Does graphic recording or facilitation really work? Our Intern, Terence, shares the research-backed psychology of visual practices. Get ready!
Our Intern sheds light on the difference between the Graphic Recording and Graphic Facilitation, and why you should seriously consider that for your next meeting.
A visiting Art professor from the US said, “You Singaporeans don’t know how blessed you are to have the ArtScience Museum.” She visited recently and was blown away by the exhibits.
Maybe we’re kind of comfortable with what we have and where we are in, that it takes the child-like curiosity of foreign visitors to tell us that we’ve got it not just good, but great.
Every graphic recorder knows that moment of epiphany. It’s when you realised that you’ve helped draw together not just plans, but people. However, you don’t just get to this outcome without giving thought to the process of graphic recording.
Take this project for example.
Practice making the boldest lines you can with this exercise! Position the tip of your marker for maximum contact with paper, and get dotting away 🙂
Strangely therapeuric too, we say!
“Exposure” is a dirty word in the gig economy. There are clients (some genuinely naive) who believe exposure to be current currency. And, there are aspiring graphic recorders who buy into the myth that “exposure” will create an endless stream of paid work possibly originating from said clients who requested that you work for free. Complicating matters, some clients will lead you on to create proposals and do the(ir) necessary research before springing their counter-proposal for pro bono, when you have become invested in their project already. But among the chaff, sometimes there is wheat — pro bono work that feeds and nourishes you.
How do you sniff out pro bono projects worth you taking on as a graphic recorder or facilitator?
We’re really excited that our visual strategy playbook (first for us and Asia!), LET’S DRAW, DRAW OUT, AND DRAW TOGETHER! is now available at major bookstores in Singapore. Read More