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Sketchnotes 101: The Basics of Visual Note-taking
By Craighton Berman - June 21, 2011
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Welcome to the second article in the the new Core77 "Sketchnotes Channel" Core77's
(www.core77.com/sketchnotes) where we'll be exploring the application of Design Directory
visual thinking tools in the worlds of design and creative thinking.
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So you say you're ready to start sketchnoting.
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Maybe you're not much of a sketcher but you take a lot of notes, and are
interested in making them more meaningful and interesting, but you're afraid
your drawings are too crude. For you, it's important to stress that sketchnotes
—although they are inherently a visual medium—do not require drawing ability
of any kind. Essentially they're about transforming ideas into visual
communication; structuring thoughts and giving hierarchy to concepts can be
completed with strictly text and a few lines.
Maybe you're perpetually drawing and want to try and make your notes more
useful and engaging but you are afraid of imposing structure to your normally
freeform way of sketching. For you it's important to consider that sketchnotes
can be as linear or abstract as your personality (or the presentation) dictates.
Some content is best sketchnoted by listening closely and attempting to
accurately synthesize and structure the thoughts. Usually these presentations
have a very logical progression that may already be based in some sort of
structure, so they lend them selves nicely to this style of sketchnoting. More
narrative-based storytelling may be best sketchnoted by casually doodling
along with the content and letting the content inspire your visuals. Story-
based presentations may be best represented by capturing the overall
experiences through quotes and illustrations of the anecdotes, and not
necessarily imposing rigid structure.
In the end, it's up to you. As I mentioned in my previous article, sketchnoting
is equal parts public, personal, and practice—so it's more fruitful to explore a
new style and challenge yourself to record ideas in new ways, than to worry
about the end result's overall effectiveness or aesthetic. Sketchbooks should
be sketchy.
So let's get tactical. How should you go about approaching sketchnotes?
What do you need to get started?
First you need the right tools for the job. And by "right tools" I mean, "any
sketchbook and pen combination that makes you happy." Preferences for
media and marking-tool probably span back to the days of the caveman;
there's no right answers.
My recommendation is to use an non-ruled notebook that feels big enough to
draw in while it's in your lap, yet small enough that you're willing to bring it
everywhere you go. For mark-making, start with a single black pen and once
you feel you can move fast enough, add a color to the mix.
Once you have your kit assembled, you'll need to think about the location
you'll be sketchnoting. In a lecture scenario, make sure you're near a
secondary light source: in many conference halls they dim the lights, which is
great for people with glowing screens, but rough for those using paper & pen.
Before the presentation begins, you may choose to plan a little bit and get the
page set up. Take this time to look up the person's name and title, and get it
on the page spelled right and in a little more "designed" manner (typography,
a cartooned portrait, etc.), while you have the time. Also worth noting is the
time allotted for the lecture. If it's an hour, you can mentally subdivide your
sketchbook spread into 4 quarters, and pace your drawing if you want to keep
the lecture contained. (In this case, I'll be sketchnoting Alec Baldwin's
motivational speech from Glengarry Glen Ross.)
Once the lecture begins you'll want to begin your "circular breathing" of
listening, synthesizing, and visualizing. It's important that you're able to take in
what's being said while recording it, and not just stick your head down in your
sketchbook. One of the most important assets is your "mental cache": the spot
in your brain where you can store temporary ideas. With practice, you'll be
able to store multiple quotes, thoughts, or ideas in a queue while you're
sketchnoting. This "mental cache" also allows you to listen to multiple points
and synthesize them down to what's important—before writing anything.
Inside of your sketchbook, you'll use a few key elements build your
sketchnotes:
Text - Recording the verbal is quick, direct, and clear and is usually your
primary sketchnoting tool. Capture the meaningful quotes and key points, and
avoid trying to summarize everything. Typographic treatments can be used to
give emphasis to major ideas, and can add interest to large blocks of text.
Avoid making lists or outlines and use the spatial properties of the page to
your advantage by "chunking" information. Some ways to force yourself to
work spatially might be starting in the middle and working outwards or
working in columns for a panel discussion.
Containers - Simply enclosing words in shapes brings emphasis and structure
to an otherwise wild page. Some of the more common containers include (but
are not limited to): quote bubbles, boxes, circles and thought clouds.
Connectors - Connect ideas and pieces of stories with arrows and lines. A
basic chain of thoughts can scintillate around the page and still be clear if
they are linked with a simple set of connectors.
Frameworks - Some presenters will have a very obvious structure to their
presentation, but often times the insights may bene it from your own
synthesis into an understandable underlying structure or model. Common
frameworks include 2×2s, Venn diagrams, and continuums.
Icons - Don't forget to put the "sketch" in sketchnotes. Strive to create "icons"
for objects & concepts: distill reality into a simple drawing that represents the
idea as simply as possible and move on.
Shading - Adding some simple shading can add dimensionality and contrast
to your notes. Techniques like hatching can be done with your primary pen, so
they can be integrated very quickly. Fills with a light grey marker can also be
extremely quick, however you will have to put your primary pen down while
shading, and risk potentially missing content.
Color - When sketchnoting for the irst time, I would recommend waiting on
color until you feel you can it it in your work low, yet still keep up with the
content. Once you feel con ident you can continue to listen and use your
"mental queue" to keep up with the content, you might be able to integrate
some color from markers or pencil. I would recommend coloring minimally to
differentiate and distinguish information, and if there's time later, come back
to color in the "icons" or type. Limiting yourself to a 2-3 color palette will also
help keep the color in service of clarity, with aesthetics coming second.
With those basic elements, you'll be ready to go. A few inal points to keep in
mind:
Think improvisation, not perfection. Sketchnoting isn't illustration--it's content-driven doodling. If you mess up a line, draw over it
again. If you misspell a word, scratch it out. Just like improv, being in the moment is more important than refined output.
Don't be a completist. Let stuff slip by if it doesn't interest you.
Put your 2¢ in. They're your perspective on a topic, so feel free to add your own commentary to the page.
Inject your personality into the pages. Do you draw misproportioned people, have shaky lines, and quirky handwriting? Cool, so
do I. Run with it.
Ok, so maybe you're not headed to a conference or lecture any time soon. Are
there ways to practice in the mean time? The answer, of course, lies on the
interwebs. Sources for online lectures abound, but the giant in the space is
the TED Talks archives. A personal favorite that I use for irst time sketchnoters
is Gever Tully's "5 Dangerous Things You Should Let Your Kids Do". From the
title, you already have an idea that there will be 5 basic sections, but as in real
life, you'll need to be on your toes for any improvisation on the part of the
presenter. Dig into those TED archives and queue up those movies people
always forward to you, but you never get around to watching.
Now that you're armed with the basics of sketchnoting, there's no reason not
to pull out the sketchbook—even in the next work meeting you're sitting in—
and start visualizing the conversation in real time. You'll be amazed at the
results.
Next up in the sketchnotes channel: Visual thinking outside of the conference
hall.
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By Craighton Fueledbycoffee - March 11, 2012
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CRAIGHTON FUELEDBYCOFFEE x
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I also post as Craighton Berman.
SKETCHING
HIRING NOW _ SEE ALL INDUSTRIAL DESIGN JOBS
Senior Industrial 3D Designer (Temp to Industrial Designer Industrial Designer Junior to Mid Level
Designer Hire) Eugene, Oregon San Juan Capistrano, Industrial Designer
Fort Mill, South Carolina Columbus, Ohio | Onsite or California Brooklyn, New York
Burley Design
Remote Possible
Honeywell Mar 05 U Brands LLC Planterworx
Mar 06 FITCH Mar 04 Mar 04
Mar 05
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