbooks becctuse the9're smatl and can take a beating in m9 pocket or backpack.

MOLESKINE SKETCHBOOK Moteskine sketchbooks nave heavy paper stock, which resists bleeck-through even with beav9 inking.

\, HEA VY 1INKING 0 6 1 1 2

An elastic strap keeps rA9 sketchbook shut.

Moteskines nave a pocket in the back for storing business cards, etc.

A h6km/9 bookmark lets nen a r k where I l e f t o f f sketching.


A Moleskine's two-page spreads work welt for the linear sketchnotes I create. Here's a sample:

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PEN OPTIONS include gel, ball point, or felt tips (0.3 to 0.5mm fine point), which dry quickly. Highlight your sketchnotes with felt-tipped markers or colored pencils.

Thebooks and pens you choose are up to you. Experiment with a variety of book styles, pens, and markers until you find the right combination that works best for you.

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r 190 T E S Sharing sketchnotes can be as simple as shooting and posting o a photo with your smartphone or as complex as making scans on your desktop computer. rhigh-resolution I often share my work both ways. SMA : TRIONES Smartphones are convenient to carry anywhere and can ) highly detailed photos for backup and sharing. create By sharing your sketchnotes using the camera on your phone H and posting them to your favorite social media site, you're drawing others in to enjoy your work right away. To help others understand and share your sketchnotes, add a brief but ctear description of the event and a link to your work. Making your sketchnotes easy to comprehend and share can make who,t you've created more attractive for readers to check out and even share with the world.

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DIGITAL CAME \ A 'S Another option is to carry a high-end, point-and-shoot pocket or DSLR camera with you to capture photos of your work to share at a later time. I've found pocket point-and-shoot cameras have a good t r a d e - o ff between quality and portability When I'm sketch noting at an event.

SCANNERS A quality flatbed scanner produces the best images, especially if the end result of your sketchnotes is a PDF document or a printed booklet. I prefer a small scanner powered from a USB cable. This allows me to carry it along to an event if needed. I scan my work as PNG files, which I can convert to pDF files or send to a printer f o r final print production. I use Photoshop to tweak the contrast and levels, and save a final file with each spread of sketch notes on a layer. This makes it easy to work with and export a large batch of sketchnotes.

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TLYLAMNISI You've made it to the end of The Sketchnote Handbook! Now you have a better idea of what sketchnotes are cknd how to create thervi.

Hereare a few details-Eoremember: STARTSLOWLY Use just a quarter of the page to start and expand as you improve your skills.

BUILD ON SUCCESS Try a few techniques and be happy with your progress as you continue to improve. Go easy on yourself!

LISTEN UP Manage distractions, listen closely, and concentrate. The more you practice listening, the better you'll get.

D1 1 Use the 5 basic elements to draw simple shapes, just like W do. Bad drawings can still convey good ideas! kids IV EXPLORE S I Find your own way as you learn to sketchnote. Everyone M a unique way of forming ideas and capturing them has SHARE P L Share those sketchnotes! You're invited to share your Y work at The Sketchnote Handbook group on Flickr:

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INDEX A about this book, xiv

caching ideas, 25, 46, 48

active listening, 46 Akah, Binaebi, 22-23

cameras, digita1,18ct

ALL CAPS t9pe,I35,173 anchoring ideas, 25 arrows, 43, VI,134,174 artwork a r t & structure scale, 87-88 ideas evnphasized over,18-1q,148

capturing ideas, 6,18, 42 cartoons,I38,13q Chew, Boon Yew, 40-41 circles,I6,150 commentar9,137 concentration, 31, 3'1 concepts, describing, 8 connectors,I74

See also drawings asterisks,134

containers, 71,175

as9himetric radial sketchnote,

c-shape path,103

attention, directing, 47

F3

descriptive text,I33,134

backup supplies, 58, 71 Balara, Matt, 'II Berman, Craighton, 24-25 big ideas, 6, 37 block lettering, 16'1,171 bold t9pe,I35,167,168 book light, 58 Boudwin, Marichiel & Dan,107 brain dual coding theor9 and, 27-28 visual maps and, 2'1-30 brainstorming, 25 Broadbent, KT, III Brown, Sunni, 85,144 bullet points,133 bullets, 70,174

200

diagrams, 6 , digital cameras, WI 6-67 digital sketchnotes,13 distractions e ff e c t of sketchnoting on, 31 eliminating and filtering, 47 dividers, 68' , 75 doodling drawing compared to, ILI stud9 on vnemor9 and, 30 dots, used in drawings,1 6 1 5 0 drawing faces,I62-164 basic elements for,162 exercises on,I63-164 drawing metaphors,182-183 drawing people,I56-161


exercise on,160-161

making sketchnotes at, 61

Gray method of,I57-15q

researching beforehand, 57, 7g, 79

scaling tip for, 23 s t a r method of,156

title page for, 60

drawing type,I65-171 block lettering,161 exercise on,170-171 single-line lettering,166-167 tips for q u i c k l y, 1 6 , triple-line lettering, I6g g , 1 6 two-line lettering,167 , See also typography cl drawing visual elements,174-175 drawings fancy vs. simple, 153 five basic elements of,I6, M - 1 5 2 , 154-155 ideas conveyed through, IS, 34-35,151 including in sketchnotes, 6 6 - 6 7 skills f o r creating,14 See also a r t w o r k drop shadows,1 6 dual coding theory, 27-2g, 39 1 dynamic note taking, 3g

sharing sketchnotes from, 62, 63 experimenting with sketchnotes, 20 eyebrows, drawing,162 eyes, drawing,164

F faces basic elements for,I62 exercises on d r a w i n g , 1 6 , expressions,16 facial f, e l t -3t i-p1p6e d markers,1g7 2Finch, , 1 6, 1 Alexis, 54-55,114,129 3 4 five basic drawing elements,16, 1 4 , exercise on using,154-155 4 9 -finding 1 5 2 in drawings,I51 fixing/tuning sketchnotes, 62 Flickr site for book, xv,1% focusing attention, 47 frames in sketchnotes, f r u s t r a t i o n with note taking, xii, 3 funneling information, 25

6 gel pens, 1g5,1g7

Erb, Veronica, 42-43, lOct

George, Michelle, g 0â&#x20AC;&#x201D;gl

Esch, Jessica, 5 2 - 5 3 , g5

grade school doodles, N

events, 5 7 - 6 2

graphic recording, NI

arriving early to, 59, 7g, Pt gathering materials for, 5g

Gray, Dave,15 Gray drawing method,157-15q grid-like patterns, lOg

201


, 2 0 2

1.

0-6 handwriting, g, 6g,I73 hard-back notebooks,145

Lamm, Eva-Lotto. g2â&#x20AC;&#x201D;g3, '17,144

Hawkins, Erin M., I40 headlines,133 hierarchies

language, visual vs. verbal, 3 4 - 3 5

creating,133-134 elements of,I35 holistic approach, 11 hub-and-spoke structure, ' 1 5 6 humor,13g,13c1 16

icons, 25, 70,135,175 ideas

Lamson, Gerren, g6, '13,106, 11g-119 larger themes/ideas, 37 lettering block,169,171 single-line,166-167,170 triple-line, 16g,I71 two-line,167,170 linear sketchnote pattern, 75, ' I I 6 lines in drawings,16,150,174 1 4 listening, 44-51 active process of, 46 ,author's approach to, 47-4'1

anchoring metaphors and, 25

caching ideas through, 25, 46, 4g

caching through listening, 25,4(0, 4g connecting with arrows, 43

keys to process of, 45 naturalness of drawing while, 32

conveyed through drawings, IS, 34-35

practicing skills in, 50

emphasized over artwork, 14g

live sketchnoting,124-126 ,lowercase handwriting,173

summary points about, 51

focusing on larger themes and, 37 process for Capturing, 42 sketchnotes built from,10 Ide-Smith, Michele,105 illustrations. See artwork; drawings immersion process, lig iPad and i Phone, 57, 5g

Magairt, Matthew, 1 2 0 -lytaps, visual,10, 2c1-30, 3'1 121 materials for sketchnoting, 55,154â&#x20AC;&#x201D;I57 McDaniel, Cassie,102 meandering storytelling, 4'1 memory drawing items from,I76

keaggy, Bill,I31 kitchen items drawing exercise, 17g-17 6 Kleon, Austin,112, I Ig,162 1

study on doodling and, 30 visual maps and, 30

Mental cache, 25, Ltg


popcorn pattern,113-115 radiat pattern, 7 3 , 9 5 - 9 9

metaphors anchoring ideas and, 25

dual coding theory of, 2 7 - 2 g

skyscraper pattern,110 â&#x20AC;&#x201D;112 vertical pattern,100-102 PDF documents, 62

holistic note taking and,11

pencils

tips on drawing,1 2 - 1 g 3 mind

visuat maps and, 2 9 - 3 0 modular sketchnote p a t t e r n , 1 0 6 -Moleskine sketchbooks, 7, 5 g , 1 g 1 0 Monlux, Mark,139 9 -1-1g5 mouths, drawing,162,16 11 N

highlighting with colored,1g7 pencit to ink approach,127-129 text-only note taking using, 3 penmanship,173 pens f o r sketchnoting,135,1g7 people exercise on drawing,I60-161

Newman, Greg,I53

methods for drawing,156-159

note taking author's f r u s t r a t i o n with, xi i, 3

scaling tip for drawing, 23

feeling of sketchnoting vs., 3 6 - 3 g visuat and holistic approach to, II

personality in sketchnotes, 9,12,136 personalization of sketchnotes, 136-140

numbering points,134,135

photographing sketchnotes, 61, 79, Iggâ&#x20AC;&#x201D;Ig9

0

pie charts, 30

o ff i c e items drawing exercise,1g0-1g1

planning process, 42 PNG formatted files, 62

opinions in sketchnotes,136,137 organic path shapes,103

pocket-sized Moleskine sketchbook, 7, IgL1-1g5

P

popcorn sketchnote p a t t e r n , I 1 3 -practicing listening skitls, 50 11 5 presentations

Paivio, Altan, 27 panel discussions,110 path sketchnote pattern,103-105

immersing your mind in, '-IS

pattern recognition, 46, LII

recognizing patterns i n , 1 -16, 4 9

patterns for sketchnotes, 90-116 linear pattern, 75, 91-9H

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modular pattern,106-109

radial sketchnote pattern, 7 3 , 9 5 9 9

path pattern,103-105

real-time s k e t c h n o t i n g , 1 2 3 , 1 2 4 126, H I

203 __.1


recall. See memory recognizing patterns, 46, 49

diagrams and drawings in, 66 dividers used in, 6g

refining sketchnotes, 43

experimenting with, 20 handwriting in, g, 613

relaxed note taking, 36 researching events, 57, 7 6 Reynolds, Timothy 1,113,142—N3 1 Rohde, Mike, 92,140,153

holistic approckch of, II how to create,13

rohdesign.com website, xv

ideas over art in,Ig—lq,14g

rough-to-refined approach,130-131 Rowland, Francis, N4-145

key concepts f o r making, 25 patterns used for, 90-116 personalization of,136-140

5 scanning sketchnotes, 62, 'gel Schildt, Bauke,104, Ig6 seating considerations, 59 separators, Gg, 75,175 Sewell, Carolyn, 94 sharing sketchnotes, 62, 63, Igg—Igq

photographing and scanning, 61, 62, Igg—Igq planning process for, 42 reo,t-tie,I 2 3 , 1 2 1 refining the look of, 43 4-126 sharing, 62, 63, Igg—Igq, NO

Shipton, Chris,101,190-191

signatures for, 71 structure of 8 7 - 8 9

sign language,136 signatures in sketchnotes, 71

style of, g5—g6 titles for, 60, 64

single-line lettering,166-167,170 sketchbooks

tools f o r creating, 58, I84-187

Moleskine, 7, 55,154-1g5 spiral-bound, 23, 52, IS& Sketchnote Army blog, xii sketchnoter covrmunity, xv sketchnotes

two-stage,123,127-131 typography for, 65,165-171 skyscraper sketchnote pattern,110-112 smartphones, Igg social media, 61, Igg Soupiset, Paul, 192-193

advantages of, 3 6 - 3 5

speech bubbles, 53,175

anatomy of, 64-71 arrows in, 43, &I

spiral-bound sketchbooks, 23, 82, WC , s9uares,16,150

a r t w o r k in, ri—gg

s t a r drawing method,I56

bullets and icons in, 70

Steed, Kyle,1q4-1q5

containers used in, 71

stories, connecting, 49 structure of sketch notes, 8 7 - 8 9

creation process for, 57-62, 7 2 - 7 7

204

hierctrchy for,I33-135


st9le of sketchnotes, g5â&#x20AC;&#x201D;g6 subheads,133 s9mmetric radial sketchnote, "16 s9nthesizing information, 25

V verbal mode, 2 7 - 2 g vertical sketchnote pattern,100-102 visual elements building a librar9 of,176

talk bubbles, 53,175 text, descriptive,133,13 1 text-only note taking, 3 4 themes, focusing on larger, 37 thinking processes, g5 thought bubbles,175 t h r e e - p o i n t sermons, LH titles, 30, 60, 64 tools f o r sketchnoting, 5g,1g4â&#x20AC;&#x201D;Ig7

drawing in s k e t c h n o t e s , 1 7 1 language, 3 4 - 3 5 visual -1-175 visual librar9,176-1 gl advice on building,176 kitchen items exercise, 17g-179 o ff i c e items exercise, Ig0-1g1 visual maps,10, 2 6 visual mode, 2 7 - 2 g 1 - 3 0 notes, , visual II 3 " I visualizing ideas, 25

triangles,I6,150 triple-line lettering,16g,171 Tw i t t e r info f o r author, xv two-line lettering,167,170 t w o - s t a g e sketchnoting,123,127-131, pencil to ink approach,127-12'1 rough to refined approach,130-131 t9po9raph9,165-171 block lettering,169

warming up, I'll website of author, xv whints9,138,140 Wright, Amanda, "Ig, Ig6 w r i t t e n sketchnotes,13 w-snape path,103

exercise on drawin9, 170-171 including in sketchnotes, 65

zigzctg path,103 zone for sketchnoting, 33,39

single-line lettering,166-167

z-shape path,103

hierarch9 emphasized through,135

tips f o r adding to,16g,I61 triple-line lettering, I6g two-line lettering,167


"MikeRohdepractices whathepreaches. Thisbeautiful,simplebookhaseverything you needto sketchnote like a pro. TheSketchnote Handbookisdestined to bethe definitiveguide to a new, practical, andinnovative discipline." —Dave Gray, author of The Connected Company, co au th or o f e I used to attend a meetings and struggled to pay m attention by e taking super s detailed notes. t TAKING NOTES BECAME o r m i GAVE UP AND TRIED n g Ornething N E W .

"Somethingmagicalhappenswhenyou take notes with picturesandwords, together. In this friendly, encouragingbook,sketchnote wizard MikeRohde shareshissecretsso that anybodycansteal his tricks for capturingideas with penandpaper." —Austin Kleon, author of Steal Like an Artist

1

Hi. I'm Mike Rohde.

A BVDEN. focused on BIG IDEAS, using a mix of words, drawings, and type to make my notes more visual and much more

I CONED a NAME

for THISPROCESS: S K e t INC THIS BOOK & VIDEO I'LL SHOW YOU h * STEPBYSTEP * nhowa totdraw e people, faces, type, and simple objects — even if you S think . you can't draw a thing. o

WATCH ME IN ACTION! On the video that comes with this book, Ishow you how I sketchnote an event, demonstrate the drawing techniques that I talk about in the book, and reveal more tips for making and sharing your own sketchnotes.

facebook.com/PeachpItCreativeLearning •

epeachpit US $39.99 C A N $it1.99

BOOK LEVEL Beginner/Intermediate CATEGORY Computer Art & Design COVERART a DESIGN Mike Rohde TOTALVIDEO RUN TIME I hour10 Minutes VIDEO REQUIREMENTS Broadband Internet Connection

ISBN-13: 978-0-321-88511-1 ISBN-10: 0 - 3 2 1 - 8 8 5 1 1 - 2

118f88I 91 53

9

J1 91


The Sketchnote Handbook - Mike Rohde