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THE SIKETCHNOTE HANDt 00K VIDEO EDITION:

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

NOTICE OF RIGHTS

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

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the prior written permission o f the publisher. For information on getting permission f o r
reprints and excerpts, contact permissions@peachpit.com.

NOTICE OF LIABILITY
The information in this book is distributed on an "As Is" basis without warranty. While
every precaution has been taken in the preparation o f the book, neither the author
nor Peachpit shall have any liability to any person or entity with respect to any loss or
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in this book or by the computer software and hardware products described in it.
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ISBNI3:17g-0-321-gg511-1
ISBNIO: 0-321-55511-2
9 g 7 6 5 LI 321
Printed and bound in the United States o f America

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

i love you.

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

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

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

vi

FEATURED SKETCHNOTERS: Binaebi Akah. FRIENDS AND COLLEAGUES . Michelle George. I've been honored to call you a friend and appreciate your guidance in the creation of my f i r s t book. Alexis Finch. vil . thanks for creating fonts of my hand lettering. GABE WOLLENBUR6. you're a great friend and an amazing videographer. Veronica Erb. Gerren Lamson. Francis Rowland.BRIAN ARTKA. thanks for your support through the years. Thanks f o r making the video script happen when I hact no idea how to even begin the process. This is (A better book because of your help. MARK FAIRBANKS AND CYNTHIA THOMAS. DELVE WITHRINGTON. Chris Shipton. Creighton Berman. Eva-Lotta Lamm. JON MUELLER. and kyle Steed. you have a great knack for timing. TOTHE SKETCHNOTING COMMUNITY. STEPHEN MORK. Your music adds an important richness and positive vibe to the video. Paul Soupiset. thanks for sharing your Translator space f o r the video shoot and f o r your encouragement throughout the project. thanks for creating an uplifting and cool soundtrack. Timothy Reynolds. thanks for your contributions. I'm excited to see where our community will go and how it will grow once this book reaches new readers and viewers. Thanks f o r capturing my vision and helping me "Be Mike" for the camera. thanks for speaking on the video and allowing my sketchnotes of your talk to become such a key p a r t of the book and video. Jessica Esch. Your typefaces have saved me many long hours of drawing every letter by hand. thanks for your reviews and feedback about the book and video in production. Matthew Magain. Boon Chew.

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

Tune er Post • Anatomy °fa Sketchnote to Pinish • A Sketchnote from Start 56 .9 • Cr'eate G . • SketchnoteTit/ • Photograph • Scan. Not Art% • One Step at a Time • • WillY SKETCHNOTE?26 • Sketchnoting Eng M i •• Sketc a g e s Your Whole Sketchnoting Creektes ot Visual Map n d hnoting Helps Your Concentrtio a n • Sketchnoting Taps Your Visual Language Sketchnoting •• Creating I sis Relaxing Is Dynamic and Fun! LISTEN UPI 'of • The Ke9s to Listening • M9 Listening Approctch • practice Your Listening Ski IS ErcHA P OE torlive • c Resectech S S • Gather Materialis • Arrive 41.CONTENTS WHAT E SKETCHNOTES? • Sketchnotes Were Born of Frustration% • How Are Sketchnotes Created? • Can I Create Sketchnotes? • %decks.

AND PERSONALIZATION122 NG te PES OF • ge atti me s k 0 e t c h n o t i n 9 t I n k A proach E I C I H N O T E S 8 • Two-stage Sketchnoting • Two-stage Penc • Style Plus Thinking • Two-stage Rough to Refined Approach • Structure. Then Style! • Creatiny a Hierarchy • The Art & Structure Scale • PerSOnaliZO.130.11aavistwayubrar9 EXerelSe • Visual Ubrox s • Drawing Metaphor loots for SI(etchnoting • • S g .SKETCH4OT mo. 1HIE RCHY. APPROACHES.tiOrt • Sketchnotiny Patterns • Commentary • Linear • Humor • Radial • Whims • Vertical • Path • Modular • Skyscraper • Popcorn • Patterns Are Startin g Pointsy KILLStelt TEClitgliQUES SOT COWING • Sias &Techniques of u A •i c StetentS D r a n t • 5 Basic elements EXerCiSe •ht r a t t i n g PeOpte e• Drawing People exercise 5• Praying faces e• tordOing f aces exercise s • Drominglype n • Drawing 'Type exercise l • Penmanship e • Drawing Visuat elements t .

stacked neatly on my bookshelf. I lost my way. could be a perfect way to challenge my overly detailed. In January 2007. text-only death march. I've been working hard through my Wog. Could I take fewer but better notes? If I focused on quality. The relaxed. I enjoyed expressing ideas visuallti—easily blending words with drawings. with a giant notebook until I'd found a better way to take notes.INT OEY ' T O N \ IT WAS THE WINTER Of 2006 AND I COULDN'T TAKE I I I. The Sketchnote Army. and at live presentations and workshops to share my passion for sketchnoting. Somewhere in the process of growing up and getting ajob. cknd typography in my notebooks.was done. Fed up. paired with an unerasabte pen. Best of all. I had ck great time taking notes again. I was able to stow down and listen f o r big ideas. This passion f o r sketchnoting is xii . explaining how to create sketchnotes. I loved the no-turning-back attitude of using a pen. could I live with seeing my mistakes in pen? Would adding drawings to my notes bring back my joy of note taking? Could taking notes become fun again? The answer to these questions wcks a resounding yes! As I captured my f i r s t sketchnotes. I'm not sure how note taking had become such a burden. note-taking mind-set. I became a great note taker who couldn't stand taking notes. visual note-taking approach from my college days had morphed into a fanatically detailed. In high school and college. I take great pleasure in talking (About why sketchnoting enables you to take better notes. Thinking back. I'd bought it on Ck whim (A few months before and I realized t h a t its small size. I brought my Moleskine and a gel pen to Chicago f o r a conference to try sketchnoting. Ever since that mind-altering experience. Ironically. and persuading people to give sketchnoting a try. I vowed not to take another note with a mechanical pencil or ANYMORE. diagrams. The solution to my note-taking problem was a blank pocket Moleskine.

illustrating.AmZut t e c. . 2 e a 5cm Ps ssOLATWO. I want you to enjoy taking notes as much as I do. cfrifoos3ANG? Use Pyiptc.us l e e t T W O -SlyDAJG'• 1.vt fuei .st i e 5 tAp 6/v40 w 4 t o l ti h . re‘pIe pctAet. Even if you can't draw a straight line. L I.i141 6 0 [5L v. 5 . not how well you draw_ Take it from me.101•44(idechl coAst. you can learn to sketchnote with a little practice. .g4 A L / / -R e 0 I 1-11 G ' -.1Y P'aikl ..tAvica h s .t.c 14[(( 4eAa el s* / 01 FAQ-OPE A 4. t i d e c t c My f i r s t sketchnotes • 0X Intensive 2007 02Ate.. WHO IS THIS BOOK FOR? Whether you believe you can or can't draw.i 9 9 y ! 1 ek A 4' r j 1 A C 4 4 DONT stAmiNAtre Rksks . and use other hand-drawn elements to help you express your thoughts visually. p k e . Sketchnotes Ckre about hearing and capturing meaningful ideas.otAil (4.opeovkAi rfieS eArIvy A 65wa i • r i c . and designing this book. create custom lettering.144a4 imi5sC11-kue • k raiNc191 E ' W 1 e e g p e e .5TC:Rtv1 IN G SPeti NTS w cw.6 1 eK 5 1 .p(es• c 4c+Iiav1 1 ç .tz. I will show you how to draw simple objects. I'm here to tell you that anyone who can make marks on paper can benefit from this book. and I hope that by the end of this book you will. R u 0N R I c r o i o f cof 6o5 1-QutoorinfW Id-ad-1cm5\my' v o -k 11. kJ. V 1. 0 Pi/5R T R i .v 144 i 55 -r Tt.i t ) V / 1• ."/1/ e1„.4 . . 1 70 1 4 v( 1 .e v vvr 4i .what drove me to spend hundreds of hours writing.s 0-f-. you can create sketchnotes• In this book. d1 a t r % t A ep tr -i k c i r a s . 1 4 0M r 7 1e / 5 <rztl-45cm-ekt. 60 .AutsEi5+ t49..--5 .he R A k ( e .

__D. I created the entire book as one.h . ize. so you can s t a r t creating sketchnotes ilinkYlediCkte19• Each page of this book has been lovingly hand-sketched to show you how much fun it is to learn from notes that incorporate pictures and words equally. t h F.„„E r yaw: 5i n d a n e . m P : 121. sketch the sketch?). s. long. I decided that if I was going to talk the talk.Ile deocos. complete my title before the 0 speaker begins. . a -.-. t o s O of e moro detAll and to view on rool.et. So.A : R i x w PHOTOGRAPe W h e n I'm done s e t c h r i c o t i n g . r e w gwhat gou've r created via social e media. and techniques quickty. g s t as .Tihs Rkoilykti E rC9 s . A compfoted title r o o d g to go. gi CI T E P h T T E ASLL___grogb ( 1 Hike to oso W h o m e 0 to find photos of t h : for rviere cspeaker ..r s . s 9 like to shoo 0 .1checkthe topic aandthe speal. I shoot photos of rjaTATuell . verif g spellings and sometimes 7 4 find a photo on o f phone to create avisuallg m interesting title page f or the speak. Rather thool write a lot of words ckbout sketchnoting.. so I can focus 0 on the talk rather than rushing to create a title at the start 4 of the presentation . and photos e a serve as a good : haaup 9 " ' " ' a 4 n . ckpproaches. . I'd better walk the walk (or.. ViStAat Manua( designed to teach you basic sketchnoting concepts. F . sgnthesize the Ideas h e a r i n g a n s t a r t drawing w h ' about as tthinking I sketchnoteS in m9 sketchboo l. . EWhen listen. v1HING . 1 . 7 oft mg title page. .er's name.=p 'tRo :wi lal .IYAmediostel9 S h .er or the topic.chnotes.nrgou / ' ' ' t' ' ' Z1.:=2= Po M E •'.•"="2'.e: . 1 .l = . The Sketchnote Handbook • Chapter 4 X I V SKETCHNOT the tall< begins. I t t r ts o o . nlaybe. 1 7 / ONCE I'VE SETTLED IN. 1 L . fun—hopefully inspiring—itlustration. 0 H J2 .WHAT IS THE SKETCHNOTE HANDBOOK? The Sketchnote Handbook is a simple.v..glo P h o .:.. t W sketchnotes.

how they came to sketchnoting. REACH OUT As you learn from this book.. 6 R i J. I will teckch you the basic principles of sketchnoting. l i ' . O T E S I . I'm not the only person in the world who sketchnotes. but the reo. IT'S Til : . I look forward to hearing what you think of the book and learning about your sketchnoting experiences. I love the sense of community that has sprung up around this process. TO GET STI' LET'S . and I'd love to see how you've taken this process and made it your own.ljoy will come when you start creating sketchnotes and discover how taking notes can unleash your creativity and make paying attention. everyone has their own. X .I plan on hanging out there a lot.THE SKETCHNOTE COMMUNITY Of course. You can view more of my work and contact me through my personal website at rohdesign-com or on Twitter at twitter. even at the most boring meetings. and that's part of what makes sketchnoting so much fun! There's no right way Or wrong wcty to do it.comirohdesign./z) A W . everyone processes information d i ff e r e n t l y . something you look forward to doing. I encourage you to share your own sketchnotes At The Sketchnote Handbook Flickr group (www-flickr-comigroupst thesketchnotehandbook). and a tip or two to help you take better notes. I invited IS of these friends—leading sketchnoters from around the world—to each create a two-page spread for this book that shares a bit about who they are. unique style. and I've made a great many friends through sharing and discussing sketchnotes online and at conferences... I'm amazed and energized by the wide variety of people all over the world who create and actively share their sketchnotes.pter is that everyone sees the world differently.11 tAJ TAKE SOIL.••••• : D . What I hope you'll notice from looking at their work at the end of each cho.

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CHAPTER1 hatare SKeCH TES? 2 SitElreffHOISS ARE NCH VISUAL MoTES eRSINTED FilloMA MIX oF 11 HAND DRAWN IYPDGRAPHY• 1 SHApgsoAttio ( U A L CLEMENTS A LIKE AIRR WS/ IliwYES (MIES. N —0— e D W R O TI N G. I .

text-only notes I was taking at conferences and in meetings. so I could erase any errors. L. pt • . LINED NOTEBOOK Because I tried to capture every detail..1 making mistakes. A LARGE.. W A S M U S T . I needed large pages t o store all o f that information. The stress escalated as I worked hard to capture IARG! every last detail in very large. I never looked at my notes after their completion. Worse. 6„. P A T E THIS! A PENCIL /was so worried about . T E D by the highly detaited. 3 . lined notebooks. I took hly notes in pencil..SKETCHNOTES WERE BO 44.

eci ectelo GIVE UP T and S •metalling It .

t V4 d h 3 . t 4 4 7 1 ' I t t .t 4 "I 4 M M 1 t A 4 t) ( C " V I A A ' 1 " 4 4 4 V „ 6 t t . 1 1 1 4 „? " te t iV * 4 % t A 't .to* vo. 4 1 4 4 t 1. ( 1 •I •. 4kAA. A .( 4 o t A.11 W i 144 4 N i444I 1 4 4 4 4 4V V 4 .4 . 4 144. '• I 1 . .144 1. .k 4 . 1 . 1 1 ) . • t . A 1 4 4 I re/ xe LISTENED - 4 0 ou-)inore INTE TLY.4 1. VA I M v n u t wI o t r r y i n g a b o u t e v e r y l a s t d e t .tt a 1 m 4 1 w 1 t1 . 1 . 0 • • . 1.

And IFCUSED ON C A P T U J I N 0 6 ..

.INSTE1"D of tain9 a PENCIL RE atroK v )(SELF i PEN . Oc ' 1 1 1 1 7 .tA roirSKINE r SKET L cH13 o P .

and text.CHALLENGED MYSELF to write and draw notes more 1 erat waseitzloyliNeitlis P 2 b 0 THIS NEW WAY OF NOTE TAKING) F a U a N 0' I was able to focus on the BIGGER PICTURE.S1 i_ta dwril 6456r r cow etP lorn 15 tl° . type.. ATUELJ. expressing CONCEPTS with drawings.

personality WAS BAKED INTO MY SKETCHNOTES LIKE CHOCOLATE CHIPS iN A BATCH Of chocolatechipcookies. .* I CoINEDaNA E * ivr THISPROCESS: 5Ket'• SKETCHNOTES AREN'T DRY AND DETAILED BUT ARE Simple and Clear.

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1 ) . . rs0S SUM_ • .J T E a r e They're built from meaningful thoughts and ideas your mind collects and squirrels away during: TALKS 1 1PANELS 10 — I f Experiences 1 •-•( .- SKFTrt • . '.

THIS VISUAL and HOLISTIC APPROACH to note taking engages your mind so you can understand the ideas you're hearing wilile activating your hand to turn those ideas into concrete. BECAUSE YOUR MIND AND BODY ACT TOGETHER. YOU CAN RECALL MORE Of WHAT YOU HEAR AND DRAW. 11 . VISUAL NOTES.

5 1 .SKETCHNOTERS INFUSE THEIR OWN SKETCH TES ts JNALITY o o a c' 0 0 0° . 4 1 0 1 . 1/4# 111 PrusF -K i 1 A Fromdrawing and handwriting style tol the ideas included and how those l ideas are expressed on the page. \ Cooto10 1 " R ere. . 12 . —v— A C o d . EACH SKETCHNOTE IS UNIQUE EVEN THOUGH THE UNDERLYING PRINCIPLES 1 Of SKETCHNOTING REMAIN THE SAME..

the approach is the same. converting those ideas into visual notes t h a t include both words and pictures. The goal is to forgo the details and instead listen for big ideas that resonate. .How are sketchnotes CEATED? SKETCHNOTES are crectted in real time while listening to a presentation. or panel discussion. MIL-alger JU create sketchnoJs with pen and paper or digitally. and then create a visual map of them. To sketch note. you listen closely to meaningful ideas. consider what the9 mean. talk.

YOU can draw.e . MANY PEOPLE tell me they can't create sketchnotes becctuse they can't draw. \ A P 1 . you just need to awaken your grade schoot Ana They doodle ideas with ease and wilt draw what they imagine without a second thought. THE M I E S T I O N : • • Canyou create sketchnotes? 1 . ( KIDS draw • constantly! • • • You were a kid once: 1bei you -drew like crazy.

as long as their I D A E CONVEYED. They don't worry about how perfect ( their drawings are.1 KIDS1 VAIN TO EXP1SS IDEAS. 15 .

5 asic Elements • CIRCLE S Q U A R L T R I A N G L E L I N E D EVERYTHING YOU WANT TO DRAW CAN BE CREATED WITH THESE 5 ELEMENTS. 16 . Can gou identifg the 5 basic elements in these simple drawings? El' ONCEYOU REALIZE how the objects around you are made from these 5 elements. it becomes easier to draw all sorb of things.

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di0. . • m o w o m o goo. 0 O f t . 16 .0 • • • • • • • • • • dolma a m * l a m p o m m i t • • • • ••••• a n f t • • • • • • • • s 0 o . 0 * m e m o o o r b • • • • SKETCHI\OTES A E WAY TO \ kCsIN USINO AGES I WORDS I Pi / A T E ••••• o f t * ammo . o . owe I M O S .TI wat . • • • • • BAD DRAWING G O O D DRAWING Either wa9 it's still a dog. O • • • • • M O f t e . 1 0 Sketchnoies are aboui capturing and sharing ideas. not about art. .

INSTEAD Of WORRYING ABOUT WHAT YOU CAN'T DRAW. will help 9ou build * your d r a w i n g s k i l l s . The chapters that follow and lots of practice.•Even the roughest drawingscanexpress ideas effectively. START WITH SIMPLE ITEMS YOU CAN D 'PAW. 19 .

IT MAKES SENSE TO TAKE IT SLOW & BUILD ON SUCCESS.•% -• -• 3 . WHEN YOU'RE STARTING ANYTHING NEW.% r c4e."‘. 14 0:. you can add more toots to your visuat-thinking tootbox.%%1 0..0 • t 1.NE IISTEP 1 AT A TIME. add more richness to your notes. s. As you experiment and try out the simple techniques in this book. one step at a time. 0 1 4 Take the first step: Reserve a small area in your regular notes to try some sketchnote techniques — even if it's a drawing of the speaker. • 20 • . and as a result.

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

4( Y atA)kckY-e-rd 1 f t i . 1 ci-csaCtvia-tercobs -1-z•e\iercisi-(1419 rb e i r ( t Do r i i .1t r d Ai.u30-11 o r o .1(4e5po-ce w ) w 5f i . 6 v r I 1\ r A v. iA r td cd. a zC f no t t qr A i tapp a x.ikvticiA-ao 1r ) E 5 P E Z c-fA pee* l0 r yEk a.odliu35 l 6 .

. r a . ' Curren+ L e : 5yrof6 P tcte..o. fips gt Trict(s I:15+er\ for.\06bK 0c ( c o iN i e -c fly 2 abbrahi 4 "' .106 3V I O .n1 4 1oa 44 -1 rf y ( A e rl l . 416* CANS* uth'fe. t a r1 9 veo kA . l zt oiea tVe t5 ok_u ' I L C a n A M A .t-fGoci:t1•03 o'(e e go(kt 9 v •6( 1: „ 4 JrifikaWg" 7' & . ) .-Ole -141( .) : 1 6 & ) td o . f 0. G e r a GO ( . ti)0 0 093 .ke:1-d. •a Voct*e 13'M (cosn 1:110-1( rola' 1 / i r p o t r i a . c A ( c d ri l es 1otita4pt5 84er fakes .

.. . .. . . . . . . .otpc 4 8 L E 1 . . . .. . . . ANDe Coln. . . . .% jfilk ficEfal It)010 (OA c a l o o L ) . . . . .. . . .CRIUGHIoN MR Mli t'M?(LIMP•RILI INTFRFSIEB IDEAS bECIGN ENTREIRENEvit LOSTED tof DOODLING611 Arc D F S K FIRsiGRADE 1 . . .

n 1 e t 4 4 " . vE CYVKAA . E A R E s s 3 tXERcISE Ioviz 'MENTAL cAckE ll 1 1 t lo c k ' f 1 / 4 . ' c II4ESE ARE t H E cANIE E l d l i s y o u Qr kjc[ R I Z A I N S t o R m E Fuc s4 I o N : i A LICTEN +f 1)11. 1 2 E ct ' so ' cific i'13EttE t R A I N c To R m ! A l4N0 ' IING C . 1 s I k t o ' c FUNNEL Aj INFoRmAtioN to/ i4 . cf f e . . . VIEUALTLE 411 eP nip \ i br o lP o R t fT 4 A . ) POrWwwy.k (orsicePrst I r ti'VvVI g 2 .1)ow O r 1 4 0 ' c IDEAS f nit)SE 14M ******i k l i c t 1 1 1 1 . ESSENtiAlc EINIHEMF ( 0 % .

TEl 26 WHY SPEW& EXTRA ErIFORT CREAMING SKRIntlics'orES PLAIN 00: TEXT NOTES NNE 0000 ENCOMIA? BECAUSE SIKETCHNIOTONG ENGAGESYOUR MOM IN MORE WWI amid THeY ifeELPYou I REMEMBERMORE DETAIL T H A N P L A ..m.alAPTER 2 11 V SqTCHN.

suggests that tile brain processes information using two primary (tunnels: verbal and visual.SKETCH NOT G EllgA(• es YouWHOLEMOND • • •10 THE DUAL COMO THEORY. * V I S U A L ' Concepts as words C o n c e p t s as inick9es 27 . VER5A11. proposed in the 1970s by Allan Paivio.

synthesizing. YOUR BRAIN CREATES AN ASSOCIATIVE LIBRARY of WORDS and IMAGES with MENTAL CROSS-REFERENCES BETWEEN THEM. • •• iLl 28 . YOUR WHOLE BRAIN is absorbed in hearing.WHEN BOTH MODES are ACTIVE. P G C AT < HOUSE •• • • . • • • • • • • • • • • • • • • • • • • •••••••••••) CAR APPLE SKETCHNOTINe activates verbal and visual modes to capture concepts. and seizing ideas.

like improving your memory and remit. 4 ENO/WING your whole bro.munmeamAP• When your brain codes verbal and visual concepts together. and thinking.SKETCHNOTING C EATES A AMU . 29 . it's also building a visual map of what you are hearing.in has other positive effects. seeing.

q M 4 4 QtAA. A b a i . could be so expensive to pursue was very important. to start. . t. t 1 "Aloolop. I CAN STILL A 0 1 .d4 ) Tlig O a r g. \tt a bit like Pac Man.re oe F 0 5 H T x t ( 4 AP7G 5 4thmtvoi O sAw-mate g •••P ( . em % RESPOD lR o e. 0 .tuvwt•a_e poll( 4 I -fr . feelings. . t o e I A S 30 R R l 2 " '9 N U P I S THE GROUP OF 20 DOODLERS l'PECALLED % MORETHANTHENON-DOODLERS. EvERYRFR R. e z d a i r the lettering. which liked. c o m 1 e0 141 i the presentation I t turned out k YEARS LATER. I often recall thoughts. / had Qt fun drawing . -8 THOUGHTS The pie chart came to me early in MI 6+-4.FP.dat. Feb 26. cipaftrAl+ies evq(Vqk q6IieAk+ q5 A ve. Source: The Guardian.. otliG GlrEttivoss&I-ere.ri aVG $ K W @ M 6 T-4 OMG 1 F.. 3 0 4 0 ' c U ' HOURS 57orPo VesoIteotiw N u l l at. . R t2 i v RAniTEIR i A A rVa M tS 1I z E P \ I g C E • — Coifs .THEVISUAL MII \ PYOU C EATE IA \. 0 1 1(44k i CHOOSE 4 4 5 e-i U .q t . . 2001 . e d shaded the other 20 simply listened. t O k l o w 1 < i k i r e A P A s The idea t h a t RFPs RF — wcr") . k iN AN EXAMPLE STUDY.5 t ( e s t iyolV a Compwdes tprv mitpt RFP5*e. Can help you recall the details of a presentation. e .FP C o s i s 0 created the talk title art e H i c k / S 5 A1( nst i-reAcms i n g i z t i 3015 1 k °rPfg-N Ve 6 e i .f i -c while waiting f o r the panel a0 t4 . 20 of the participants a monotonous l i s boxes t e white n listening. and other details when viewing my sketchnotes• SXSW 2012 sketchnotes eameftwq. so I captured it as a bold headline to focus my attention. R E V I V E MY -f. a group of 1 40 v o l u n2-minute t e e r sphone message.Lvt• Wtl Ork 4 H z.

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

LISTENIN6 andD 'PAW/NO at thesametime will feel more 32 .Ci) Asyou practice andimprove your sketchnoting techniques.

and mapping those ideas on paper puts me 33 . I'm completely engaged with what i'm listening to and turning into Sketchnates The focused activity of listening. analyzing ideas.WHEN I SKETCHNOTE.

moreeffectively as drawings. . 1 typicat19 .SKETCHNOTING T PS _g a g -ADETAILED A SIMPLE DESCRIPTION DRAWING u ° V . S U LComplexideascan oftenbeexpressed MN)) S I n u l l i t u l l i l l u t l i r t H l t I V I M n i t 1 1 1 A TREEtis a Wood r i perenniat plant.having a 1 single stem or trunk I growing to a I [ I considerabte height F ( E and bearing lateral branches at some distance from the ground.

Drawinganideacanoften take just a fraction of the time neededtodescribethesame ideain verbal detail. c . o tt's THE PYRAMIDS 0 o "0 o C . 35 . andideas arecomingin fast.b THE SOLAR . SYSTEM 0 \ 9 : O c " ROCKY MOUNTAINS KANSAS TORNADO Thisis especially important whenyou're processingideas in real time.

SKETCHNOTING IS WHENVTOOK PLAIN OLl NOTES. --+-0 36 . WASALWAYS R1ED+ABOUT MISSING •IMPORTANT DETAILS.

I was able to relax.SWITCHIN6:n. listen for key points.2 S ETCHN TES e 11 c 2 LF G E O ) THEMES C U . and capture those ideas • • • • I j 37 J .41Dk S 0 0 O N VISUALLY.

cSKETCHNOTING allows 9ou to relax. o t e s Irn d 4 F mc • 36 .C r e a ti n feeling I get from being The S completely connected while k using my full verbal eand visual thinking skills t keepsme sketchnoting. in the speaker's points. handengage have fun turning what's in your into visual notes you'll want to nhead share and refer to again and again.

you let go of details in favor of large ideas. forming a visuoil map of what you capture.ECAP W M process concepts in verbal and visual modes. montls. and even years later. e o 0 4 Simple drawings can be quicker to create and more effective t 'Ian detailed verbal descriptions. t h. c o Sketchnoting improves your concentration because when you're engaged there's little d room for distraction. i n —3 Practicing your sketchnoting technique again g and again helps it feel more natural. u g NEXT: LISTEN LIPI g e s t 39 . + D Using both modes creates cross-references. u a Your visual map can help you recall details l days. + Sketchnoting can help you get into a zone. r y s--+ Sketchnoting relaxes you.

IA • 0 111.) ) ) ) yiThTYPE ccwitich \ivytom.. w 3O u k m 0 o4 0 ir t \I .Lekyour sketclies (( a dofile istelitiAl •») 4 0 .

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21 V00041901de1 T t e " lugs 10 \ 1cle4s comed ideas Alk N a D: A -S .1t. .r A z a X 1FCI4kazzzalz= TE olvolCORR ) RARON ma+HOER w_crl 4 rcgil Ri k 4 tuntyn-RA 5 614(cl2.16 I t 0 P=114GIM m c Lir Atom p t eE&CAR11\(DiTE l f L.NAbyMAKE. iS ca •111<?=1 lek.t.) covt( t o c i l ' .grelatIPts6ckticiin rtvadite covvIngilii v . T ! E4 c i.14. 0 Now I .11. " Ivck.a.FrocEsts: h66s.e I c 9 ViS0.gcow 9ie4 1 ecAcietIA-avlaconvywiictkivi.fUlfa.4v-4 T i eGooc m + a . &c.

CHAPTER 3 1 1 5 3 • • = 2 4 : = = = . _ 0 t a l c i n •CAPTUIVNG cREATING 5KETcHotivrE5 BEGINS VOTH ACTIVE liSTENING SKolbS• AFTER ALI D ACCUIRATsLY 0 ot u EFFECTIVE SWEICHI4QcrE5t eODEAS t t Y0OmTo oe m i r MT aU R l Pt 4 HT E H AOR S I EN G I D . r c o m i r _ . 1 .

0 0 0 .- C \ t h e K E Y S t o LOSTENI o• / FOCUS o s ELIMINATE e MIME SE m e % • your attention on the speaker. 1 6 0 1 . \ % . 1 11 . 11 V 11 . . yourself in the presentation. the distractions around you.

hn Ar y 1/ S temenst oactively U • MIND can u CACHE IDEAS / r (0)T rPATTE NS. • 1 + 6 • . ( ( andf f l ACTIVE LISTENING can help you synthesize and capture big ideas as sketch notes.

M Y LI TENIN6

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

CACHEIdeas
Through practice I've learned
to hold an idea in my brain's
cache area — a temporary 0
space
where I store thoughts \
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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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3 clear, logical steps —
much like a sermon.

MEANDE IN
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3 seemingly unrelated
stories t h a t connect
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LISTENING SKILLS!
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LISTENING SKILLS
STRENGTHEN WITH USE.
Find opportunities to apply these listening
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50

g s k0 4 Cache ideas.ECAP -Raring 1111 curate information. * C a—+ When you listen actively.4 Practice to improve your listening skills h at every opportunity. n immerse your mind in the presentation. your mind can spot patterns and cache ideas. e J" ecognize patterns. p t0 4 Give your undivided attention. n o NEXT: THE SKETCHNOTING PROCESS t e s b e g i n 51 . u r—9' i Eliminate and filter distractions. t c.

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CHAPTER 44: A n n YEARt oF RIPER IENCE DEVEIPPED MOWN sicETCoogoroma PRoCrE55 THAT WoRKS WELL FOR ME AND CAN HELP You CREATE A pRocESSAIR gm% -e o 56 .

I research the event. ' i -•a 3 • • • • • • •• • • ••• • • • • • • • • • • o • • • 57 . k y ) e t i m e s I ' l l b wokod . . Before I arrive onsite. especial(9 when sketchnoting People or ideas that I'm new to. t o . and the topic.• •• r 14 •••• • • 6. . .E E A E THESTEPS FOLLOW WHEN SKETCHNOTING EVENTS: I. RESEARCH GIVES ME INSIGHT and confidence. the speakers. iPads are great tools for research before and at an event. S as as anbackup addition o to printed pages i illy electronic research tools.

58 500 1d ig h A f e w years ago.GAME MATE IALS GATHERING KEY MATERIALS before arriving at an event is critical. j u s t in case. and rel9 iPhone to access photos and research motterials. I like to bring two or three Moleskine sketchbooks. Bring spares along to be safe. . ALWAYS BRING BACKUPS You never know when a pen might run out of ink or a sketchbook might get damaged. multiple pens. and to act as a flashlight in a pinch. A book light is useful if the venue is dark. I was a t an event in Chicago when my sketchbook literally came apart at the SEAM& Now!always carry at least one spare sketchbook.

A OVE EA LY I arrive at a presentation eart9 and scout out the best seating. SITTING IN THE MIDDLE OF A ROW can reduce anno9ances or disruptions if others are coming in late or leaving eart9. 1 59 . Spots underneath lights and ctose to the front attow me to hear and see the speaker. Seek out a light source. Choose a middle seat.

verif9 spellings. ONCE I'VE SETTLED IINI. I check the topic and the speaker's name. 60 . I like to use my iPhone to find photos o f the speaker f o r reference on my title page. so I can focus on the talk rather than rushing to create a title at the start of the presentation. and sometimes find a photo on vn9 phone to crectte visual19 interesting title page for the speckker or the topic. ready to go.CEATE A TITLE A completed title page. • Mt complete my title iuldfore the speaker begins.

This is N PHInT a great way to immediately share what you've created via social medict.? : S KLA.9c 7 T E When the talk begins. and photos serve as a good backup of your sketchnotes• I like to shoot each page as a single image.E s A. DR4i s t a Z" " " • t V e . 77 ' 176 ei E w oR Gaf T s 2 V 1A " E E qs 4RS . oy ? . k 5rE r P 1al A • r A completed sketchnote.t " 'f t r ". ATIRM6 THATYOU D R u f r e s DO -->iftwd. and start drawing what I'm thinking about as sketchnotes in m9 sketchbook. B ft wqs41 1 • t ? f 1 r 6 a . _i novo "(f 1 . 3 ' T When I'm done sketchnoting.& 8( V 7_ / E 11 R 21 ! . J a n ' A / f U e l e the M E t t n U 7-RA1 ' Hfiti6 AT 15 '14r° R . synthesize the ideas I'm hearing. ". 1 + " ' s'rvA ' L t . I listen. Photos o f single pages provide more detail and are easy to view on mobile devices. 1 A • I shoot photos of m9 I I sketchnotes.N o . 7 VER .R . & . l 4 ) . f .Thrort you LAOHvwd.

and fix any typos or errors in Photoshop• Final scans are exported to PNG formatted files for sharing online. T • 10 • US6 powered scanner Sketchnotes scanned and 62 assembled as a P O F d o c p . T U use the same • PN6 files of my sketchnote scans E to create a P letter-sized.A When I 9et home. erit • • . I scan my sketchnotes at high resolution. ackius $ t he contrast.C. printable PDF S document.

" CA JAN27-30. swicHturrEs out INSPIRATION coirfovot scopkw V A L I .eck:t' s•e 6611z4ez N 8 4 o P f e 1 .CONFE ENCE ORGANIZE share sketchnotes to promote their upcoming events to potential attendees because they capture the event simply and visually. Organizers often like to give away copies of the sketchnotes as PDF documents or printed booklets to their attendees. This created printed as bookiet___"! was a g i f t for the attendees Of SUkritilit Basecamp by the organizers. These after-event documents work SUMMIT BASECAMP well as hand9 offline references. Booklets can also work grectt as a promotional item f o r the organizers.2 01 2 1 1 N G e t C 4i0 z i ° N3 1114.1 4 • /14::cligkeic Ti f f r r w y Shlefiti / I 13.

location. • w • • l • • • • • • • • m • • • • • • • • • • • • • l • • • • ilOU H•ovoto • ft TAKE TIME TO CREATE A TITLE BEFORE YOU M N YOUR SKETCHNOTES. LAI?) • 7 / 1 2." •_ . A mrri t s q 6 . Multiple talks at the same event can follow a consistent design for unity.r476 wRETH'IN1a s tfiemEDilum k e I5-1 t a IERB PIE t OPI -1 i / 1 „ 1.4 k11 4 7 ) .frITE ANATC"" i c I've created a map of sketchnote elements from an existing Jsketchnote so you can see and better understand each element.. 0 4 2 p t 1 2 : 1 -e . / D R u l m s . 1 Wieti-z6 \ 7m ( i n 84grk‘A -• itS )C " H 4 A N t e V W -RiVIVAN 1-e . speaker names./20 1 a • • • • • • • • * . t l e c 9 V 4 1 v • sove. or each speaker's title can be fun and unique.i t A t/ i t 45 t 56 1 ) c 1 k v .. and topic. uel l e ... or*••••••••••• . o . s • 4 / 4 r [ i 4 r iSv E eft' ot s H o w D 4R I Z. ••••• m u . i i t Il T e H 1I N G 1 Ay . date.Rt TRANS LAM lz. I f virfiloil 1 I cop 9 0 1 . *TITLES Titles are ideal for defining sketchnotes• They can include an event name.WeAre .

and even estctbtish a mood. create a hierarchy and structure. 65 .*TYPOS APHY Typography is usefut to emphasize ideas.

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

ELSMEFTSofASTORY 67 .$ I 13:GtMiv(NG M 1 D D L _ V • 1 1 ) .

and so on can help sepctrate ideas from ectch other visually.*HANDW M I 6 Handwriting is helpful for adding a detailed description if a diagram or information is needed. 68 . dotted lines. *DIVIDERS Dividers like rules. creating order and structure.

or text. and the9 can provide a connection between multipte ideas.o a ' s Nei tsk) BoOSet4b6Yrit rtt — .. SANrarAactsA plovvk t bkcig)eyvv) Sitte .*AR OWS Arrows point out detaits and Can help focus attention on specific drawings.—Ape+ w t coupe' B.. t9pograph9.

* i-teA c) Li NE + e o i *ICONS Icons are handy to use throughout a sketchnote document to identify ideas visually as repeating elements. REsi sTEe.Flerad5170W1 I N * O N P E R S TA • N D C O N T 1 ( * L O O K A T 11 .1 A PFArc f. -hrikt/ flo-ra . 70 .c6144-4040( 5.*BULLETS Bullets are useful for identifying a series of ideas or highlighting a single idea among drawings or text.c01 •-* Pt411-1 4 4 P5.E N r f a T . Different types of bultet icons can further define ideas.

*CONTAINE 10) I Containers connect various elehients together in a single grouping to represent an overall idea or topic. *SIGNATURES Signatures are an optional wa9 to identify sketchnotes. 71 y . If you're creating sketchnotes for your own use. no signature is required.

... ' 1iorEklwel 0A bt s4.. S1ratin s 4/ e HcrIA)covw . . / ). t r .A yg o 5w l \1 1\A / •. . .. .• .L N E R )AC Vo . " • • • • • • • • • • • • • // •••••••• heorlitillib .5A -t 't . . • • .t l e C t.•••••••••••••••••4 C .I -G ..sketchshort - n z A r'N ' t 9 t+ 3 / \ I 0 0 " 9 i ./ M I b (.14 1zA y 4 A 0 to+ .••••••.„. • • • • • • • .tetvevrev Ate). .••• •••••••..4 _ e 0 0. 14 ' ie ComPeVrIVE (w e l l v i a " " W T O t s1 n t H o L1 e ceret stiow DRIJNA t ' etvlAsit4lit A/ N 0. . 3 :I " /( i. • • . . . . I l i k l YOU1. m • • • • • • • • . • • • • • • • • • • • • • •••••••. t-R q 0 lo tT 1 1 1 )4 01. • . . . e .

The title creation was done before the event. I captured "A THING THAT YOU DO. I added a "DO MY OWN THING" concept in the lower-right area. on m9 iPhone. For the f i r s t idea. Here I've f i t t e d "DRUMS WERE MY THING" into this snug space on the right side of the snare drum drawing. Jon Mueller. 73 . Here I emphasized the idea of snare drums being verboten. I've labeled each section with a number and provided a brief a e s c r i p t o n to show wh9 cknd in which order each area was drawn. so m9 f i r s t drawing was of a drum." Jon talked about a snare drum. An arrow points to another idea lower on the page.H1 To help 9ou see the progression of a sketchnote from s t a r t to finish. I'll talk about sketchnote patterns in Chapter 5. using Ck photo of t h e speaker. / W i t h t radial pattern to organize the talk information.SKETCHN sTE frr ret‘pyr rNir.

•ft. ctv\A -1/4 bv \reit. VIBRAMtiq 5 SgUNOS THWUGH So e + 0 :)olvte4 f v v q 5 . 4 -1 AGco vNt •••• Oft m g a l e M O • • • • LITo ienoct ‘. Rad a. tAft-t-LSOVotowt. M E .—WLotote tPecorrA. new nk0 InrqIscHAU ..

so I gave it focus with large. creating a record. and touring the country. so I added it just below the separator. On the second page of my sketchnotes. I added the titte after drawing the image. 75 . Here's another sepctrator using dashed lines. Jon mentioned driving to Boston. This description of Jon's approach to sending sounds through snare drums was key to the presentation. I used a linear pattern for the information with heavier emphasis on drawings and typography. I used a separator to create a break between the top and bottom. ALL CAPS typography. To wrap up my sketchnotes. I used bold type to to emphasize the speaker's final thought.7 SKETCHN tIE from STIVT to FINISH Here Iadded a drawing of Jon's drum setup as I pictured it in M y mind's eye.

/ 2 o i z . scni6 .Wsketchgttort• tiefief' 800 CEO ReAo RETKNImo the mum AW N . YOU P * HEM A S L K C T H Mums D o H-0141(A0 A t i t t * ' 9 c r u kpit4 *s I .r41vI a wto-t/-6 \ Ay _ W VERSOIrEl li* a z i t1mrkA vogs-k • t-1u-A m O t •tt\5 ' e 1-teN1° a t /AtAo v o tr . 10• • • • • 0••••• r o m m e 1•0•"0 0 0 0 TRANS LAM L AT 5 • 7 / 1 2 . 0 g. s H owetcpe. / t 5ur 1HAT150 . / n i t t s g 6 camper opEll wi4414-tlice.1 -571/P Slikkii s q eft.t4.

.Fttetc[ anew 70460 1 E N G E / 4 .. IPeccorrA 0 etv‘A +L4. VIBRAM IN6 Sougps THItiguGH S mums0 Wevckl a 1A)1-1-L SOW. .1 1 1 1 1 • • • • • . . 1 4 ICZ.— vlitAcke a. L et• *MO DToEx1rience THis CHAU . JON'S SETUP: %h.coVt 9 7 * +ervIttot.Lam.

and draw them."1". 78 . cacheideas..ESEA Se111.1Ea a n C A NE A IT EA LIM Being prepared helps you relax when the time comes to listen.

dividers. bullets. typography. diagrams & drawings. 1$11 + you're sketchnoting.ECAP -c 1 0 4 Use my process as a starting point. arrows. and signatures. scout your location. and make it your own. c k Photograph your sketchnotes right after ar+ u event to share them. and to have a backup. handwriting. r e The anatomy of a sketchnote includes the k title. Research speakers and topics to gain insight and confidence. B early. y t NEXT: TYPES OF SKETCHNOTES o b e i n 79 . and use the a Arrive extra time to create a title before the event. p 0s 4 Shared sketchnotes are great resources for a attendees and work well as PR tools. icons. e containers.

1I v1 o c T r j e 1=1c:7'o c . a ..it IT Doe_st.A_ 7 0 ••• I ./ . o w .S %NrOt.\ tr -9-0(q frly eH 6 . Caki:rriAtZe_ V4I-111-7 I J T .e -.0_ . A A -T.AiRoCILAT 1 .O O T 11A\it r Iok .o• .•t i 4e IMEldno ammo.1 \ 6 .3 3 9 r e .I S AT. . 0koz •0_el b FoNTZ . . * P b • A r a m b o o m m a m o m m u s l e .

o r lAeok4 . Alrgc .— m • • • .v t o in i rs c e s V d IP I C : .••••• • • .e 0 A T e-IZ c c ) L. ' • • • • •• • •• • • • n . vs1A-T42. . " • • . + Sy/At101 rs 4 11 24 1S o 11 4 13 f e . Ai e . • • r • TOOLS STyl. ot t A t e i .k m e s i • s tyl%c FA . e_ J. . . . • • • • • • • • • • • . 1 1 e> 4 P tk e lEtls.L1 t W Jr e I A e tb T i . .r t t l a c c * s A rc sN e _ _ to. .copoora ' c . D e P e N D v o t AT I t c . • • . N eolfr a g A .A d.c. Ylotze pieratZe-s s e . A v i P c N A t1y grI So . m • • • • • • p • • • • • • • • • • • ••g • • • • • • • •••• • • • • .e.pcwsciveT o r.T3 A N • 1.6 i t 11. . .pv A 0 f.

booK k 3 t beo-oe ' oveCt CA4 6 N y o(/ 6 ( o CK s 0 S'a b l o \ .FeJei-ce i/N 0 4 eA NE•••••. tou t c / E C\ o t c C oQu l ee l_) t a _ p tike 4 \ e10' -bouml 1 SKeIck. (4/WinOp/A C C '7 ( N i 7 1 .o h n c .LOVA LAMM fiV o PEs 6c)K of otAJ2ye712ay. V ck i b o o e e r x . n i c qllg c t \ e tocst ske t o 4k.IM EVA..

RA l p 'oft) 1 . A si . :I I d M k P . 1 N : 4 4tiApit4e) 1 9 CELEBRATi 0 4 4 1 . 1 . 1 At E I 1. 4 AQ[1)krn 0% — .0 P E ) too1 4 .V I Ri ) A r \ I oElEcT S i t N Totv‘ic_ G ft D / \ 1 I - it 1I OF : ( tkic Fiecec —cyyNotR.Alor 161 \\ . R ( 5 O ) V 0.

CHAPTER 5 ts 111 2 1 = 1 = 2 1 . SkEircHNOTES AREA BLEND 9•1! PERSONAL STyLE AND THE IDEAS YOU HEAR/ AmALYzE LET'S Ar SLAINIDING t N LOOK D STYLE C A 'WITH M I N I O N S / AND P rSTRUCTURE. . a SKETcHlimOtrime PATrER459 f i l a o .

. o g p o p o g i o i p o C M .i i k k •s z v r e* g Aga 0 BuslAess Model ( i5 1 .r PLUS 17 Sketchnotes are beautiful because of their vctriety and personality. o•00r9avtitekTciols) r eE ) I in) ipersovoi pyoctice. T H I N K S . TOP OW1-1Pir DOES y.t o wvoHisr reseore prgryiet if V'C(P r e s p c m d i . i 9 0 'o s Z 1 ' k !v . ntieolviloqfvl? 0 Cottect C C a p i . e oSeen IF v( Y . Each sketchnote is created in a distinct. sketchnotes reveal . t o A i g r e . . "A "d4' a t e s e g g k ro s k e i k• Getting Things Done Sunni Brown g n . 1001LOOKLIKE? person analyzes and processes information. o(' .x i r \ c 6 _ e . v . . . lig ORGANIZE ReMIND6RS REVC ' AN I N v e r s TH iE 1 PRODUCT m commirm ENT. R I Sorrow 0 D :o WEEKLY. 1 7 5 Y If LOOKIMJ AT C SKETCHNOTES — h THEIR i STYLE AND ST c R UNDERSTAND . t s o i r 1 4 c t . : d s • • . ACSI ON. reflecting the person who creates it. y e . and what is most relevant in that person's view.a1 iroRY e2 1\1E i o c v. •• Sketchnotes convey what the person is _ K I N G R hearing. BUT MO 11tki than Just style. D ia Cr J O o i r Ovi-come. J C 85 .P. f oi k *Desired e N s svkat 1 0 0 1 OF HEAD. 1 EXPERIENCE . l .Process ( 0 efi e) v \J D FOCUS. the thinking processes of their creator. a • v e . individual style. how that . doig9 E 2 l too9evVvowgnclows H w DECIDE OUTCOME in ge Ne book.. g of f'DcvE.BETTE HOW o 4 ATHEIR AUTHO m .

V OH LEARN ro PLAy THE CELLO: . .. 8 8 1 0 Pro e / . . . 1 5iTY V i r F O R M U L A O . 11) I " V . r 1 > on a0 . . a 4 THAN THE 1--J0H N S . 4 L Whatever your skill level. .. . .NALL .e . .HMENT . 1 4 . e r ti to a: Z • .: A " .--wAlvr To FRAME. W E . . . . . 1 . don't let these sketch notes 4 discourage you. A A . . + l SEE HIS f 1 .G. . . . beautifully illustrated. . R H E .. .1 2 . have created them. . a 2.'N t .. • „ . ._ .A s.J 11 ___________ < 9 o6 / AIO 1 . U 3 N + .N 1 4 P ? .. look to them f o r inspiration and idecks. ON 1v A N PL/IY.. .. .t t v. L E A R N To P LEAY p" p T rNSTP.-. A T HE N E l a o A r HAND. i 7 PAD.1 4 L D. and work to improve your skills. E T twmed 1 . . A 0 R JULY 10-12. ..) R ISA S011000A16 R N I N 9P Om6 NEwrs I • 0 .) / M S • C •h OF1#3_k. L 1 . be happy with where you are. keep in mind that you're Just starting as a sketchnoter.. S Gerren Lamson • 1 3 1 E 4 E b W o1r l d 1 V ... . A 0 O 0 0 . t . .effiammaLE" PICILIVELopERs. . NEWORLEANS.. R p / Arj F +..mmER.Ro ..164 &EARNING! 6 ------ . T . Professional illustrators and designers. a 1 edegzebt 4 . [t SR ? TR 4 INISFACE CHANGES AccoRDINO To ! A C1113EEWEATER . . . . . . . Create L K sketchnotes and have fun.P=•' Prl' You may notice that many of the sketchnotes in this book are . .„ ++A p9" ) 4„ 41 J 0A( Sellt. t i c r N R M M 2 u s i c r 1 ) PtE 1 0 . ) 2 0 . . 1 A . . ..." t . Instead.0 t0 l a QttWh ttr u .1-11EsouncEP7411NESS + NETWOLK = 6 1 6 3 L I o ' 1 hnow wRat3E1TER13. The c I1 ZAPSCHOOIS. . P I . w E A 7 . L r P. . . .. . . with years of visual experience. 4 : K L TTiE SZT FEEDBACKTS A LtA IlOa 1 / P . . L A . i l e r: r ALL CAN'T PLEADMUTIC. L . U RAARIK'S . c LovE . ." 2 I 0 "I 1 L b 2 y + f 86 j i g T im e6 v.D1yAN28 N.t a tv . m Low caw. . • • . . FRr An 71" cDak 0A-----.ILit7jAND Muss : . M 4 k Y ) ' . 4 " ' and .. g IF4YOU'RE NOT A N ARTIST. . L R . D ..WIHIOSEIN .

87 .1 AFr STIRWIJR7 A helpful way to keep your current skills in perspective is to view sketchnotes the.t progress across a continuum: SIMPLE G O O D ARTWORK A l l T W O R K FANCY ARTWORK 1 1 GOOD G O O D GOOD STRUCTU E STRUCTURE STRUCTURE ALWAYS GOOD SIN( R E REGA'sDLESS of ART QUALITY.

Although the art mcky be more refined. these sketch notes use structure to capture ideas effectively on the page.AT ONE END OF THE SCALE you'll see ideas represented as rough drawings by regular people. the key to a sketchnote is a logical organization that makes sense and captures the ideas. Even using simple drawings. AT THE M I END you'll see beautiful illustrations created by experienced professionals. 88 .

1 THINK OF ST Lit asMEATand 6 TAT ES. 89 .7 .•n . AND TANCY it Ias the VY N T P.

SKETCHN P TTE S In the last five years I've reviewed many sketchnotes and have found that most fall into a few patterns: LINEAR RADIAL VERTICAL pr PATH MODULAR POPCORN 90 SKYSCRAPER .

O M 7C : m " _ e \ e 0 Cy np .-. \VACc?\I 4/Mtkl A r A m t N A\ CIA C-e. Gb:. .3wfo . GEOFTREI 0 . .3.ortd \A_Ga_VA e. 3 0 r amcVi a U c k S .n0 e5 n c 0 ko. z a„ 6 6 % P.5v4 5 c .e r 4 . /crt uDgiv tck . the linear sketchnote format shows information dimonall9 from the top left to the bottom right of a page or spread of two pages..A c C u A t i c14%—Q-A Vc _ kO.aie3 cor4 m2o \bL. r e ' r w t t l 05 1 2 3 S1 . e w *A I A v I4 cc e Crld V 1v . 6 e . O R A 90ri c w.C%-lvAi•ence_ c .' -t\ J\ 0 . . s . 0 -c.. INJaNA T3 o-v9e1-. .4 1 v. (\co/ +0 c0A-'1 a-hom. . Is/10.9J 6R A f'or .v v 1 1 NiE 6 e t : .Fottowing the pattern of a printed book.. c 91 .v c t 4 Y .-casQ.-)o.0.r .ck k V (kk 1 ).0.cf. G o N \ vsave..ve_ O v e A a p DqUc.8 A . . 1 \ A 0 \ A / . e e 2 M a t t &tiara • OzIA200r1 0tAe5 Ct\ gE FO Lt '8 art—voro. g 4 8 o s PA\ c VA t gO Aol l \ iI s .S c A c a y v-\ceA PC \ aa el n 'lesA. 0_ A e r . a 2 0 c/ ' (1 8 e--V .

(7ttts p et e C a lt r U g te e Mike Rohde •l SXSW Interactive 2010 e i6 . linear two-page spreads I use in hardcover sketchbooks.ASk toirselff fa 90 sgoimkt.v5) W e A' h W (coivime MI . R o Z w K i l o o f ( i (CLoo.141 t htelw U k c -will E Suse ) b e d) q Ags i 7 a ff e d * / by type ? / q-/o 6 °What ds b e e k e t i k/7/ n •1 o e r Fonts as 51HiOES: n AKA e t Act 9 h .11 n 9 d / i V GebStoK 2r_ti WebTyp raph. fe4 a .-c P n OUreSee f o fmtm W E : 7 ciesbn SAM Flis — r Aeget9oLargi9phon 4 4 OTHER RES S e e l < iSm^ M A t t r i r HA efiatifrfreil •A 0 ESTIONS°.9 4Tigpography15 HOW cii:f weGAS 2WE5DES11611vER MAxe ryPe AGER 5 iPAIRTof ouR CRAM 92 1 1 b r K e b t s Ara e l - .THE M E M PATTERN is what I typically use for My sketchnotes for two reasons: I like the stor9-like.W7 (peNtvi ((4e.

d' i / 1 1 N " at p l e it z . t 01 1 o 11 n 1•s .A.SKETCHNOTING in a linear pattern frees you to use as many pages (As needed to capture ideas.IS z NI A 71 m r I N Y P E B R E 1-1.03Q.VE 'OONIC 5 I D E PROJECT5 Z 7 5 ITIA135 0 HAVE M E C Ii 3 Gerren Lamson • SXSW Interactive 2011 • 0 1 D O O N E r-rttala P 2 -+a i f 01\15 = m L e moTniATI r 4 d iAW > na s0 s . JUS DON'T U N OUT a PAOr sIDEFJ9. It's atso easy to read. 1•" 1 1 93 .1 1 i •. because it foltows standard book structure that's been used for hundreds of years.t e t Le o t nr r o.

HOWEVER. IY 'HIV10500TOr I N N O V d SCHOOLWA AT o S T E IG . . provides more ftexibility• N C 1* P R >. . . tM M I 44 a Carolyn Sewell • TypeCon 2011 aegin4onelai ab ? ea t 9 1 4 N ISNIMENS k i l i a c l " E D S T b B E . whereas the free-form radiat sketchnote pattern. discussed next. the rigid ftow of linear sketchnotes cctn limit la9out options. i H N I E N L N I• HEisyroWl 1 N T • . F l 11111 E BOOLESIGN WOODD/PeR - V e t % ° 6 1 . -O M tFt a Ia tL B L -1 I 3 & 1 1 1 d E NKrBUREAU i s TBSPORARSIM L•tR I t E M II N ØIC4. 1 CPICe S i t i i 1 (1" 1 n1 el 1 V I T HI I N r UNTION: dr i4 1 T e1f1 a at g r .

The center of IR radial sketchnote may feature t h e name and drooming of the speaker or speakers who are presenting idects. t HU.. 95 .ES 1 S H E S THE H OVE L L CONCEPT .L L H U B . The radlial pattern rought9 follows the structure o f a bicycle wheel with the hub at the center and spokes radiating outward. . or the central topic.rArmAtt. AND E IDEAS CleEATE A C E DIATIN6 PATTERN MOVING OUTWARD h FAO M THE CENT .

. 0 00 0 0 ' . ' -- '1•4"b•fti•. and the hub doesn't need to be in the center of the page. This pattern can appear as an organic shape and still follow a hub-and-spoke structure. 96 .A R A D I A L SKETCHNOTE doesn't have to be a perfect circle. 41 zz le tz za tt e0 0 ._ --•••••••— SYMMET IC A S Y M M E T IC CIRCULAR and EQUALIZED ORGANIC and UNEQUAL RADIAL CHNOT{ • aN.

L c i A rj( 1 2 4 92 I . / [ tNI 1 CATS 5 we/A ai M t 9 .THIS f D I A L SKETCHNOTE FEATURES THE SPEAKER'S NAME AND TALK TITLE AT THE TOP-LEFT CORNER. 0 ( 1 0 ) i . ) r( 6 .oHouNit. V 1 0 1 cFgoii i e . N C 3 USA Dougt CLiCKED yooK i r f i L E AND1 14 PoESw'r SHoN4 VP EIIst l A t o N T vo? 3 o B $ (oReckTiAe. SrN E P \ I O 11 ) U . 0.1c \ C A s f I N A .Wog 1-1) NE I F . I D E cyl S t S u1 l .) v 97 .1(9000" 0 N 1 N A W E S M d Hische Eva-Lotta Lamm • Jessica 1 ) 4 . S . 1r5 V P v c D t f f ( c H 0t K .sE. S .

Apr-e.expec+ . addina Nr-H716( 04 i P-eople. C)qahrlin'•Oncion 2011 Ve is 9019 to ek -intere. mock 44e.sic E 9 V Mown d .e. rocas 19E1 Ol5 no.vIcime. d-Hae_soKeroebookg. 2.THIS S K E T C H N O T E EMPHASIZES THE CONFEI.1(91-11 sys 1 AND rTELLING tm s STOkItis .. . same..tzm W uvrFo Q r a 1 ienc.fOik. _ eve.fiblis col6tOo w l ° ur onoi cft(RA1Hevices M P EMOTI H L & .otion3 c wk a n Ckaqnol h. r APPCINIT u WhiZS r -t s i V .kefr Goo31 rea . t vour a 0.RNLEMATIN aU 0 . 6 1 \ [ C Amanda Wright c l C o n s t r u c t 2011 98 text_ text.t o io c tu r t c exrec-E-1-4i„ let ourpoc.rapp 44Pxoll- wto. 1 1ihe v(per st. NTH11-101.I X T P Y E . 'chavIc anoVfeedback " i inotkR.sting " tO g b o o * W a r 1 k people•••• are. üick ( hc T ou S w • S A V A( Fç n 1 . C oic.Evhcif reailqma-11-ers E X . ENCE NAME AT THE TOP OF THE PAGE.

99 . clockwise.because the information is structured in a complex. d o t e s can sometimesmakea reader work a bit harder to comprehend the pattern of ideas. counterctockwise. Ach. or random patterns can work well w i t h the radiat sketchnote format.THE A D VA N TA G E of a radioa format is the freedom to add i n f o r m a t i o n wherever it fits in an outer spoke. Because all of the spokes are connected to the central hub. nonlinear way.

. as needed.4. 111•••••••••monco mmions .4. . or TOPIC Au.444AAA— Arleta.••••••• foga•••0••••001 . ••••••••••••1•••• to.--__ AS LINEA CAN THE . from the top to the bottom of the page. • • 100 11111111•1111111EnnommEm.$4. 4HT BE THE TONS VERTICAL LIMIT ONLY PATTE VEITICAL OFNYOU YD AS OPATTERN 1CAN 1U LON6 T PAPE Om' Dto) WIN6 J PPS CANVaSo W E V E I ...... 0 . The vertical pattern Also provides a clear direction and structure for a reader to follow. • • 0• • • • • • • • • 0 0 . vrAorrs yo•••••• • • " • • .1( Similar to a linear pattern. • • • • • • • • • ••••••••••••••• THIS PATTERN can be handy because it allows you to continue adding information vertically. *let.44 11. on. vertical sketchnotes present information in a single flow..

• • A FOR MAW- -rmusr ° t i A f t a . I . M Y A . .P utoeorom Youk FRoDucrr 6 9 c-owey* L 1 .es k A 1 0 1 A11:51 o . .1. . . S &rill . A N Eccoomic. A NOT e•AerTAL I N N C -A H o c K V SIVA< T T u sUi lMf r C L - PSINESS MODEL 1 7 e A Z .. .ALT IIM .. . I Y A M A c S. 1 %R i RICA g SA t l < yWNSA 1 .lc. . SF . A 1 3 1 . EbE NICE g piss los4 Chris Shipton • An9e1 investors 101 .10 HAS ..3 G NOT 4 A P C .. . .. ec Seet . A S s E l Awls . / litE DEAL 0 tOot. 1 .QW•i< SAL-SS C 1 r o R Y • . . W . -roe: fkal/Crr: M Et B E R K Nib o t a r t l e U S• itS c A L . 0 . ... y m 1 q C R a f k r R r o l l . e Z a k 0 MAO-A &cot. oI N vX T JA R eP Y f A A eW N c% % ek I Ly t or I v a o 00 NMC.. . tmcs1402 - 0 1Cf-' 11 1 -"-- M.414 \ART alinMES L O O K . 0 1 1 S v 0 THEDEAL- b i o l .A t t M a l i k EgER.O E Warr -ro Om R At4 A S S E T 1)EVEL0P c u Y A"t • — I AlfifisIZ 1 . 11AS To 6 . SGAtAill-C ...•S 0 C . 11PR SWF L A M P. 8 . .1111 A a r . R 1 A l oR..A H O L K F Y s r K 1 V. SETA. ! . 1:AENELoP . 1HESUSINESS MOIL r Quic-Ksm. RV A L U K o N S ! di A A R a f t ' . . " . t zr. A r Z t C . Hkoi E A . i . .C T# IkAS Htoft gARROS ' ' E ‘ 0 ... . .. . . . I . . 0 1 3 S e R tI° E S8 P '1 4 1P O rif R 1 CDRIZ 4 N g l °Ee g g W N W & f i n gH e r e 1o) 2 . ' Et B a c Iliori f w e . 7 4 I f .

04 .. 0 .. 0 1 . A o K 1 . .4.4 A SII-Veik 13ULL117 DOSIOS STA " t / . . C O C A t J w y tAse 1)4 5 OuR 0 0 . . Je A r A B I G U i t l y Nuv. 1 Vit iNDECISIONIS A DUIS1 0 11\1••• 1 F .t 1 ' c D 1 . E L A D I I A C E .d. 4 1 V O L A I 1 .. N N o S V .--.ItifhST4• 0 {4 . g c.t. 1 0 U N C E R M I N e f ' 1 ( CON\PLX Apo K E E p l i .P 4. cr. 6 L o s A . VOL/CM4'1- 4.I N T R 0DticTsON gOg PERI • 41 .M A NMQkl WKI4Its ANTAtTl& of 1 6 1 ..HEAL-M\ 2 .0 \2. 00v44. 4.sucis i d D R ' s \ P D F \ j J — V P I L u N w 0 T 0 0 S 1 1 . 1: 1' 0 1 } \ IWO / S A W PstJOS-1141‘-kP4L. E • P DoE. t v \ W A T S 0 N I 4 Dtiz-1 C Pnxm.. A . S ( / . A . Cassie McDaniel • eHealth 2012 102 1 . s i c\e L E . .s.ALL_ RE. 6 4 ) / VN5 0 ..cogittl m5 e „ " kAIKTSoNI S .1 D0 0t V6 11.r44e3A0Acare 7 1 4 - iNINJOVAI ATIOE .chup 8 iG geSiCTS IN A DiA6P 1095 PAIOgl-ri us N o t e43 IS ATS0.. Z I )P O re p o o V o o e -054 ' )EUGrE-S )f. tli.I N N O V P fh G 4 1(6 -O •4g r'9 cL to . 0 1 'TOO M V O N A I T I N G Too FA“CH C O c T.1 I F -i /00 c o 1t . 1 4 i WANT C . 4 5 C j o V g : ( : : S . P A L D A 1 4 4 S P 0 1 4 I 0 e 0 0 1 0 E M E R} Z O K I E 0T E C TCtP M F I D E .

w-shape.The path sketchnote pattern creates a path of information across the page verticalt9.• • • • • • • • i i i 1111111 . or diagonalty. horizontait9. c-shape. or 6 k n 9 o r g a n i Z-S lope Path C-Shape Path c p a t h s h a p Organic Path e W 9 o S u h c a a n p e i m P 103 _ _ _ _ _ . The path pattern can appear as a zigzag.

nitto J D cmtitonc-ivao \A)rig )MD/Ma 0 A t 2 . 0 4 I 40 3 A T 0J A tc T t t I t 4 M5 .0o-toeV.Nom L ‘St.USING A PATH PATTE 1 event 1 N orcthought a n process using a series of steps that work well when b e following an organic shape.o11 . 111 i o 1 n \ tIP E t s 1 (1 )cv• 11 : 4•• vsa5 1.e_I + ' o g m i .111AR 0 P o i N 1 t i . z ir . ill n tqA C t i ® gouugaw p TIo 1 012A 9 k ./ AS A t l TEgACy AN0 1 .SE 1 .28' 0 0•Rkrooarses• o a j 1 %1) t c 0 axwmgc6nwil c P 1 .2\ E g y \r 4e l e . s1 .R# i 9 A . 1 1 .I L 1 usE i t 7 ci . 67 a&dice) a . :2. o 1 AT I D 6 PIS n 1 9r LS /264U-9 1 v Agu.4 r &nuke Schildt • Ton Zijistra n t t 1 1 O o l $ ' k I i Z r o 1I S 5 CAH 1 2 -0A 0 104 .. -1F4t6 6-H V k dsv 0 r" crytall tkIorld. ‘out-1-als. 3 P-'toed I . p e r f e c t f o r t e _efol l l i n g 4 a%I) b1 o jeguaros L1wmaggariltworu t.p .

i o 2 r h r d 0 . 1 2 .ctt-tr( c s U c X tl . / / .k I F O L t k 4 EPA:32 t J 01:1 g r iZ T a r 1 - L•Ask. 1. . you may run out of room. c A . 105 . Michele I d e Shlith • L e a h B u l e y PATH PATTERNS do require a little planning. i / c " i c a r f c c . . and if the information you're sketchnoting is more extensive than you've planned for. a .rfoOS 1 1 2 0 4 1 1 4 0 J l ' 3 6 0 ' 3 UXLs z• 7. hh. a et.

4 1 .7 1 X PPM 1 — C H. ribWORILD 2012 0 . o . pk t / z< K Eh a nd B Fo EEP LOACK IS A LEARNING C - p4 E. c_b:IVATION LEA ' f l „ . _ g t . N E S S + A L P T L e l l O A K W O 3 - . Aki 2 8 r . !. • A . „ DAPVHY PAR'S A Il C C A R I N E X A L L C A N ' T READ Alt(trC. . [APPLAUSE) f ! .1111••••.4 1. . . . . Each module holds separate bits of information or different speakers within a larger event. E T H A N TBE N4Out. . 2 (! ) elitgza .08.1 & ) f e t e r • C.1o ” tRinc/SAI is ASCHOOL/A/6)Nf i t P -I+ A 5 EE His E.E Lute-I >OoO c u A l 0 77ik• FoRmuLA K. V Gerren Lamson • E31)World 2012 t m o u / Q 106 a r lumuave H :10Dai“ (1404talLarilde. . A + 1 m to N o G.. P S . A N D . H A .) a-w-t m o . • W A t i r r 0 L E A A N TO P L A Y 0 1 TO p t 4 y ANA v i A .I pAARIK'-S s CHM AtE 7ATER .t E 'S p1 a cN c lA m O o l Do ? t t Ai o . ASL L Y . "ril l A AcoES \ c 2)- CII vEtz5US ['EARNING' . t1 NEWORLEANS. KNOW N • T • ._ M The modular pattern divides a single page or spread of pages into distinct regions or modules.. J A N T DIGITALOVELOPERSLLL w tAt n e ti ro .17tbE S I T i1_ z t 2 t l t . L A B 1 E 0 I.PaS o .I . .SpwasErm„ . .NALL F V O L V E S y ELFAIAN. ) V I A N E2N T y o u p O H T H A V E T n .MAN PLAy I n c E L L Q : M JI J 7 E . 4 0 . r t ? . SCI-11001. H A N S Z I M M E R . J2 R t 0 a . ' T r A u — O R 1. . FILMMAKER + VISUAL LEARNEg/TEAuklEA" " Itil LAYr To LEARN a E r s /N THE 14/P1 EtA0 . A LA .g.r s . oF [ p l U o 1 4 ) -TilE I N T L LOvE + R E S o U l l a r t .) W I T 0.1 A JULY 10-12.• h . N. • C 1 a I 0 2 .. T 8 E 8 R 1 E s .

IZEI .AT I B I N OF11Acell 4vsk144 . 0 •ArrAcK f t * Worn E P . Marichiet D a n Boudwin • Hacking Work SAvIN0 AT .E1 A T P . 107 . IC1 W c e t I BRFAKINcc n E n ow in =mina usEME 11 ilioIMP Ell 1613rOuNPAttoN ift2 1111 •1 OS UNE IS 1 NM MI M B N M n a 1111 (E)Ailk nor. um. I T H m c s r %Mt WH AT Q112. CO 1 L• 15 NM 3 I.OMPANsl.A .Ir C ' 2 1 AT UV I D NO I C T k 14 A A C s • exoosE TPDBLEms To V„ MAKC "0411 E A 1835 g R e sults a th Tgackert y pcs PERSONALPRoDuclivITY (411 41 41 1 AMOUNT o r eFFop Itua .1 AS U 1 S 4 1I E I 5 oF Co NN l 4 E1 4 S i S n .EXPFNIsE OF V oCOmPiAbol. 1 1N •NOT New.w r e r r u e-NN.1 S.1 . • 15 upeNL4 L INCI 1 ID.M 4Fulq AT EYSENse 61-A4K v i m O F O T H E R S . S -CHIZNIC 4 1 3 C AVIZceL5Ms. Ite i H 1 -cr t i i . l1 SAvt0fr ' 1 AN'D 0 L C.

• C 108 m t t r " m S b •••• .\IGLE MODULAA SPLUCTURE. PARTICULARLY IF YOU'RE CAPTURING SEVEN' L TALKS WITHIN A 51.A3 i t v . IDEA 1 t 1 PEA IDE. 06 V P •“. I m [ 2 I i u 1 N 3 T oA L running out of room with a IM odular sketchnote Avoid I by estabtishing the module spaces before you begin.A MODULAR PATTERN can work well if your goat is to organize information in a grid-like pattern or if you have many presentations to capture in a limited area. ( You can base them on the number of spectkers or topics being 1 covered at the event. A f 0 We'." I I>FA r \ HOWEVEI USING MODULAR PATTE19 5 CAN LIMIT THE AMOUNT OF INFORMATION YOU CAN SKETCHNOTE.

Noi meET 1 N I Ti-V14 GS .4at Ali (0 tUtrikScee2. .4J 4% tto AFFgoP \ A 5 M K E S 9 1 1 " O 4D SESVP1g5 IMET W V I J C I U 1 3 9 NT SINE CO I G H T ? wH-fSia.4 I I i 109 . 1 5 . Veronica Erb • Ignite DC 2011 t\-10 TIME . '61.RQ (DIFODUT mA.16 PO0 1 l'YsitaT 1 Jo . 11 ./ f DEM NIS L e a a 9 .KE t ? i \ .5 i l v k 4 1 C 2 d e j 2 . t.

PrR The skyscraper pattern is similar to the modular approach but divides the page into a series of talt. 11 use a vertical column for each speaker and add the person's name or portrait. 1 E ItILII ItILII MANAGING A SKYSCO3. Remember to pace yourself with the limited space of a skyscraper sketchnote. simply add each person's comments into the appropriate column. TO CREATE A SKYSC 11 PER SKETCHNOTE. Work on boiling down the idea S K E T C H N O T you're hearing to its purest essence. When the panel discussion begins. Focus on the key phrases and PER words that are 'meaningful. which contain separate bits of information. vertical panels. Names & Faces comments 0 . DUD This pattern can work great for panel discussions where multiple people are speaking at different times. F. E 110 —r -O M ' . 0 0. Tow N t A v x 5 t / E Z O H N M A R : f v 2. ECapture \1 I. Fitt out the page To H N M A R X H ( .F71pzi7! r• 0 CP •!7( 3.

' — 'p . E : a t .:(1: T v .1 ' mA 1 os to.r O r ) 7 a4 y .spoztamthtaity S wsti _ °. p . .441el-S .COPM. REQUIRING MORE QUOTE CAPTIPE. 111 .A 4pt..p I v r e h 1 S M + yI - c . . LIKE OTHER TIGHTLY S T . 11"'P'scli"vic.1„ zaiu e o v t I t t o k . 14So „ l (re..4 _ . U C T SELECTIVE UR ED P A T T u g g u a w o w.s i 1 E 4i1ea3atMn..0 % e .4.LEmc4. k .: m — t s t m c a. R. H r)s1A\ . a t r i #141A-Li ..4.rt . c .. e 1 ' .t R N .24 u tpoomovoIi t s a o u l_A _ : _ _ _ _ -_ t a m . H LARIU A-cisc3-41•E' --1 r:07 3 V 1.. 17. a qs sf a l i -I P • 71 ' f0 .( p c . E R N S 5sembil 1 5 3 0 OS 1104_1\210-1%1CY-16-kg--A4(iC e l l e r a i A I . Strait /15-5841da A .t i to e t . 1 1 ..dbent • Re:Working ' m t r .H e .Aat tI t3e 4It.t ioo 4 Q 0. t o!••'----•-. s 6 A pdoyce• r n S ' 7 A mommo. ' t • " . . J ' sp ( 4surl' a. .Res.y *ust.. ' 7 . t•He. -". aa r 4 2 c 0 v r :ow o k a 7 i 5 oaA 0? 'al L I S . . .g<n+d. vglw. -" " t . i s t i m 4.01 •-14. UStc5 ' W & 4 1 m . 'Alz" i .\\ . " e .. t : : L W' Won••o f"'r A a ct.o ) e4 eb c .b k. a i a f ( re •The se. . •a. o r vS k le a5 0 c )0 r a t ..l ‘i . t e u. ' -.SKYSCRAPER SUICHNOTES.-hotit. aoL•tittA\ o tollq .) a r m* k L 'tc Li• i 1 t t g cas . l1 4 11jlt-tof --Nakictal 14. '• zE 6„ T (111/4C1 ' -4.A6vVtam v o r c r : t j IA' t . w _n. b. . r o t i04. t_tFA A (0.y 'i ?t a + 6 's6 ' I ' ' '. .'.--ofwo d fr• r„ .lott tt OYr „rw/ ./ .4 .5 e - f l o 1 6 t. reavAS awl.041t . rmo. Conference 2012 M J 13roo. .---.1 ili \n.. z o.:. 6 t a t AW . t t i v te t . c" .I a ' . o 1 t L• p t i l i v 'o k v l at etl o o c vk s i . ev"ro .DISADVANTAGE Of LIMITED SPACE.5 x 9.O Wobt. a il s o t44 i vsl t l : Z i Z a d ' ouk i w . . .. u .s so %.. s f o l = . r• . • 6 a i • ) .5.. h t ra K o' D . 1d 4t . P 4 .

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v . _R c tea c.r ' A( (r 1 -( 7k ) S—. ' K/ ox l < em.rtRl pf-F-(kt<rac-Azo1 w -.26 S l o T C iA S z( A r e. . VDC1••5130q C N Atr(WP.N ( 4c acKMIE 1 2 .(7‘cli771' V 6 0.I 1614 . IPArn .- NVW STOPiOTAYSW.t ) r . I 4' . 1 J R 4 t _ r 1e . speaker name. The popcorn pattern has the flexibility of placing information you're capturing in a free.l l. t I 4c k0i ) J. w . 1 . /d.comrifttal -..- 113 ._-y TzAKAJP0t ) s Y. txwrodisl -oAueer (6 R 2 . t Reynolds • Carol Timothy 2 f 1 r s : S o I i . Koitsa / 1 ' 1 1 AT 2 Y L .I. 1 4 4 1 1 Schwartz % ' _efuck .4 1 O t t : I O W / 6 + — 0 A A. wf-A( O W ITY oALS h t 9 tr ..4 4 6 6 6 6 .*.t .0T0/4 ComflvA . 1P . and information tidbits Can appear anywhere on the page.1. N tI i 2 AR.T o.1 4 /. OiZet(11 •1 0 1 c C O V r j s p e 1<.L g .A AWA K T Z _ U A E .6 . 4 ..' z i . sLe 1 / 4 -..1 _ *1)7111. random pattern. r A S f g. The topic.

T U 3 A R C T .SINE IY 6 M O1:1 eiVALI\TVN GAVAITek). 1i Y -° S 0 () N R 0: 3 C .1 iN CIRACECOLT r I DR E CIRAVikTkoN T t T l I T A n . L i You " -<CIE.. 4LL N s t .f I 1 . F : 1 K C ' 0 ( j 11f011-1)rioT. A 7 SAVE OS ALA- Alexis Finch • Jennifer Sisson S T EG PoEsterSai< Hers* OLD lAtoMv10_.ACE MODSN ST124 NCI lAtstAKOIll r .. \ 'Uc.. A 1 4 . v \ -Y T Q A V E f - 1.1 7 0. 9 . -n L .) .YOUCAN L o o k 41-Youi CONTEN1 11 c Te C i o 1)ETEcT1 A u 111E7] T 7 I N CFEATURES Tiz•oGrEsoie r ENIkto\Ncerlafr E - E5OT tloT AU.:17 . St AN P i Lk" kAl7p-ir 42 Vr t BIRTH 1 E t)AT 6 ( kA.Cotk . Ep p .tv A ) L 7L ACM VI*ILL 11-1 1 M 0 0 NNIoN' LETsME:.0 i r-j f t 1 li_ 1 5 M 1 .-.) u s Dew DEASY )1 4 E Ai l 6SOgiz..v. 1 • N C E — • S L O V 1 'f:t• a l ° •is E=1.E.01E141W 1 .

there is more emphasis on capturing information and less emphctsis on ptckcing it in a specific location. io 'NEVER. 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 .WITH THE P O P C O I N PATTERN. This approach can focus your mind on seizing ideas without worrying so much about their ptacement.

5. Theseseven are starting points to help kick-start your sketchnoting skills. ' T E S AND TO . 116 .-••••••••• ELI The patterns I've described are just some of the main ways you can structure your sketchnotes. P A R T I L A A R 5ITUA7IL.41. MATCH. AND DEVELOP YOU" OVIAI PATTERNS. EXPERIMEN M I X . ACH PAM" F I N ! ' YOUR tt.

expressing the creator's personality. -k. —+ I f you're not an artist.NEXT: SKETCHNOTINGAPPROACHES. e Try each one to learn how different i patterns work in different situations. a —+ y The seven common sketchnoting patterns s are Linear. and Popcorn. 111 4 regardless of your artistic skills. A —* Even if you're just starting to draw.ECAP o o 0 4 Sketchnotes blend style and ilinking. c . m HIERARCHY. Vertical. AND PERSONALIZATION o t e w 117 . Modular. you l can make great skeichnotes with simple w drawings and a good framework.) Each pattern has benefits and drawbacks. s Skyscraper. use professionally illustrated sketchnotes as a model to inspire your own sketchnotes. Path. Radial.

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) IMLET M0 E K It I f o HACKEf SACK -e N.•••:. / 1 / ) C REFERENCE .nne INGS ASTK I ..) . SKETCHI\G COVVONNOUS tiSEI)IN P R E S E N TAT I ONS.0r9 V\.c m ' ECREATING ONWHAT YOUR \TO (?)urlsbfgtrc):REsoNkiTb AVEVE NOTA . COUPANY YEARS ( r. [LT I LEFIA TRREAIGVNEITLED BECAMEASOFTWARE ENGINEERAND Juztecx/nce IGNORED uX3eai:Ttet MYVISUAL MINIS MELBOUKNE AUSIKAL(A FORAFEIN MYPASSION FORPESIGN CONSULTING 0_. - AM I FOR CHAT1ONp NOTCOMPLETENESS I/ Focus ••m ---i 7z1 r — C> —4 Tv (. M VG.1 C c i PRACIKE tit(INARH)INO RECORD.ITHYOU.oaf'0 o a aorlo uv 1a t DOEM Q non o °o MATTHEW MAGAN I B D1 OBDO a i On f a D1 Or0 p C a a Da a L a l t 1 0 BEFORE IT 1 1 Qtyrf a )RENAETASA a.

-- \ \ FIACHE 1 1 1 1 Q u i E T.R. IFTHE TALK IS HALFWAY DONE ANDYOU HAVEN'T FILLED PAT . • \ATCT[CLOCK AKEUSE)1 -----.COM 1 RNA \. I.1.ICAEL. SKETCHEA gONTRAS1\ kUD1 st41 /Aiok re„ PROfirco. ONNATIONAL f9 r - ITAASPRETTY AWESOME! BE A C. 1 °4 000K.ANDHE ADUREN'SBOOKABOUTA ASKEDWETOLIVE-SKETCNNOTETHE MATHEMATICIANWHOATTEMPTS REMIX2011KEYNOTEONAlmx1R1CANVAS SOLOFLIGHT0 CHALIEWEATHERBUN. 4 F / O s l i n a t t y r • ° ONTHE WED: IUXVICtite ry COM .P.A. *Olt REPETITIM c g o o f i t t i l E C K Orr ocm-tium I t i E 1\1 0 . VI 4. F K O V ALSOAROTE&ILLUSTRATE SAM NMiYcSKrET cCsHNoOTfEfS. / / 0 „ ." IN MKOF SOOPEOPLE AE SO1 W 1-105TEgRN) PAGEOUT S .

H I E R A R C H Y .cp/ApTER 6 SKETCHNOTING AP A C IES. t personalization WAYsk To SKETCHNOTE* STREMTURE Yowl wonic• AND MARE DT YOUR OWN° 122 .

REAL-TVNit SKETCHNnirES WO-STA61 SKETCHN BOTHAPPROACHES emphasize the use of visual elements and stress the imporEance of baking personality into your sketchnotes.THEREARE TWO DIFFERENT APIPPPOACHESTO CAPTURING SKETCHNOTES. . 123 .

LIKE THESE: YOUR J I ' . When I into the speaker. listening for big ideas. and s9nthesizing n d / converting I'm hearing into visuat notes. and many other sketch noters. create sketchnotes live and in reat time. E X C E "I've ' V (SUM. tT u nI eO d 12 1 N A L L Y . NOTES.( 0 ' EA! TIME S ETCH T I N G I.WHOLE eTO n t .. • TYPOGRAPHY • DIAGRAMS • BULLETS m • DIVIDERS • ICONS f • DRAWINGS o c D• HANDWRITING • ARROWS • CONTAINERS u s e dI .. w o r k i what n g SKETCHNOTING LIVE IS LIKE TAKING NOTES i n t7 h e A m o m TOOLBOX OF VISUAL ELEMENTS .001-130X .

ACTICE THAT IMP 'THE MORE YOU DO IT. W I T H R E 125 . THE BETTER LISTENING SKILLS. O V YOUR E S PATTEIPAI RECOGNITION. 0* . It does mean you must be engaged N A N in the presentation to decide what key information is worth capturing and what isn't. TOSS LIVE SKETCHNOTING IS A Pit.Working in real time meansyou're listening for bigideasas you work. AND DRAWING SKILLS WILL GET. 8 1111111181111111111E O REAL-TIME SKETCHNOTING KEEP is not cks hard as it may sound.

0 THEBIGGEST BENEFIT Of LIVE SKETCHNOTING when event IS D NE. • YOU 4 A 11:11 OR r E 126 Erna .

NOT 1 IIN6 This0first variation of the two-stage approach to sketchnoting begins with real-time sketchnotes captured in pencil instead of ink. i E . 6 This is 6k good time to add color with markers. P r " 1 L T e l I N K A P P . the sketchnoter inks over the A pencil lines. fine-tuning them and adding original detail. pencil.4F71 Some sketchnoters use-the second approach and create their notes in two stages — capturing rough sketchnotes firstC andhthen I enhancing or re-creating them at a later time. S At aTlater time. or paint.

128 . You're still capturing notes in real time. you're working through your idects twice. but you have the additional task of inking every pencit line again to complete your sketchnotes• PENCILli41 2 ETCHNOTES MAY LET YOU COte/atECTE S BUT IT CANALSO TAKE g TWICEAS MUCH TIME AS CiglATIN6 INKED SKETCHNOTES. which means they are reinforced in your memory.WITH THE PENCiL TO INK APPROACH.

• Q ' U A.GEr r . . : W d A s Alexis Finch • Rodiolab Inked Sketchnote 129 . a . P ep t ' . P L wertC t2 fl‘' . -COIN. -.E • .gITS o riAr) 6 7.) 2 7 E12c A 0 0.2 .Alexis Finch • Radiolob Penciled Sketchnote --f.

However. Rou1ghmot T esO 2. c o . H o t n a . this tYta9 be a good 1 wa9 to ease into sketchnoting.t-time. For some. which ma9 R help 9our comprehension.of the two-stage sketchnoting A second variation approach uses rough notes of text and visuod elements. " which are redrawn as final sketchnotes at a later time. . like the pencit to ink O method. A C REAL-TIME SKETCHNOTING H TWO-STAGE SKETCHNOTING 0 130 IHOUR 2 . Redrawn Notes R E F I N E D A P P YOU ARE PROCESSIINIG NOTES TWICE. inked sketchnotes.r-r . this approach will likely take twice as much time as creating reo. 1 This approach puts 5 less evrtphasis on Making perfect sketchnotes on the spot.

° ?limx6i/01-1-00 t o P c i C 1 6 0 f e m AND 11..m(11 A R o c r FoRcit4 ' 00(1• viAsi 10-0 1 Pfaiem 1 tE • -G E T I 1 1 4 a . i j o g (.--#1-0 „ V•ki14 et 1 prsli• IT'S OK TO EXPERIMENT with two-stage sketchnoting if you're concerned\ about mistakes or you want to explore sketchnoting at aL slower pace.ipic)i CATES U-1. 51 . 4s4 2 tptjgf ' A • ..4 S 1 A P O f t N o LAOA Decao 01*. SINLCIY: RE .. sTF'tcH. „ . 0 0 : (nee 9p0 b 9 o . 41 5 11EA S : „5.Rough Note s Je.y • . 4C• 7.. l ' "E44 H i • .It 1 1 1) • 1 1 1 1 V C1 1 1 c PI 1 • 1 1 1 e ik•vh. / L.7c 0 • • . / 6a-141( i t ' .Mu v 1 3 i i'N'iVite RW 1 I 4 C t. # ' A 1 f i 4 f..It . ø c g F .„. 1 K PsEcCit 6 L j . 4 1 ' T H O a 1-1 OS . Q".. i t ... 141.t(l gi1. . But don't get stuck there. t E 5 . \. 1 q (t.. . 4 Lovt t • • ? A w l ..1„ . oN• I'm tNIERt.9er1a l ( E —N•1. if l i lo _ i _ T A R C U 1 OVIIII. ' 1 • A 0 h .. (•. „ . 4 % f 4 . 5 ' .400. : 1. 1 l • 1 i • • : . EGAi-vE vtivizO.0 .ISittkKt155DiSt. . 1 I* t 0 4 1 4 143a .fv... " A V O I r 131 .. 0 E I L . e Real-time sketchnoting with ink is easier than you may think.REA-1111. i : t ' s . k o 0A .. : k R % Redrawn Noites . . Ft 1 -o f 01-fD 0 1 if . E 0 t R e I l l .•4 . . ( f 514 2ok m 12 r . ..

HOWEVER YOU CREATESKETCHNOTES. remember: • • IT'S AN ACTIVE P CT10E SKETCHNOTIN6 IS SOMETHIN6 ti D 132 .

Defining a hierarchy helps you. to understand the importance of the. HEADLINES describe the broad subtopics. DESCRIPTIVETEXT adds more detait • BULLETPOINTS separate and define detail.E TING A1111E1•••••••-• When you create sketch notes. otnd others reading . Is to construct a logical hierarchy of information. one of your key tasks . E The Subhead vtoti• level kierayttly istrt *Bulk+ roiviir ewe * Sub14t4to vticter *The 0 (eccr iptiR 4 e x i - . E AM. 01lf SPEAKER NAME and topic name set the overall context. SUBHEADS add detail to the headline's meaning.i 9our sketchnotes.information you've captured.

41e a c + sf WE tr ‘'IF G E T belfry t EcAUS E e0 A 1 -l f ( b( 1 d VVE G E T B l o G F R • i4 v 4 -1-Rve 1 1 g.PAAA0-H(A441 Cc' ki 7 /o/ 1 tettagt vt. Tet Re•F g u e .a4t i l / i OtIACWOVS skAt / as -1-(4ave I o U 6 1 A 4 cI. contrasting emphasis r i to the detail under fi c item no. e QikaTry/ / 0 1 9 u t 1 Wtatl 5i c-14.ik 4 5 l 4 v t e T a C : (Aim f j a tK fA A r WI 1 M D T Wa V i r ( c ? u . The drawing o f a couch emphasizes point no. Descriptive text establishes the talk. .01. The top level in the hierarchy is the speaker's name and title.item no.9 W 4 4 4W .cYv o A-T a 4 A x ei o v c 5 v — r L M iD I E R a l t e dzei5ia1-144e•tiew Ao ipq50.s V T e 5 . c ( t s o zA • og sc ed ii aA LEADER twit UN °t? C(D 134 A L T - cus-comRs \ A / lLL— d 4 .t-FtkOFIZ DO .e-Gtt • 6 0 6.HIERARCHY IN ACTION • • I use a variety of etements to indicate which bits of information are key points in a sketchnote hierarchy..i 5 t H .h A T 5 t A /c p A main point ist captured An a r r o w provides An asterisk provides t emphasis ke to the detail under as a quote using (larger type. 2. s -rtoNts! \ 1443 1 Afrioic(ck 1 . stmArial-m. AndySianiey Numbering o f the points o ff e r s a clear hierarchy.Mk f THE i-17( Ll p1250N KOH10.

) . The Second Concept c.I ----' . here are some hands etements you can use to emphasize hierarchs.. Bold tgpe helps draw the e e to important ideas. The First Concept 2. 1Fp. Second sub item Numbers work welt f o r providing a more structured hierarchy. F I A To help guide the reader's ese through the ftow of sour sketchnotes. First sub item b. n . 4 — U s i n g ALL CAPS is another wag to bring (Attention to i m p o r t a n t ideas. 4 . 135 .Icons are great for marking keg ideas on t h e i r own Or in buffeted lists.

iketchnotes don't have to beneuiral. because they reveal what the sketchnote and r wthinking a s during the creation process. h e a r i n g 136 t . personal opinions expressed and embeddedin sketchnoir are intriguing. In fact. your opinion naturally comes into ptaY• Your Personality determines the decisions you make about which ideas to capture and what those ideasmean to you. passing along exactlY is said by the spectker — nothing more and nothing less. IN SIGNLANGUAGEINTERPRETING. the interpreter is charged with staying neutral. Sketchnotes are personal. . When you're hearing and processing ideas.PEP"Au2Aerrk.

PERSONALIZATION TIPS Here are a few ideas for injecting your personality into the sketchnotes you create: COMMENTARY If you agree. if you disagree With an idea. capture your thoughts. Opinionsembeddedin your sketchnotescanbecomeahandy reference for rememberingthose thoughts later on. or better yet. 137 .

OL002%0A y 0 ) 138 ursl .._. pla9 with graphical elements like swirls.---- - • '...._. You might use flourished script text and unusually shaped containers or icons. Have fun! WHIMSY Experiment with the style of type and elements you use as you sketchnote..-- . share your thoughts in context with the idea. or stars to emphasize ideas. Include humorous people. lines.. cartoon charctcters.HUMOR If you find something that you hear funny.. or objects along with your humorous comments...

l 1 1 vmpket 0)1 II bear. fT. \WWII BOARD M1014100 so1"tlotes" $i eflAvt Y o V I Z 5TYLE • • oppo•et'l -1140.1Atom Gv-r g011E1) t It t I 1 )a.Poa t o m e a orv 401.a A5k6070.. • . 139 . 1 & l V e . 1.O 1.ctzet D i 05011ftflWork S r ado hey l o R o k 6 i tt t t % 6 Wkoi i9 . N Il g A ..IA)11.LOVE THE HUMOROUS COMMENTS AND CARTOON SrYLE OF THISSKETCP 1TE.• o ' tP Mo 1 1 ) " oAa.k/ ktivkiiimEto ottev7 P R Y ‘ i c A l .IG• %•?voleA 4. fr l a§ I .ls oKu .00%4J cl tvAdei t Gir.*bv. i l i c k A l 0 (16 m a l k y l 1 w • F o r VCor cc1[1 b a c o 1l r P i t t .3 • m• 1 .e5014i-earedRomCkekinilote 50-1. V i e 0 w o o Mark MonitAx W e• IFVP r 2012 k o f e Z .kc+ fi144-wewage.c SOP aw HE RiPr? pcevilat + 06 b e gee.(tef v r. Duralote yo ky offeti vt 2 _ 5 • .eAot? . 1 1 1 ' r . s.

March Erin M.1-lawhins • Dous Mike Rohde • SXSW Intet-4ctive 2008 NO .

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

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CHAPTER 7
0

SKETCHNOTIINIG

SK
and
ITEN NIQ ES
L
L
S

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

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

146

-

LEANED:

SC / 4 )
1EdWhat
1 ( sketchnotes are

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

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

147

ems
11
7
1
1
11

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

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

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

148

* DRAW ALMOST ANYTHIN6 WITHTHESE 5 ELEMENTS. .

THAT'S RIGHT! You can draw pretty much anything you can imagine with just five basic drawing elements TheFIVE BkAC 1 L A 1 4 THIS SIMPLER WAY of creating images is often a relief for non-artists who want to add drawings to their sketchnotes but think they can't draw. 150 .

triangles.FOR THE IDEA-FOCUSED DRAWINGS you want add to to sketchnotes. lines. drawing complex ideas by building them with simple squctres. circles. Can you spot the five elements in each of the following figures? House 1 Pencil Earth Ca t Car iPhone B o o k Factorg Laptop Satetlite Radio TV Dog Lightsaber Robot 151 . and dots is a handy technique.

152 . te. •ILL UST" y • •focus INSTEAD on QUICKLY C SIMPLE D'eAWINGS P ofTthe IDEAS 'EA IN IN YOLP HEAD 6 usingthe 5 basicelements. museum q .u a l i/4 t\Ti NS. • C • • .•ATOE •IP)flATE:• • THAN . .1 .

speed and effectiveness are critical. Whert 9c:wire working live.M• P I ' T I V 7 5 FANCY ILLUSTRATIONS E 1 r I T E M S 5 SIMPLE DRAWINGS Woman 11 Laptop Lapt op Tree Pie Chart Pie C h ar t o Book Book Simple drawings by Mike Rohde Fancy illustrations by Greg Newman FANCYILLUSTRATIONS AND SIMPLE DRAWINGS conve9 the same ideas. 153 . but simpler drawings are quicker to create.

CAR CLOCK BOOK LAPTOP COFFEE M U G B O AT IGLOO C AT DOG TRUCK TRAIN TRACTOR LIGHTBULB EARTH S AT U R N M O U N TA I N TREE HAMMER WRENCH HOUSE 0 15 1 . If you get stuck.IFPIE BASIC ELEMENTS Err"iSr Now it's time for you to draw! In the grid below. triangle. use the five basic elements—square. skip to the next word. circle. and dot—to create drawings of each word in the grid. line.

S H I RT SHOES TRASH C A N HAMBURGER PEN PENCIL W AT C H 155 . .FISH BIRD BUG ROBOT FLASHLIGHT CAMERA SUBMARINE SANDWICH HEADPHONES MILK J U G B AT T E R Y TV DVD TV R E M O T E M I N I VA N BIKE BASEBALL CAP T.

etc.D W I N S PEOPLE Drawing people quickly is a great skill to learn. Follow these four easy steps: Draw the head Draw a star-shaped body 11 4 1 4 4 0 Complete the body 4 3 Add faces. There are Virta119 WayS to draw people — s h o w you the two quickest ways- THE STAR METHOD This method is used by professional graphic recorders f o r its speed and simplicity. clothes. 156 . hair.

1 .

THE6111'(. and several lines. Draw a Head Draw a head as a circle or an oval at the top of the neck line. draw a neck as a line at the top of the rectangle. Fottow these six easy steps: Draw a Body Start by drawing the person's body as a rectangle. keep the neck short. 156 .8 If METHOD Dave Gray taught we another way of drawing people using a rectangle. 1 Draw a Neck Next. which can be straight up and down for a format pose or at any angle for an active pose. The position of this rectangle sets much of the body's attitude and direction. Make sure there is enough room inside the head f o r a face. an oval. I love this way of drawing people because it's quick and attows for embellishment if I have extra time.

159 . a nose. Use simple lines for the feet.Draw Legs Using lines. Bend the legs at the knees as needed. For the nose. and a mouth. add legs to the body because legs suggest the body's gesture more ctearty than arms. draw arms in relation to the rest of the body. bending at the elbows. 0 Draw Arms Next. a simple line works welt and can be pointed in the direction your person is looking. A simple line works welt for hands. Draw a face Finally. use simple lines and dots to draw eyes. Have fun adding more detckits to your person once the basic structure has been created.

I n cand i sother e details — have fun! S TA N D I N G RUNNING 'Ilk WALKING 160 JUMPING . I've w r i t t e n some suggestions in the open grids to challenge 9ou a bit. Tr9 adding clothes. . shoes. hats.use the Gra9 Method to draw people.PrOPLE E r In the grid below.

SITTING ON T H E P H O N E DAD & SON WALKING B A C K PA C K E R READING A BOOK T E N N I S P L AY E R KUNG FU M A S T E R M A S T E RR C H E F DANCING 1 i 161 .

ft.0 1 \ •.\ . . 162 •. a triangular nose.p r i A l p r N r t a : \ fr47(12% My friend Austin Kleon has a way of drawing faces using a few straight and curved lines for eyebrows and mouths. . • ' N . .\* s• • •m•. ••••\ c N • .... .-I \. 0 / f t . Using these etements in a bingo grid. 1 f .J s• '.. . \ t' " N•__\• ..\ • ... you can quickly create nine different facial expressions: EYEBROWS • • m • • • • • • • ... " .. ... and dots for eyes.••\ f ..._... .•••••• \..

IRAININC FACES Er :IcV• Now it's your turn to create faces using Austin's approach: •••••••Moimmeigodomet 0. m . a 0 n ot o o m e r n el m a Next. . try thokt same technique on some blank faces: 163 .

•"'•'M E S Exercise Now it's time to create more faces. BIFF TEX BOB 164 4 7 . I've provided a few eye and mouth options. but feet free to make up your own. MOUTHS A y % 'Cr> BUFFY MOZZY FRED BIANCA FRANKIE M A I THE FACIAL EXPESSIONS CAN YOU CtsEATE? . EYES elt1/4 e g N .

Pawing TYPE TYPE TY rrnIVPA 165 .

single-line letters are great for establishing sections within a sketchnote. Uppercase cknd lowercase single-line lettering is especickltg effective when used for headlines. drawing single-line lettering is easy and quick. AND LET THE LETTERS FLOW ONTO THE PA6E.tu W I N G TYPE A great way to immediately improve your plain text notes is to emphasize words with hand-drawn typography. 166 . JUST RELAX. Plus. In fact. . WHEN DRAWIN6 TYPE. small. 1 • • • • • • • • • • • • • stsAAL. you can create bolder or larger letterforms by hand in four easy ways: SINGLE-LINE LETTERING Using a single line.L L E T T E R I N G L4r3e Isiffierirt9 • Alt caps. these clean headlines can draw attention to a section you'd like to emphctsize in your sketch notes.

you can create bolder type. black letters. adding a second line next to it Next. and then fill in the gap with ink for bold. C You can also draw the type as a single line. slow down and deliberately create each character: A B C D E P C . ) H I JLETTE K LV N TWO-LINE By drawing two lines in parallel.great thing about learning the single-line type method is The that many of these type crecttion methods are based on it. you can close the ends of each character with a small line. NEVER HURRY. . DRAW V J R Liz i TERS WITH CONFIDENCE.When crectting single-line lettering.

and then fill in the gap with ink for very bold.7 1 - TRIPLE-LINE LETTERING This bold lettering style begins with a single-lined letter._ _ _ _ _ _ START SIMPLE & BUILD UP i Using the single-line lettering method allows you to quickly convert your letters to two. dom.. . and then two lines are added on either side of the center line. even at a later time. - As with two-line lettering.- ( Alt three of these lettering methods start the same wag.or triple-line lettering. 3 1 6 0 0 1 0 1111 0 1 .. simply by adding more lines... you can close the ends of each character with a small line. black letters. . 168 .

Block lettering works well on title pages or when you want to emphasize a key point.. SPEEDY OAEADO. i Started but incomplete SPEEDY N O N E Cornpteted at a later time 169 —ea . This is fine — just remember to finish the words you've started drawing when the sketchnote is completed..BLOCK LETTERING The block lettering approach requires a little more practice. skill.. block lettering is a nice way to create a strong impression.0110111111• Regutar btock lettering Drop shadow added f B i l o l c l k e d lettering in WITH ALL of these hand-drawn lettering approaches... and time. When used properly. . you may need to start the first few letters and leave the rest for later.

triple-line. Use these pages to practice creating single-line. SINGLE-LINE LETTERING: ABC abc TWO-LINE LETTERING: A P 3 C a b L 170 .m\WIINI6 TYPE Exerre Practicing hand-lettering techniques will help you quickly create type for your sketchnotes in a meeting. and block lettering. two-line.

TRIPLE-LINE LETTERING: A C wiDc BLOCK L E T T E R I N G : ET 171 .

PEN IS MIGHT1E ummorl .

It took me months of practicing lowercase letter writing to get comfortable with it again. 10 YEARS AGO i wrote only in ALL CAPS block letters after abo. you'll still need legible handwriting to capture detctited idects in your sketchnotes.0 + s of protc WAS T H e NoRNA k e t R o o t ottebreAtc• FOK tice ME YVARSAGO• -RAPt+ tutloif: My otd ALL CAPS handwriting My lowercase handwriting MIKE'S PENMANSHIP TIPS: Here are a few tips that help me when I need clear. one at a time.Although large typographic elements work great for highlighting sections and ideas.ndoning lowercase handwriting. legible writing: Practice Just a few minutes a day does the trick. . if your handwriting is rough and illegible. Don't rush! Relax Loosen your grip and relax your arm tension as you write. So. you Can change it! Just take it slow and keep working on it. ALL cips LETTERING I . Slow Down Focus on each letter.

- r _ 17 1 4 . . LINES CONNECTORS _ . o n f t • .tv 1 1 1 0 1 A . .••ANIN161 ' it. . •1/ . 1 1 0 4 b l _ BULLETS 4 .. * . . e . I _ o •••••••••••_./m. . variety of shapes and sizes.. . .. . . .r.PNITs Visual etements add interest to your sketchnotes and can be a . " . Here are a few you may find usefut to (earn as part of your practice routines: •/!!! Sit .

. - - - CONTAINERS 1C D r • • • • • • • • • • V o o m m e • .4.. •• •• SEPARATORS ci 0 0 • • a n N o • a n a m • m • • • • 0 • • .•••••••...anmn • ..... • • • • • • N W ••••••• THOUGHT & SPEECH BUBBLES " . t.. L . - - - - v -0 4 •• •• • ....pm... • 0 0 0 1 0 • 0 a P a • • • • • • • • = 1 = ••••••••••%.. • • • • • • - ICONS at"1/4 o t •43' (21ZS 02 i E l 175 ..

using the exercise sheets in this chapter. This visuat exercise challenges you to imagine things in your mind's eye and then draw them as simple objects. coffee maker. 176 . KEEPP . you learn and practice drawing all the visual elements As you've explored in this chapter. or stapler. Learning these techniques is a great way to acid selections to your visual library. computer. -• .1r7 • I V 1AP . Imagine your toaster. FOR EXAMPLE. obscure items and draw ectch one in the book using the five basic drawing etements. and draw it. a pocket notebook — even the back of junk mail envelopes. Another activity is to chatlenge yourself to draw items from memory when you have some downtime. C T you've I C filled the visuat library Once exercises I N G in this book. keep your mind in practice by creating new visuat librar9 objects using Wank sheets of paper. use your memory and draw objects from your kitchen and office. Push your mind to think of small. you're actucttly building a visuat library of items. sticky notes.

with a WELL-STOCKED VISUAL IN YOUR MEMORY. 177 . drawingideas andobjects BECOMES EASIER.

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

178

179

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

1

1

e=6

180

181

I like to use humorous ideas for drawn metaphors because funny images are surprising and more likely to stick in your head. or wild drawings for your metaphors._ _ _ HOT HEAD . WORLD PEACE WORLD WIDE WEB BUCI<ET LISTS THE KEY TO CREATING METAPHORS Let your imagination have free rein when you're sketching metaphors. Don't be afraid to use crazy. apparent19 unrelated idea. METAPHORS SHOULD BE BOLD & FUNNY The most successful metctphors I've captured as sketch notes have been bold and a bit Over the top.p miNe !I\IF7A051-fr) S Metaphors are figures of speech that use the attributes of a known idea to describe another. • •••3 JOHN LOST HIS HEAD TIME FLIES 182 1 1 1 1 1 1 1 1 1 1 1 1 • 1 1 1 1 1 • 1 1 1 1 = . silty. . The vvlost absurd drawings I've created for sketch notes are often the most memorable. Good metaphors lean on vivid imagery.

WILDEST IDEAS asMETAPHORS. C I E S T. 183 .Seekout the SILLIEST. THEMOST BIZARREIDEAS CAPTUREATTENTION AND ARE UNFOROETTABLE .

fot An9 paper or notebook. I use pocket-sized Moteskine sketchbooks becctuse the9're smatl and can take a beating in m9 pocket or backpack. Moteskines nave a pocket in the back for storing business cards. . which resists bleeck-through even with beav9 inking. MOLESKINE SKETCHBOOK Moteskine sketchbooks nave heavy paper stock. etc. pencil or pen will work just fine for sketchnoting. However. HEA VY 1INKING 0 6 1 1 2 An elastic strap keeps rA9 sketchbook shut. there are pens and papers that work better for some than others. \. A h6km/9 bookmark lets nen a r k where I l e f t o f f sketching.

A c N (cs53/ )FONITSTACKING 41 -pctfevtls o r RePtkernent Focus o n 5 c oblo‘ck-and-white M Y STYLE features high-contrast. so Ip use aI bold.s*MOVABM c THE M ) 1K 1gy ! r7asiKAT/ 7 CoPON /wiz PAITERNAPowiNis SAM Pt-S oF vSea. 0. typograph9 and drawings.7m vn gel pen. t N I F : k r . GREATwebeiesiei pest gn A r tContenV m KNow molitumil TeASie .‘ ct -E!!! Mike Rohde • SXSW Interactive 2010 lb 185 . M9 Pentel it \Rc H T1.A Moleskine's two-page spreads work welt for the linear sketchnotes I create.7mm gel pen. Here's a sample: what'sThe <Zan? SPPLESER577.7 : -M y SPaced 4 I r aLEAUE. r p R EnerGet 0.

kr9xC 2 i l • • . 0 OZ ONe) rC. •111EY MN I l i f e c m r . D O A s A L I TERK/ ' c5 t 7 ( . awl . 1 W 7 g: :0nt 59 1 2 -coo)5 _. coo .. E P SPIRAL—BOUND SKETCHBOOK 1 O31 .1 1 P • 4ezzam You can find a wide 1: 4 varietg of paper tg pes in E a spiral notebooks to 4 Fr handle ink. . .E7E:j1 t tronp rn . 7 1 . . . . n 1 u k t I E L I M ! 0ARAICIV ( T I n . notebooks are Spiral great for laging f l a t . K . O T or even watercolor paints. colored pencils. c ga( . 7 0. S T I O t a . o. .. and N c p. 1 ) e ) . on tables.2 le6ra .... A r g O.l.*SP4V-. .A K 5 . Nome aft text. h) ef . oi 'Dry v 1.th.. s AND ' . . -----. Cuuriry . r1(49ALAGIWX. ) & notebooks Spiral can &so be 0 flipped open f o r easy access to ckng page in the book.smotC: . j t o i c) W...k.4641..' 1 11 .t1 1 o) t t .111 e ctrae Pup le i o r o i lhe onion t v t1016 g a . c. A„. 7 Others use finer black lines as a base and then amp1if9 their \sketchnotes afterward with colored markers. rr o c y - OCOMW1. LAF even watercolor paint. b t J i on n odifitte4atviceS rU EMOTIONI 8relPEKIENCE 1.1 o 4. t ic EASY ihe soma). e m. E 0 1 .n 4 c6a ELERN I CEMATIEI5 . . 4 h o o l o 9-. markers.1 v410 it -c AL MM.. 4 +1 do .\01 7 (1 007 tv. I1)e l e r l Pow czs ) x .. ' .CHHEP ' Some sketchnoters prefer square or spiral notebooks...A • SCOL i LCommto rry t6e 04 1 0 .-----.w I l l e .A 0 eatAke Schildt • Ton Zlystra 186 1 .. . i t1 uW 0r • 6 .

or felt tips (0. Experiment with a variety of book styles.3 to 0. which dry quickly. and markers until you find the right combination that works best for you. pens. 187 _-dill . ball point.PEN OPTIONS include gel.5mm fine point). Highlight your sketchnotes with felt-tipped markers or colored pencils. Thebooks and pens you choose are up to you.

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

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

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

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Hereare a few details-Eoremember: STARTSLOWLY Use just a quarter of the page to start and expand as you improve your skills. r • _. Bad drawings can still convey good ideas! kids IV EXPLORE S I Find your own way as you learn to sketchnote. . 1 TLYLAMNISI You've made it to the end of The Sketchnote Handbook! Now you have a better idea of what sketchnotes are cknd how to create thervi. BUILD ON SUCCESS Try a few techniques and be happy with your progress as you continue to improve. the better you'll get. fli ck Isketchnotehandbook . M V • 1 h 1 1 . listen closely. The more you practice listening.• • • • • 1 0 = . just like W do. and concentrate. Everyone M a unique way of forming ideas and capturing them has SHARE P L Share those sketchnotes! You're invited to share your Y work at The Sketchnote Handbook group on Flickr: 196 ww w. D1 1 Use the 5 basic elements to draw simple shapes. • . • • • = 1 . Go easy on yourself! LISTEN UP Manage distractions.

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I35. 68' . Matt.103 attention. Sunni.I38.175 as9himetric radial sketchnote. c-shape path. 22-23 cameras.182-183 drawing people. 40-41 circles. 30 dots.150 commentar9. used in drawings. III Brown. digital cameras.INDEX A about this book. Boon Yew. 42 cartoons. xiv caching ideas. 87-88 ideas evnphasized over.133 bullets. 75 doodling drawing compared to. 58 Boudwin. 37 block lettering. 'II Berman.I63-164 drawing metaphors.174 artwork a r t & structure scale. 47 F3 descriptive text. 85.13q Chew. digita1.134. Binaebi.174 200 diagrams. 58. 6.162 exercises on. 47 dividers.13 distractions e ff e c t of sketchnoting on. 71. KT.I6. 2'1-30 brainstorming.I56-161 .148 capturing ideas. 71 Balara.I74 See also drawings asterisks.144 bullet points. 48 active listening. 6.18-1q.134 containers.134 backup supplies.137 concentration.173 anchoring ideas.168 book light.171 bold t9pe. 46. 25. Craighton. 31.I33.107 brain dual coding theor9 and. 24-25 big ideas.1 6 1 5 0 drawing faces. describing. 25 Broadbent. 43.I62-164 basic elements for. 27-28 visual maps and. 6 . 31 eliminating and filtering. ILI stud9 on vnemor9 and.167.18ct ALL CAPS t9pe. 3'1 concepts. 70. 8 connectors. 25 arrows. VI.18. Marichiel & Dan. 16'1. 46 Akah. WI 6-67 digital sketchnotes. directing.I35.

129 3 4 five basic drawing elements. M . 5g Gray.6 7 skills f o r creating.16 facial f.I57-15q researching beforehand.1 6 dual coding theory.160-161 making sketchnotes at. drawing. .170-171 single-line lettering.5 3 . 54-55. 62. 1 6 . 7g.154-155 4 9 -finding 1 5 2 in drawings. 7g.166-167 tips for q u i c k l y. Jessica.1% focusing attention. 154-155 ideas conveyed through.162 eyes. Dave. IS.167 . f r u s t r a t i o n with note taking. 5 2 . Veronica. lOct George.I65-171 block lettering. 5 7 . 6 6 . expressions.161 exercise on. 27-2g. 153 five basic elements of. 61 Gray method of.6 2 graphic recording.174-175 drawings fancy vs. 63 experimenting with sketchnotes.114. e l t -3t i-p1p6e d markers. Pt gathering materials for. simple.exercise on.I6. 1 6 two-line lettering.164 F faces basic elements for.1g7 Erb. 1 6.I51 fixing/tuning sketchnotes. xv.16.157-15q grid-like patterns. See also typography cl drawing visual elements. 57. 60 drawing type.15 Gray drawing method. lOg 201 . drawing. 23 s t a r method of. exercise on using. g5 grade school doodles. 1 4 . g 0—gl Esch.I62 exercises on d r a w i n g . 1 Alexis. I6g g . 3g sharing sketchnotes from. 1g5. 34-35. 3 funneling information.151 including in sketchnotes. triple-line lettering. 62 Flickr site for book. 59. Michelle. N events. 20 eyebrows. 39 1 dynamic note taking. 47 frames in sketchnotes. 25 6 gel pens. xii.14 See also a r t w o r k drop shadows.1g7 2Finch.156 title page for. 79 scaling tip for.1 5 2 . NI arriving early to. 1 6 . 42-43.

25. '13. 3'1 121 materials for sketchnoting.102 meandering storytelling. Eva-Lotto. IS.145 Lamm.112.10. 51 focusing on larger themes and. visual vs.171 single-line. 11g-119 larger themes/ideas. 45 naturalness of drawing while. lig iPad and i Phone.167. 1 2 0 -lytaps. Gerren. 55.175 ideas Lamson. See artwork.170 linear sketchnote pattern. 37 lettering block. 4g connecting with arrows.135.169. 0-6 handwriting.133-134 elements of.10 Ide-Smith. 6g. 57. 75.174 1 4 listening.170 triple-line. g6. 34-35 practicing skills in. 2c1-30.I76 keaggy.author's approach to.I71 two-line.3 5 creating. I Ig. 46 . 4'1 memory drawing items from. 5g Magairt.. Erin M. Ltg .. 25. visual. g. Michele. '17.I73 hard-back notebooks.lowercase handwriting. 2 0 2 1.166-167. 50 emphasized over artwork. I40 headlines.I31 kitchen items drawing exercise. Bill. 37 process for Capturing. g2—g3. 17g-17 6 Kleon. verbal.16.124-126 . 11 hub-and-spoke structure. 4g caching through listening.173 summary points about. 46. 70.144 Hawkins. 43 keys to process of. 25. 47-4'1 anchoring metaphors and. 42 sketchnotes built from. 44-51 active process of. 3 4 . ' 1 5 6 humor. Cassie.162 1 study on doodling and. 14g live sketchnoting.4(0. 25.13g.133 hierarchies language.150. 32 conveyed through drawings. Matthew. Austin. 16g. 30 visual maps and.13c1 16 icons. ' I I 6 lines in drawings.105 illustrations.106. drawings immersion process. 30 Mental cache.I35 holistic approach.154—I57 McDaniel. 25 caching ideas through.

9 5 9 9 path pattern. 62 holistic note taking and. 91-9H R modular pattern.139 9 -1-1g5 mouths.156-159 note taking author's f r u s t r a t i o n with. Altan. 42 PNG formatted files. H I 203 __. 79. 5 g . 61. 7. 7.127-129 text-only note taking using. 1 -16. 23 feeling of sketchnoting vs.1 2 .popcorn pattern.135 photographing sketchnotes.113-115 radiat pattern.I53 methods for drawing. II personality in sketchnotes..1 .103-105 real-time s k e t c h n o t i n g .3 0 modular sketchnote p a t t e r n .110 —112 vertical pattern.136 personalization of sketchnotes. xi i. 136-140 numbering points. 1 2 4 126. 2 7 .136. 1 0 6 -Moleskine sketchbooks.134.1 g 3 mind visuat maps and. Mark. 1 g 1 0 Monlux.2 g skyscraper pattern. 9. 7 3 .100-102 PDF documents.9 9 metaphors anchoring ideas and.106-109 radial sketchnote pattern. 30 o ff i c e items drawing exercise. 1 2 3 . 3 scaling tip for drawing. 75.135.11 pencils tips on drawing.173 pens f o r sketchnoting. 25 dual coding theory of.162.12. 7 3 .1g7 pencit to ink approach. 50 11 5 presentations Paivio. 4 9 patterns for sketchnotes. 3 penmanship.1g0-1g1 planning process. 46.3 g visuat and holistic approach to.16 11 N highlighting with colored.110 path sketchnote pattern.103-105 immersing your mind in. '-IS pattern recognition. Igg—Ig9 0 pie charts. drawing. 2 9 .1g7 people exercise on drawing. 62 opinions in sketchnotes. 90-116 linear pattern. 9 5 . Greg. 27 panel discussions.I60-161 Newman.103 pocket-sized Moleskine sketchbook. LII recognizing patterns i n .137 organic path shapes. I 1 3 -practicing listening skitls. IgL1-1g5 P popcorn sketchnote p a t t e r n . 3 6 .

63. 52. 57-62. 62. &I spiral-bound sketchbooks. s9uares.Ig—lq. Gg.140. 23.104. 25 patterns used for.com website. xii sketchnoter covrmunity. 59 separators.166-167.136-140 5 scanning sketchnotes. 6g refining sketchnotes. See memory recognizing patterns. 66 dividers used in.130-131 Rowland. 64 single-line lettering. 62. 70 Steed.I 2 3 . Igg—Igq photographing and scanning. I84-187 Moleskine. 63. xv ideas over art in. 49 structure of sketch notes.3 5 speech bubbles. 60.16. 75.190-191 signatures for. 192-193 advantages of. xv sketchnotes two-stage. 58. Igg—Igq. 71 style of. 7 6 Reynolds.7 7 204 hierctrchy for. 62. 49 diagrams and drawings in. Chris. 43 4-126 sharing. 53. Igg—Igq planning process for.1q4-1q5 containers used in.t-tie.136 signatures in sketchnotes. Igg Soupiset.165-171 skyscraper sketchnote pattern.154-1g5 spiral-bound. WC . connecting.175 Sewell. 7. 64-71 arrows in. Bauke. 36 researching events. 'gel Schildt.I33-135 . 57.13 rohdesign. Paul. 3 6 . 92. Ig6 seating considerations.142—N3 1 Rohde. Igg social media.I56 bullets and icons in. 42 reo. Mike.14g rough-to-refined approach. IS& Sketchnote Army blog.recall.150 a r t w o r k in. 23.8 9 creation process for. 61.175 anatomy of. 90-116 personalization of. ri—gg s t a r drawing method.127-131 typography for. Carolyn.101. 46. g5—g6 titles for. Timothy 1. 43.113. 61. 71 stories. 65. 7 2 .8 9 sign language. Kyle. N4-145 key concepts f o r making.110-112 smartphones.123. 613 relaxed note taking. 62. II how to create. 82. 43 experimenting with. g. 94 sharing sketchnotes. 55. 20 handwriting in. 1 2 1 refining the look of. Francis. 8 7 .153 holistic approckch of.170 sketchbooks tools f o r creating. NO Shipton. 71 structure of 8 7 .

3 4 .176-1 gl advice on building.165-171 block lettering.13 w-snape path. focusing on larger. "16 s9nthesizing information. 25 V verbal mode.3 5 visual -1-175 visual librar9. "Ig.175 t h r e e .127-131.10. descriptive. 17g-179 o ff i c e items exercise.1g4—Ig7 drawing in s k e t c h n o t e s .13 1 text-only note taking.175 text.167 .100-102 visual elements building a librar9 of.p o i n t sermons.I6. 60. 37 thinking processes.123. 1 7 1 language.st9le of sketchnotes.166-167 z-shape path. 2 7 . 3 4 themes. xv whints9.171 Tw i t t e r info f o r author. 33.103 zone for sketchnoting. 5g. 30. Ig6 w r i t t e n sketchnotes.133.176 kitchen items exercise. 65 zigzctg path.103 exercise on drawin9.167.133 s9mmetric radial sketchnote.2 g 1 .127-12'1 rough to refined approach. 64 tools f o r sketchnoting.140 Wright.16g. I6g two-line lettering. .s t a g e sketchnoting.I61 triple-line lettering. LH titles. 2 6 visual mode. 2 7 .170 t w o .176 talk bubbles.150 triple-line lettering. 53. I'll website of author. Amanda. pencil to ink approach. g5 thought bubbles. Ig0-1g1 visual maps.135 tips f o r adding to. g5—g6 subheads.2 g vertical sketchnote pattern. 25 triangles. 170-171 including in sketchnotes.103 hierarch9 emphasized through.3 0 notes.169 warming up. xv two-line lettering.39 single-line lettering. visual II 3 " I visualizing ideas.16g.138.130-131 t9po9raph9.

and type to make my notes more visual and much more I CONED a NAME for THISPROCESS: S K e t INC THIS BOOK & VIDEO I'LL SHOW YOU h * STEPBYSTEP * nhowa totdraw e people. focused on BIG IDEAS. facebook. and simple objects — even if you S think .com/PeachpItCreativeLearning • epeachpit US $39. type. co au th or o f e I used to attend a meetings and struggled to pay m attention by e taking super s detailed notes. author of The Connected Company."MikeRohdepractices whathepreaches.2 118f88I 91 53 9 J1 91 . I'm Mike Rohde. you can't draw a thing. "Somethingmagicalhappenswhenyou take notes with picturesandwords. encouragingbook. o WATCH ME IN ACTION! On the video that comes with this book. drawings." —Austin Kleon. andinnovative discipline. practical. A BVDEN. faces. In this friendly. together. author of Steal Like an Artist 1 Hi. t TAKING NOTES BECAME o r m i GAVE UP AND TRIED n g Ornething N E W .99 C A N $it1.sketchnote wizard MikeRohde shareshissecretsso that anybodycansteal his tricks for capturingideas with penandpaper. TheSketchnote Handbookisdestined to bethe definitiveguide to a new.8 8 5 1 1 . Thisbeautiful." —Dave Gray.3 2 1 . Ishow you how I sketchnote an event.99 BOOK LEVEL Beginner/Intermediate CATEGORY Computer Art & Design COVERART a DESIGN Mike Rohde TOTALVIDEO RUN TIME I hour10 Minutes VIDEO REQUIREMENTS Broadband Internet Connection ISBN-13: 978-0-321-88511-1 ISBN-10: 0 . and reveal more tips for making and sharing your own sketchnotes. demonstrate the drawing techniques that I talk about in the book.simplebookhaseverything you needto sketchnote like a pro. using a mix of words.