I just watched Sam Bradd talk about Graphic Facilitation, it is an excellent talk both engaging and very informative. Sam talks about what Graphic Facilitation is and the range of potentials and use of the practice, he also answers some great audience questions at the end. I would really recommend Sam’s talk. https://lnkd.in/e76qn-m
The International Forum of Visual Practitioners (IFVP) Annual Conference 2015, Austin, Texas
In July I travelled to Austin, Texas to join the 20th Annual conference of the International Forum of Visual Practitioners (IFVP) where around 150 people from across the world from twenty-one different countries involved in the various forms of visual practice came together aiming to explore the potentials of the work. Visual practice includes people involved in graphic facilitation, graphic recording, sketch noting and graphic coaching to name a few of the strands.
I have been a member of the IFVP for the last three years and felt very honoured to receive one of the six scholarships that the IFVP gives to members each year. Here I hope to share a few of the key highlights and learning gained from travelling so far to join in. I arrived in Austin’s Bergstrom airport on Monday evening to a wave of Texan heat, an array of very different bird song (mostly the Great Tailed Grackle I was told) and strong American accents surrounding me. I caught a bus to the conference hotel as I was in no rush and let my eyes explore as I travelled the short journey into the city of Austin.
Early the following morning, I went to seek out Lynn Carruthers, the then President of the IFVP and the person leading the organisation of the conference and also the person coordinating the six scholarships. Now you might expect the lead organiser of a global conference for 150 delegates to be looking strained at every seam on the final morning of preparations but this couldn’t be further from the truth. A very fresh looking and cheerful Lynn greeted me warmly and within minutes had assigned me my first task. Over the entire conference I watched as she zipped this way and that, cheerfully delegating, solving issues as they arose and working through her carefully planned checklists. This event had been planned to an amazing degree (well I guess it is an event for facilitators). The team of people who were beside Lynn in the event organisation were equally upbeat and focused with can do expressions, this leadership and teamwork style reverberated over the days and I heard numerous times if someone could do this or that and would here the same styled reply ‘If Lynn or one of the team is asking me to do something then of course, no problem’. I have been involved in many, many events and I watch other skilled and thorough organisers perform their magic and this is one of their notable talents they share; to be able to enjoy the process, to plan well ahead and delegate clearly and to ooze a lightness of touch, together these are returned by an atmosphere of positivity.
As both a delegate and a scholar I was there to roll up my sleeves and to get stuck in where needed. My key task over the next few days was to assist the photographer, Steve Weinstock, by uploading the files of photos he captured onto two different platforms. Whilst my brain rebalanced in the first day after a long flight this was easier said than done but gradually I adjusted and got into the swing of the task and took memory stick after memory stick from Steve who relentlessly pursued the busy agenda capturing the golden people moments along with the numerous graphic records being created. For every session held there was one or more people capturing a graphic record. At the end of the conference the main conference area, the hallways and the breakout rooms were all covered with amazing visuals of the content of the days in all sorts of styles.
When each session began there was a hilarious synchronised bowing of heads by the audience as each person was pulled to their own sketchpad to capture their own sketch notes. In so many other events/workshops there may be one or two people, or maybe even a handful that would be doing this, so to be surrounded by an entire conference gathering of other obsessive intentional doodlers and visual thinkers was an unusual but welcoming experience. It occurred to me even by early on in the preparation day, that I had already met a host of people and was chatting easily and feeling collegiate with an at home feeling I could have only hoped for. An opening welcome evening on Tuesday for all the delegation kicked off with a reception and short addresses from some of the key organisers.
The following morning the conference got into full swing. Now for those that don’t know the field of visual practice really took off in the 70’s and 80’s and one of the pioneers of that time, David Sibbet, has always been a great supporter of the IFVP. And whilst David Sibbet and many other leaders of the field were at the conference one of the truly special things of this community was the genuine non-hierarchical attitude and atmosphere of everyone. Whilst I had awestruck moments and acknowledgments of people’s legacy and expertise there was an equality and humanness that could not easily be explained by any one persons action or behaviour. It was fascinating to hear David Sibbet describe the journey of visual practice emerging from 1970’s and whilst this is a journey I am familiar with there is nothing better that receiving water from the source. David described how there wasn’t a field in the 1970’s, then through noticing how architects worked together using diagrams to try to solve problems together a catalyst began. In 1979 David Sibbet began The Grove and wrote a first book ‘I see what you mean! An introduction to graphic language recording and facilitation. Meanwhile a group of graphic recorders had started meeting and David came and joined them. David described this group as ‘this is a group who practice radical acceptance’, my reflection approximately 30 years later in Austin, Texas was that this is still the case.
Over the next few days I went on to speak to many people both those that had been in the field for a brief few days or weeks to those that extended back to the origins of the practice. And by speaking I don’t just mean a casual introduction, the conversations were rich and exploring constantly the how do we create our visuals to methods and approaches behind the practice and process of facilitation. I spoke to people in the various workshops, I had conversations with different people at breakfast, lunch and dinner, there were discussions with people when gazing at graphic records and pondering over the book store and of course we also escaped the conference hotel on a few occasions (even if it was lovely) and ventured into Austin where the conversations even then orbited around the practice of facilitating processes. Another thing was apparent in these conversations and that was whilst it was clear people knew some people previously in different ways wherever you physically landed at any given time so spontaneously you became part of that conversation.
Of particular impression to many was a session on The Aesthetics and Ethics of Visual Storytelling by Kelvy Bird, Anthony Weeks and Lisa Sorsa. The three introduced their own approaches and took questions from the audience as they compared and contrasted thoughts about how, what and why they did what they did. As graphic recorders of stories and narratives they explored how we focus on active listening and listening in the broadest sense of the word, listening to the content, tone, body language, room dynamics and meanings and our role being to distil and capture the flow and create a reflection of all that we hear. They explored how when we are graphic recording we are not empty vessels but that we aim to be purposefully be aware of our own content, that we knowingly and actively apply filters and it is our role to check these filters to ensure they are the right fit for the nature of the activity in hand. A key learning here was to grasp that graphic recordings capture a story but that each story has no absolute end or beginning and as one ends so begins another. The metaphor of an iceberg was used to help visualise this message and how if you look at an iceberg from the side, seeing the tip above the water and the mass below the water, you have one perspective. If you flip your view to look at the iceberg from above, another perspective reveals itself, of rings expanding outward (similar to rings of a trees ages) and that each progression moves into the next. Kelvy Bird explores this dynamic further and how it applies to facilitation on her website http://www.kelvybird.com/storytelling
The IFVP aims to stretch frontiers of the work of visual practice and a very notable moment was while the Visual Story telling session was happening an amazing nine different recorders were simultaneously recording the same session but each in a different language. This tremendous achievement was fascinating to witness. The reflections from the recorders at the end of the session indicated a common theme from those recording, that to listen in one language and to flip into translation in another and then back to listening repeatedly was far more difficult than anticipated. People described almost feeling the mechanisms and effort in there brains as they jumped between the language listen and the translate and record modes. Fair play to them all they did a marvellous job and another great potential opens up for the community. Below is a photo of the graphic records all gathered together following the session (these can be seen individually on flickr).
One session explored the process for a graphic recorder of live graphic recording, the session ‘inside the graphic recorders head’ (also available online to watch. http://www.ifvp.org/content/getting-into-the-head-of-graphic-recorder ) The idea was to use the same short TED talk and watch as each person graphic recorded the same talk one after another to further explore the process and different methods and styles of graphic recording. This was a particularly generous give by the recorders as the reality is in an 8minute TED talk there is only going to be so much time to capture and certainly limited time to polish and finish (the bits that we often do in the pauses and the breaks). This was an incredibly revealing and useful session illuminating the individuality of the process whilst also sharing the listening for key anchors and content within any talk or content.
There were so many other memorable sessions and stellar presenters that would fill many more pages but I guess I need to stop somewhere.Toward the end of the conference OGSystems http://www.ogsystems.com illuminated the interconnections between us all session using the metaphor of orbiting and planets, this was a creative and enjoyable session with great visual templates for people to participate in across the room and with great potential for using in many areas.
From meaningful, reflective, creative and interactive sessions there was also time for many lighter moments. On one occasion we were indulged with by the uplifting and observational humour of Julie Gieseke who parodied the experience of a graphic recorder in a merciless way sending the audience reeling with knowing laughter and wincing in recognition.
On the final afternoon Dan Roam, the author of the international bestseller, “The Back of the Napkin: Solving Problems and Selling Ideas with Pictures,” spent some time describing the strengths within really basic and simplistic drawings to convey complex ideas with the great potential to help people ‘see’ what your talking about.
A few final things to mention; the IFVP is an entirely voluntary led organisation, all of the Board members and those involved in the organising volunteer their time. This is particularly astounding given the sheer amount of time it takes to organise any conference, let alone a global conference, add to this the on going communication and activity throughout the year I really do take my hat off to them all and thank them all sincerely for their hard work and bringing together this unique opportunity and learning experience. The IFVP now has a new President following the Annual General Meeting and welcomes Jenny Trautman to the role.
To end, I have come away with so many new inspirations and the ideas are peculating fiercely. I met and made connections with people from far and wide and I know there were still many I did not get the chance to connect with but there is always our online networking that bridge the time and distance between these rare opportunities. Those people attending from Europe had a discussion on one of the mornings about developing the networking within Europe so look out for developments about this. From all of this I hope to bring back to my own practice and that of Engage Visually a whole new blast of energy, methods and techniques to support people and organisations in their thinking, planning and actions. I leave you with a list of links below if you would like to explore more of the content from the conference and if you have any questions you would like to explore from my reflections please do ask. I look forward to the conversations and possibilities of where visual thinking, visual practice and graphic facilitation will go from here.
There is much more content, photos and videos from the conference please do explore through any of the following;
#IFVP2015 OR www.ifvp.org
or follow any of these signposts
N.b Sketchnotes by Debbie Roberts at Engage Visually, all other images are by various creative hands at the conference.
Graphic Facilitation can be a great tool for consultations and focus groups where discovering people’s views is the reason you are bringing people together. When people come into the room there is usually some feelings about the subject about to be explored and sometimes a not unhealthy scepticism about the process you are about to take them through. People are brought together for consultations and focus groups for anything from restructuring within organisations, changing community resources, to researching peoples experience of any number of services. When approaching the task using Graphic Facilitation a whole new set of potentials can be added. The session can be interactive with facilitation post it’s, graffiti walls, idea walls and other ways to get people involved and exploring the topic together. Sessions may also use discussion as the key tool whereby the roles would be to facilitate the discussion and capture a graphic record live of the words people are actually saying and not an interpretation of what they are saying. This live visual recording is incredibly empowering where relationships may have unequal power or at least perceived unequal power.
The graphic record (part of if) displayed here was from a three hour session with around twelve people. The subject was a very difficult one; people who had themselves experienced being physically restrained under the Mental Health Act. Here the subject was a very personal experience and unfortunately a largely negative experience too. Once I had described the purpose of the session, how it would be run (with a strong focus on ‘On your own terms’ and ensuring support was available should anyone feel distressed by the experience) and we had all introduced ourselves the discussion got under way. Within a few minutes people were seeing their words recording in a way they recognised, there was no researcher mystery, no notebook just the wall and the words. It should be noted people had also given consent for an audio record alongside the visual notes to enable cross checking should it be needed in the write up.
At the end of the focus group the whole group reflected how transparent it had felt, how their guards were relaxed and how included it had made them feel. Now whilst this was a delicate subject I have had the same or similar reactions when it is theoretically about less emotionally evoking content, about organisational and community changes for example. I think many of us possible have a little anxiety and suspicion about what the person is recording in the notebook we cannot see, so by creating notes in a way that can be seen and is accessible is a strong positive.
You’ll notice that unlike graphic recording at conferences and events that often have a lot of imagery within them this graphic record is almost entirely words. This is intentional, the time was short and the time available was given to capturing the many fragments of experience and insight from the people in the room and so this was the priority on this occasion. Each occasion is different; who the people are, the topic being explored, how long you have together and the purpose of being there. But one thing appears to remain constant, it is not just or always a pretty picture, in fact sometimes it is not even a picture. there may be no or few images but the graphic record is created live in a visually accessible way in front of the people whose views and words are needed.
Here’s my latest conundrum, a conundrum that emerged as I creating this recent graphic recording…. I was left pondering as I came to the end of the piece what do I refer to it as? In reality this is the same pondering thought that surrounds how people refer to graphic recording and graphic facilitation more generally.
This word and semantic conundrum came into focus when presented with a series of leadership blogs by Amanda Reynolds of Blend Associates (http://amandareynolds.org). Amanda wanted an image, a graphic, a graphic narrative that graphically records her leadership blog. Amanda wanted her readers be able to a large extent to access the essence of the blog through a stand alone graphic or to read the graphic in a complimentarily way alongside the blog. Fortuitously Amanda’s latest blog on leadership was all about curiosity (https://blendassociates.wordpress.com/2015/02/28/can-you-be-a-great-leader-try-curiosity/). And with good curiosity I began to explore the language people are using for graphic facilitation and graphic recording, within a relatively short while I had come across this not insubstantial list;
- Architecturally oriented visual explanation
- Big Map
- Graphic Facilitation
- Graphic recording
- Graphic harvest
- Rich Pictures
- Sketch notes (not usually large scale but created live)
- Storyboards of their day
- The big paper
- The recording
- visual documentations
- Visual harvest
- Visual maps
- Visual notes
- Visual storytelling
- Visual summaries
- Visual templates
So having gathered this ever growing list my curiosity leads me to recognise I need to continue to listen and explore the language and words people use and the contexts they are using them in and see where this leads me. And whilst I recognise how words and semantics can be all powerful what ultimately is being done in the work is to use visual communication tools to support people in their various endeavours. Therefore if these visual communication tools are supporting peoples processes and capturing and conveying meaning then they achieve their purpose whatever you call it.
If you’d like to tell me what you would call this piece on curiosity I’d love to hear your views.
You can find the Leadership blogs by Amanda Reynolds of Blend Associates at; http://amandareynolds.org and Amanda’s Leadership blog on Curiosity can be found at; https://blendassociates.wordpress.com/2015/02/28/can-you-be-a-great-leader-try-curiosity/
We are increasingly finding many uses for Graphic Facilitation and Graphic Recording in supporting people and organisations to problem solve, innovate, create and find solutions. The following article sheds some gems of insight around key components/characteristics that foster these mindsets and was found through the website link below;
“Visual thinking is the foundation for being creative and solving some of the most complex problems,” explained author and founder of Innovation Studio Lisa Kay Solomon. Solomon and Emily Shepard of The Graphic Distillery discussed the key role of visual thinking in innovation at a recent Stanford GSB Mastery in Communication Initiative talk. Below, they share five visual-thinking based skills that disruptive innovators must master:
1) Observe Set your phone down and actually pay attention to what’s going on around you. You can’t come up with new ideas unless you observe the world with fresh, empathetic eyes. Keep a design journal and document what you observe at least once a week.
2) Question Once you have a look around, review your design journal and ask: “What’s going on here?” Questions allow for space in the brain. If you’re not curious about something, then there’s nowhere for your observations to go. As an innovator you should ask questions to nail down the problem you’re trying to solve.
3) Associate Combining ideas leads to new insights. In the book Where Good Ideas Come From, author Steven Johnson proposes that innovation comes from places where half-baked ideas can bump up against other half-baked ideas and together create something even better. Doodling is a way to cultivate these seeds of ideas.
4) Experiment Visualization makes your ideas tangible and concrete. “If you can’t draw your ideas in stick figures, you don’t know what you’re saying,” says Solomon. Drawing by hand is a method of prototyping that allows you to test out the core essence of your idea in a low-res way before you spend more time on it.
5) Network Get access to people in diverse universes to expand your opportunities and areas of expertise. What are some big areas missing from your knowledge bank? We often end up just having a deep network of people like us instead of a diverse network.
For more insights on visual thinking, follow #GSBVT on Twitter: http://stnfd.biz/liMyC
A Fresh Look at “Marketing Myopia” Graphic recorder Stephanie Crowley depicts the central themes of the classic 1960 HBR article by Ted Levitt.
Text by Daniel McGinn; illustration by Stephanie Crowley
For a big client meeting in April, Accenture senior manager Mark Papia hired a type of practitioner he’d never encountered before: a “graphic recorder.”
During the session, artist Julie Stuart drew large murals depicting the participants’ discussion on 4-foot-by-8-foot sheets of paper. The goal: to help people make connections and better recall key points. “The artwork generated a tremendous amount of interaction,” Papia says.
Graphic recording—also called visual facilitation—has been around since at least the 1970s, when it was popularized by a group of San Francisco architects. It’s grown lately, driven in large part by PowerPoint fatigue. The wall-sized depictions can be captured digitally and distributed widely by e-mail, and serve not just as meeting summaries that get stuffed in folders but also as visual references for key goals or processes. “I want somebody who hasn’t been in the conversation to be able to look at something I’ve done and quickly digest the key points,” says San Francisco artist Bree Sanchez.
Does It Work?
Professor Martin Eppler of the University of St. Gallen in Switzerland has studied how well visual representations boost recall. He found that graphic recording trumps PowerPoint slides, particularly if people feel invested in the drawings. “You remember best what you’ve created yourself,” Eppler says. With PowerPoint, presenters make the slides in advance; it’s not interactive or participatory. With graphic recording, all participants actively contribute ideas to the image, so they feel that their hands are in it.
However, Eppler’s research suggests that software programs that let participants create their own visual representations—Let’s Focus or SmartDraw, for instance—may be more effective than a pricey artist’s handiwork. (Experienced professionals charge from $1,000 to $3,500 a day.)
What Companies Say
Companies using the technique include HP, Dell, S.C. Johnson, and Charles Schwab. Kraft Foods has been utilizing graphic recording in its leadership training program since 2005. “For me, the drawings are really a trigger,” says Nicole Polarek, associate director of organizational development. “I can look at the picture and remember the conversation.” Jason Dirks, Kraft’s director of training, says graphic recording keeps people interested and engaged on two levels. “You have this initial ‘wow’ factor while watching this person draw the image,” Dirks says, and afterward people can study the depiction more closely. “The artists are able to capture a lot of depth.”