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THE SKETCHNOTE HANDBOOK: The illustrated guide to visual note taking Mike Rohde Peachpit Press Peachpit Press is a division of Pearson Education. Copyright Š 2013 by Michael D. Rohde Acquisitions Editor: Nikki Echler McDonald Development Editor Anne Marie Walker Proofreader: Liz Welch Production Editor: Katerina Malone Indexer: James Minkin Cover Design and Illustrations: Mike Rohde Interior Design and Illustrations: Mike Rohde

NOTICE OF RIGHTS All rights reserved. No part of this book may be reproduced or transmitted in any form by any means, electronic, mechanical, photocopying, recording, or otherwise, u/ithout the prior written permission of the publisher. For information on getting permission for reprints and excerpts, contact permissions@peachpit.com.

NOTICE OF LIABILITY The information in this book is distributed on an As Is" basis u/ithout w^rra.r\t^ While every precaution has been taken in the preparation of the book, neither the author nor Peachpit shall have any liability to any person or entity u/ith 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 softu/are and \\<\rdw<Kre products described in it. vv

TRADEMARKS Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. Where those designations appear in this book, and Peachpit u/as au/are 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 for the benefit of such companies u/ith no intention of infringement of the trademark. No such use, or the use of any trade name, is intended to convey endorsement or other affiliation u/ith this book. ISBN 13: T7S-0-32I-S57S1-7 ISBN 10: 0-32I-S57S1-5 1S76543 Printed and bound in the United States of America


T o Gail, Nathan,

Linnea, and

thank you for your support long and challenging You are the reason

Landon, on this

journey.

I work so

to create things and share my I love you.

hard ideas.


ACKNOWLEDGMENTS TAKING ON A PROJECT OF THIS MAGNITUDE is a g r e a t

reminder

o f j u s t how

v a l u a b l e m y f a m i l y , f r i e n d s , c o l l e a g u e s , a n d c o m m u n i t y a r e . W i t h o u t t h e m , I'm c e r t a i n TheSketchnote

HandbookwoKxld

n o t have happened.

GAIL, y o u a r e t h e f i r s t a n d m o s t i m p o r t a n t p e r s o n o n t h e list. E v e n t h o u g h y o u u/ere e x p e c t i n g a b a b y , y o u e n c o u r a g e d a n d s u p p o r t e d m e o n m a n y l a t e n i g h t s a n d weekends.

T h a n k s f o r s h a r i n g t h e v i s i o n u/ith me. I love y o u !

NATHAN, LINNEA AND, LANDON, t h a n k s

f o r s u p p o r t i n g me d u r i n g t h e c r e a t i o n

o f t h e book. A s y o u r d a d , I h o p e m y u/ork m a k e s y o u p r o u d .

VON GLITSCHKA, y o u

g e t c r e d i t f o r s p a r k i n g t h i s book o v e r T h a i f o o d in P o r t l a n d .

T h a n k s f o r b e l i e v i n g in m e a n d p i t c h i n g m y b o o k i d e a j u s t m i n u t e s a f t e r

dinner.

NIKKI MCDONALD, y o u ' v e b e e n b e h i n d me o n t h i s b o o k f r o m t h e b e g i n n i n g t o t h e e n d . T h a n k s f o r c o n s i d e r i n g m y b o o k i d e a , selling i t t o y o u r t e a m , a n d k e e p i n g m e o n t r a c k a n d e n c o u r a g e d t h r o u g h t h e long, h a r d c r e a t i o n p r o c e s s . M o s t i m p o r t a n t , t h a n k s f o r helping me c r e a t e something t r u l y unique a n d d i f f e r e n t .

ANNE MARIE WALKER, y o u ' v e

b e e n a f a b u l o u s e d i t o r , c h a l l e n g i n g me t o m a k e t h e

b o o k b e t t e r . T h a n k s f o r k e e p i n g m e o n m y t o e s a n d m a k i n g m y p r o s e look s o g o o d .

PEACHPIT, y o u r

t e a m h a s b e e n a j o y t o u/ork u/ith. E v e r y o n e u/as p r o f e s s i o n a l a n d

s o e a s y t o u/ork u/ith. T h a n k y o u N a n c y , G l e n n , K a t e r i n a , M i m i , L u p e , C h a r l e n e , A m y , E r i c , L i z , a n d J a m e s f o r m a k i n g m y f i r s t book e x p e r i e n c e a g r e a t o n e . DAVID FUGATE, t h a n k s f o r y o u r e x p e r t g u i d a n c e t h r o u g h t h e book c o n t r a c t process. I c o u l d n ' t have a s k e d f o r a b e t t e r agent.

vi


DELVE WITHRINGTON, t h a n k s f o r c r e a t i n g f o n t s o f my h a n d l e t t e r i n g . Y o u r t y p e f a c e s h a v e s a v e d me m a n y l o n g h o u r s o f d r a w i n g e v e r y l e t t e r by h a n d .

FEATURED SKETCHNOTERS: B i n a e b i A k a h , C r a i g h t o n Serman, B o o n C h e w , V e r o n i c a Erb, J e s s i c a Esch, Alexis Finch, Michelle George, E v a - L o t t a Lamm, G e r r e n L a m s o n , M a t t h e w M a g a i n , T i m o t h y R e y n o l d s , F r a n c i s Rou/land, Chris Shipton, Paul Soupiset, and Kyle Steed, thanks f o r y o u r contributions.

BRIAN ARTKA, GABE WOLLENBURG, STEPHEN MORK, MARK FAIRBANKS, AND CYNTHIA THOMAS, t h a n k s f o r y o u r e n c o u r a g e m e n t t h r o u g h o u t t h e p r o j e c t .

JON MUELLER, t h a n k s f o r allou/ing m y s k e t c h n o t e s o f y o u r t a l k t o b e c o m e s u c h a k e y p a r t o f t h e book. I've b e e n h o n o r e d t o c a l l y o u a f r i e n d a n d a p p r e c i a t e y o u r g u i d a n c e in t h e c r e a t i o n o f m y f i r s t book.

FRIENDS AND COLLEAGUES, t h a n k s f o r y o u r revieu/s a n d f e e d b a c k a b o u t t h e b o o k in p r o d u c t i o n . T h i s is a b e t t e r book b e c a u s e o f y o u r help.

TO THE SKETCHNOTING COMMUNITY, t h a n k s f o r y o u r s u p p o r t t h r o u g h t h e y e a r s . Km e x c i t e d t o s e e w h e r e o u r c o m m u n i t y u/ill go a n d hou/ i t u/ill g r o w o n c e t h i s book reaches new readers and viewers.


ABOUT THE AUTHOR MIKE R O H D E has a passion f o r simple a n d usable d e s i g n s o l u t i o n s . T h a t p a s s i o n , a l o n g u/ith his l i f e l o n g habit o f recording concepts and observations t h r o u g h s k e t c h i n g a n d doodling, i n s p i r e d him t o develop s k e t c h n o t e s â&#x20AC;&#x201D; a practical a r t t h a t translates simple a n d complex ideas into easily recalled bits of information. Professionally, Mike focuses on user i n t e r f a c e , u s e r e x p e r i e n c e , v i s u a l d e s i g n , a n d i c o n d e s i g n f o r m o b i l e a n d u/eb a p p l i c a t i o n s a t Gomoll Research

+ Design in Milu/aukee, W i s c o n s i n .

A s a s k e t c h n o t e r , M i k e p r o v i d e s live, r e a l - t i m e s k e t c h n o t e s o f e v e n t s , m e e t i n g s , a n d e x p e r i e n c e s in v e n u e s a c r o s s t h e U n i t e d S t a t e s . In his i l l u s t r a t i o n p r a c t i c e , M i k e u s e s his u n i q u e d r a u / i n g s t y l e t o a m p l i f y a n d c l a r i f y i d e a s . His u/ork h a s b e e n f e a t u r e d in REWORK, t h e b e s t - s e l l i n g b o o k by J a s o n F r i e d a n d D a v i d H e i n e m e i e r H a n s s o n ; The $100 Startup, b o o k by C h r i s G u i l l e b e a u ; a n d The Little

a best-selling

Book of Talent by D a n i e l C o y l e .

C o m m u n i t y a n d sharing a r e i m p o r t a n t c o r n e r s t o n e s o f Mike's philosophy, as e v i d e n c e d by t h e c r e a t i o n o f The Sketchnote

Army, a u/ebsite d e d i c a t e d t o

f i n d i n g a n d s h o w c a s i n g s k e t c h n o t e s a n d s k e t c h n o t e r s f r o m a r o u n d t h e u/orld. M i k e h a s a l s o s h a r e d his t h i n k i n g , d e s i g n p r o c e s s , a n d s a m p l e s o f his d e s i g n a n d i l l u s t r a t i o n u/ork a t his p e r s o n a l u/ebsite, r o h d e s i g n . c o m , s i n c e 2 0 0 3 . M i k e lives u/ith his u/if e, G a i l , a n d c h i l d r e n , N a t h a n , L i n n e a , a n d L a n d o n , j u s t o u t s i d e o f Milu/aukee. He's a n a v i d G r e e n B a y P a c k e r s f a n . L e a r n m o r e a b o u t M i k e a t rohdesign.com.


INTRODUCTION IT WAS THE WINTER OF 2006 AND I COULDNTTAKE IT ANYMORE. I u/as d o n e . F e d u p . I vou/ed n o t t o t a k e a n o t h e r n o t e u/ith a m e c h a n i c a l p e n c i l o r u/ith a g i a n t n o t e b o o k u n t i l I'd f o u n d a b e t t e r u/ay t o t a k e n o t e s . T h i n k i n g back, I'm n o t s u r e hou/ n o t e t a k i n g h a d b e c o m e s u c h a b u r d e n . In high s c h o o l a n d college, I e n j o y e d e x p r e s s i n g i d e a s v i s u a l l y â&#x20AC;&#x201D; e a s i l y b l e n d i n g u/ords u/ith drau/ings, d i a g r a m s , a n d t y p o g r a p h y in m y n o t e b o o k s . Someu/here in t h e p r o c e s s o f g r o w i n g u p a n d g e t t i n g a j o b , I l o s t m y u/ay. T h e r e l a x e d , v i s u a l n o t e - t a k i n g a p p r o a c h f r o m m y college d a y s h a d m o r p h e d i n t o a f a n a t i c a l l y d e t a i l e d , t e x t - o n l y d e a t h m a r c h . Ironically, I b e c a m e a g r e a t n o t e t a k e r u/ho c o u l d n ' t s t a n d t a k i n g n o t e s . T h e s o l u t i o n t o m y n o t e - t a k i n g p r o b l e m u/as a blank p o c k e t M o l e s k i n e , s t a c k e d n e a t l y o n m y bookshelf. I'd b o u g h t i t o n a u/him a f e u ; m o n t h s b e f o r e a n d I r e a l i z e d t h a t i t s s m a l l s i z e , paired

u/ith a n u n e r a s a b l e p e n , c o u l d be a p e r f e c t u/ay t o

challenge my overly detailed, n o t e - t a k i n g m i n d - s e t . In J a n u a r y 2 0 0 7 , 1 b r o u g h t m y M o l e s k i n e a n d a gel p e n t o C h i c a g o f o r a c o n f e r e n c e t o t r y s k e t c h n o t i n g . C o u l d I t a k e f eu/er b u t b e t t e r n o t e s ? If I f o c u s e d o n q u a l i t y , c o u l d I live u/ith s e e i n g m y m i s t a k e s i n p e n ? W o u l d a d d i n g drau/ings t o m y n o t e s b r i n g back m y j o y o f n o t e t a k i n g ? C o u l d t a k i n g n o t e s b e c o m e f u n a g a i n ? T h e a n s w e r t o t h e s e q u e s t i o n s u/as a r e s o u n d i n g y e s ! A s I c a p t u r e d m y f i r s t s k e t c h n o t e s , I u/as a b l e t o slou/ dou/n a n d l i s t e n f o r big i d e a s . I l o v e d t h e n o - t u r n i n g - b a c k a t t i t u d e o f using a pen. B e s t o f all, I h a d a g r e a t t i m e t a k i n g notes again. E v e r s i n c e t h a t m i n d - a l t e r i n g e x p e r i e n c e , I've b e e n u/orking h a r d t h r o u g h m y blog, Tfie Sketchnote

Army, a n d a t live p r e s e n t a t i o n s a n d u/orkshops t o s h a r e m y

p a s s i o n f o r s k e t c h n o t i n g . I t a k e g r e a t p l e a s u r e in t a l k i n g a b o u t u/hy s k e t c h n o t i n g e n a b l e s y o u t o t a k e b e t t e r n o t e s , e x p l a i n i n g hou/ t o c r e a t e s k e t c h n o t e s , a n d p e r s u a d i n g p e o p l e t o give s k e t c h n o t i n g a t r y . T h i s p a s s i o n f o r s k e t c h n o t i n g is


w h a t d r o v e m e t o s p e n d h u n d r e d s o f h o u r s writing,

illustrating, a n d designing this

book. I want y o u t o e n j o y t a k i n g n o t e s a s m u c h a s I d o , a n d I h o p e t h a t by t h e e n d o f t h i s b o o k y o u u/ill.

WHO IS THIS BOOK FOR? W h e t h e r y o u believe y o u c a n o r c a n ' t draw, Km h e r e t o t e l l y o u t h a t a n y o n e u/ho c a n m a k e m a r k s o n p a p e r c a n b e n e f i t f r o m t h i s book. S k e t c h n o t e s a r e a b o u t h e a r i n g a n d c a p t u r i n g m e a n i n g f u l i d e a s , n o t hou/ u/ell y o u d r a w . T a k e i t f r o m me, y o u c a n c r e a t e s k e t c h n o t e s . In t h i s book, I u/ill s h o w y o u h o w t o d r a w simple objects, c r e a t e custom lettering, a n d use o t h e r h a n d - d r a w n elements t o h e l p y o u e x p r e s s y o u r t h o u g h t s v i s u a l l y . E v e n i f y o u c a n ' t d r a w a s t r a i g h t line, y o u can learn t o sketchnote w i t h a little practice.

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WHAT IS

THE

The Sketchnote

SKETCHNOTE Handbook

HANDBOOK?

is a s i m p l e , v i s u a l m a n u a l d e s i g n e d t o t e a c h y o u b a s i c

s k e t c h n o t i n g concepts, a p p r o a c h e s , a n d techniques quickly, so y o u can s t a r t creating sketchnotes immediately. E a c h p a g e o f t h i s book h a s been lovingly h a n d - s k e t c h e d t o show y o u hou/ m u c h f u n i t is t o l e a r n f r o m n o t e s t h a t i n c o r p o r a t e p i c t u r e s a n d words e q u a l l y . R a t h e r t h a n write a l o t o f words a b o u t s k e t c h n o t i n g , I decided

t h a t i f I was g o i n g t o t a l k

t h e t a l k , I'd b e t t e r walk t h e walk (or, m a y b e , s k e t c h t h e s k e t c h ? ) . So, I c r e a t e d t h e e n t i r e b o o k a s one, long, f u n — h o p e f u l l y i n s p i r i n g — i l l u s t r a t i o n .

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ideas I'm hearing u/hati'm start d r y i n g ' thinking about as sketchnotes in my sHetchbook.

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THE SKETCHNOTE COMMUNITY O f c o u r s e , I'm n o t t h e o n l y p e r s o n in t h e u/orld u/ho s k e t c h n o t e s . Km a m a z e d a n d e n e r g i z e d by t h e u/ide v a r i e t y o f p e o p l e a l l o v e r t h e u/orld u/ho c r e a t e a n d a c t i v e l y s h a r e t h e i r s k e t c h n o t e s . I love t h e s e n s e o f c o m m u n i t y t h a t h a s s p r u n g u p a r o u n d t h i s process, a n d IVe made a g r e a t many f r i e n d s t h r o u g h sharing a n d discussing s k e t c h n o t e s online a n d a t conferences. I i n v i t e d 15 o f t h e s e f r i e n d s — l e a d i n g s k e t c h n o t e r s f r o m a r o u n d t h e u / o r l d — t o e a c h c r e a t e a t u / o - p a g e s p r e a d f o r t h i s book t h a t s h a r e s a b i t a b o u t u/ho t h e y a r e , hou/ t h e y c a m e t o s k e t c h n o t i n g , a n d a t i p o r tu/o t o help y o u t a k e b e t t e r n o t e s . W h a t I h o p e y o u ' l l n o t i c e f r o m looking a t t h e i r u/ork a t t h e e n d o f e a c h c h a p t e r is t h a t e v e r y o n e s e e s t h e u/orld d i f f e r e n t l y ; e v e r y o n e p r o c e s s e s i n f o r m a t i o n d i f f e r e n t l y ; e v e r y o n e h a s t h e i r ou/n, u n i q u e s t y l e , a n d t h a t ' s p a r t o f u/hat m a k e s s k e t c h n o t i n g s o m u c h f u n ! T h e r e ' s n o r i g h t u/ay o r u/rong u/ay t o d o i t . I u/ill t e a c h y o u t h e b a s i c p r i n c i p l e s o f s k e t c h n o t i n g , b u t t h e r e a l j o y u/ill c o m e u/hen y o u s t a r t c r e a t i n g s k e t c h n o t e s a n d d i s c o v e r hou/ t a k i n g n o t e s c a n u n l e a s h y o u r c r e a t i v i t y a n d make paying a t t e n t i o n , even a t t h e most boring meetings, s o m e t h i n g y o u look forward

t o doing.

REACH OUT A s y o u l e a r n f r o m t h i s book, I e n c o u r a g e y o u t o s h a r e y o u r ou/n s k e t c h n o t e s a t The Sketchnote

Handbook

F l i c k r g r o u p (u/u/u/.f lickr.com/groups/

thesketchnotehandbook). I plan on h a n g i n g o u t t h e r e a l o t , a n d I'd love t o s e e how y o u ' v e t a k e n t h i s p r o c e s s a n d m a d e i t y o u r ou/n. Y o u c a n v i e w m o r e o f m y u/ork a n d c o n t a c t m e t h r o u g h m y p e r s o n a l u/ebsite a t rohdesign.com o r o n T u / i t t e r attu/itter.com/rohdesign. I look f o r w a r d t o h e a r i n g what y o u t h i n k o f t h e book a n d l e a r n i n g a b o u t y o u r s k e t c h n o t i n g e x p e r i e n c e s .

ITS TIME TO 6ET STARTED. GRAB A NOTEBOOK AND A PEN. LET'S 60 TAKE SOME NOTES!


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I WAS FRUSTRATED by the highly detailed, text-only notes I u/as taking at conferences and in meetings. ^ The stress escalated as I worked hard to capture I /^RQJ every last detail in very large, lined ^ t ^ S ^ I "HATE notebooks. Worse, I never looked ft ( THIS? at my notes after their completion. A PENCIL / u/as so worried

about

making mistakes, I took my notes in pencil, so I could erase any errors.

A LARGE, LINED NOTEBOOK Because capture

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I CHALLENGED MVSELF to write and draw notes more

was enjoyab THIS N E W WAY OF NOTE TAKIN6

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


* I (PINEP * N A M E * for T H I S P R O C E S S :

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

Uly

personality

WAS BAKED INTO MY SKETCHNOTES LIKE CHOCOLATE CHIPS IN A BATCH OF

chocolate chip cookies.


SKETCHNOTES are

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

TALKS

j PANELS

Experiences


\

THIS VISUAL and HOLISTIC APPROACH to note taking engages your mind so you can understand the ideas you're hearing while activating your hand to turn those ideas into concrete, VISUAL NOTES. n n i i m 1 Ml M n M i l i n ) n n i l n l i n

[The OUTPUT:

SKETCHNOTES

N I l l l i l M I M M ' i l i i l MIIIMI M l l l l ' I M i n i l l l l l M l I M M l H H ' l l l l i i i i M M i i i n i

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

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SKETCHNOTERS INFUSE THEIR OWN

SKETCHNOTES WITH UNIQUE PERSONALITY

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From drawing and handwriting style to the ideas included and haw those ideas are expressed on the page.

THE RESULT? EACH SKETCHNOTE IS UNIQUE, EVEN THOUGH THE UNDERLYING PRINCIPLES OF SKETCHNOTING REMAIN THE SAME.


How are sketchnotes CREATED? the

N SOLO MBA

i SKETCHNOTES are created in realtime u/hile listening to a presentation, talk, or panel discussion. To sketchnote, you listen closely to meaningful ideas, consider u/hat they 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 that include both words and pictures.

Whether you create sketchnotes with pen and paper or digitally, the approach is the same.


THE BI6 QUESTION:

Can you create sketchnotes? YES. YOU. CAN! MANY PEOPLE tell me they can't create sketchnotes because they can't draw. You can draw; you just need to au/aken your grade school skills!

KIDS draw constantly! They doodle ideas u/ith ease and u/ill drau/ u/hat they imagine u/ithout a second thought.

GUESS WHAT? You were a kid once: I bet you drew like crazy


KIDS D R A W

TO EXPRESS IDEAS. They don't worry about how perfect their drawings are, as long as their

ARE CONVEYED.


# 5 Basic Elements CIRCLE

SQUARE

TRIANGLE

LINE

DOT

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

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


I D E A S , NOT A R T ! Sketchnotes are about capturing and sharing ideas, not about art.

SKETCHNOTES ARE A WAV T O

THINK<™ paper U S I N G I M A G E S $ WORDS. BAD DRAWING

GOOD DRAWING

Either u/«y it's still« dog.


Even the roughest drawings can express ideas effectively.

YOU CANT DRAW, START WITH SIMPLE ITEMS

YOU CAN DRAW. The chapters that follow/ and lots of practice u/ill help you build your drawing skills.


> ONE USTEP AT A T I M E .

WHEN YOU'RE STARTING ANYTHING NEW, IT MAKES SENSE TO TAKE IT SLOW <& BUILD ON SUCCESS. Take the first step: Reserve a small area in your regular notes to t r y some sketchnote techniques â&#x20AC;&#x201D; 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 tools to your visual-thinking toolbox, and as a result, add more richness to your notes, one step at a time.


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Regular notes were frustrating, so I used drawings to help express the big ideas. Setting limitations helped me become more deliberate with what I captured. Sketchnotes are rich, visual notes that act as a map of the ideas you see and hear. Keeping an active mind and body helps you engage and recall more detail later on. Sketchnotes let you add your own personality, creating richer notes. You can draw nearly anything using just a square, circle, triangle, line, and dot. Sketchnotes are about ideas, not art! One step at a time. Build on success. NEXT: WHY SKETCHNOTE?


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WHY W H Y S P E N D 6X T P A EFFORT C R E W B M e s W T E H N O I P E S WF M A I M OL' T E X T N O T E S ARE 6 0 G B E N O d S G H ? EMGAG>i< WA¥£T

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THE DUAL CODING THEORY, proposed in the 1970s by Allan Paivio, suggests that the brain processes information using two primary channels: verbal and visual. *

VERBAL* C o n c e p t s a s words

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VISUAL* C o n c e p t s as images


W H E N B O T H M O D E S are A C T I V E , Y O U R BRAIN CREATES A N ASSOCIATIVE L I B R A R Y of W O R D S and I M A G E S with M E N T A L CROSS-REFERENCES

BETWEEN THEM.

SKETCHNOTING activates verbal and visual modes to capture concepts. Y O U R W H O L E BRAIN is absorbed in hearing, synthesizing, and seizing ideas.

i HEAR

SEE

THINK

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SKETCHNOTING CREATES A

VISUAL M A P

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

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EN6A6IN6 your u/hole brain has other positive effects, like improving your memory and recall.


THE VISUAL MAP YOU CREATE can help you recall the details of a presentation. I often recall thoughts, feelings, and other details u/hen viewing my sketchnotes.

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

I CAN STILL REVIVE MY THOUGHTS YEARS LATER.

IN AN EXAMPLE STUDY, a group of HO volunteers listened to a monotonous 2-minute phone message. 20 of the participants shaded boxes u/hile listening, the other 20 simply listened. IN A SURPRISE QUIZ THAT FOLLOWED, THE GROUP OF 2 0 DOODLERS RECALLED 2 9 % MORE THAN THE NON-DOODLERS. Source: The Guardian, Feb 26,2001


SKETCHNOTING HELPS ^"/"CONCENTRATION.

CREATING SKETCHNOTES from the ideas you are hearing helps focus your mind on the present moment.

and body are working in tandem, there is little room left for distractions. W/iefi y o o r m#W


(6 As you practice and improve your sketchnoting techniques, LISTENING and DRAWING at the same time willreel feelmore more an n


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

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

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Complex ideas can often be expressed more effectively as drawings.


Drawing an idea can often takejust a fraction of the time needed to describe the same idea in verbal detail. o

THE PYRAMIDS

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THE SOLAR SYSTEM

ROCKY MOUNTAINS

KANSAS TORNADO

This is especially important when you're processing ideas in real time, and ideas are coming in fast.

35


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I was able to relax, listen for key points, and capti :ure those ideas

VISUALLY.

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Creating Sketchnotes /

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The feeling I get from being completely connected while using my full verbal and visual thinking skills keeps me sketchnoting. SKETCHNOTING allou/s you to relax, engage in the speaker's points, and have fun turning u/hat's in your head into visual notes you'll u/ant to share and refer to again and again.


R E C A P o

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<—^ Dual coding theory suggests our brains process concepts in verbal and visual modes. — ^ Using both modes creates cross-references, forming a visual map of what you capture. — ^ Your visual map can help you recall details days, months, and even years later. «-«^ Sketchnoting improves your concentration because when you're engaged there's little room for distraction. — ^ Practicing your sketchnoting technique again and again helps it feel more natural. — ^ Sketchnoting can help you get into a zone. Simple drawings can be quicker to create and more effective than detailed verbal descriptions. — ^ Sketchnoting relaxes you; you let go of details in favor of large ideas. *

NEXT: LISTEN UP!


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ll^TENUP! CAIPTUmm t C R E A T I N G 5KB1CHH0TBS BESSMS VOTH A C l i V E U S T E M N 6 SKUM* AIFTIRAUJFYO«AIRENY IDEAS ACCUMrK&r, v©u e w t TORN THOSE (IDEAS UNTO gPPfceTJVE SKETCH N O T E S .


the KEYS to

LISTENING FOCUS your attention on the speaker.

ELIMINATE the distractions around you.

IMMERSE yourself in the presentation.

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yoixre^ actively,

YOUR MIND can

CACHE IDEAS PATTERNS. ACTIVE USTENIN6 can help you synthesize and capture big ideas as sketchnotes*

46


MY USTENIN6 APPROACH DIRECT My Attention By focusing on the speaker's words and the ideas being communicated, as well as reading the speaker's body language, I set aside other thoughts as I work.

ELIMINATE and Filter Distractions I'm proactive about eliminating the distractions I can and filtering out the distractions I can't eliminate. For example, I turn off alerts on my phone but must filter out noisy neighbors.


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

CACHE Ideas Through practice I've learned to hold an idea in my brain's ^rm rn-n rn-n cache area â&#x20AC;&#x201D; a temporary space where I store thoughts while listening for the next idea. I sometimes use my cache and combine it with ideas I have on paper to help identify connections between ideas.

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

MEANDERING STORYTELLING \ & 3 seemingly unrelated stories that connect at the end of a presentation.

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PRACTICE* USTENIN6 SKILLS!

LISTENING SKILLS STRENGTHEN WITH USE. Find opportunities to apply these listening techniques at meetings and conferences, and while watching video presentations online.

As you train your ears and mind, your ability to listen and to captur ideas will keep improving.

50


R E C A P o

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Capturing sketchnotes begins with hearing accurate information. When you listen actively, your mind can spot patterns and cache ideas. Give your undivided attention. Eliminate and filter distractions. Immerse your mind in the presentation. «—^ Cache ideas. — ^ Recognize patterns. — ^ Practice to improve your listening skills at every opportunity. *

NEXT: THE SKETCHNOTING PROCESS


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AFTER YEARS OF EXPERIENCE I ' V E MVElfiPBD SKETCHNOTIIN©

MY OWN PROCESS

T H A T W O R K S W E L L FOR H E A N D C A N H E L P Y&U CREATE A

56

PROCESS^OWN.


HERE ARE THE STEPS I FOLLOW WHEN SKETCHNOTING EVENTS: RESEARCH B e f o r e I arrive o n s i t e , I research t h e event, t h e speakers, and the topic.

RESEARCH GIVES M E INSIGHT and confidence; especially u/hen I'm s k e t c h n o t i n g people o r ideas t h a t I'm new; t o .

Sometimes I'll bring my research along as printed pages as a backup in addition to my electronic research tools.

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


GATHER MATERIALS

GATHERING KEY MATERIALS b e f o r e a r r i v i n g a t a n e v e n t is c r i t i c a l . I like t o b r i n g two o r t h r e e Moleskine s k e t c h b o o k s ; m u l t i p l e pens; a n d my i P h o n e t o access p h o t o s a n d r e s e a r c h m a t e r i a l s ; a n d t o a c t as a f l a s h l i g h t in a p i n c h . A book light is u s e f u l i f t h e venue is d a r k .

ALWAYS BRING BACKUPS Y o u n e v e r k n o w u/hen a pen might r u n o u t o f ink o r a s k e t c h b o o k might get damaged. Bring s p a r e s a l o n g t o be s a f e .

56

A few years ago, I u/as at an event in Chicago when my sketchbook literally came apart at the seams. Now I always carry at least one spare sketchbook, Justin case.


ARRIVE EARLY I arrive a t a presentation early and scout out the b e s t s e a t i n g . S p o t s u n d e r n e a t h lights a n d close t o t h e f r o n t a l l o w me t o h e a r a n d see t h e s p e a k e r .

SITTING IN THE MIDDLE OF A ROW

can reduce a n n o y a n c e s o r d i s r u p t i o n s i f o t h e r s a r e coming in l a t e o r leaving e a r l y .

Choose a middle

seat


4

CREATE A TITLE

A completed

title page, ready to go.

on my title

page.

ONCE I'VE SETTLED IN,

I check t h e t o p i c a n d t h e s p e a k e r ' s name, v e r i f y spellings, a n d s o m e t i m e s f i n d a p h o t o on my p h o n e t o c r e a t e a visually i n t e r e s t i n g t i t l e page f o r t h e s p e a k e r o r t h e t o p i c .

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


0 SKETCHNOTE W h e n t h e t a l k begins, I listen, synthesize t h e i d e a s I'm h e a r i n g , a n d s t a r t d r a w i n g u/hat I'm thinking a b o u t as s k e t c h n o t e s in my sketchbook.

A completed

sketchnote.

PHOTOGRAPH W h e n Km d o n e s k e t c h n o t i n g , I s h o o t p h o t o s o f my s k e t c h n o t e s . This is a g r e a t u/ay t o immediately share u/hat y o u ' v e created via social media, a n d photos serve as a g o o d backup o f y o u r sketchnotes.

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


Q SCAN, TUNE & POST W h e n I g e t home, I s c a n my s k e t c h n o t e s a t high r e s o l u t i o n , a d j u s t t h e c o n t r a s t , a n d f i x a n y t y p o s o r e r r o r s in P h o t o s h o p . F i n a l s c a n s a r e e x p o r t e d t o P N G f o r m a t t e d f i l e s f o r s h a r i n g online.


CONFERENCE ORGANIZERS share sketchnotes t o promote t h e i r upcoming e v e n t s t o p o t e n t i a l a t t e n d e e s because t h e y c a p t u r e t h e e v e n t simply a n d visually. Organizers often like t o g i v e a w a y copies o f t h e s k e t c h n o t e s as PDF documents or p r i n t e d booklets t o their attendees. These a f t e r - e v e n t d o c u m e n t s u/ork u/ell as h a n d y offline references. This printed booklet u/as created as a gift for the attendees of Summit Basecamp by the organizers. Booklets can also u/ork great as a promotional item for the organizers.

SUMMIT BASECAMP

SKETCHNOTES ÂŤ*4 INSPIRATION SQUAW VALUEV, C A JAN 27-30,2012


ANATOMY OF A SKETCHNOTE I've c r e a t e d a m a p o f s k e t c h n o t e e l e m e n t s f r o m a n e x i s t i n g sketchnote so y o u can see a n d b e t t e r u n d e r s t a n d each element.

•TITLES T i t l e s a r e ideal f o r d e f i n i n g sketchnotes. T h e y c a n include a n e v e n t name, s p e a k e r names, d a t e , l o c a t i o n , and topic. Multiple talks a t t h e same e v e n t c a n f ollou/ a consistent design f o r unity, o r each speaker's title can be f u n a n d unique.

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•TYPOGRAPHY T y p o g r a p h y is u s e f u l t o e m p h a s i z e ideas, c r e a t e a h i e r a r c h y a n d s t r u c t u r e , a n d even e s t a b l i s h a m o o d .


â&#x20AC;˘ DIAGRAMS & DRAWINGS Diagrams and drawings make f o r more interesting elements. A feu/ p e n s t r o k e s c a n i l l u s t r a t e complex i d e a s quickly.


67


H a n d w r i t i n g is h e l p f u l f o r a d d i n g a d e t a i l e d d e s c r i p t i o n i f a d i a g r a m o r i n f o r m a t i o n is n e e d e d .

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• DIVIDERS D i v i d e r s like rules, d o t t e d lines, a n d s o o n c a n help s e p a r a t e i d e a s f r o m e a c h o t h e r visually, c r e a t i n g o r d e r a n d s t r u c t u r e .


A r r o w s p o i n t o u t d e t a i l s a n d c a n help f o c u s a t t e n t i o n o n s p e c i f i c drau/ings, t y p o g r a p h y , o r t e x t , a n d t h e y c a n p r o v i d e a c o n n e c t i o n between m u l t i p l e ideas.


â&#x20AC;˘ BULLETS B u l l e t s a r e u s e f u l f o r i d e n t i f y i n g a s e r i e s o f i d e a s o r highlighting a single i d e a a m o n g drau/ings o r t e x t . D i f f e r e n t t y p e s o f b u l l e t icons c a n f u r t h e r d e f i n e ideas.

Look

Icons a r e h a n d y t o use t h r o u g h o u t a s k e t c h n o t e d o c u m e n t t o i d e n t i f y ideas visually as repeating elements.


•CONTAINERS C o n t a i n e r s c o n n e c t v a r i o u s e l e m e n t s t o g e t h e r in a single grouping t o represent an overall idea o r topic.

•SIGNATURES S i g n a t u r e s a r e a n o p t i o n a l u/ay t o i d e n t i f y s k e t c h n o t e s . If y o u ' r e c r e a t i n g s k e t c h n o t e s f o r y o u r ou/n use, no s i g n a t u r e is r e q u i r e d .


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A SKETCHNOTE

from START to FINISH

T o help y o u see t h e p r o g r e s s i o n o f a s k e t c h n o t e f r o m s t a r t t o f i n i s h , IVe labeled e a c h s e c t i o n u/ith a n u m b e r a n d p r o v i d e d a b r i e f d e s c r i p t o n t o s h o w u/hy a n d in u/hich o r d e r e a c h a r e a u/as drau/n. Q

T h e t i t l e c r e a t i o n u/as d o n e b e f o r e t h e e v e n t , u s i n g a p h o t o o f t h e s p e a k e r , J o n M u e l l e r , o n my iPhone.

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F o r t h e f i r s t i d e a , I c a p t u r e d " A T H I N G T H A T YOU D O /

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J o n t a l k e d a b o u t a s n a r e d r u m , so my f i r s t d r a w i n g u/as o f a d r u m .

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H e r e IVe f i t t e d " D R U M S W E R E MY T H I N G " i n t o t h i s s n u g s p a c e o n t h e r i g h t s i d e o f t h e s n a r e d r u m drau/ing.

â&#x20AC;˘@

A n o<rrow p o i n t s t o a n o t h e r i d e a lou/er o n t h e page.

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I c<dded a " D O M Y O W N T H I N G " c o n c e p t in t h e l o u / e r - r i g h t a r e a .

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H e r e I e m p h a s i z e d t h e i d e a o f s n a r e d r u m s being v e r b o t e n .

With this first page of sketchnotes, I've used a radial pattern to organize the talk information. I'll talk about sketchnote patterns in Chapter 5.


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H e r e I a d d e d a drau/ing o f J o n ' s d r u m s e t u p a s I p i c t u r e d i t in my m i n d ' s eye. I <^dded t h e t i t l e a f t e r drau/ing t h e image.

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This d e s c r i p t i o n o f J o n ' s a p p r o a c h t o s e n d i n g s o u n d s t h r o u g h s n a r e d r u m s u/as key t o t h e p r e s e n t a t i o n , s o I gave i t f o c u s u/ith large, A L L C A P S t y p o g r a p h y .

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I u s e d a s e p a r a t o r t o c r e a t e a b r e a k betu/een t h e t o p a n d b o t t o m .

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J o n mentioned driving t o Boston, creating a record, a n d t o u r i n g t h e c o u n t r y , s o I <kdded i t j u s t belou/ t h e s e p a r a t o r .

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H e r e ' s a n o t h e r s e p a r a t o r using d a s h e d lines.

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T o u/rap u p my s k e t c h n o t e s , I u s e d bold t y p e t o 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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R E C A P o

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" - ^ Use my process as a starting point, and then make it your own. — ^ Research speakers and topics to gain insight and confidence. «—^ Backups are key to being prepared when you're sketchnoting. — ^ Arrive early, scout your location, and use the extra time to create a title before the event. — ^ Photograph your sketchnotes right after the event to share them, and to have a backup. »•^ Shared sketchnotes are great resources for attendees and work well as PR tools. — ^ The anatomy of a sketchnote includes the title, typography, diagrams & drawings, handwriting, dividers, arrows, bullets, icons, containers, and signatures. *

NEXT: TYPES OF SKETCHNOTES

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STYLE PLUS THINKING S k e t c h n o t e s a r e b e a u t i f u l because o f t h e i r v a r i e t y a n d p e r s o n a l i t y . E a c h s k e t c h n o t e is c r e a t e d in a d i s t i n c t , i n d i v i d u a l s t y l e , r e f l e c t i n g t h e p e r s o n u/ho c r e a t e s i t . ® Collect

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than j u s t style, sketchnotes reveal t h e thinking processes of their creator. S k e t c h n o t e s convey u/hat t h e p e r s o n is hearing, hou/that person analyzes and processes information, and u/hat is m o s t r e l e v a n t in t h a t p e r s o n ' s view.

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BY LOOKING AT SKETCHNOTES

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THEIR STYLE AND STRUCTURE - / CAW B£7T£ft

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IF YOU'RE NOT AN ARTIST, d o n ' t

let these sketchnotes d i s c o u r a g e y o u . Instead, look t o t h e m f o r i n s p i r a t i o n a n d ideas, a n d k e e p in m i n d t h a t y o u ' r e j u s t s t a r t i n g a s a s k e t c h n o t e r . W h a t e v e r y o u r skill level, be h a p p y u/ith u/here y o u a r e . C r e a t e s k e t c h n o t e s a n d have f u n , a n d u/ork t o i m p r o v e y o u r skills.


The ART & STRUCTURE SCALE A helpful u/ay to keep your current skills in perspective is to vieu/ sketchnotes that progress across a continuum:

SIMPLE ARTWORK

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GOOD ARTWORK

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ALWAYS GOOD STRUCTURE REGARDLESS of ART QUALITY.


AT ONE END OF THE SCALE y o u ' l l s e e ideas r e p r e s e n t e d a s r o u g h d r a w i n g s by r e g u l a r people. Even using simple d r a w i n g s , these sketchnotes use s t r u c t u r e t o c a p t u r e ideas e f f e c t i v e l y o n t h e page.

AT THE OTHER END y o u ' l l see b e a u t i f u l i l l u s t r a t i o n s c r e a t e d by e x p e r i e n c e d p r o f e s s i o n a l s . A l t h o u g h t h e a r t m a y be m o r e refined, t h e k e y t o a s k e t c h n o t e is a logical o r g a n i z a t i o n t h a t makes sense a n d c a p t u r e s t h e ideas.


THINK OF

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and

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AND FANCY ARTas the

GRAVY ON TOP.


SKETCHNOTING PATTERNS In t h e l o s t f i v e y e a r s IVe reviewed many s k e t c h n o t e s a n d have f o u n d t h a t m o s t f a l l i n t o a feu/ p a t t e r n s :

LINEAR

RADIAL

VERTICAL

PATH

MODULAR

SKYSCRAPER

POPCORN

90


LINEAR F o l l o w i n g t h e p a t t e r n o f a p r i n t e d book, t h e l i n e a r sketchnote f o r m a t shows i n f o r m a t i o n diagonally f r o m t h e t o p l e f t t o t h e b o t t o m r i g h t o f a page o r s p r e a d o f tu/o pages.

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THE LINEAR PATTERN is w h a t

I t y p i c a l l y u s e f o r my s k e t c h n o t e s f o r t w o r e a s o n s : I like t h e s t o r y - l i k e , l i n e a r f l o w o f i n f o r m a t i o n o n t h e page, a n d i t u/orks w e l l in t h e t w o - p a g e s p r e a d s I u s e in h a r d c o v e r s k e t c h b o o k s .

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SKETCHNI0TIN6 in a

linear p a t t e r n f r e e s y o u t o use as many pages a s n e e d e d t o c a p t u r e ideas. It's a l s o e a s y t o r e a d , b e c a u s e i t f ollou/s s t a n d a r d book s t r u c t u r e t h a t ' s been u s e d f o r h u n d r e d s o f y e a r s .

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HOWEVER, t h e

r i g i d f l o w o f l i n e a r s k e t c h n o t e s c a n limit l a y o u t o p t i o n s , u/hereas t h e f r e e - f o r m r a d i a l s k e t c h n o t e p a t t e r n , d i s c u s s e d next, p r o v i d e s m o r e f l e x i b i l i t y .

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RADIAL The r a d i a l p a t t e r n r o u g h l y f ollou/s t h e s t r u c t u r e o f a bicycle u/heel u/ith t h e hub a t t h e c e n t e r a n d spokes r a d i a t i n g o u t w a r d . The c e n t e r o f a r a d i a l s k e t c h n o t e may f e a t u r e t h e name a n d d r a w i n g o f t h e s p e a k e r o r s p e a k e r s u/ho a r e p r e s e n t i n g ideas, o r t h e c e n t r a l t o p i c .

THE CENTRAL HUB ESTABLISHES THE OVERALL CONCEPT, AND IDEAS CREATE A RADIATING PATTERN MOVING OUTWARD FROM THE CENTRAL HUB.


A RADIAL SKETCHNOTE d o e s n ' t

have t o be a p e r f e c t c i r c l e , a n d t h e hub d o e s n ' t n e e d t o be in t h e c e n t e r o f t h e page. T h i s p a t t e r n can a p p e a r as an organic shape and still follow a hub-and-spoke structure.

SYMMETRIC

ASYMMETRIC

CIRCULAR and EQUALIZED

ORGANIC and UNEQUAL

^ RADIAL SKETCHNOTE


THIS RADIAL SKETCHNOTE FEATURES THE SPEAKER'S NAME AND TALK TITLE AT THE TOP-LEFT CORNER.

Eva-Lotta Lamm • Jessica Hische

97


THIS RADIAL SKETCHNOTE EMPHASIZES THE CONFERENCE NAME AT THE TOP OF THE PAGE.

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98

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THE ADVANTAGE o f information

wherever

a r a d i a l f o r m a t is t h e f r e e d o m t o a d d i t f i t s in a n o u t e r spoke.

B e c a u s e all o f t h e s p o k e s a r e c o n n e c t e d t o t h e c e n t r a l hub, clocku/ise, c o u n t e r c l o c k w i s e , o r rar\dom p a t t e r n s c a n u/ork u/ell u/ith t h e r a d i a l s k e t c h n o t e f o r m a t . R a d i a l

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VERTICAL Similar t o a linear p a t t e r n , vertical sketchnotes p r e s e n t i n f o r m a t i o n in a single f low, f r o m t h e t o p t o t h e b o t t o m o f t h e page.

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STARTS

THIS PATTERN c a n

be h a n d y because i t allou/s y o u t o c o n t i n u e adding information vertically, as needed. The vertical p a t t e r n also provides a clear d i r e c t i o n a n d s t r u c t u r e f o r a r e a d e r t o follou/.

HOWEVER, LIKE THE THE VERTICAL PATTERN CAN LIMIT LAYOUT BE ONLY AS L0N6 AS THE VERTICAL HEI6HTOFYOUR APFS CANVAS.

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PATH The p a t h s k e t c h n o t e p a t t e r n c r e a t e s a p a t h o f i n f o r m a t i o n a c r o s s t h e page v e r t i c a l l y , h o r i z o n t a l l y , o r diagonally. T h e p a t h p a t t e r n c a n a p p e a r a s a z i g z a g , c - s h a p e , u/-shape, o r a n y o r g a n i c p a t h s h a p e y o u c a n imagine.

Z-Shape Path

C-Shape Path

W-Shape Path

Organic Path


USING A PATH PATTERN c a n be p e r f e c t f o r t e l l i n g a b o u t a n e v e n t o r t h o u g h t p r o c e s s u s i n g a s e r i e s o f s t e p s t h a t work u/ell u/hen f o l l o w i n g a n o r g a n i c s h a p e .

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r e q u i r e a l i t t l e planning, a n d i f t h e i n f o r m a t i o n y o u ' r e s k e t c h n o t i n g is m o r e e x t e n s i v e t h a n y o u ' v e p l a n n e d f o r , y o u may r u n o u t o f r o o m .

105


MODULAR The m o d u l a r p a t t e r n d i v i d e s a single page o r s p r e a d o f pages i n t o d i s t i n c t r e g i o n s o r modules. E a c h module holds s e p a r a t e b i t s o f i n f o r m a t i o n o r d i f f e r e n t s p e a k e r s u/ithin a l a r g e r event.

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A MODULAR PATTERN can u/ork u/ell if your goal 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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HOWEVER, U5IN6 MODULAR PATTERNS CAN LIMIT THE AMOUNT OF INFORMATION YOU CAN SKETCHNOTE, PARTICULARLY IF YOU'RE CAPTURING SEVERAL TALKS WITHIN A SINGLE MODULAR STRUCTURE.

Avoid running out of room u/ith a modular sketchnote by establishing the module spaces before you begin. You can base them on the number of speakers or topics being covered at the event.


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109


SKYSCRAPER The skyscraper pattern is similar to the modular approach but divides the page into a series of tall, vertical panels, u/hich contain separate bits of information. This pattern can work great for panel discussions u/here multiple people are speaking at different times.

TO CREATE A SKYSCRAPER SKETCHNOTE, 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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taA*x

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2. Capture comments

© & ©

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MANAGING A SKYSCRAPER SKETCHNOTE Remember to pace yourself u/ith the limited space of a skyscraper sketchnote. Focus on the key phrases and words that are meaningful. Work on boiling down the idea you're hearing to its purest essence.


SKYSCRAPER SKETCHNOTES, LIKE OTHER TIGHTLY STRUCTURED PATTERNS, HAVE THE DISADVANTAGE OF LIMITED SPACE, REQUIRING M O R E SELECTIVE QUOTE CAPTURE.

111


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POPCORN The popcorn pattern has the flexibility of placing information you're capturing in a free, r<xr\don\ pattern. The topic, speaker name, and information tidbits can appear anywhere on the page. ML

ton

3

Timothy J . Reynolds â&#x20AC;˘ Caro/ Schwartz

113


Alexis Finch â&#x20AC;˘ Jennifer Sisson

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WITH THE POPCORN PATTERN, there is more emphasis on capturing information and less emphasis on placing it in a specific location. This approach can focus your mind on seizing ideas u/ithout u/orry ing so much about their placement.

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HOWEVER, THE RANDOM ARRANGEMENT OF THE FREE-FORM POPCORN PATTERN CAN MAKE YOUR SKETCHNOTE MORE DIFFICULT TO FOLLOW BECAUSE OF THE HAPHAZARD PLACEMENT OF INFORMATION.

115


P A T T E R N S ARE STARTING POINTS

The patterns I've described are just some of the main ways you can structure your sketchnotes. These seven are starting points to help kick-start your sketchnoting skills. TRY OUT EACH PATTERN TO FIND YOUR FAVORITES AND TO SUIT PARTICULAR SITUATIONS. EXPERIMENT, MIX, MATCH, AND DEVELOP YOUR OWN PATTERNS.

116


R E C A P o

o

*

Sketchnotes blend style and thinking, expressing the creator's personality. — ^ If you're not an artist, use professionally illustrated sketchnotes as a model to inspire your own sketchnotes. m

^ Always sketchnote with good structure regardless of your artistic skills.

— ^ Even if you're just starting to draw, you can make great sketchnotes with simple drawings and a good framework. — ^ The seven common sketchnoting patterns are Linear, Radial, Vertical, Path, Modular, Skyscraper, and Popcorn. Each pattern has benefits and drawbacks. Try each one to learn how different patterns work in different situations. *

NEXT: SKETCHNOTING APPROACHES, HIERARCHY, AND PERSONALIZATION

117


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THERE ARE TWO DIFFERENT APPROACHES TO CAPTURING SKETCHNOTES

REAL-TIME SKETCHNOTES

TWO-STAGE SKETCHNOTES

BOTH APPROACHES emphasize the use of visual elements and stress the importance of baking personality into your sketchnotes.


REAL-TIME SKETCHNOTING I, and many other sketchnoters, create sketchnotes live and in real time. When Km u/orking in the moment, I'm focused, tuned into the speaker, listening for big ideas, and synthesizing and converting u/hat I'm hearing into visual notes.

SKETCHNOTING LIVE IS LIKE TAKIN6 NOT TRADITIONALLY, EXCEPT YOU'RE ADDIN6 A WHOLE TOOLBOX OF VISUAL ELEMENTS TO YOUR NOTES, LIKE THESE: • TYPOGRAPHY • DRAWINGS • HANDWRITING

• DIAGRAMS • DIVIDERS • ARROWS

• BULLETS • ICONS • CONTAINERS


Working in real time means you're listening for big ideas as *» you work.

KEEP

REAL-TIME SKETCHNOTING is not as hard as it way sound. It does wean you must be fully engaged in the presentation to decide u/hat key information is u/orth capturing and u/hat isn't.

TOSS

LIVE SKETCHNOTING IS A PRACTICE THAT IMPROVES WITH REPETITION. THE MORE YOU DO IT, THE BETTER YOUR LISTENING SKILLS, PATTERN RECOGNITION, AND DRAWING SKILLS WILL GET.


TWO-STAGE SKETCHNOTING Some sketchnoters use the second approach and create their notes in two stages â&#x20AC;&#x201D; capturing rough sketchnotes first and then enhancing or re-creating them atftlater time.

0 TWO-STAGE, PENCIL TO INK APPROACH This first variation of the tu/o-stage approach to sketchnoting begins u/ith real-time sketchnotes captured in pencil instead of ink. At a later time, the sketchnoter inks over the original pencil lines, fine-tuning them and adding detail. This isftgood time to add color u/ith markers, pencil, or paint.


WITH THE PENCIL TO INK APPROACH, you're u/orking through your ideas tu/ice, u/hich means they are reinforced in your memory. You're still capturing notes in realtime, but you have the additional task of inking every pencil line again to complete your sketchnotes.

PENCILING

SKETCHNOTES

MAY LET YOU CORRECT ERRORS, BUT IT CAN ALSO TAKE TWICE AS MUCH TIME AS CREATING REAL-TIME, INKED

SKETCHNOTES.


veiled Sketchnote

Alexis

129


U TWO-STAGE, ROUGH TO REFINED APPROACH A second variation of the tu/o-stage sketchnoting approach uses rough notes of text and visual elements, u/hich are redrawn as final sketchnotes at a later time. This approach puts less emphasis on making perfect sketchnotes on the spot. For some, this may be a good u/ay to ease into sketchnoting.

YOU ARE PROCESSING NOTES TWICE, u/hich may help your comprehension. Hou/ever, like the pencil to ink method, this approach u/ill likely take tu/ice as much time as creating real-time, inked sketchnotes. I

1 REAL-TIME SKETCHNOTING TWO-STAGE SKETCHNOTING

O

(HOUR.

2 HOURS


IT'S OK TO EXPERIMENT u/ith tu/o-stage sketchnoting if you're concerned about mistakes or you want to explore sketchnoting at a slower pace. But don't get stuck there. Real-time sketchnoting u/ith ink is easier than you may think.

131


HOWEVER YOU CREATE SKETCHNOTES,

remember: . .

.

ITS AN ACTIV PRACTICE SKETCHNOTING IS SOMETHING

YOU DO. •

132


CREATING A HIERARCHY When you create sketchnotes, one of your key tasks is to constructftlogical hierarchy of information. Defining a hierarchy helps you, and others reading your sketchnotes, to understand the importance of the information you've captured.

SPEAKER NAME and topic name set the overall context HEADLINES describe the broad subtopics. SUBHEADS add detail to the headline's meaning DESCRIPTIVE TEXT adds more detail. BULLET POINTS separate and define detail.

133


HIERARCHY IN ACTION: I useftvariety of elements to indicate u/hich 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 of a couch emphasizes point no. I. Descriptive

establishes

U E A T> E

5

text the talk.

Numbering of the points offers a clear hierarchy.

ft I P

I'M vfw

1 waij b£ ik ciiwje.'<

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*THINik AS+UOV^U Yc^A^B

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A main point is captured as a quote using larger type.

134

An asterisk provides emphasis to the detail under item no. I.

An arrow provides contrasting emphasis to the detail under item no. 2.


ELEMENTS OF HIERARCHY To help guide the reader's eye through the flow of your sketchnotes, here are some handy elements you can use to emphasize hierarchy.

Bold Type AL CAPS L

1. The First Concept 2. The Second Concept a. First sub item b. Second sub item

â&#x20AC;˘Bold t y p e helps d r a w t h e eye t o i m p o r t a n t ideas.

- U s i n g A L L C A P S is a n o t n e r u/ay t o bring a t t e n t i o n t o i m p o r t a n t ideas.

- N u m b e r s work u/ell f o r providing a more structured hierarchy.

Icons a r e g r e a t f o r marking key ideas o n t h e i r ou/n o r i n bulleted lists.

135


PERSONALIZATION Sketchnotes are personal. When you're hearing and processing ideas, your opinion naturally comes into play.

Your personality determines the decisions you make about which ideas to capture and what those ideas mean to you. IN SIGN LANGUAGE INTERPRETING, the interpreter is charged u/ith staying neutral, passing along exactly u/hat is said by the speaker â&#x20AC;&#x201D; nothing more and nothing less.

Sketchnotes don't have to be neutral. In fact, personal opinions expressed and embedded in sketchnotes < are intriguing, because | they reveal what the | sketchnoter was hearing and thinking during the creation process.


PERSONALIZATION TIPS Here are a feu/ ideas for injecting your personality into the sketchnotes you create: ! ) COMMENTARY If you agree, or better yet, if you disagree u/ith an idea, capture your thoughts.

Opinions embedded in your sketchnotes can become a handy reference for remembering those thoughts later on.


( ยง ) HUMOR If you find something that you hear funny, share your thoughts in context u/ith the idea. Include humorous people, cartoon characters, or objects along u/ith your humorous comments. Have fun!

WHIMSY Experiment u/ith the style of type and elements you use as you sketchnote. You might use flourished script text and unusually shaped containers or icons; play u/ith graphical elements like su/irls, lines, or stars to emphasize ideas.


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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. o - ^ Sketchnoting is founded on traditional note taking, but adds more detail through type, drawings, and other visual elements. —>

Practice and repetition improve your real-time sketchnoting skills.

— ^ Use hierarchy and personalization to make sketchnotes unique and interesting. Sketchnotes don't have to be neutral. Opinion, humor, and whimsy are great ways to personalize your sketchnotes.

*

NEXT: SKETCHNOTING SKILLS AND TECHNIQUES


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146

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SO FAR YOU'VE LEARNED: El El El El

What sketchnotes are Why you should create them How to create sketchnotes How to personalize sketchnotes

SKILLS & TECHNIQUES In this chapter, you'll learn: How to draw using the five basic shapes How to draw people simply and quickly How to draw faces and expressions How to create four different typefaces â&#x20AC;˘> How to improve your penmanship How to draw various visual elements -} How to build your mind's visual library Which tools to use for sketchnoting + Tips for sharing your sketchnotes


BEFORE YOU LEARN TO DRAW VISUAL ELEMENTS remember that sketchnotes are about capturing and sharing ideas, not art. Even bad drau/ings can convey good ideas. »*

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

YOU CAN CREATE SKETCHNOTES!

The f ollou/ing exercises are designed to help you st^rt slowly and build on your successes. You can do it!


THAT'S RI6HT! You can draw pretty much anything you can imagine u/ith just five basic drawing elements.

The FIVE BASIC DRAWING ELEMENTS:

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.


FOR THE IDEA-FOCUSED DRAWINGS you u/ant to add to sketchnotes, drau/ing complex ideas by building them u/ith simple squares, triangles, circles, lines, and dots is a handy technique. Can you spot the five elements in each of the f ollou/ing figures?

House

Car

Earth

Satellite

Radio

Dog

Lightsaber

Cat

iPhone

Book

TV

Robot


^ ^ ^ ^

i

RATHER THAN CREATE museum-quality

ILLUSTRATIONS, focus INSTEAD on QUICKLY CREATING SIMPLE DRAWINGS of the IDEAS IN YOUR HEAD using the 5 bask elements.

O A - -


COMPARE THESE 10 ITEMS 5 FANCY ILLUSTRATIONS

5 SIMPLE DRAWINGS

> Wom^n

Woman

V Laptop

M i

Laptop

Tree — —

Pie C h a r t

1

SSST

Pie C h a r t

Book Fancy illustrations by Greg Newman

Book Simple drawings by Mike Rohde

FANCY ILLUSTRATIONS AND SIMPLE DRAWINGS convey the same ideas, but simpler drawings are quicker to create. When you're u/orking live, speed and effectiveness are critical.


FIVE BASIC ELEMENTS Exercise

Now it's time for you to dr<kw\ 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. HOUSE

LAPTOP

CAR

COFFEE

MUG

CLOCK

BOOK

BOAT

IGLOO

CAT

DOG

TRUCK

TRAIN

TRACTOR

LIGHTBULB

EARTH

SATURN

MOUNTAIN

TREE

HAMMER

W R E N C H


FISH

BIRD

BUG

ROBOT

FLASHLIGHT

C A M E R A

SUBMARINE

SANDWICH

BATTERY

TV

HEADPHONES

DVD

BASEBALL

MILK

TV

CAP

H A M B U R G E R

J U G

REMOTE

M 1 N IVAN

T-SHIRT

SHOES

PEN

PENCIL

BIKE

TRASH

CAN

WATCH


DRAWING PEOPLE Drau/ing people quickly is <* great skill to learn. There are many u/ays to draw people â&#x20AC;&#x201D; I'll show you the two quickest ways. THE STAR METHOD This method is used by professional graphic recorders for its speed and simplicity. Follow these four easy steps: 0

Draw the head

@

Draw a star-shaped body

Complete the

Q

156

Add faces, hair, clothes, etc.


THE GRAY METHOD Dave Gray taught me another u/ay of drawing people using a rectangle, an oval, and several lines. I love this way of drawing people because it's quick and allows for embellishment if I have extra time. Follow these six easy steps:

o

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

Draw a Neck Next, drau/ a neck as a line at the top of the rectangle. Keep the neck short.

a Head Š Draw Drau/ a head as a circle or an oval at the top of the neck line. Make sure there is enough room inside the head for a face.

156


Q

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

Draw Arms Next, draw arms in relation to the rest of the body, bending at the elbou/s. A simple line u/orks well for hands.

Q

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

j k EMBELLISH! Have fun adding more details to your person once the basic structure has been created.


DRAWING PEOPLE Exercise

In the grid belou/, use the Gray Method to draw people. IVe u/ritten some suggestions in the open grids to challenge you a bit. Try adding clothes, shoes, hats, and other details â&#x20AC;&#x201D; have fun!

ST A N D I N G

RUNNING

1

F\

I

WALKING

160

J U M P I N G


SITTING

DAD

& SON

TENNIS

WALKING

PLAYER

ON

THE

PHONE

B A C K P A C K E R

KUNG

FU

MASTER

DANCING

READING

MASTER

A

BOOK

CHEF


DRAWING FACES My friend Austin Kleon has a u/ay of drau/ing faces using a feu/ straight and curved lines for eyebrou/s and mouths, a triangular nose, and dots for eyes. Using these elements in a bingo grid, you can quickly create nine different facial expressions:

EYEBROWS

I

It 162

Or


-

DRAWING FACES Exercise

Now it's your turn to create faces using Austin's approach:

Next, try that same technique on some bUnk faces:

163


DRAW MORE FACES Exercise

How it's time to create more faces. IVe provided a feu; eye and mouth options, but feel free to make up your ou/n. EYES

MOUTHS

*

r^M

BIFF

BUFFY

MOZZY

TEX

FRED

BIANCA

WHAT OTHfff FACIAL EXPRESSIONS BOB

F R A N Kl E

CREATE?


DRAWING TYPE A great u/ay to immediately improve your plain text notes is to emphasize words u/ith hand-drau/n typography. In fact, you can create bolder or larger letterforms by hand in four easy u/ays:

SINGLE-LINE LETTERING

Using a single line, these clean headlines can drau/ attention to a section you'd like to emphasize in your sketchnotes. Plus, drau/ing single-line lettering is easy and quick.

Lflrge Lettering All caps, sm^ll, single-line letters

Uppercase a n d lowercase single-line

are great f o r establishing

l e t t e r i n g is e s p e c i a l l y e f f e c t i v e u/hen

s e c t i o n s u/ithin a s k e t c h n o t e .

used f o r headlines.

WHEN DRAWING TYPE, JUST RELAX, AND LET THE LETTERS FLOW ONTO THE PAGE.


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

ABCDEFGHIJKLMNC The great thing about learning the single-line type method is that many of these type creation methods are based on it.

TWO-LINE LETTERING

By drawing two lines in parallel, you can create bolder type. 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 YOUR LETTERS WITH CONFIDENCE NEVER HURRY.


TRIPLE-LINE LETTERING

This bold lettering style begins u/ith a single-lined letter, and then tu/o lines are <^dded on either side of the center line.

As u/ith tu/o-line lettering, you can close the ends of each character u/ith a sm^ll line, and then fill in the gap u/ith ink for very bold, bl<\ck letters.

START SIMPLE & BUILD UP Using the single-line lettering method allou/s you to quickly convert your letters to tu/o- or triple-line lettering, simply by adding more lines, even at a later time.

k

A l l t h r e e o f t h e s e l e t t e r i n g m e t h o d s s t a r t t h e s a m e u/ay


BLOCK LETTERING

The block lettering approach requires a little more practice, skill, and time. When used properly, block lettering is a nice u/ay to create a strong impression. Block lettering u/orks u/ell on title pages or u/hen you u/ant to emphasize a key point.

A

A

I R e g u l a r block lettering

Drop shadow added

WITH ALL of these hand-drawn lettering approaches, you may need to start the first feu/ letters and leave the rest for later. This is fineâ&#x20AC;&#x201D; just remember to finish the u/ords you've started drau/ing u/hen the sketchnote is completed.

SPEEDY H E A D L S t a r t e d but incomplete

1 > J

SPEEDY H E & D L O N E C o m p l e t e d a t a l a t e r time


Practicing hand-lettering techniques u/ill help you quickly create type for your sketchnotes in a meeting. Use these pages to practice creating single-line, tu/o-line, triple-line, and block lettering. SINGLE-LINE

LETTERING:

ABCabc

TWO-LINE

LETTERING:

ABC^be


TRIPLE-LINE

LETTERING


PENMANSHIP Although large typographic elements work great for highlighting sections and ideas, you'll still need legible handwriting to capture detailed ideas in your sketchnotes. 10 YEARS A601 wrote only in ALL CAPS block letters after abandoning 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.

AIX CAPS LETTERING WAS

THB

NOF=N\

j M y old A L L C A P S handwriting

My lowercase handwriting

MIKE'S PENMANSHIP TIPS:

Here are a few tips that help me u/hen I need clear, legible u/riting:

Q

Practice Just a few minutes a day does the trick.

Q

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

Q

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


DRAWING VISUAL E L E M E N T S Visual elements add interest to your sketchnotes and can be a variety of shapes and sizes. Here are a feu; you may find useful to learn as part of your practice routines:

m


BUILD A VISUAL LIBRARY As you learn and practice drawing all the visual elements you've explored in this chapter, you're actually building a visual library of items.

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n

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51

Learning these techniques is a great u/ay to add selections to your visual library. Another activity is to challenge yourself to draw items from memory when you have some downtime. FOR EXAMPLE, using the exercise sheets in this chapter, use your memory and drau/ 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 each one in the book using the five basic drawing elements. This visual exercise challenges you to imagine things in your mind's eye and then draw them as simple objects.

KEEP PRACTICING Once you've filled the visual library exercises in this book, keep your mind in practice by creating new visual library objects using blank sheets of paper, sticky notes, a pocket notebook â&#x20AC;&#x201D; even the back of junk mail envelopes.

176


with a

WELL-STOCKED

VISUAL LIBRARY .

IN Y O U R M E M O R Y ,

drawing ideas and objects BECOMES EASIER.


In the grid below, draw as many items from your kitchen from memory as you can recall. Remember to use the five basic elements to drau; the images you're seeing in your head.

178


179

J


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 images you're seeing in your head.

PI

180


181


DRAWING METAPHORS Metaphors are figures of speech that use the attributes of a known idea to describe another, apparently unrelated idea. Good metaphors lean on vivid imagery.

METAPHORS SHOULD BE BOLD & FUNNY The most successful metaphors IVe captured as sketchnotes 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 P E A C E

WORLD WIDE WEB

BUCKET LISTS

THE KEY TO CREATING METAPHORS Let your imagination have free rein u/hen you're sketching metaphors. Don't be afraid to use crazy, silly, or wild drau/ings for your metaphors. The most absurd drau/ings I've created for sketchnotes are often the most memorable.

J O H N LOST HIS HEAD

TIME FLIES

HOTHEAD


Seek out the

SILLIEST, IRAZIEST

WILDEST

THE MOST BIZARRE IDEAS


r T O O L S for SKETCHNOTING Any paper or notebook, pencil or pen u/ill u/ork just fine for sketchnoting. Hou/ever, there are pens and papers that u/ork better for some than others. I use pocket-sized Moleskine sketchbooks because they're small and can take a beating in my pocket or backpack.


A M o l e s k i n e ' s tu/o-page s p r e a d s work u/ell f o r t h e l i n e a r s k e t c h n o t e s I c r e a t e . H e r e ' s a sample:

w h a t ' s t h e c/*eto»a4

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MY STYLE f e a t u r e s h i g h - c o n t r a s t , b l a c k - a n d - w h i t e t y p o g r a p h y a n d d r a w i n g s , s o I u s e a bold, 0.7mm gel pen.

M y P e n t e ( E n e r G e ( 0.7mm g e l

pen.


OTHER NOTEBOOK & PEN OPTIONS Some s k e t c h n o t e r s p r e f e r s q u a r e o r s p i r a l n o t e b o o k s . O t h e r s u s e f i n e r black lines a s a base a n d t h e n a m p l i f y t h e i r s k e t c h n o t e s a f t e r w a r d u/ith c o l o r e d m a r k e r s , c o l o r e d pencils, o r even u/atercolor p a i n t s .

SPIRAL-BOUND SKETCHBOOK

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Y o u c a n f i n d a u/ide v a r i e t y o f p a p e r t y p e s in spiral notebooks t o h a n d l e ink, m a r k e r s , a n d even u/atercolor paint.

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Spiral notebooks are g r e a t f o r laying f l a t on tables.

^

/* Spiral notebooks c a n a l s o be flipped open f o r easy access t o a n y p a g e in t h e book.

Bauke Schildt • Ton Zijlstra

6


PEN OPTIONS include gel, ball p o i n t , o r

f e l t t i p s (0.3 t o 0.5mm f i n e p o i n t ) , u/hich d r y quickly. Highlight y o u r s k e t c h n o t e s u/ith f e l t - t i p p e d m a r k e r s o r c o l o r e d pencils.

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


SHARING SKETCHNOTES S h a r i n g s k e t c h n o t e s c a n be as simple as s h o o t i n g a n d p o s t i n g a p h o t o u/ith y o u r s m a r t p h o n e o r as complex as m a k i n g h i g h - r e s o l u t i o n s c a n s on y o u r d e s k t o p c o m p u t e r . I o f t e n s h a r e my u/ork b o t h u/ays.

SMARTPHONES S m a r t p h o n e s a r e convenient t o c a r r y anyu/here a n d c a n c r e a t e highly d e t a i l e d p h o t o s f o r backup a n d s h a r i n g . B y s h a r i n g y o u r s k e t c h n o t e s using t h e c<\mer<\ on y o u r p h o n e and posting them t o y o u r f a v o r i t e social media site, y o u ' r e drau/ing o t h e r s in t o er\joy y o u r u/ork r i g h t au/ay. T o help o t h e r s u n d e r s t a n d a n d s h a r e y o u r sketchnotes, add a brief but clear d e s c r i p t i o n o f t h e e v e n t a n d a link t o y o u r u/ork. Making your sketchnotes easy t o comprehend and s h a r e c a n m a k e u/hat you've c r e a t e d more attractive f o r readers t o check o u t a n d even s h a r e u/ith t h e u/orld.


DIGITAL CAMERAS A n o t h e r o p t i o n is t o c a r r y a h i g h - e n d , p o i n t - a n d - s h o o t p o c k e t o r D S L R c a m e r a u/ith y o u t o c a p t u r e p h o t o s o f y o u r u/ork t o s h a r e a t a later time. IVe f o u n d pocket point-and-shoot c a m e r a s have a g o o d t r a d e - o f f betu/een quality and portability u/hen I'm s k e t c h n o t i n g a t a n event.

SCANNERS A q u a l i t y f l a t b e d s c a n n e r p r o d u c e s t h e b e s t images, especially i f t h e e n d r e s u l t o f y o u r s k e t c h n o t e s is a P D F d o c u m e n t o r a p r i n t e d booklet. I p r e f e r a s m a l l s c a n n e r pou/ered f r o m a USB cable. This allou/s me t o c a r r y i t along t o a n e v e n t i f n e e d e d . I s c a n my u/ork a s P N G f i l e s , u/hich I c a n c o n v e r t t o PDF files o r send t o a printer f o r f i n a l print production. I u s e P h o t o s h o p t o tu/eak t h e c o n t r a s t a n d levels, a n d save a f i n a l f i l e u/ith e a c h s p r e a d o f sketchnotes on a layer. This m a k e s i t e a s y t o u/ork u/ith a n d e x p o r t a large b a t c h o f sketchnotes.

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CONGRATULATIONS! Y o u ' v e m a d e i t t o t h e e n d o f The Sketchnote Handbook! Now y o u have a b e t t e r i d e a o f u/hat s k e t c h n o t e s a r e a n d hou/ t o c r e a t e t h e m .

Here are a few details to remember: •

START SLOWLY Use j u s t a q u a r t e r o f t h e page t o s t a r t a n d e x p a n d a s y o u i m p r o v e y o u r skills.

BUILD OH SUCCESS T r y a few t e c h n i q u e s a n d be h a p p y u/ith y o u r p r o g r e s s as y o u c o n t i n u e t o improve. G o e a s y o n y o u r s e l f !

LISTEN UP M a n a g e d i s t r a c t i o n s , l i s t e n closely, a n d c o n c e n t r a t e . T h e m o r e y o u p r a c t i c e l i s t e n i n g , t h e b e t t e r y o u ' l l get.

DRAW SIMPLY Use t h e 5 basic e l e m e n t s t o drau/ simple s h a p e s , j u s t like kids d o . B a d drau/ings c a n s t i l l convey g o o d ideas!

• EXPLORE F i n d y o u r ou/n u/ay a s y o u l e a r n t o s k e t c h n o t e . E v e r y o n e has a u n i q u e u/ay o f f o r m i n g ideas a n d c a p t u r i n g t h e m .

SHARE Share those sketchnotes! You're invited t o share y o u r work a t The Sketchnote Handbook g r o u p o n F l i c k r : u/u/w.f l i c k r . c o m / g r o u p s / t h e s k e t c h n o t e h a n d b o o k

196


199


INDEX A

c

a b o u t t h i s book, xiv

caching ideas, 2 5 , 4 6 , 4 8

active listening, 4 6

c a m e r a s , d i g i t a l , IS"?

Akah, Binaebi, 2 2 - 2 3

c a p t u r i n g i d e a s , 6, Iff, 4 2

A L L C A P S t y p e , 135,173

c a r t o o n s , 138,131

anchoring ideas, 2 5

Chew, Boon Yeu/,40-4l

arrou/s, 4 3 , 6 1 , 1 3 4 , 1 7 4

c i r c l e s , 16,150

artwork

c o m m e n t a r y , I37

a r t & s t r u c t u r e scale, 8 7 - 8 8

c o n c e n t r a t i o n , 31,31

i d e a s e m p h a s i z e d over, 18-11, 148

concepts, describing, 8

See also drau/ings

c o n n e c t o r s , I74

a s t e r i s k s , 134

c o n t a i n e r s , 71,175

a s y m m e t r i c r<\d\ai s k e t c h n o t e , 1 6

c - s h a p e p a t h , I03

attention, directing, 47

D

B

d e s c r i p t i v e t e x t , I33,134

backup supplies, 58, 71

diagrams, 6 6 - 6 7

Bal*ra, M a t t e l

d i g i t a l c a m e r a s , 181

3ermar\, C r a i g h t o n , 2 4 - 2 5

d i g i t a l s k e t c h n o t e s , 13

big i d e a s , 6 , 3 7

distractions

block l e t t e r i n g , 1 6 % 171 b o l d t y p e , 135,167, 168

e f f e c t o f s k e t c h n o t i n g o n , 31 eliminating and filtering, 4 7

book l i g h t , 5 8

dividers, 6 8 , 7 5

Boudu/in, M a r i c h i e l <& D a n , 107

doodling

brain dual coding t h e o r y and, 2 7 - 2 8 visual maps and, 2 1 - 3 0 brainstorming, 25

drau/ing c o m p a r e d t o , 14 study on memory and, 3 0 d o t s , u s e d in drau/ings, 16,150 drau/ing f a c e s , I 6 2 - I 6 4

B r o a d b e n t , M J , III

basic elements f o r , I62

Brou/n, S u n n i , 85,144

exercises on, I 6 3 - I 6 4

b u l l e t p o i n t s , 133

drau/ing m e t a p h o r s , I 8 2 - I 8 3

bullets, 70,174

drau/ing p e o p l e , I 5 6 - I 6 I


e x e r c i s e o n , 160-161

m a k i n g s k e t c h n o t e s a t , 61

G r a y m e t h o d of, 157-151

researching beforehand, 57,78,71

scaling t i p for, 23

sharing sketchnotes f r o m , 6 2 , 6 3

s t a r m e t h o d of, I56

title page for, 6 0

d r a w i n g t y p e , I65-I7I

experimenting with sketchnotes, 2 0

block l e t t e r i n g , 161

e y e b r o w s , d r a w i n g , I62

exercise on, I70-I7I

e y e s , d r a w i n g , I64

single-line lettering, I 6 6 - I 6 7 t i p s f o r q u i c k l y , I68,161

F

t r i p l e - l i n e l e t t e r i n g , I68

faces

t u / o - l i n e l e t t e r i n g , I67

b a s i c e l e m e n t s f o r , 162

See also t y p o g r a p h y

exercises on drawing, I63-I64

d r a w i n g visual elements, I74-I75

f a c i a l e x p r e s s i o n s , I62,164

drawings

f e l t - t i p p e d m a r k e r s , I87

f a n c y vs. s i m p l e , I53

F i n c h , A l e x i s , 5 4 - 5 5 , II4,121

f i v e b a s i c e l e m e n t s of, 16,141-152,

f i v e b a s i c d r a w i n g e l e m e n t s , 16,141-152

154-155

exercise on using, 154-155

i d e a s c o n v e y e d t h r o u g h , 15,18-11, 34-35,15I

f i n d i n g in d r a w i n g s , 151 fixing/tuning sketchnotes, 6 2

i n c l u d i n g in s k e t c h n o t e s , 6 6 - 6 7

F l i c k r s i t e f o r book, xv, 116

skills f o r c r e a t i n g , 14

focusing attention, 47

See also a r t w o r k

f r a m e s in s k e t c h n o t e s , 4 3

d r o p s h a d o w s , 161

f r u s t r a t i o n w i t h n o t e t a k i n g , xii, 3

d u a l coding t h e o r y , 2 7 - 2 8 , 3 1

f unneling i n f o r m a t i o n , 2 5

d y n a m i c note t a k i n g , 38

6

E

gel p e n s , I85,187

Erb, Veronica, 42-43,101

George, Michelle, 8 0 - 8 1

Esch, J e s s i c a , 5 2 - 5 3 , 8 5

g r a d e s c h o o l d o o d l e s , 14

events, 5 7 - 6 2

g r a p h i c r e c o r d i n g , 111

arr\v\r\q e a r l y t o , 5 1 , 7 8 , 7 1

G r a y , D a v e , 158

gathering materials for, 58

G r a y d r a w i n g m e t h o d , 157-151 g r i d - l i k e p a t t e r n s , I08


H

L

h a n d w r i t i n g , 8 , 6 8 , 173

Lamm, E v a - L o t t a , 8 2 - 8 3 , 1 7 , 1 4 4

h a r d - b a c k n o t e b o o k s , 145

L a m s o n , G e r r e n , 86,13,106,118-111

Hau/kins, E r i n M., 140

l a n g u a g e , v i s u a l vs. v e r b a l , 3 4 - 3 5

h e a d l i n e s , 133

larger themes/ideas, 37

hierarchies

lettering

c r e a t i n g , 133-134

block, 161,17I

e l e m e n t s of, 135

single-line, I 6 6 - I 6 7 , 1 7 0

h o l i s t i c a p p r o a c h , II

t r i p l e - l i n e , I68,17I

hub-and-spoke structure, 1 5 - 1 6

t u / o - l i n e , I67,170 linear sketchnote pattern, 75,11-14

h u m o r , I38,131

lines in drau/ings, 16,150,174 I

listening, 44-51

icons, 2 5 , 7 0 , 1 3 5 , 1 7 5

a c t i v e p r o c e s s of, 4 6

ideas

author's approach to, 47-41

anchoring metaphors and, 25

caching ideas t h r o u g h , 2 5 , 4 6 , 4 8

caching t h r o u g h listening, 2 5 , 4 6 , 4 8

k e y s t o p r o c e s s of, 4 5

c o n n e c t i n g u/ith arrows,

n a t u r a l n e s s o f drau/ing u/hile, 3 2

43

c o n v e y e d t h r o u g h drau/ings, 15, 34-35 e m p h a s i z e d o v e r a r t u / o r k , 18-11, I48

p r a c t i c i n g skills i n , 5 0 s u m m a r y p o i n t s a b o u t , 51 live s k e t c h n o t i n g , I 2 4 - I 2 6 l o w e r c a s e h a n d w r i t i n g , I73

focusing on larger themes and, 37 process f o r capturing, 42

M

s k e t c h n o t e s b u i l t f r o m , 10

Magain, M a t t h e w , I20-I2I

Ide-Smith, Michele, I05

maps, visual, 1 0 , 2 1 - 3 0 , 3 1

i l l u s t r a t i o n s . See a r t u / o r k ; drau/ings

materials f o r sketchnoting, 58,184-I87

immersion process, 48

M c D a n i e l , C a s s i e , 102

iPad a n d iPhone, 5 7 , 5 8

meandering storytelling, 41 memory

K

d r a w i n g i t e m s f r o m , I76

K e a g g y , Bill, 131

s t u d y on doodling and, 3 0

k i t c h e n i t e m s drau/ing e x e r c i s e , 178-171

visual maps and, 30

K l e o n , A u s t i n , II2,II8,I62

mental cache, 2 5 , 4 8


metaphors

p o p c o r n p a t t e r n , II3-II5

anchoring ideas and, 2 5

r<Kd\aX p a t t e r n , 7 3 , 1 5 - 1 1

t i p s o n drau/ing, 182-183

s k y s c r a p e r p a t t e r n , II0-II2

mind

vertical pattern, I 0 0 - I 0 2

d u a l c o d i n g t h e o r y of, 2 7 - 2 8

PDF documents, 6 2

h o l i s t i c n o t e t a k i n g a n d , II

pencils

visual maps and, 2 1 - 3 0

h i g h l i g h t i n g u/ith c o l o r e d , I87

modular sketchnote pattern, 106-101

p e n c i l t o i n k a p p r o a c h , 127-121

Moleskine sketchbooks, 7,58,184-I85

t e x t - o n l y note t a k i n g using, 3

M o n l u x , M a r k , 131

p e n m a n s h i p , I73

m o u t h s , drau/ing, I 6 2 , I 6 4

p e n s f o r s k e t c h n o t i n g , I85,187 people

N

e x e r c i s e o n drau/ing, I 6 0 - I 6 I

Newmar\, G r e g , I53

m e t h o d s f o r drau/ing, 1 5 6 - 1 5 1

note taking

s c a l i n g t i p f o r drau/ing, 2 3

a u t h o r ' s f r u s t r a t i o n u/ith, xii, 3

p e r s o n a l i t y in s k e t c h n o t e s , 1,12,136

f e e l i n g o f s k e t c h n o t i n g vs., 3 6 - 3 8

personalization o f sketchnotes, I36-I40

v i s u a l a n d h o l i s t i c a p p r o a c h t o , II n u m b e r i n g p o i n t s , I34,135

p h o t o g r a p h i n g s k e t c h n o t e s , 61,71,

0

pie c h a r t s , 3 0

188-181 o f f i c e i t e m s drau/ing e x e r c i s e , I 8 0 - I 8 I

planning process, 4 2

o p i n i o n s in s k e t c h n o t e s , I36,137

P N G f o r m a t t e d files, 6 2

organic p a t h shapes, I03

p o c k e t - s i z e d M o l e s k i n e s k e t c h b o o k , 7,

P

p o p c o r n s k e t c h n o t e p a t t e r n , II3-II5

Paivio, Allan, 2 7

p r a c t i c i n g listening skills, 5 0

p a n e l d i s c u s s i o n s , HO

presentations

I84-I85

path sketchnote pattern, I03-I05

immersing y o u r mind in, 4 8

pattern recognition, 4 6 , 4 1

recognizing p a t t e r n s in, 4 6 , 4 1

p a t t e r n s f o r sketchnotes, 10-116 linear pattern, 75,11-14

R

modular pattern, 106-101

radial sketchnote pattern, 7 3 , 1 5 - 1 1

path pattern, I03-I05

r e a l - t i m e s k e t c h n o t i n g , I23,124-I26,14I


recall. See memory

d i a g r a m s a n d drau/ings i n , 6 6

recognizing patterns, 46,41

d i v i d e r s used in, 6 8

refining sketchnotes, 43

e x p e r i m e n t i n g u/ith, 2 0

relaxed note taking, 36

h a n d w r i t i n g in, 8 , 6 8

researching events, 57,71

hierarchy for, I33-I35

Reynolds, T i m o t h y J . , II3,I42-I43

h o l i s t i c a p p r o a c h of, II

R o h d e , M i k e , 12,140,153

h o w t o c r e a t e , 13

r o h d e s i g n . c o m u/ebsite, xv

i d e a s o v e r a r t i n , 18-11,148

r o u g h - t o - r e f i n e d a p p r o a c h , I30-I3I

key concepts f o r making, 2 5

Rowland, Francis, I44-I45

p a t t e r n s used for, 10-116 p e r s o n a l i z a t i o n of, 1 3 6 - 1 4 0

s

photographing a n d scanning, 61,62,

scanning s k e t c h n o t e s , 62,181

188-181

Schildt, Bauke, I04,I86

planning process for, 42

seating considerations, 51

real-time, I23,124-I26

separators, 68,75,175

r e f i n i n g t h e look of, 4 3

Seu/ell, C a r o l y n , 1 4

sharing, 62,63,188-181,110

sharing sketchnotes, 62,63,188-181

s i g n a t u r e s f o r , 71

S h i p t o n , C h r i s , IOI, 110-111

s t r u c t u r e of, 8 7 - 8 1

s i g n l a n g u a g e , 136

s t y l e of, 8 5 - 8 6

s i g n a t u r e s in s k e t c h n o t e s , 71

titles for, 6 0 , 6 4

single-line lettering, 166-167,170

tools f o r creating, 58,184-I87

sketchbooks

t w o - s t a g e , I23,127-I3I

Moleskine, 7,58,184-185 spiral-bound, 23,82,186

typography for, 65,165-I7I s k y s c r a p e r s k e t c h n o t e p a t t e r n , II0-II2

S k e t c h n o t e A r m y blog, xii

s m a r t p h o n e s , I88

s k e t c h n o t e r c o m m u n i t y , xv

s o c i a l media, 61,188

sketchnotes

S o u p i s e t , P a u l , 112-113

a d v a n t a g e s of, 3 6 - 3 8

s p e e c h bubbles, 5 3 , 1 7 5

a n a t o m y of, 6 4 - 7 1

spiral-bound sketchbooks, 23,82,186

arrows

s q u a r e s , 16,150

in, 4 3 , 6 1

a r t u / o r k in, 8 7 - 8 8

s t a r d r a w i n g m e t h o d , I56

b u l l e t s a n d icons in, 7 0

S t e e d , K y l e , 114-115

c o n t a i n e r s u s e d in, 71

stories, connecting, 41

creation process for, 5 7 - 6 2 , 7 2 - 7 7

structure o f sketchnotes,

87-81


style o f sketchnotes, 8 5 - 8 6 s u b h e a d s , 133

v e r b a l mode, 2 7 - 2 8

s y m m e t r i c radial s k e t c h n o t e , 1 6

vertical sketchnote pattern, I 0 0 - I 0 2

synthesizing information, 25

visual elements b u i l d i n g a l i b r a r y of, I76 drau/ing in s k e t c h n o t e s , I 7 4 - I 7 5

t a l k bubbles, 5 3 , 1 7 5

v i s u a l language, 3 4 - 3 5

t e x t , d e s c r i p t i v e , I33,134

visual library, I76-I8I

text-only note taking, 3

a d v i c e o n b u i l d i n g , I76

t h e m e s , f o c u s i n g o n larger, 3 7

k i t c h e n i t e m s e x e r c i s e , 178-171

thinking processes, 8 5

o f f i c e items exercise, I80-I8I

t h o u g h t bubbles, I75

visual maps, 1 0 , 2 1 - 3 0 , 3 1

three-point sermons, 41

visual mode, 2 7 - 2 8

titles, 3 0 , 6 0 , 6 4

v i s u a l n o t e s , II

tools f o r sketchnoting, 58,184-I87

visualizing ideas, 2 5

t r i a n g l e s , 16,150 t r i p l e - l i n e l e t t e r i n g , I68,17I

w

T u / i t t e r i n f o f o r a u t h o r , xv

u/arming u p , 111

t u / o - l i n e l e t t e r i n g , I67,170

u/ebsite o f a u t h o r , xv

t u / o - s t a g e s k e t c h n o t i n g , I23,127-I3I, I4I

u/himsy, 138,140

p e n c i l t o ink a p p r o a c h , 127-121

W r i g h t , Amanda,

rough t o r e f i n e d a p p r o a c h , I30-I3I

u / r i t t e n s k e t c h n o t e s , 13

t y p o g r a p h y , I65-I7I

18,186

u/-shape p a t h , I 0 3

block l e t t e r i n g , 161 exercise on d r a w i n g , I70-I7I h i e r a r c h y e m p h a s i z e d t h r o u g h , I35

z i g z a g p a t h , I03

i n c l u d i n g in s k e t c h n o t e s , 6 5

zone f o r sketchnoting, 33,31

single-line lettering, I 6 6 - I 6 7

z - s h a p e p a t h , I03

t i p s f o r a d d i n g t o , I68,161 t r i p l e - l i n e l e t t e r i n g , I68 tu/o-line lettering, I67


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PRAISE FOR THE SKETCHNOTE HANDBOOK Entertaining andl memorable (just like sketchnotes), this fast-reading, act-packed book by the godfather of sketchnoting provides everything you and your team need to know about the creative, mnemonic, and business benefits of this brilliant new method of note taking/'

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—Jeffrey Zeldman, author of Designing with Web Standards ike Rohde has taken his original, fun, and smart approach and DroKen it down into simple, flow anyone can use sKetconotes to capture ideas—even you and me. —Chris 6ui!lebeau, author of The $100 Startup lotes are a great way to capture trie nigniignts or an idea in a way that will naturally work for your brain. )body will teach you how to do it better than Mike." David Helrtemeler Hansson, co-author or

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and best-selling author of Resonate and S!ide:olQgy "Never fear note taking again. Mike Rohde demystifies the practice and makes it accessible to everyone. Your brain will thank him later." -Sunni Brown, co-author of damesioming and leader of the Doodle Revolution is book is not really a book. It's a tool kit for learning a new and better / of capturing and understanding information, and it's perfectly aligned way our brains actually work. If you're a student, teacher, or businessp >ok has the potential to change the way you learn, and t h e way you thh —Daniel Coyfe The New York Times best-selling author of ?

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and toe most useful how-to guide I ve ever read, no contest. -Josh Kaufman, author of The Personal MBA: Master the Art of Business


The sketchnote handbook 2