I recently had the privilege and pleasure to work with the Nanaimo & Ladysmith School Board during a conversation about Reconciliation. Graphic facilitation can help support open discussion around challenging issues, and organizations can use it as a methodology to affect meaningful change – just like the transformative Kairos Blanket Exercise and four other tools below.
The school board invited a wide range of Indigenous organizations and partners together to facilitate a discussion about their education system. The Kairos Blanket Exercise is a powerful tool that places participants in both Indigenous and non-Indigenous roles, in relation to the history of colonization. It encourages understanding, honest communication, and builds meaningful action.
There’s a saying I’ve heard about working with issues of Reconciliation: we can’t have “Reconciliation” before we have Truth. And this means taking a look at history, first, and wrestling with the many truths of the ongoing impact of colonization on Turtle Island.
As visual practitioners, we listen and draw to connect conversations and issues, so self-reflection is important if we use time-saving symbols to stand-in for concepts. Taking a moment to examine whether these symbols actually represent a cultural generalization that could be seen as disrespectful, is an important part of our practice to reflect on and be sensitive to. While working, we need to make choices – one of the most important of these choices is to not fall back on Whiteness as the default with which to mark difference against. A familiar way of drawing may not necessarily be the best choice. Being open to change, and working with humility are all key to helping personally participate in the transformation we want to see.
Another way we can inform our practice with more cultural humility is by continuing educating ourselves on current issues, and the myriad of resources that are available to share. Here are just a few for you to consider:
Crystal Fraser and Sara Komarnisky created a powerful list of 150 Acts of Reconciliation, to be practiced during the last 150 days of 2017. The year is not over yet, and this list is an important call to action, giving small steps towards action and learning that can build to create difference. The conversations around reconciliation still have great distances to go, and this list can help people to think about Indigenous-settler relationships as they exist in our everyday lives.
Crystal and Sara have built on #150acts by collaborating to create an incredible poster series that I encourage you to take a look at, with design and art by Yukon artist Lianne Marie Leda Charlie who is Tagé Cho Hudän | Big River People (Northern Tutchone).
The San’yas Indigenous Cultural Safety Training website is also one of the leading resources in Canada. It includes the Indigenous Cultural Safety (ICS) Online Training Program, which educates participants about anti-Indigenous racism, enhances self-awareness, and strengthens skills for professionals working directly or indirectly with Indigenous people.
Cultural Safety and working towards ending anti-Indigenous racism are important tools for me as a settler as I work with Indigenous organizations and community groups. It’s important to reflect on how my work is representative of the people with whom I’m collaborating, and that I am more aware of the visual choices I make in each session. I encourage all non-Indigenous illustrators, graphic facilitators and graphic recorders interested in being a better partner to Indigenous communities where they live and work to look at what core competencies might be useful to this work – you can read more in my four part blog series here – and in my collaborative book, Drawn Together Through Visual Practice.
Teams, teaching, travel, and a new reflection tool – it’s been a busy Fall 2017! I’m feeling so inspired by the incredible organizations and people I’ve worked with recently, and wanted to share some of the techniques we used together. There’s a variety of approaches one can use to lead visually: from graphic recording for public engagements, to engaging groups with graphic facilitation, to modelling visual thinking tools, and knowledge translation with illustration.
TEACHING VISUAL FACILITATION
Drawing Well is online! Drawing Well is a new tool for visual practitioners and facilitators, and we put an excerpt online from our book – Sam Bradd & Jennifer Shepard – Drawn Together Through Visual Practice – 64 Questions to help reflect and transform how well you draw. Consider it an early holiday gift from us to you.
Drawing Change held a two-day graphic recording and graphic facilitation workshop, helping people think and draw through complexity. Participants came from across three countries to engage and inspire each other.
There is a real struggle out there to be able to tap into, and sustain, our personal creativity in our professional lives – if you are able to know how to USE your creativity on a daily basis and know how to access it, consider yourself very lucky. Many people wrestle with how to find it when they need it. It might be 5% inspiration/95% perspiration, but it’s still something I trust I can rely on.
The best part of teaching – learning alongside each other. I personally learned new facilitation metaphors from the participants that were applicable to diverse work and contexts: e.g. a strategic planning template that used Indigenous beadwork designs to structure the page (way to go Jeska Slater). Big thanks to Avril Orloff, Yolanda Liman and Michelle Buchholz for leading sessions, too.
Want to join us next time?
I’m keeping a wait list for the next intro workshop in Spring 2018.
I was happy to return to Geneva for this project. Over a few days, we worked deeply on important curriculum involving infectious diseases and epidemics. The thing about public health is that winning means…nothing happens! You can view this curriculum by signing up for the free Open MOOC courses online.
We travelled to Kamloops to participate in two days of graphic facilitation with the National Indigenous Fisheries Institute. The images/posters from this meeting are great examples of how you can use a visual language the client already understands, to further illustrate your key points. In this case, the lifecycles of the salmon were a useful way to explain the categories of our discussions:
The second image, below, is a poster mapping what services exist, and then the identification of funding opportunities. The conversation was grounded in land – where all wealth (money and not-money) comes from.
This symposium used graphic recording to distill a large amount of complex, highly specific information, and the large volume of slides meant we needed a super organized graphic recording layout. Lucky for us, cartoons are popular in Brussels, so our scientific drawings were well-received!
Anti-racism and reconciliation is the biggest conversation we need to have in Canada. I can’t emphasize enough how important it is to keep learning and to be willing to make mistakes, and keep trying; otherwise, nothing is going to change fast enough. We all need to create the conditions where people are willing to ask questions, feel secure enough to ask for help, and keep building relationships. That’s how we’re going to work towards implementing the Calls to Action in the Truth and Reconciliation report.
“We’ve been holding our breath for generations – we need results.”
Quotes like this go right to the heart, and I hope the decision-makers are listening.
During a discussion about anti-Indigenous racism and reconciliation, I heard and drew this image above, as a reference to her ancestors giving the woman strength through her hands and looking forward.
The illustration below comes from our discussions held at the Canadian Museum of Human Rights. Many museums across the country, and internationally, have made great changes in how they collaborate with, and are inclusive to, originating communities – particularly in regards to access and repatriation of Indigenous artworks and objects from their collections. As places of learning, they can expand the public memory, bring in diverse voices, and incorporate new ways of seeing into discussions that can affect our world.
This was a team graphic facilitation project, and is one of my favourite types of projects. We were a team of 10 scribes to help debrief small groups, and engage them as their facilitator. Our first task was to help groups identify the key learnings from their program, and then our second task was to create a visual take-away from what they were going to do next as leaders. The graphic facilitation makes sense of rich and complex information.
As a practitioner, it’s fun to work in a big team. Here you can see the same title done six different ways. My submissions are the top right and bottom left. Often we do this work solo, and reflection is a key part of delivering clear and useful results, like a good editor pointing out what works and what can be taken away. After we finished our work, and went for dinner – three of us came back and did our own little “gallery walk” of what we appreciated of our colleagues’ work!
Here we used journey mapping around substance abuse, as a tool to effectively explore and understand the Indigenous peer and health care provider lived experience around the opioid crisis in B.C. Facilitators led small and large groups through a mapping process, which resulted in the post-it notes below.
This project was all about layering in the information: it went from journey mapping to graphic recording, and as a next step all of this information is going to inform some very polished, digital infographics.
This design thinking workshop at the Digital Youth Summit, was particularly rewarding as we engaged with an almost-full room of women in tech! Incredible. Young people inventing, designing, and making their own dream jobs.
We used templates for the group work, which I”ve written about before – so I’ll share a tip for capturing short, 6 – 8 minute presentations:
Draw one anchor image + key phrases for what the problem is + end with their unique solution.
Don’t try to explain all the details about the problem they’re trying to solve.
Make sure you leave space for what their big idea is – even if it comes at the end of what the speaker is saying.
Victoria, B.C. – Team Visioning Event
This was a team visioning evening event with Colleen Stephenson, Tanya Gadsby, and Minh Ngo. It was an evening meeting – so it had to be super interactive. This is what we did:
After an opening activity that generated wide, broad ideas, we each took a small group for live graphic facilitation.
Each group focussed on one topic, so we could go deeper into four topics. Then the fun part –
As participants had dinner, the four of us got to work synthesizing and making connections from all the data and drew out a big group summary poster in 2 hours (!), and presented it at the end of the night – total success!
I have a few more things to wrap before the end of 2017 … stay tuned for the return of “reflections from the field” from visual facilitation colleagues, too.
Hello! We’re Jennifer Shepherd and Sam Bradd. We’re visual practitioners, educators and facilitators. We live across the country from each other in Canada, and have collaborated on a range of writing projects about visual practice in the last few years. This tool below is an excerpt from a chapter you’ll find in our co-edited anthology Drawn Together Through Visual Practice, published in 2016.
We hope you’ll put it in your visual practice kit and pull it out many times as you choose to reflect in mini moments that transform how well you draw.
We’re both committed to reflection as an integral part of our visual practice. As we make time to reflect, our active curiosity calls us to explore:
What more can we know about ourselves?
What new possibilities for action do we see?
How can we share what we’ve learned with others?
We’d love to learn from you, too.
How ready are you to draw?
How does the way you show up impact the quality and sensitivity of the drawings you make?
Picture it: there’s a clean slate of white space in front of you. You’ve got your markers or tablet all juiced up and the meeting is about to begin. You take a breath, look around, and ask: where am I in this picture?
Wherever you find yourself, we invite you to ask a second question,
What deep and careful reflection could I choose now to listen and draw at my best?
This small moment to pause has the potential to make a big difference – in our creativity, in our relationship with our clients and participants, and how we expand the field of visual practice.
We believe that taking mini moments to pause and reflect can transform how we draw and radically improve the value of what we do as visual practitioners.
And that is the premise of this Question Well tool. When we reflect in the moment, or on a moment from the past, we extend our awareness and care and create openings to expand our competence. This is true regardless of whether we hold a ready pen, offer input or bear witness to another’s creatives process or interpret a completed work.
We invite you – our colleagues, clients, and facilitation partners – to notice areas for reflection in your own practice, wherever that might be. When you’re ready to take a mini moment, dive with us into this rich well of questions and see what emerges!
What you’ll find in the Question Well tool:
We introduce a new model for reflection that is unique to graphic facilitation and visual practitioners. What other models come to mind?
We share the Question Well with 64 questions and 9 areas of focus. What new questions would you add?
We intersperse anecdotes from our story as practitioners into the Question Well, and invite you to think about your story.
We suggest ways to use the questions.
Let’s jump in.
Introducing a New Model for Reflection
There are many dynamics and relationships that are worthy of reflection during visual facilitation. Here’s a diagram that illustrates what we mean.
In this mini book, you’ll see questions in the Question Well organized into 9 areas of focus – one for each of the connections shown in the diagram.
We have crafted 64 questions to support your reflection. We’ve organize them in 9 areas of focus to help you navigate your way through the Question Well.
We offer these questions for how to use this chapter as a kind of personal workbook:
Reflect on your own, or gather with peers, clients, and others
Read the questions aloud, pause, and notice what answers arise
Phone a colleague and have a conversation
Write a journal entry and see what emerges
Bring your thoughts forward to the field of visual practice online or at a conference
We offer these methods as wisdom from our shared experience as a gift to the visual practice field. We’ve tried them all, and they work! These are only a start. Now, it’s your turn. We invite you to share your own questions on the Drawn Together Through Visual Practice website, too.
About the Authors
Jennifer Shepherd inspires well-intentioned and overwhelmed leaders to gain the clarity they need to create insightful connections and make their next move. She has oodles of facilitation and collaborative change experience working with local communities, regional networks and national networks from housing to hockey. She is known for asking questions that prompt us to ask more questions, draw together, and solve the complex puzzles of our time. Jennifer is an IAF Certified Professional Facilitator who loves to drum and walk the world in wonder. Contact her at www.livingtapestries.ca
Sam Bradd is a graphic facilitator and specialist in information design. He uses visuals for people that want to engage, solve problems, and lead. Together, we’re Drawing Change. In the last 15 years, Sam has collaborated with the World Health Organization, Google, Indigenous organizations, and researchers on four continents. In 2016, his side project the award-winning Graphic History Collective published a book of comics because how we tell histories can change the world. He has a Masters in Educational Studies (University of British Columbia). Contact him at www.drawingchange.com.
Read more in Drawn Together Through Visual Practice
This Question Well tool is part of a larger book, Drawn Together Through Visual Practice. It is edited by Brandy Agerbeck, Kelvy Bird, Sam Bradd and Jennifer Shepherd and was published in 2016. This anthology demonstrates the power of visuals as a sensemaking device in an age of unprecedented complexity. It is available on Amazon.com in book and Kindle formats.
The graphic facilitation and graphic field is booming – are you getting the work you want?
Sophia Liang and Sam Bradd designed this course to teach what they wish someone had taught them when they started out as graphic facilitators.
Experts say, in order to scale or grow your business, practitioners need to do two things: be better, or be different. We’ll help you explore what expanding and diversifying your offering looks like for you. We’ll also offer models and tools for deepening your practice. And throughout, we’ll share how we got paid to do the work we love.
Designed for visual practitioners with a firm grasp on fundamentals, and a desire to stretch your potential. This fast-paced and participatory workshop includes two days of training and an evening opening session.
Every workshop is customized to meet participants’ goals. We’ll use storytelling, presentations, hands-on practice, group dialogue, and peer learning environment.
Passionate about continuous improvement and learning, Sophia and Sam bring facilitation techniques, a balance of theory and practice, years of business experience, and new visual tools to take your career to the next level.
Dates: Sunday, February 11th; Monday, February 12th; and Tuesday, February 13th, 2018 Times: (Sun) 5:00 PM – 9:00 PM; (Mon-Tues) 8:00 AM – 5:00 PM Opening Session details: We’re having dinner together on Sunday evening to open the workshop. It will be an opportunity to connect with the instructors, meet other visual practitioners, and share any questions. Then we dive right into training on Monday and Tuesday!
Hi! I’m Sophia Liang, the owner of Graphic Footprints a graphic recording and facilitation company in Los Angeles, California.
I’m passionate about people and enabling sustainable communications within teams and inside organizations by utilizing the power of visual communication. I have an extensive background in designing experiential learning events with a focus on creating moments that matter.
I’ve been fortunate to work with amazing clients, including Fortune 500 companies such as Walt Disney Imagineering, Dolby Labs, Google, and Genentech, as well as both not-for-profit organizations and government agencies. I am a part of The Grove Consulting associate network (one of the original graphic facilitation firms, based in San Francisco, California) and have a Bachelor of Arts from University of California, Berkley. I have taught multiple graphic recording/facilitation workshops at the International Forum of Visual Practitionersand International Association of Facilitators annual conferences over the past years.
When I’m not traveling for work, I enjoy salsa and west coast swing dancing, and cooking in my home in Los Angeles.
HI, I’m Sam Bradd. I’m a graphic facilitator and specialist in information design. I use visuals to help groups be better at what they do. In the last 15 years, I’ve traveled the globe collaborating with the World Health Organization, Fortune 500 companies, Google, and Indigenous organizations.
I specialize in turning dense information into images: visual strategic planning, graphic recording, infographics, knowledge translation, and engagement.I’m the editor of two new books: Drawn Together Through Visual Practice (2016) and Graphic History Collective. My formal education includes a Masters in Education (University of British Columbia), a Bachelor of Arts (Simon Fraser University), facilitation training, and courses in design, human rights monitoring and Indigenous cultural competency. In the community, I’m an active member of the International Forum of Visual Practitioners.
Kelvy Bird and Alfredo Carlo will be teaching a Visual Practice Workshop at the same venue, February 14 – 17, 2018. The “art of scribing” is taught to bridge the ecological, social, and spiritual divides we experience in our world today. Join us the same week in the same venue. We will be coordinating so participants can attend both workshops. If you sign up for The Visual Practice Workshop as well as Towards Mastery, you will receive a 5% discount on Towards Mastery. (PS: Sam and Sophia are attending this workshop!)
The registration fee includes: supplies, course materials, lunch and two snack breaks each day. Breakfasts and dinners would be self-organized. Participants are also responsible for their own transportation and hotel accomodations.
Refund Policy The amount paid minus a $350 processing fee will be refunded for all cancellations received in writing before January 14, 2018. No refunds will be granted for cancellations received after that time, but registrations can be transferred to other participants at no additional cost.
More questions? For more information, contact Sam at firstname.lastname@example.org.
It was a great phone call to receive: would Drawing Change like to coordinate a team of 8 graphic recorders, to capture 54 sessions over 2 days with 2,500 business leaders from more than 100 countries. Absolutely! If you ever get a call like this, – or are hiring a large graphic recording team – here’s what you need to know.
To pull this off, the team consisted of 8 graphic recorders, 1 photographer, 2 graphic designers, and 1 project manager.
Most graphic recorders work alone, so when we get to work as part of teams it’s truly inspiring. Our drawings and lettering influence each other, we push each other to excel, and we also share in collective success. It’s an arena like no other.
We learned a great deal from this event. We learned what it takes to run a successful large-scale graphic recording team. We learned how to cultivate high performing team relationships. And most importantly, we got the team to give us their take on what made it successful. Here’s what you need to know.
Pre-event organization and planning are key
You might think you can graphic record while coordinating a team, but having a project manager was crucial to this event’s success. The project manager effortlessly ensured the pre-planning, on-site organization, and the team support was in place – something that was crucial to a smooth and successful event.
“Having [someone to] manage all the advance communication is helpful. It gives a chance for everyone to get to know the coordinator prior to the event and give the right amount of info at the right time in the friendliest way.” – Lisa Arora
The project manager “quickly became an indispensable part of the team, event before we arrived onsite. Having her manage the many moving parts allowed Sam to work more closely with the client and with the logistics crew.” – Anthony Weeks
Avril Orloff says, “all the background maneuverings … make a big event like this successful!”
Phone people. Give your team information weeks ahead of time. By creating an opportunity to create dialogue and answer any questions that come up, it will help define the purpose and scope of the project. Photographers, graphic designers and even graphic recorders may not have done a project like this before.
Book a green room for the team. We needed room to finalize and colour posters, shoot the photos, and for the graphic designers to share a desk. Make sure the client puts the green room close to the stage – and not in the hotel across the street.
Space and easels: Some logistics we learned on the fly include factoring how long it will take to cross a big convention centre. Also, make sure each breakout session has its own easels set up the morning of the event, instead of carrying easels back and forth. We learned this one the hard way.
Shipping is more complicated to a convention centre than hotels or other venues. Convention centre delivery is expensive – you’ll be charged labour fees to move boxes, and it will be handled by a third party with their own cut-off delivery deadlines. Get on top of this early. Make friends with the account manager by phone and be clear about how the final posters/boards are going to be shipped home. Figuring this stuff out before the event will make everything so much smoother! We promise!
Be clear on what time teams should arrive. With a high pressure agenda, we all arrived 2 hours early the first day, and Sam and the project manager stayed at the hotel so there would be no travel issues.
Create space for team development
“Treating the team to dinner the night before was such an unexpected treat and a classy move. Also a great chance to deal with questions so you weren’t overloaded with them the next morning.” –Lisa Arora
Organize a team dinner the night before to introduce the members of the team and create space to answer questions. It will support team cohesion, communication, and will resolve any conflicts before the day of the event. There will always be way more questions – the more people, the more questions!
Approach the day like a team, not solo artists.It’s a balance of letting talented graphic recorders work their magic, and also giving some constraints on creativity. This project needed final files back by 8pm the day of the session. The team approach meant people prepped titles for each other, helped with colouring and “polishing” the charts – instead of it being a race to who would finish first.
For out of town graphic recorders, make sure their needs are met.
Include the non-graphic recorders in your team building! This way when the graphic recorder asks the photographer to boost the contrasts, it will be a friendly request.
Make time for 1:1 conversations with each team member during the day.
Happy teams are well fed and caffeinated.Have a plan for where staff eat lunches, snacks, and coffee. Don’t assume staff or vendors can help themselves to the attendees’ buffet – no matter how convenient it is outside the door.
By ensuring each person on the team is well connected, well fed, and generally well taken care of, you’ll have the right conditions for success.
Consider having a “backup listener”
When there is so much happening, it’s easy to lose track of the information coming from the stage. With so many graphic recorders on hand, we could have added a backup listener to each session. In hindsight, having a backup listener would have been extra helpful for such large event. This is especially useful when any posters have incomplete content.
With something of this scale, it is normal to not know what we don’t know. We learned having an extra set of ears to take notes and add content in the polishing stage can be extra helpful. (Thanks to Lisa Arora for the tip!)
There was no possible gift we could have bought this client to say thank you – so instead, we made something priceless: a summary poster for Day 1 and a summary poster for Day 2.
When the graphic recording team had a few seconds during the day, we added quick highlights from the 54 keynote presentations into a summary poster. We presented the first poster at the end of day 1, and the client spontaneously burst into happy tears. It really inspired us to up our skills for the Day 2 poster, too. Her gratitude was a huge gift back to us.
Be someone your client wants to work with by bringing delight.
Leadership qualities on the day of the event
Leadership involves many qualities, and every leader will be nuanced in their style. That said, here’s a few things that helped.
Don’t be a micro-manager. Don’t tell professionals what to draw, but do tell them what you need. ”This took off a lot of tension from us (at least me) because we were all a bit nervous. It basically said “I trust you, I know you’ll do your best, I’m not going to try and control that.” You rolled with it and that made us roll with it too, and I loved how everyone pitched in.” –Yolanda Liman
Be calm. I’m not sure I was calm, but I fake it. “I was impressed most by your calmness under pressure and trusting all of us to be where we’re meant to be on time. By no means an “easy” task with an ever-changing schedule in the mix!” –Tanya Gadsby
Be professional and authentic when people need to step up to a challenge.“I loved it when you said “I need all of you to move about 50% faster starting now”. You called us to bring our best game and I feel like we all did, in our own ways. We all behave differently under pressure.” – Stina Brown
“The required quick turnaround of the charts for digitization made us more disciplined about chart clean-up and finishing. While some of us lingered over our charts longer than others, we had just enough time to apply the finishing touches before handing them off. This made for a more streamlined work flow.” – Anthony Weeks
Be clear on what you need, and ask directly. Lisa Arora said, “ In the morning, you announced what you were most focused on, “I care about timing and…” I think that really helped the team understand what to pay attention to. It was comforting to people to know exactly what you wanted. And from there on, there was no micromanaging.” This helped the whole team move in a unified direction.
Let things go. Define the problem, be open to solutions, then make a decision and let it go.
At some point, you have to go with the flow.This works when things are well organized first, generally. Butas much as structured planning and organization are necessary, so too is the ability to let go and allow the event naturally unfold.
Be mindful of your presence on stage
We alternated sides of the stage, so the 2500-person audience could see the work happening. This added a layer of complexity navigating backstage. We also had one person waiting in the wings ready to go at all times.
“Have the team be aware of their visibility to the audience when waiting in the wings. It runs the risk of being distracting and is less of a “seamless” transition from back-stage to on-stage presence if we’re visible with big white boards and non-black clothing. Of course I know it was necessary to take a peek every now and then in order to hear the speakers and know where things were at!” – Tanya Gadsby
Last Hot Tip!
This was the first event where we were tipped! And what a classy move. Since most clients do not tip, so consider building this cost into your project proposal and contract so you can then pay it forward to the team. It’s a great idea that goes a long way.
What we’ve learned
We hope you’ve enjoyed reading about how we pulled off capturing 54 sessions in 2 days. It was a sincere privilege to be a part of such a large event and to share the work of graphic recording with such a large audience.
When an event is to this scale, you can never know and plan for everything. With the dream team of 8 graphic recorders, photographer and graphic designers, we were able to deliver an outstanding product for the client.
We are deeply thankful to the team and appreciate the generosity of graphic recorders who shared their feedback.
We do this work because we love it. While logistics, planning, and on-site professionalism are important, equally so is reminding ourselves of why we do this in the first place. So be present, have fun, and enjoy!
There’s no shortage of information anymore. Even when we have all the data and people in the room, it doesn’t always add up to a great meeting. What’s missing are people who can help groups make sense of information and tools to help people feel heard.This is the moment where visual thinking tools – such as graphic recording and graphic facilitation – have impact.
When we see visual process work in action, what happens is our eyes, ears, mind and heart begin to make connections. When that happens, we listen more deeply. We care more deeply. The seeds of action start to take root. When we see our words and thoughts expressed in front of us – live – we are pulled deeper into what is happening in the room.
Graphic recorders and graphic facilitators use listening and drawing skills to help groups reach a deeper understanding. Graphic recording is not “just” doodling: graphic recorders use visuals to create alignment, engagement, and solve problems. And now you can too.
THIS TWO-DAY INVESTMENT WILL
Expand your leadership tool-box with visual superpowers
Elevate your ability to include diverse voices in meetings
Develop your capacity to distill information
Sharpen your tools to have more effective meetings
Teach the visuals you need to improve group engagement
Hone your creative thinking and problem solving skills
Explore visuals as a key tool for systems change
WHAT WE’LL DO TOGETHER
Day 1 Graphic Recording & Facilitation Workshop Highlights:
Understanding the field: graphic recording and graphic facilitation
Work big! Learn how to use space on a big scale
Build your visual vocabulary: simple icons to make an impact
Hand lettering: how to master one of the biggest trends of 2017
Lettering: ways to bring your flip charts to the next level
Listening: even more important than drawing. Listening for story and synthesis
Putting it all together: Understanding layouts
Time for hands-on practice
Resources for your success
Visual tools for facilitating different meetings, in addition to graphic recording: templates, timelines, photo-based tools, and other contexts
Day 2 Graphic Recording & Facilitation Workshop Highlights
Introducing the new “9-part model for reflection” custom designed for visual practitioners
Visual processes: choosing the right visual processes for strategic planning, coaching, curriculum development, and more
Case studies: graphic recording skills for listening and drawing live and graphic facilitation opportunities
Building your business: how to develop your capacity for visual thinking within an organization and as a consultant
Opportunity for participants to co-create part of the agenda, focussing on conversations about visuals and diversity, visuals and conflict, and what is important to you
This two-day investment will be highly participatory and hands-on. We are all creative, and importantly – we are most creative when we feel supported and accepted. Participants in this class will build a brave space to take risks and learn together – while supporting each other in reawakening our creativity!
USING VISUALS TO LEAD
This highly participatory graphic recording workshop is intended for facilitators, educators, managers, and innovators – anyone who finds themselves working with groups (isn’t that everyone?).
As part of your work, you might spend a significant amount of your time in meetings or working with people who have competing demands. In those meetings, you might have wondered, “What is this meeting about? Is this the best use of my skills and my talents?” At Drawing Change, we’ve spent many years in these meetings. We’ve learned there can be a better way.
WHERE IS GRAPHIC RECORDING AND GRAPHIC FACILITATION USED?
Visual thinking, graphic recording, and graphic facilitation works with groups from two into the hundreds.
Here are some ideas where graphic recording/facilitation skills are useful:
Transforming a mission/vision statement into a visual
Strategic planning session off-site
Getting what’s in your head onto the page
When you need to iterate, prototype, and test ideas
Small brainstorming meetings
Keynote speakers, so everyone has a reminder of their words
Customer or client journey mapping to describe a user experience
Capturing group discussions during World Cafes
Translating an anonymous suggestion box into a summary visual
And on a smaller scale, visuals can be a great reminder of individual coaching sessions or feed-forward sessions
Taking personal sketchnotes during meetings that you want to back to teams afterwards… Not just file in a corner!
In this class, you will learn how to connect ideas, listen and create visual summaries, as well as develop other visual tools for meetings and events.
COME JOIN US!
You don’t need to be a super-sketcher to be able to communicate visually. If you’ve ever drawn two overlapping circles to explain something, you’re already using visual thinking. This workshop will enhance how you connect ideas, listen and create visual summaries for meetings and events.
Do you want a hand writing a compelling letter to your employer, asking for professional development funding? Here’s our tips!
This investment aims to push the boundaries of what you do and where you want to go. And I promise you don’t need to be a super-drawer.
Hi! I’m Sam, the owner of Drawing Change – a graphic recording and facilitation agency in western Canada. I work internationally and edited an anthology for visual practitioners, called Drawn Together for Visual Practice.
During the past 15 years, I’ve been fortunate to work with leaders around the world, including the World Health Organization, Google, Bill and Melinda Gates Foundation, various Fortune 500 companies, as well as Indigenous and public sector organizations.
Drawing on my experience and my Masters in Education from the University of British Columbia, I want to share my experience with both new practitioners and skilled colleagues. In my mission to help groups use visuals for better engagement, this workshop will amplify your leadership. I’ve taught graphic recording, sketchnoting, and facilitation classes to a wide range of participants – from city councillors, staff in the social impact sector, and young people.
This course will be joined by Drawing Change Associates, Tiaré Jung or Michelle Buchholz. Michelle and Tiaré have been graphic recording with Drawing Change, using their listening and drawing skills to support groups for a better world.
Participants will go home with a Graphic Recording kit worth $100, plus an additional exclusive Neuland® Ambassador Marker Kit gift.
Two full days of instruction
Catered lunch, as well as morning and afternoon coffee breaks for both days
Templates, handouts, a book of icons, tools for practice, and a list of favourite books and resources – Valued at $100
30 minutes of coaching from Sam afterwards
PLUS participants receive an exclusive Neuland® Ambassador gift
Opportunity for additional graphic or business development coaching
A new network of visual practitioners to support your learning and development after the course
Do I need to be able to draw? Nope! Just bring yourself and a willingness to be creative in a group setting.
What are the course dates and times? Saturday October 28 and Sunday October 29, 2017. Doors open at 8:30 am, workshop begins at 9:00 am, and ends at 4:00 pm. Stay tuned for detailed logistics. We will take great care of out of town guests.
Where’s the workshop? Creekside Community Centre is a beautiful venue with a full wall of windows, wood panelled walls, and lots of natural light. Creekside Community Centre is a central hub on the edge of Vancouver’s Seawall.
Our workshop will be located at 1 Athletes Way, Vancouver, British Columbia, Canada. More logistics and details will be provided to participants.
Remind me what’s included?
Two full days of instruction
Catered lunch, as well as morning and afternoon coffee breaks for both days
Templates, handouts, a book of icons, tools for practice, and a list of favourite books and resources – Valued at $100
30 minutes of coaching from Sam afterwards
PLUS participants receive an exclusive Neuland® Ambassador gift
Opportunity for additional graphic or business development coaching packages – more details soon
A new network of visual practitioners to support your learning and development after the course!
You’ll be able to start using your new skills right away!
How many spots are available? 20 Spots are open and previous drawing experience is not required
How much does it Cost?
Early Bird Rate$1300 Canadian + GST until September 15th
Regular Rate$1500 Canadan + GST, September 16th onward
2 spaces for Community Youth Scholar Rate$300 + GST (see below)
Curious what other graphic recording workshops cost? I made a chart. And, this workshop is in Canadian dollars, so if you’re American, you can take advantage of extra savings!
Community Youth Scholars – FILLED! There are two community spaces available for young people, with priority given to self-identified BIPOC youth. These spaces are at $300 to cover the cost of room and food, and I will donate supplies and other costs. If you would like to apply for a community scholar space in this workshop, please send email@example.com a short paragraph describing why you’re interested and what organization / movement you’re part of to share these skills afterwards. We will collect names and then select two people by September 15th, so it’s not first-come-first-served. Youth scholars will receive a full supply kit, and there’s no volunteering expectations. (Profiles on the Community Scholars coming soon!)
What’s the refund policy? We will happily refund the cost minus a $300 processing fee. If you wish to receive a refund, please send us a written request by email before midnight October 1, 2017. Please note we are unable to process refunds October 2nd and after, however, we can transfer your registration fee to another person at no additional cost.
Can I update my registration information? Absolutely! Send us an email and we will be happy to update your information. Please contact Drawing Change at firstname.lastname@example.org
Is my registration fee transferable? We are happy to transfer your registration to another participant. Please contact Drawing Change at email@example.com
I have more questions. How do I get in touch with you? We’d love to hear from you! Please contact Drawing Change at firstname.lastname@example.org
The Rockwood Leadership Institute rocked my world. So visualizing their new, expanded model of change was super inspiring!
The Rockwood leadership and staff team worked with me to find metaphors that would support this new vision. Each person contributed something to the garden – bees, vegetables, flowers – and we worked to make sure the root systems also had life and were thriving. After all, it’s not just what we see on the surface that is our strength.
This was created with watercolour and then with digital text and drawing in white using a Cintiq tablet.
In 2009, I was a participant in Rockwood’s Leading from the Inside Out Yearlong Fellowship. As a black, gender-nonconforming woman from one of the poorer neighborhoods in DC, I was touched and surprised by how much of the program resonated with me. It was as though I found my home, my language of leadership, and a path of support and encouragement that I hadn’t known before. Through this path, I have been able to stretch, grow, and continue saying “yes” to bringing my authentic self to my work and life….”
I highly encourage folks to apply for fellowships or programs, and their free newsletter is a great resource.
🌎 For example – the Tequity Fellowship (basically free!) – “leadership development at the intersection of progressive social movements and technology”
It was half family reunion and half summer camp (but with way more markers) – the annual International Forum of Visual Practitioners conference! Graphic recorders, graphic facilitators, illustrators, designers, and process consultants from around the world came together for a 4-day conference. This year I launched three new things at IFVP – a new workshop with Sophia Liang, a conversation circle on diversity in our field, and a mini-book on reflection. As always, I gathered a ton of new resources, too – here are my highlights!
Sophia Liang, Founder and Principal of Graphic Footprintsand I launched a new workshop, Towards Mastery – a 1.5 day intensive for visual practitioners with 3+ years of experience to advance their core visual skills and deepen their business development knowledge.
Our accelerated workshop was customized, highly experiential, and a peer-based learning environment – and brought together participants from seven countries. Folks had to answer a pre-selection questionnaire so we could tailor the content. Thank you for making the investment in your craft – and for joining us!
Here’s a few highlights:
Using a Kanban Board
I’m a huge fan of the Kanban board, a visual tool part of Lean thinking.Why a Kanban? Just do three things at once. And the satisfaction of seeing what you did – ahhhh. And, it’s a visual system: you can use it to track your own work visually, or help clients during workshops/change projects. Here’s a quick primer.
If you know each day you’re going to be doing or moving forward only three things, life becomes manageable. When life becomes manageable, it also becomes more enjoyable and allows you to more easily identify the sources of that joy. Armed with that positive knowledge, you’ll know how to and when to recharge. This is exactly how I want to spend the rest of my life. – Via Design*Sponge
Using visual tools – beyond graphic recording
Visual facilitation is about the broadest umbrella of tools to support groups visually – including graphic recording, and beyond. We started a list to get people thinking of what their favourites are – the ones that are tried and true – and what new things can you consider. Choosing is key, and then, sequencing.
Lettering with Rosanna and Sam
Sophia and I are pleased to be Neuland ambassadors – and they surprised us with providing beautiful lettering pads for our students to use, along with their generous support of other supplies. Rosanna von Saacken has been working on her lettering – (that’s an understatement!) and you can see some quick tips in this video. If you want to really jumpstart your lettering, sign up for a class with Heather Martinez.
I hosted a workshop during IFVP about Listening for Diversityas visual practitioners. I wasn’t sure if there was interest for this – but almost half of the conference attended! My big thanks for helping to create this “brave space” together. This topic is about starting a conversation, not about finding one answer. As visual practice expands, it’s an exciting time for us to share techniques that work for practitioners, clients, and communities.
Currently reading Dan Newman’s new book, and thoroughly enjoyed the ‘Life of a Graphic Facilitator’ by Alfredo Carlo.
Rachel Smith has a new book coming out about virtual visual meetings! If I could use five exclamation marks here I would.
The presentation by the Grove had this list of useful vocabulary and books. Reminded me of the work that Stephanie Brown did as part of IFVP 2016 around centering Dialogic OD. Glad to see this current continue.
Last year, my friends and colleagues Brandy Agerbeck, Kelvy Bird, Jennifer Shepherd (plus 27 authors in all) launched an anthology for our field, called Drawn Together Through Visual Practice. The very last chapter was co-written by Jennifer Shepherd and me, and it was a tool for reflection – a set of 64 questions in all.
They’re organized into a 9-part model to help practitioners understand the varied relationships in the room. For example, there’s a relationship between the practitioner and the artefact they’re making, and also between the artefact and the participants. What questions can we ask to each of these relationships to help do our work well? And we discovered, what’s almost as helpful as good questions – is having them in a useful format! We made these mini books as an exclusive tool for people at IFVP. Questions for your pocket, marker kit, or something to pick up and thumb through once in a while.
We have plans for an online format soon, and an online Zoom call to start exploring ways to use the questions too, so stay tuned!
And it wouldn’t be an IFVP conference without meeting old and new friends: this was the Canadian contingent this year!
Next year the conference moves to Denmark for 2018 with Euviz. I was at the Berlin conference and the hosting, facilitation, and design details were phenomenal. So 2018 I’m looking forward to great people, bicycles, hygge and art – hope to see you there!
As a graphic recorder or facilitator, how do you “Listen for Diversity”? Many of us are working in specialized fields and it’s not one size fits all. Now for the first time, you can read expert advice from over 20 visual practitioners – in an easy to read Slideshare.
It’s about starting a conversation, not about finding one answer. As visual practice expands, it’s an exciting time for us to share techniques that work for practitioners, clients, and communities. Enjoy!
I wanted the workshop to include as many voices as possible – including people who aren’t able to make this year’s conference, and to amplify what’s working well for practitioners. So before the workshop, I reached out to the graphic recording community for insights.
Diversity comes in infinite forms — race, gender, cultures, age, and abilities to just name a few. Through their insights and experience, these graphic facilitators show that it’s vitally important that our work be responsive to the people with whom we’re collaborating, and that we all take time to reflect on the choices we make.
With thanks to the folks who took the time to share their thoughts and tips!
As a graphic recorder or facilitator, how do you “Listen for Diversity”? Many of us are working in specialized fields and it’s not one size fits all. Now for the first time, you can read expert advice from over 20 visual practitioners.
I wanted the workshop to include as many voices as possible – including people who aren’t able to make this year’s conference, and to amplify what’s working for practitioners. So before the workshop, I reached out to the graphic recording community for insights.
The responses are grouped by five themes:
self-reflection and diversity
diversity of perspectives
graphic recording as a participatory process.
Diversity comes in infinite forms — race, gender, cultures, age, and abilities to just name a few. As visual practitioners, it’s a great time to start a conversation.
Images were scribed/graphic recorded by participants of the Listening for Diversity workshop session unless otherwise noted.
As many graphic recorders noted, listening for diversity isn’t just about the people in the room, it’s about what we bring to the room – that is, we need to question our own biases and assumptions, and even how we conceive of our role. As Anthony queries, is it just about creating a visual record of events or about intervening? Having our peers record our work could also enable us to step back and look at our facilitation through someone else’s eyes. Only through critical self-reflection, will we be better equipped to listen for diversity.
In order to represent diversity in ways that advance it, create change, equity & inclusion, we ourselves need to be able to see what we are not seeing… We must question our assumptions and seek to understand what things mean to others, what made them so, and what is really their impact as visual practitioners … We all know that it’s hard to understand what we can’t see and our gift is to help folks see. – Claudia Lopez
When I worked with communities in Vancouver’s Downtown East Side on a potential redevelopment of the Woodward’s Building (which was then occupied by squatters), we engaged with many people marginalized by homelessness, poverty, addictions, and/or mental illness. In facilitation, we sought to respect their passions, their own vision for a better future, and to meet them where they were (literally and \). Checking my own preconceptions, attitudes and biases was vital for me to be open and credible- they had to trust me enough to share their (often very private) aspirations so that I could capture their ideas visually. – Drew Ferrari
Is there a better way for everyone to be heard? I think it’s a really good idea for us to have our own conversations drawn by someone else. – Aaron Johannes
As an Indigenous, mixed race facilitator (with many other identities) I notice how often marginalized groups are described by those who don’t belong to the group… What words do they use to describe themselves? [I also] notice my own tone of voice, body language, [and] who I direct my comments to. Make an effort to scan the room, make eye contact with various contributors. – Tiare Jung, with Drawing Change
How we present images on a page says everything about who WE are, how we see the world, and how we instantiate the biases, dominant points of view, and commonly-held reference points in our work. It’s a subjective business–and our subjectivity is both our Achilles heel as well as our calling card. It all depends on how we interrogate it, play with it, and use it to help groups and teams see their conversation. My suggestions are not prescriptive, but rather, borne out of inquiry. Do we have a role in “signal boosting” voices that are not usually heard? Do we have a role in saying directly to groups: “These are the voices I’m hearing…but what other voices need to be heard here?” What might we offer by embracing the role of “artist” and see the world differently, in contrast to the time-honored tradition of “capturing” only what is heard? – Anthony Weeks
2. Visualizing diversity
One of the surprising outcomes of the survey, was the number of excellent and thoughtful techniques about how to visualize or draw diversity! Given the nature of our work, it makes sense that we are also translators or interpreters – we put on paper what we hear. So, it’s important to consider how we put diversity to paper.
Drawing diversity is a prickly, tricky subject for some recorders…I try to go for a light touch. It’s entirely possible to draw diverse people by making slight changes in the shapes of faces, noses, eyes and clothing. I try to avoid drawing “costumes” if that’s not what people wear in everyday life. I’ve also done a trick where I draw the country flag or country flag colors in the body of the person to show German or Chinese or French people. I think it’s good to be conscious of your visual biases when you draw.– Deb Aoki
When dealing with diversity issues, sometimes it’s best to put the pen into the group’s hands. Let them reflect on issues through facilitated exercises, drawing exercises, templates, etc. We’re only one person in the room. Sometimes it’s more powerful to let someone else draw. – Sophia Liang
To visualize diversity in a meeting, I ask participants to describe attributes of a successfully diverse team that they have served on or participated in. I draw a group of diverse people on a flip chart and add the words they offer up. I refer to this diversity chart throughout the course of the meeting. – Heather Martinez
We always introduce ourselves as visual practitioners and tell people it is very important to us that we get the images and words correct, then we show them our ‘delete key’ or ‘chart Band-Aids (large silver backed labels) so we can change anything on the chart, so please tell us if we have got anything wrong so we can correct it! – Rob Benn
I ask the participants to come to me during the breaks and tell me what they feel should be added. I also do couple of speech bubbles to note down different points of view. I note down also fun moments/random comments – this works amazingly well for the participants to feel connected to the recording. I also try to create a complex picture that makes sense as a whole (e.g. road to somewhere, a scene, a street in the city with different buildings around), but it always has to be connected with what is being spoken about. – Bea Broskova
I want to reflect the people in the room, so I try to look at the actual people present, and draw who I see. It has also helped me to study photos online of different ethnic groups, to practice learning ways to draw different types of people quickly, but in a manner that is (I hope) respectful. When I introduce myself, I let people know anything I write or draw can be changed. I encourage people to let me know if they feel mis-heard or mis-represented by anything on the chart, and to tell me in the moment or on a break and I will change it. – Emily Shepard
One big AHA moment I’ve had is to acknowledge the “white space”…the space where people didn’t have ideas, or realized more thought was needed. One particular event comes to mind. At the end of one session, there was the dreaded “vacuum of white space” that I didn’t know how to fill. The truth was that the group didn’t have as many ideas of HOW to execute their vision as they did on WHAT was their vision. So I put dashed lines around it, and labelled it “more discussion needed on how to build the archive”. It was actually really effective, especially when compared to other graphics of the day, which were full of diverse ideas and concepts. – Yolanda Liman
Let’s spread and integrate new terms in our visual vocabulary: symbols for different ways of reduced mobility, gender, colour… – KSt