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Pictures are global and transcend words. They carry metaphors, symbols and meaning beyond the written word. Capturing ideas with images takes less time than reading text or verbalizing ideas, and making drawings helps you tell stories more effectively. Visual thinking can help you make sense of complexity, help find patterns and surface critical issues, help make faster, better decisions, and help you take action and do 'good' for your business. In order to get comfortable with the skill of visual thinking, we need to build confidence in drawing ability for those with no experience, help people develop a personal toolbox of sketching shortcuts, promote and encourage visual thinking as a useful tool at your desk and in the conference room. The goal is to move from "let's THINK out loud" to "let's VISUALLY THINK out loud" as a way to brainstorm, collaborate and innovate together in the workplace.
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“VISUAL THINKING” Presenter: Liz Burow Burlix Studio
Sponsor: Russell C. Petrella, Ph.D. – President, UnitedHealthcare, Community & State
I AM A VISUAL THINKING USER, ADVOCATE AND EDUCATOR
BENEFIT– SHOW NON-LINEAR RELATIONSHIPS, ENCOURAGE HOLISTIC THINKING
WHY VISUAL THINKING?
BENEFIT: IMPROVES QUALITY AND SPEED OF IDEATION AND PROBLEM SOLVING, MAKE IDEAS TANGIBLE
WHY VISUAL THINKING?
BENEFIT: LOWER BARRIER FOR ENTRY, PARTICIPATORY CONVERSATIONAL
WHY VISUAL THINKING?
BENEFIT: SHOW VS TELL, MAKES COMPLEXITY EASY TO UNDERSTAND AND MANAGE
WHY VISUAL THINKING?
BENEFIT: DECREASE TIME IT TAKES TO EXPLAIN AND UNDERSTAND AN IDEA, BETTER COORDINATED
WHY VISUAL THINKING?
JOHN SNOW: PLOT MAPPING | 1854 Broad St Cholera Outbreak, London
VISUAL THINKING HELPS FIND PATTERNS,SURFACE CRITICAL ISSUES,TAKE ACTION FASTER
WHY VISUAL THINKING?
FLORENCE NIGHTINGALE | Polar Area Diagram & Sanitary Reform
PREVENTABLE
WOUNDS
OTHER
WHY VISUAL THINKING?
VISUAL THINKING HELPS FIND PATTERNS,SURFACE CRITICAL ISSUES,TAKE ACTION FASTER
WHY VISUAL THINKING?
STEPHEN COVEY, 2 x 2 MATRIX FOR PRIORITIZING QUALITATIVE DATA
“DATA IN,INFORMATION OUT”– STEPHEN COVEY
WHY VISUAL THINKING?
“WE ARE MOVING FROM THE
INFORMATION AGE TO THE
CONCEPTUAL AGE”– DANIEL H. PINK, A WHOLE NEW MIND
WHY VISUAL THINKING?
“WE ARE NO LONGER KNOWLEDGE WORKERS, BUT RATHER HIGH CONCEPT PEOPLE...(WE) DETECT PATTERNS AND OPPORTUNITIES, CRAFT A SATISFYING NARRATIVE, AND COMBINE SEEMINGLY UNRELATED IDEAS INTO SOMETHING NEW...(WE) EMPATHIZE WITH OTHERS, UNDERSTAND SUBTLETIES OF HUMAN INTERACTIONS, FIND JOY, STRETCH BEYOND THE QUOTIDIAN IN PURSUIT OF PURPOSE AND MEANING. ”– DANIEL H. PINK, A WHOLE NEW MIND
GREAT. SO, IF ITS SO IMPORTANT, WE CAN ASSUME WE’RE ALL USING VISUAL THINKING
ALREADY, RIGHT
HERE’S THE PROBLEM:
HERE’S THE PROBLEM:
HERE’S THE PROBLEM:
PEOPLE THINK IT’S:TOO COMPLICATEDCAN’T DO ITTAKES TOO MUCH TIMENOT USEFULDON’T KNOW HOWDIDN’T EVEN THINK TO TRY
HERE’S THE OPPORTUNITY:
START THINKING ABOUT DRAWING AS A WAY TO THINK
GET COMFY
1HOW WE’RE GOING TO GET THERE:
GET COMFY
1 2
APPLY METHODS
HOW WE’RE GOING TO GET THERE:
GET COMFY
1 2
3
APPLY METHODS
PICK RESOLUTION
HOW WE’RE GOING TO GET THERE:
“I’M JUST THINKING OUT LOUD HERE”
LET’S MOVE FROM:
BLAH
BLAH
BLAH
BLAHBLAH BLAH
BLAHBLAH
BLAH
BLAHBLAH
“I’M JUST THINKING OUT LOUD HERE”
VISUALLY
TO:
BLAH BLAH
BLAHBLAH
BLAH
BLAHBLAH
1. GET COMFY
PROBLEM SOLVING
DATA
NO TOOLSNO LANGUAGE
INHIBITIONATTITUDECULTURE
SPACE
INFORMATION/DECISIONS
HOW?: REMOVE THE BLOCKAGE
HOW?: DRAW LIKE A CAVEMAN
USE SYMBOLS/
ICONS/SIMPLE LANGUAGE
LOW TECH/USE
SHORTCUTS
LEARN FROM FAILURE/
SURVIVAL/ADAPTIVE
MAKE ITCULTURAL/
RITUAL/SPATIAL
HOW?: DRAW LIKE A CAVEMAN
5/20/12 Drawing Development in Children
1/2www.learningdesign.com/Portfolio/DrawDev/kiddrawing.html#anchor2501390
Perspectives
DrawingDevelopmentin Children
Viktor LowenfeldBetty Edwards
2 | 3 | 4 | 6 | 8 | 12 |14 yrs
2 years 3 years 4 years 6 years 8 years 10 years 12 years 14 years 16 years
Viktor LowenfeldCreative andMental Growth
Scribblingstage
Firstdisorderedscribbles aresimply recordsof enjoyablekinestheticactivity, notattempts atportraying thevisual world.After sixmonths ofscribbling,marks aremore orderlyas childrenbecome moreengrossed.Soon theybegin to namescribbles, animportant
milestone indevelopment.
The preschematic stage
First conscious creation of form occursaround age three and provides atangible record of the child's thinkingprocess. The first representationalattempt is a person, usually withcircle for head and two vertical linesfor legs. Later other forms develop,clearly recognizable and often quitecomplex. Children continually searchfor new concepts so symbolsconstantly change.
The schematic stage
The child arrives at a "schema," adefinite way of portraying anobject, although it will be modifiedwhen he needs to portray somethingimportant. The schema representsthe child's active knowledge of thesubject. At this stage, there isdefinite order in spacerelationships: everything sits on thebase line.
The gang stage: The dawningrealism
The child finds that schematic generalizationno longer suffices to express reality. Thisdawning of how things really look is usuallyexpressed with more detail for individualparts, but is far from naturalism in drawing.Space is discovered and depicted withoverlapping objects in drawings and a horizonline rather than a base line. Children begin tocompare their work and become more criticalof it. While they are more independent ofadults, they are more anxious to conform totheir peers.
The pseudo‐ naturalisticstage
This stage marks the end of art asspontaneous activity as childrenare increasingly critical of theirdrawings. The focus is now on theend product as they strive tocreate "adult‐like" naturalisticdrawings. Light and shadow, folds,and motion are observed withmixed success, translated topaper. Space is depicted as three‐dimensional by diminishing thesize of objects that are furtheraway.
The period of decision
Art at this stage of life issomething to be done or leftalone. Natural developmentwill cease unless a consciousdecision is made to improvedrawing skills. Students arecritically aware of theimmaturity of their drawingand are easily discouraged.Lowenfeld's solution is toenlarge their concept of adultart to include non‐representational art and artoccupations besides painting(architecture, interior design,handcrafts, etc.)
Betty EdwardsCreative andMental Growth
Thescribblingstage
Randomscribbles beginat age one‐and‐a‐half,but quitequickly takeon definiteshapes.Circularmovement isfirst because itis most naturalanatomically.
The stage ofsymbols
After weeks ofscribbling,children makethe discovery ofart: a drawnsymbol can standfor a real thingin theenvironment.Circular formbecomes auniversal symbolfor almostanything. Latersymbols becomemore complex,reflecting child'sobservations onthe world around
Pictures thattell stories
At four or five, thechild begins to tellstories or work outproblems with herdrawings, changingbasic forms asneeded to expressmeaning. Oftenonce the problem isexpressed, thechild feels betterable to cope withit.
The Landscape
By five or six, children develop a setof symbols to create a landscapethat eventually becomes a singlevariation repeated endlessly. A blueline and sun at the top of the pageand a green line at the bottombecome symbolic representations ofthe sky and ground. Landscapes arecompose carefully, giving theimpression that removing any singleform would throw off the balanceof the whole picture.
The stage ofcomplexity
At nine or ten years,children try for moredetail, hoping toachieve greaterrealism, a prized goal.Concern for wherethings are in theirdrawings is replacedby concern for howthings look‐‐particularly tanks,dinosaurs, superheroes, etc. for boys;models, horses,landscapes, etc. forgirls.
The stage ofrealism
The passion forrealism is in fullbloom. Whendrawings do not"come out right" (lookreal) they seek helpto resolve conflictbetween how thesubject looks andpreviously storedinformation thatprevents their seeingthe object as it reallylooks. Struggle withperspective,foreshortening, andsimilar spatial issuesas they learn how tosee.
The crisis period
The beginning of adolescencemarks the end of artisticdevelopment among mostchildren, due to frustration at"getting things right." Those whodo manage to weather the crisisand learn the "secret" of drawingwill become absorbed in it.Edwards believes that properteaching methods will helpchildren learn to see and draw andprevent this crisis.
DRAWING DEVELOPMENT IN CHILDREN: VICTOR LOWENFELD, BETTY EDWARDSCopyright 1985 and 1987 Susan K. Donley, All Rights Reserved
CAVEMAN: USE SYMBOLS
RETURN TO YOUR 6YR OLD SELF
CAVEMAN: USE SYMBOLS
RETURNING TO YOUR 6 YEAR OLD SELF- THIS IS ALL YOU NEED TO GET YOUR MESSAGE ACROSS
DRAW WITH SYMBOLS TO CONVEY MEANING. SHOW AS MUCH ACTION, STORY AND SPACE IN ONE DRAWING AS POSSIBLE.
CAVEMAN: SYMBOLS/MEANING
USE BASIC SHAPES (LETTERS OF THE ALPHABET) TO TO BUILD DIFFERENT ‘NOUNS’, ‘VERBS’, ‘ADJECTIVES’
CAVEMAN: SIMPLE LANGUAGE
GLYPHS: 12 VISUAL SHAPES THAT YOU CAN USE TO CREATE ANY VISUALCOPYRIGHT: SUNNIBROWN.COM
PLAY TO YOUR STRENGTHS, THINK SURVIVAL, ACCEPT IMPERFECTION, ADAPT,LEARN
CAVEMAN: SPEED/ADAPABLITY
PLAYING PICTIONARY WITH STUDENTS
DEVELOP SHORTCUTS.CREATE A DRAWING STYLE AND SIGNATURES, PLAY TO YOUR STRENGTHS.
CAVEMAN: FIND SHORTCUTS
DAWING FOR THINKERS WORKSHOP: PRACTICE DRAWING SIGNATURE PEOPLE
MAKE DRAWING A PART OF YOUR DAILY LIFE, YOUR DAILY RITUAL AND YOUR OFFICE CULTURE. LEAVE DRAWINGS UP AS A WAY TO COMMUNICATE YOUR IDEAS AND YOUR PROCESS.
CAVEMAN: MAKE IT CULTURAL
THE STANFORD DESIGN SCHOOL, CALIFORNIA
2. APPLYING THE METHODS
BE ATEACHER
FIT THE RIGHT METHODFOR THE RIGHT BENEFIT
COMMUNICATE FOR ALL LEARNING TYPES
SPATIAL/VISUAL AUDITORY
TACTILE/KINETIC LOGICAL
LEARN BY SEEING LEARN BY LISTENING, TALKING
LEARN BY DOING LEARN BY THINKING
BE A TEACHER
HEADHEARTHANDS
TEACH WITH YOUR:
CREDIT: DAVE GRAY
SCHEMATICHEAD
VISUALS: LOGICAL/STRATEGIC
TEACH TO THE:
CREDIT: DAVE GRAY
EMOTIONAL
HEART
VISUALS: METAPHORS/ENGAGING/STORIES
TEACH TO THE:
CREDIT: DAVE GRAY
PRACTICAL
HANDS
VISUALS: OPERATIONAL/FUNCTIONAL
TEACH TO THE:
CREDIT: DAVE GRAY
COMPARISON
PATH
SYSTEM
CREDIT: DAVE GRAY
HEAD HEART HANDS
CREDIT: DAVE GRAY
AB
123 4
IF YOU’RE NOT SURE WHERE TO START, TRY MIND-MAPPING
3. CHOOSE THE RIGHT RESOLUTION
VISUAL THINKING IS TECHNOLOGY AGNOSTIC
LOW RES HIGH RES
YOU DECIDE WHAT IS RIGHT
{CHOOSING THE RIGHT RESOLUTION}
LOW RES HIGH RES
SIMPLE ELABORATE
QUALITATIVE QUANTITATIVE
VISION EXECUTION
{CHOOSING THE RIGHT RESOLUTION}
LOW RES HIGH RES
SIMPLE ELABORATE
QUALITATIVE QUANTITATIVE
VISION EXECUTION
STAR
T
PARTICIPATORY
ACCESSIBLEFASTER
EXPLORATORY
{CHOOSING THE RIGHT RESOLUTION}
LOW RES HIGH RES
SIMPLE ELABORATE
QUALITATIVE QUANTITATIVE
VISION EXECUTION
FINI
SH
CONCLUSIVE
FANCY
COMPLEXACCURATE
{CHOOSING THE RIGHT RESOLUTION}
LOW RES- A GOOD ENTRY POINT FOR COLLABORATION, INNOVATION
HIGH RES- A GOOD ENTRY POINT FOR COMMUNICATING
Q: HOW DO WE PUT THIS INTO PRACTICE? TAKE IT BACK TO WORK?
A: THIS IS LESS ABOUT SKILL AND MORE ABOUT CULTURE
SET AN EXAMPLE- SHOW THAT IT IS OK TO SKETCH AS A WAY TO THINK. NOT EVERYTHING HAS TO BE WORDS.
WHAT YOU CAN DO RIGHT AWAY
ENCOURAGE AS A WAY TO COMMUNICATE IN MEETINGS, FOR PRESENTATIONS
WHAT YOU CAN DO RIGHT AWAY
GIVE YOURSELF TIME AND SPACE TO SKETCH AND THINK VISUALLY
WHAT YOU CAN DO RIGHT AWAY
WHAT YOU CAN DO RIGHT AWAY
PRACTICE TALKING AND DRAWING IN FRONT OF OTHERS
PRACTICE LIKE AN ATHLETE- FOR MUSCLE MEMORY
LEARN MORE!
WHAT YOU CAN DO RIGHT AWAY
THE VISUAL DISPLAY OF QUANTITATIVE INFORMATIONBY EDWARD TUFTE
GAMESTORMINGBY DAVE GRAY, SUNNI BROWN
THE BACK OF THE NAPKINBY DAN ROAM
A WHOLE NEW MINDBY DANIEL PINK
MAKE SENSE
MAKE DECISIONS
TAKE ACTION, DO GOOD
FOR ALL OF US HIGH CONCEPT THINKERS WHO NEED TO :
