Visual Thinking - Viz Up the World!

The Last Hand-written Newspaper in the World

2011-05-29T15:55:00.003+02:00

Probably the Mulsalman is the last hand-written newspaper in the world. The documentary shows passion and feisty of the owner and employees in this die-hard Indian industry. I do appreciate their efforts to preserve calligraphy as the spirit of the newspaper. These unique qualities of human strokes were displayed precisely on simple black-and-white printing. Not to mention how difficult and patient they should be while writing. Somehow, I can image how readers get the simple joy everyday while holding and reading through these careful and beautiful writings. Hopefully, their spirit will last long and arouse more appreciation later on.

Making Invisible Water Printings Visible

2011-04-30T13:53:00.001+02:00

This video shows an amazingly beautiful and poetic way to make invisible water print visible. Every piece created in the process has its unique quality and sense. And even the process itself is already a piece of artwork since you can never duplicate it. Enjoy it!

Music and Painting - a friendly way to tell a good idea

2011-02-20T16:11:00.002+01:00

Naive strokes in hand drawings are always proper means to tell ideas which might be too harsh to talk face to face. And in this video, "Music Painting - Glocal Sound - Matteo Negrin," it blended music with eye-catching hand drawings, in which way the video taught us a wonderful way to express and communicate some serious ideas. Enjoy it.

Have a Look on Ripples Caused by Visual Thinking

2010-07-15T11:05:00.001+02:00

Check out the latest news about the coming conference of IFVP (International Forum of Visual Practitioners)!

A Lively and Informative Example of Visual Co-creation

2010-07-15T10:46:00.008+02:00

This fabulous work was drawn in a event participated by Bigger Picture. You can also visit their blog. A detailed description can be found in this entry.

2 Visual Inspirations about Being Different

2010-07-15T10:15:00.004+02:00

The picture above is cited from the blog: Gapingvoid

The video is produced by XPlane. It is cited from xblog: The visual thinking weblog. It is also an introduction of a new book written by Youngme Moon.

Q&A in Graduation Presentation

2010-06-01T01:07:00.007+02:00

This post is going to review the questions and answers after my graduation presentation of the project, "Decipher the magic of Visual Thinking and design a tool for JAM visual thinking".
1. Do you think that the bridge can be built not only from "Logical thinking" to "Visuals" but also from "Visuals" to "Logical thinking"?A: Of course, it is possible to go two-way while re-bridging the gap. However, in the presentation, I chose the one-way metaphor ("Logical Thinking" to "Visuals") because the graduation project is focused on Visual Thinking in "Business Sessions" in which participants are usually business-oriented minds. The participants are used to think logically with numbers and facts, and Visual Thinkers in the sessions is to free their imagination by appealing and profound drawings. So the process of Visual Thinking in business sessions is more inclined with the way, from "Logical thinking" to "Visuals".

2. Can you explain the role of humor in Visual Thinkers' drawings?
A: No doubts that humor is a very important factor in Visual Thinking. Visual Thinkers can use it to attract people's first attention. This is also a good catalyst to ease the tension in sessions. And, therefore, participants can feel easier to think wilder and further than usual. This could be a trigger for creativity. However, humor should not be the only factor in the drawings. If the drawings are with no inspiration to participants' issue, people will not take them seriously.

3. Do you think there is a learning problem to think visually, for people who are used to think logically with facts and rules or for people who are trained to think creatively? Maybe we can design a tool to solve the problem.
A: I think there is no such a learning problem for anyone no matter what your background is. We, human beings, as Greek philosophers said, are born naturally to think with visions, such as when you are driving on the street, when you are playing chess with your friend, when the soccer coach is explaining the strategy.. etc. So indeed everyone are already visual thinkers. The issue only lies that It seems that visual thinking is a privilege for certain people. This stereotype compromises people's nature to think visually. The tools and techniques are already defined and designed well by plenty of scholars and practitioners. What we need now is actually to eliminate the stereotype and help people to be confident with their visual thinking nature,

4. What do you think about the applications of modern technology in Visual Thinking?
A: The applications is a still virgin territory in Visual Thinking. I do think there will be a lot of potential to apply the edgy multiple-media technology in Visual Thinking sessions, for example, to demonstrate instant drawings in front of a crowd, or to allow multiple people draw together on the same drawing remotely. I think, if the originality and freestyle of human strokes can be preserved well and shared instantly with people, any kinds of technology can be helpful for Visual Thinking in sessions.

5. What are the differences between architects and Visual Thinkers?
A: On the one hand, architects are of course thinking visually when they are developing their designs, and they are usually a process of individual visual thinking. On the other hand, Visual Thinkers in sessions are like the hands of the participants to draw their ideas or imagination vividly and instantly. They assist session participants to think visually in a group phenomena. So basically architects and Visual Thinkers all take advantages of the creativity of instant drawings in developing new concepts. The only difference is that architects perform an individual process of visual thinking, while Visual Thinkers perform a group process of visual thinking.

Thanksgiving for You All.

2010-05-30T00:53:00.023+02:00

I still remembered the day when the graduation project kicked off nine months ago. I was not sure if I could finish the project alone since there are no many precedents to follow. It is two weeks before my final presentation now. I finally know that the answer is a simply “No. I could not.” I could never finish the project without your supports; no matter they are warm embraces or harsh criticism. The end of this nine-month journey is near. This is just about time for me to say thanks to you from the bottom of my heart.

First of all, thanks to Ingrid and Walter. It must be a hard time for you to guide a student who usually struggled with the composition of a qualified report and is really bad in time management. However, you still showed great patient to wait for me coming back on the right track again. I also appreciate that you did not compromise and kept pushing me to a better performance. It is sometimes unbearable, but eventually it turned out to be one of the best lessons I had learned in the project. I do appreciate the opportunity to have your guidance.

For my colleagues in JAM visual thinking, Wouter, Mike, Jan, Jeroen, Joost, David, and Lieke, I am so lucky to work with you, guys! You are always eager to help, to take a look on my work, and to listen to me patiently. You inspired me a lot with open-minded hearts and amazing talents. It is a pity that the amazing journey is going to end, but it is also so great that I have the chance to work with you guys. Jan, I will always remember your firm hug when I was so down. Mike, Wouter, and Jeroen, you taught me that I should be more eager to seek help, and, more than this, you let me know I am not alone on the journey. Joost and Lieke, it is so valuable to learn from your experience. David, thanks for your helps and next time please share more nice music with me!

It was often difficult for me to compose a qualified academic report. If the final thesis can reach any standards of a qualified report, that will be all because of your efforts to review my works, my friends. Many thanks to Lily, Lin Jun, Rene, CK, Sharon, Wendy, and Yuli. I will also never forget your unconditional support when I felt I cannot go on anymore. You gave me the strength to keep going.

To my family in Taiwan, I cannot wait to see you in the near future. Even though you cannot be here in my final presentation, you are always on my mind.
Finally, special thanks to Dennis. Without your steady support and endless passion, I cannot go that far till now. You gave me the chance to work with you and JAM visual thinking as the first international intern and the first graduation project in JAM visual thinking. I believe we both enjoyed the process. You have told me that it is stupid to be called master after the graduation of master program. I totally agree with this. This project is just a way for me to find a key to open the door to a new territory. But it does not show us the way to the treasure. I have to do it by myself. I am so glad that you and the JAMmers show me the wonders of Visual Thinking. And that will be something nice for me to continue in the future.

List of Literature in this Graduation Project

2010-05-28T19:08:00.006+02:00

Here I list the books, paper, and articles which I have referred to in the graduation project. The literature in the list includes three major fields of Visual Thinking: 1. Academic publications written by scholars, such as Visual Thinking by Rudolf Arnheim, Experience in Visual Thinking by Robert H. Mckim. 2. Reflections of international visual practitioners about their practice in business sessions. Feel free to make a use of them.

References

Arnheim, R. (1969). Visual thinking. Berkeley, CA: University of California Press

Brunswik, E. (1956). “Perception and the representative design of psychological experiments”, Berkeley, CA: University of California Press.

Cannon-Bowers, J.A. and Salas, E. (1997). “Teamwork competencies: the intersection of team member knowledge, skills, and attitudes”, Workforce Readiness: Competencies and Assessment, pp. 151-74. O’Neil, H.F. (Ed.), Lawrence Erlbaum and Associates, Hillsadale, NJ.

Cannon-Bowers, J.A., Salas, E., and Coverse, S. (1993). “Shared mental models in expert team decision making”, Individual and Group Decision Making, pp. 221-46. Castellan, N.J. Jr (Ed.), Lawrence Erlbaum and Associates, Hillsdale, NJ,

Doyle, M. and Straus, D. (1976). How to Make Meetings Work. New York CA: Jove Publications

Goldstein, E.B. (2001). Sensation and perception, 6th ed. pp. 145-181. Wadsworth, Pacific Grove, CA, USA. ISBN-10: 0534558100

Margulies, N. and Valenza, C. (2005). Visual Thinking Tools for Mapping Your Ideas. Crown House, Bethel, CT, USA. ISBN-10: 1904424562

Horn, R.E. (1998). Visual Language. XPLANE Press, Portland, OR, USA. ISBN-10: 189263709X.

Isaksen, S. G., Dorval, K. B. and Treffinger, D. J. (1994). Creative Approaches to Problem Solving. Kendall and Hunt, Dubuque, IA. ISBN-10: 1882664620

Jeffery, A.B., Maes, J.D., & Bratton-Jeffery M.F. (2005). “Improving team decision-making performance with collaborative modeling”, Team Performance Management, Volume 11, Issue 1/2, pp. 40-50.

Landman R.B., Broek E.L. van den, and Gieskes J.F.B., (2009). “Creating shared mental models: The support of visual language”, Lecture Notes in Computer Science (including subseries Lecture Notes in Artificial Intelligence and Lecture Notes in Bioinformatics), 5738 LNCS, 2009, Pages 161-168

Levin et al. (1987). “On empirically validating functions of pictures in prose”, The psychology of illustration, Volume 1, pp. 51-86. Willows D.M., and Houghton H.A. (Eds), Springer, New York.

Lim, B.-C. & Klein, K.J. (2006). “Team mental models and team performance: a field study of the effects of team mental models similarity and accuracy”, Organizational Behavior, Volume 27, Issue 4, pp. 403-418.

McCloud, S. (2006). Making Comics: Storytelling Secrets of Comics, Manga and Graphic Novels. HarperCollins, New York. ISBN 9780060780944

Mckim, R. H. (1972). Experience in Visual Thinking. Monterey, California, a division of Wadsworth Publishing Company. ISBN 0-8185-0031-X

Mullen, B., Anthony, T., Salas, E. and Driskell, J.E. (1994). “Group cohesiveness and quality decision making: an integration of tests of the groupthink hypothesis”, Small Group Research, Volume 25, Issue 2, pp.189-204.

Murrey-Bradbury, S. (1995). “How People Use Pictures. IIED: London. Cited from: White, L. (2002). Size Matters: Large Group Methods and the Process of Operational Research”, Operational Research Society, Volume 53, Issue 2, pp. 149-160.

Navon, D. (1977). “Forest Before Trees: The Precedence of Global Features in Visual Perception”, Cognitive Psychology, Volume 9, Issue 3, pp. 353-383.

Norman, D. A. (1983). “Some observations on mental models”. Mental Models, pp. 7-14. Gentner D., and Stevens A.L. (Eds), Erlbaum, Hillsdale, NJ, USA

Park, O. and Gittleman, S. S. (1995), “Dynamic characteristics of mental models and dynamic visual displays”, Instructional Science, Volume 23, pp. 303-20.

Pearse, C. (2007). “Technique - Tools graphic facilitation - Putting your people in the picture”, Engineering Management, Volume 17, Issue 5, pp. 12-15.

Resker, P.C., Post, W.M. and Schraage, J.M. (2000). “Effects of two types of intra-team feedback on developing mental models in command and control teams”, Ergonomics, Volume 43, Issue 8, pp. 1167-1189.

Roam, D. (2008). The Back of the Napkin: Solving Problems and Selling Ideas with Pictures. Penguin Books Ltd, 80 Strand, London WC2R 0RL, England. ISBN 978-1-59184-199-9.

Rouse, W.B., & Morris, N.M. (1986). “On looking into the black box: Prospects and limits in the search for mental models”, Psychological Bulletin, Volume 100, pp. 349-363.

Sanders, E.B.-N. (2001). “Virtuosos of the experience domain”, Proceedings of the 2001 IDSA Education Conference, Boston.

Sleeswijk Visser, F. , Steppers, P.J., van der Lugt, R. and Sanders, E.B.-N. (2005). “Contextmapping: experiences from practice”, CoDesign, Volume 1, Issue 2, pp. 119-149.

Stout, R.J., Cannon-Bowers, J.A., Salas, E. and Milanovich, D. (1999). “Planning, shared mental models, and coordinated performance: an empirical link is established”, Human Factors, Volume 41, Issue 1, pp. 61-88.

Tassoul, M. (2006). Creative Facilitation: a Delft approach. VSSD, Leegwaterstraat 42, 2628 CA Delft, the Netherlands. ISBN 90-71301-46-X.

Tyler, C., Valek, L., and Rowland R. (2005). “Graphic Facilitation and Large-Scale Interventions: Supporting Dialogue Between Cultures at a Global, Multicultural, Interfaith Event”, Applied Behavioral Science, Volume 41, pp. 139-152.

Valenza, C. and Adkins, J. (2009). “Understanding Visual Thinking: The History and Future of Graphic Facilitation”, Interaction, Volume 16, Issue 4, 1 July 2009, pp. 38-43.

Van der Lugt, R. (2000). “Developing a graphic tool for creative problem solving in design groups”, Design Studies, Volume 21, Issue 5, pp. 505-522

Van der Lugt, R. (2002). “Functions of Sketching in Design Idea Generation Meetings”, Proceedings of the Fourth Creativity and Cognition Conference, pp. 72-79

Van der Lugt, R. (2005). “How sketching can affect the idea generation process in design group meetings”, Design Studies, Volume 26, Issue 2, pp. 101-112

Westbrook, L. (2006). “Mental models: a theoretical overview and preliminary study”, Information Science, Volume 32, Issue 6, 563-570.

Agerbeck B., (2004). Intro to graphic facilitation. Retrieved July 2, 2009, from http://www.loosetooth.com/Viscom/intro.htm

Ball, G. (1998). “Graphic Facilitation focuses a group's thoughts”. Consensus, 1998 April. A newspaper published jointly by the Consensus Building Institute and the MIT-Harvard Public Disputes Program. Retrieved Dec 22, 2009, from http://www.mediate.com/articles/ball.cfm

XPLANE, (2009). About: We visualize clarity. Retrieved June 30, 2009, from http://www.xplane.com/company/about/

Historical Division between "Logical thinking" and "Visuals"

2010-05-28T17:13:00.007+02:00

Rudolf Arnheim suggested a historical division between "Logical thinking" and "Visuals" in his ground-breaking book, Visual Thinking (1969). He pointed out that philosophers in ancient Greek credited the direct vision as the start and end source of wisdom although they also learned possible distortion in human’s visual perception (Arnheim, 1969. pp. 12).
However, hundreds of years later, the potential of using sketching in creative problem solving are still paid less attention. Sketching is often not considered as a form of thinking. In his book, Visual Thinking, Arnheim (1969. pp. 2-3) reflected on the issue as the followed:

“Today, the prejudicial discrimination between perception and thinking is still with us. We shall find it in examples from philosophy and psychology. Our entire educational system continues to be based on the study of words and numbers … More and more the arts are considered as a training in agreeable skills, as entertainment and mental release. As the ruling disciplines stress more rigorously the study of words and numbers, their kinship with the arts is increasingly obscured, and the arts are reduced to a desirable supplement…. The arts are neglected because they are based on perception, and perception is disdained because it is not assumed to involve thought. In fact, educators and administrators cannot justify giving the arts an important position in the curriculum unless they understand that the arts are the most powerful means of strengthening the perceptual component without which productive thinking is impossible in any field of endeavor. The neglect of the arts is only the most tangible symptom of the widespread unemployment of the senses….”

Nowadays, most of us still follow similar path in contemporary educational system and are serious about producing solutions in neat computer graphics or a profound report. But Visual Thinking, as a young facilitation method in group sessions, begins to bridge the creative qualities of instant sketches in business practice.

An idea of individual visual thinking process

2010-05-28T15:52:00.007+02:00

An idea of Individual visual thinking process has been suggested by Rober H. Mckim in the book, Experience in Visual Thinking (1972).

"The overlapping circles can be taken to represent a wide variety of interactions. Where seeing and drawing overlap, seeing facilitates drawing, while drawing invigorates seeing. Where drawing and imagining overlap, drawing stimulates and expresses imagining, while imagining provides impetus and material for drawing. Where imagining and seeing overlap, imagination directs and filters seeing, while seeing, in turn, provides raw material for imagining. The three overlapping circles symbolize the idea that visual thinking is experienced to the fullest when seeing, imagining, and drawing merge into active interplay." (Mckim, R.H. 1972. p.6)

He pictured the activities, whether they are “perceptual, inner, and graphic images”, as three kinds of visual imagery: “Seeing”, “Imaging”, and “Drawing”. The three are interacted in a fluid and dynamic way practiced as an active interplay. People keep cycling through the overlapped visual imagery until the problems are solved. And this is a nature of people when a truck driver is driving through a busy traffic, when a football coach considers a new strategy, when a lady plans what to wear, and when an architect describes a new concept to his client.

"Visual Thinking pervades all human activity, from the abstract and theoretical to the down-to-earth and everyday." (Mckim, R.H. 1972. p.6)

This idea can be compared with the one proposed by Dan Roam in the book, The back of the Napkin.

Proposed focus for Contextmapping Research

2010-05-24T21:41:00.005+02:00

Human interactions in Visual Thinking process in group sessions are suggested as the focus of 3. Contextmapping research.

We want to know how Visual Thinkers respond to the dynamic and diverse reality, such as different backgrounds of participants, and different issues, should gain further studies. Visual Thinkers have to utilize their experience to interact with the dynamic context properly and quickly. The interactions in Visual Thinking process are still unclear although it is crucial factor to a successful Visual Thinking session.

Learned from the discussion in the previous post and 2. Analysis, the missing puzzles in preceding studies are the stages, “personal insights” and “shared vision”. Visual Thinkers should dive deep into people’s insights and lift them high to shared visions to reach the goal of Visual Thinking, to effectively help participants see problems and solve them together. All of the mentioned activities are still unclear in academic literature and publications by visual practitioners. They require close interactions between Visual Thinkers and session participants.

Therefore, I proposed the focus on the human interactions in the Contextmapping research in the context of JAM visual thinking.

Proposal to Make an Introduction Film about JAM visual thinking

2010-05-19T17:07:00.003+02:00

This is an initial proposal to make a film about Visual Thinking in JAM visual thinking. In the film, the essential elements of Visual Thinking in the graduation project can be showcased in the film.

This idea is inspired by the film, RSA Animate: Drive, produced by Daniel H. Pink. The way to present it as a ongoing drawing process in the video, which I think, is an efficient and influential way to express a story or an idea with Visual Thinking.

Planning for the final 2 weeks to final presentation of GP

2010-05-19T16:56:00.002+02:00

This drawing presents the planning for my last two weeks in the graduation project, a cooperated project between JAM visual thinking and TU Delft. Of course, this is already a historical document since I already graduated in the 25th of Feb, 2010. In the picture, you can still taste how intense in these two weeks when I had to finalize my 9-month project in a 30-min oral presentation.

Review V. Conclusion

2010-05-19T01:29:00.016+02:00

As the purpose of the project is to discover the magic of Visual Thinking, then the journey is called an end here. What would be the final mile (or the first mile) of Visual Thinking?

After decades efforts to re-bridge the gap between "Visuals" and "Logical thinking" in business sessions, there is still a cloud hovering on the Visual Thinking process, which blocks the possibility to understand the magic of Visual Thinking in business sessions. It is suggested in the research that the cloud is the unclear processes in Visual Thinking sessions.

Now the cloud used hovered on the puzzle is cleared. Based on the findings of the project, the magic of Visual Thinking processes lies in the human interactions in sessions, which are indeed the final and also the first mile to re-bridge the gap. Without the interactions, there would be no magic.

However, the effects of Visual Thinking is hindered by people's stereotype that a cartoon-styled drawer cannot be a logical thinker. The double-sided name card will be a first attempt to eliminate the stereotype that a cartoon-styled drawer cannot be a logical thinker. The double-sided concept will be a starting trigger to finish the re-bridging.

As soon as the bubble disappeared, Visual Thinking can eventually bring people’s left-sided and right-sided brain together in group sessions again, like the Greek philosopher have done thousands of years ago. People will see the "Visuals" and "Logical thinking" working in a harmony again.

Review IV. Conceptualization

2010-05-19T01:04:00.007+02:00

In order to develop an efficient concept to eliminate the stereotype in sessions, a concept will be developed to inspire participants and facilitators initial awareness about Visual Thinking in the beginning of the sessions. As a result, the effectiveness of Visual Thinking will not be shadowed by the stereotype.

3 concepts (1, 2 & 3) were developed and examined by experienced Visual Thinkers in JAM visual thinking.

The feedback from the JAMmers is summarized into two guidelines: "1. The idea should be comfortable for everyone in sessions including Visual Thinkers." and "2. It should make quick effects in a small group which is around ten people."

Finally, the suggested idea is a double-sided name card. On one side, it is a serious and polished portrait photo. On the other side, it is a hand drawing self-portrait on a piece of rough paper. This concept is to play upon with people’s stereotype that science and art cannot coexist. It is going to express the idea that actually Visual Thinkers’ works are completed with the coexistence of values in two sides of the brain.

With the design of doubled-sided name card, Visual Thinkers can easily gain attentions from the participants and have the chance to impress them in the first sight. Taking advantage of the social manners to exchange name cards, Visual Thinkers can also feel easy to hand out the name cards quickly in a small group.

Review III. Research (4)

2010-05-19T00:50:00.008+02:00

This post will conclude the profound findings in the Contextmapping research and provide a promising direction to solve the most critical problem in Visual Thinking sessions.

The findings in the Contextmapping research provide new perspectives on Visual Thinkers’ characteristics, experience, and how they perform their roles/functions with their natural instincts and learned techniques in Visual Thinking sessions. It proved that Visual Thinkers are balanced in both sides of brain.

The stereotype is just like a perceptual bubble which prevents the human interactions, true values of Visual Thinking, to happen.

We just need a needle to burst it. Therefore, Visual Thinkers can work with session participants from the very beginning of the sessions.

Review III. Research (3)

2010-05-19T00:20:00.014+02:00

After understanding how Visual Thinkers interact in sessions, we continued to explore the second research question: "What is the most critical problems when Visual Thinkers interact with the dynamic context in sessions?". In the post, the most critical problem is revealed, and the reasons behind it are discussed.

Research question is "What is the most critical problem in sessions?". The answer to this question will be the key to improve the performance of Visual Thinking method in sessions.

The conceptual framework is applied to map the coded phrases.

The results (see the poster above) of the “Problems & Solutions” are clustered based on the conceptual framework. Each cluster is defined with a specific problem based on the coded phrases.

According to the analysis in the research, the most critical problem is defined as "What is my role? & Where is my stage?", which indicates that JAMmers can not always gain a proper stage to interact . The problem always happens early and its influence lasts long.

The problem results in people’s stereotype on the roles of people who can draw. Because of that, session participants sometimes ignore and sometime misunderstand their functions in Visual Thinking sessions as being a problem-solver but not an entertaining cartoonist.

Review III. Research (2)

2010-05-18T20:33:00.029+02:00

This post is going to show the finding on research question 1, "How do visual thinkers interact with the dynamic context?". The “Characteristics”, “Techniques”, and “Roles/functions” of the Visual Thinkers in group sessions will be represented in detail.

Research question 1, "How do visual thinkers interact with the dynamic context?".

To answer the research question 1, “How do Visual Thinkers interact with the dynamic context?”, the coded phrases were categorized in three groups, “Characteristics”, “Techniques”, “Roles/functions”.

The coded phrases of each group were mapped on a two-dimensional map, which emphasizes the diverse inclination of a Visual Thinker in sessions.

The result of the two-dimensional map is three posters with the categorized coded phrases. These three posters are composed on the groups of “Characteristics”, “Techniques”, “Roles/functions”. The above is the "Characteristics" poster.

Each category in the "Characteristics" poster is defined with a term, for example, "Empathetic", "Active", and "Honest". The terms of the "Characteristics" are shown on the table above. “Techniques” and “Roles/functions” posters are also processed in the same procedures.

All of the three tables are finally integrated into one table which features the relationships of “Characteristics”, “Techniques”, and “Roles/functions”. A visual translation of the table is presented as the following.

In Visual Thinking sessions, Visual Thinkers have to be rational and square to convince people and to be sensitive and flexible enough to understand people’s true expectations.

In the relations of the techniques, Visual Thinkers use the logical thinking to lead session participants with clear pictures in the left hand side, like a grown man. And in the right hand side, Visual Thinkers are like a curious girl to discover inspirations and support people.

On the left hand side, it is a logical output to translate the logical thinking into convincing and clear drawings in order to lead sessions to correct direction.

The essence of the logical output indicates that Visual Thinkers compose systematic and organized drawings to convince and challenge participants, which represents fairly the value of “Truth Teller”.

On the right hand side, it is an empathetic output to surface people’s expectations and to trigger their inspirations and actions.

The essence of the empathetic output indicates that Visual Thinkers use empathy to find out participants’ motivation and inspire them with proper drawings, which is in line with the function of “Passion Trigger”.

From right to left, it is an inside-out process to process received data into systematic and organized thinking.

The essence of the inside-out process indicates that Visual Thinkers’ nature is to actively support discussion and thinking flow in sessions, which meets the description of “Discussion Supporter”.

From left to right, is an outside-in process to read people’s thinking, body language, and the group dynamic to understand their intentions and to gain key triggers.

The essence of the outside-in process indicates that Visual Thinkers utilize their all sensory to receive explicit and implicit information in order to follow the dynamic context, which fits the description of “Sensitive Balancer”.

The visual translation above expresses how Visual Thinkers interact with session participants by their characteristics, techniques, and roles/functions. It implies a balanced mind between the right-sided and left-sided brain which eventually physically and mentally activate session participants thinking to a practical and creative vision or solution.

Review III. Research (1)

2010-05-18T20:06:00.020+02:00

The process and findings of Contexmapping research is recorded in Review III. Research (1),(2),(3),(4). The goal of the research and two research questions focus human interactions in Visual Thinking sessions based on conclusions in Review II. Background. Contextmapping is chosen as the research approach. In the process, seven visual practitioners are interviewed, and two case studies are conducted. The data collected in the phases is coded, categorized, and analyzed with an experimental analysis approach.

In the Contextmapping research method, the participants and researchers can follow the processes, to know what they said (Tell me), to see what they do (To show me), and finally to understand what they can only feel and how to express (To involve me). Therefore, we can collect all necessary information to rebuild the context in an understandable way.

In the research on human interactions, the first research question is “How do visual thinkers interact with the dynamic context?”. And the second is “what is the most critical problem when they interact with the dynamic context?”

All of the collected data were destructed and coded as 246 coded phrases. The following are some examples.

The 246 coded phrases were further analyzed in Review III. Research (2) and Review III. research (3) in order to answer the research questions.

Review II. Background

2010-05-15T21:47:00.020+02:00

Before answering the question "What makes sketches so powerful to help people to communicate?" in Review I, we have to look into the background of Visual Thinking in order to find the thread to the answer. From the practice in JAM visual thinking to the study about Visual Thinking history, the missing puzzle will be defined carefully by the following explanation.

In the practice of JAM visual thinking, Visual Thinkers work with process facilitators to guide participants in sessions. Visual Thinkers translate participants’ ideas, opinions, and processes into instant sketches.

However, JAMmers usually are treated as a supporting and entertaining role in sessions. They cannot be involved in the problem solving process. They are not working with the participants on the same boat in general situations. So, what are the reasons behind the issue?

In order to address the issue, we have to know the reasons behind it. In 1972, Rudolf Arnheim, a German-born psychologist and scholar of art and ideas. He suggested in his book, "Visual Thinking", that the issues was rooted early in the history.

Thousands of years ago, Greek philosophers learned to distrust the senses, but they never forgot that direct vision is the first and the final source of wisdom. In the words of Aristotle, “The soul never thinks without an image.” At that time “Visuals” and “logical thinking” work harmoniously in a lively cycle.

However, Rudolf Arnhim also pointed out that “Visuals” (art) and “Logical thinking” (science) have been torn apart for a long time. Since people have been taught that “only words and numbers matter” and “drawings are art but not science.”

This situation didn’t change a lot until the middle of 20th century, when Visual Thinking started to bridge the gap in the context of business sessions.

Beginning from using flip charts inn sessions in 1950s, the idea of instant visual recording in front of session participants was applied in 1970s. The innovation of computers provided fresh possibility in ways of facilitation in 1980s. Big group was involved later in 1990s.

I also learned that the missing puzzle of the bridge is still hidden behind the cloud of an unclear Visual Thinking process.

To clear the cloud in Visual Thinking process, I studied the benefits, techniques, theories about Visual Thinking process in academic literature and publications of visual practitioners. The figure above is the visual description of the results. (Or see the previous post)

I also learned from JAMmers's experience that "Drawings should not just surprise people only in their first sight but also keep inspiring people to see the structure, problems, and solutions." I assumed that this is the ultimate goal of Visual Thinking in group sessions.

However, it is also suggested in the experience of JAMmers that these well-developed techniques cannot always guarantee the ultimate goal of Visual Thinking.

It is implied that the missing puzzle is the intense human interactions between Visual Thinkers and participants in sessions. The human interactions are the key to understand people's expectation and desire and to drive them to proper direction. (Or see the previous post) But there is no much study about human interactions in the field of Visual Thinking so far.

Therefore, the following research of the graduation project was dedicated to carefully map the human interactions in the context of Visual Thinking sessions. This would be a crucial step to decode the Visual Thinking process and optimize Visual Thinking method.

Review I. Initiative

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In the reviews, I am going to brief the findings in the nine-month-long graduation project. This project is a collective project between TU Delft and JAM visual thinking (or JAM), a company based in the Netherlands. Beginning with the review of the initiatives, you will experience the fantastic journey I went through.

It started from an extraordinary experience in Venice, 2008.
In November 2009, I was in Venice visiting the biannual architecture exhibition. When I stepped into the Japanese pavilion, it seemed nothing inside but white, big, walls.

But when I walked closer to the walls, I was surprised by these pencil drawings which covered all over the walls. Especially when I realized they are not printed wall paper, the human strokes aroused me strong appreciation about the stories behind them.

They are light, quiet, and imperfect, but also strong, powerful and human. This was truly overwhelming for me to experience the power of sketches purely.

Two weeks later, I was back in the Netherlands and visited the company fair in the faculty of Industrial Design, TU Delft.

Among the majority of product-design companies, JAM visual thinking is a company sale no products but their drawings in a real business.

I was impressed and so curious about how JAM visual thinking turned the sketching into a serious business.

Then a question came to my mind, “What makes sketches so powerful to help people communicate?”. This question was actually the starting point of the graduation project.

Visual Summary of the Whole Project

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The graduation project is a collective project between TUDelft and JAM visual thinking. This study is devoted to unveil the potential of Visual Thinking in business sessions and to eventually improve the effectiveness of the method.
JAM visual thinking, a consultancy company based on the Netherlands, features in providing various products from visualization to suggestions of strategies with their drawings. This graduation project is conducted to help JAMmers to harness the magic power of Visual Thinking effectively.

“Visuals” and “logical thinking” have been torn apart by modern educational systems. Nowadays, the gap is re-bridging when Visual Thinking, a facilitation method, is developed in the mid 21st century. But Visual Thinking process is still unknown in studies of the effects of Visual Thinking although it results in an ineffective session. To solve the problem, a visual summary is composed to describe general process, techniques, and benefits of Visual Thinking in previous studies in the chapter 2. However, human interactions are not paid equal attention to their influences in Visual Thinking process.

In order to understand the human interactions in Visual Thinking sessions, a research method, Contextmapping, is applied to explore and study the experiences of JAMmers in business practice. An experimental method is also applied to analyze the data collected. The conclusions of two research questions are translated into visuals to communicate the findings. Visual Thinkers are proved performing a balanced left-brain and right-brain role in Visual Thinking sessions. They have to deal with people’s stereotypes to drawers in order to get early acceptance. Otherwise, the effects of Visual Thinking will be compromised significantly because of the misunderstanding impression.

The final suggested idea is developed to solve the eliminate the stereotype and therefore to improve effectiveness of Visual Thinking method in business sessions. Conclusions of the graduation project, recommendations for the future study on Visual Thinking, and reflections on the whole process of the study are elaborated in the end of the report.

Recommandation 3. Focus on Earlier and Later Phases of the Sessions

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The focus of the research can be extended on the preparation before sessions and on the evaluation after sessions. In this research, the focus is basically on the processes in Visual Thinking sessions. However, a good or bad preparation can already influence the performance of Visual Thinking in sessions.

Furthermore, a well-designed feedback system can help JAMmers monitor the feedback of session participants. This feedback can help JAMmers to improve their performance according to the real responses.

Recommandations 2. Specific Demands of Different Session Participants

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Based on the feedback in JAM visual thinking, session participants can be identified specifically as clients, process facilitators, participants, JAMmer leader, and JAMmer supporters. A brief description of each group is as the following.

Clients are people who offer the case but not always participant the sessions. Process facilitators sometimes organize the sessions and have to control the process of the sessions. Participants are the majority of the session participants, who have the least chance to see and talk with JAMmers before sessions. JAMmer leader is in charge of the communication with the process facilitator in sessions. JAMmer supporters are mainly to support the discussion with drawings in sessions.

Under the identification, a research can focus on the specific demands and problems of each group to insure an effective session which meets expectation of all parties.

Recommandations 1. Potential Negative Roles/Functions in Sessions

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A successful session probably needs not only catalyst of the discussion but also friction. In the research of this project, the defined roles of JAMmers in Visual Thinking sessions are generally positive and supportive. However, there are some situations when session participants behave ignorant to their responsibilities, deny active participation, and even show disrespect to their works.

The JAMmers indeed avoid these kinds of sessions. If they are in that situation, they are forced to behave negative intentionally to evoke participants in an aggressive way. This kind of last resort for the JAMmers can lead to harsh confrontation and embarrassing moments. These situations are not mentioned clearly and also not shown common in the results of this project. it is only mentioned from time to time by the JAMmers when they talked about the conclusions of the Contextmapping research when it is too late to conduct another scientific research on this topic.

Despite of the concerns of harsh confrontation, there is potential to manipulate the negative roles/functions of the JAMmers in order to deal with unfriendly and passive participants. If they could be played well, from JAMmers’ feedback, the effectiveness of Visual Thinking sessions can be enhanced intensively.

Therefore it is suggested in this work to conduct the later research on the negative roles/functions of the JAMmers and find a way to take advantages of them to improve the interactions in Visual Thinking sessions.

Conclusions 2. Application of Contextmapping Research Method

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Supposing the Contextmapping research method is developed to explore and define a usage context of a physical product, there would be a question that if this product-oriented approach can be incorporated into a facilitation methodology which involves a dynamic context. Considering the major benefit of the Contextmapping research, surfacing the inner thinking, feeling and ideas of people, the high intensity of human interactions in Visual Thinking sessions indeed demands this kind of approach to thread through the complexity and unpredictability of the dynamic context. The results of the research question 1 have represented abundant in-depth knowledge in how JAMmers (user) implement Visual Thinking (product) in sessions (context). The complex relationships therefore can be mapped in a logical and understandable way which leads to a further visual translation. As a result, I conclude that the Contextmapping research method can be applied on a given field which involves intense human interactions and multiple variables in the context.

Conclusions 1. Evaluation of Objectives of the Project

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The goal of this project is to decipher the “Magic” of Visual Thinking in business and to develop a concept to inform it to JAMmers and session participants. The researches in the "1. Introduction" and "2. Analysis phase" are conducted in order to define where the “Magic” lies. Since the problem is fully defined, the Contextmapping research in the "3. Contextmapping phase" is conducted to decipher it. Furthermore, by finding the most critical problem in JAM visual thinking, I tried to bridge the final gap with the suggested solution which is a concept depicted in the "4. Conceptualization and Evaluation"

In the "1. Introduction", it is presented that the progress and efforts of Visual Thinkers to bridge the gap between visuals and logical thinking. “Visuals” and “Logical thinking” have been torn apart for a long time by the educational systems. As we have discussed, the gap is still not bridged because of the unknown Visual Thinking process which leads to poor performance in the practice of JAM visual thinking. In the "2. Analysis phase", the Visual Thinking process is researched to find out the missing links in the fields of literature and international practice of Visual Thinking. It is proved that human interactions are the missing link which is crucial but lack of thorough research on it. It is also suggested that the un-deciphered “Magic” of Visual Thinking is the human interactions in sessions.

The "3. contextmapping phase" is conducted to understand the human interactions in Visual Thinking sessions and to find the critical problem which hinters the interactions in sessions. Visual Thinkers in sessions are defined as a human plays multiple roles and, by switching around the left-brain and the right-brain, bridge the separate ends again. The dynamic balance, between these two ends, results in an effective means for people to think logically with creativities and inspirations on a common ground. This definition of Visual Thinkers in sessions demonstrated that the “Magic” of Visual Thinking in sessions, in fact, lies in the harmony of left and right side of the brains.

In the "3. Contextmapping phase", the most critical problem is defined as a stereotype which leads to a early misunderstanding about the functions of Visual Thinkers in sessions. This is the final piece of puzzles to finish the bridge. In the "4. Conceptualization and Evaluation", the final suggested concept, double-sided name card, is designed to infiltrate people’s stereotype and to fit into JAMmers’ personal preference.

Therefore, I conclude that the “Magic” of Visual Thinking in sessions is fully deciphered and represented. And the further goal to inform it to JAMmers and session participants is fulfilled in the suggested concept which can lead to a correct direction to enhance the effectiveness of Visual Thinking in sessions in JAM visual thinking.

To sum up, efforts in the development of Visual Thinking in decades have built a firm foundation. Right now, it just needs a tipping point to break down the stereotype built by the modern educational system. And I believe the suggested concept will serve itself as the tipping point to bring people’s brain in a harmony again.

Suggested Idea Based on JAMmers' feedback

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Figure 1. This concept is to express the idea that actually Visual Thinkers’ works are completed with the coexistence of values in these two sides of brain.

Double-sided name card
This is a double-sided name card. On one side, it is a serious and polished portrait photo. On the other side, it is a hand drawing self-portrait on a piece of rough paper. This concept is to play upon with people’s stereotype that science and art cannot coexist. It is going to express the idea that actually Visual Thinkers’ works are completed with the coexistence of values in these two sides of brain.

This idea is based on the “double-sided” concept which is meant to inform session participants the potential of Visual Thinking and infiltrate their stereotype on drawers in order to gain the early stage in Visual Thinking sessions. The suggested idea could be presented with a short description.

Feedback on Three Concepts

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These proposed concepts, Name Card, Info Cube, and Story Telling Cards are evaluated with JAMmers. The JAMmers are asked to simulate the possible scenarios and give their feedback about if the concept meets the design requirements. The key points of the feedback are listed as the following.

Concept 1. Name card
This concept to arouse the curiosity early is welcomed by all of the JAMmers. JAMmers agree that the concept can express the essence of Visual Thinking in a creative and inspiring way, which fits the requirement, “awareness hammer”. The double-sided concept is welcomed by the advantage to show that the inner logical thinking is also part of their values in sessions. The portable size is also welcomed by the JAMmers, which people can simply put it in their wallets.
However, there are doubts on the timing to deliver the name cards in the beginning of sessions. Only one of the JAMmers confirms that it is a proper timing while the majority of them is used to deliver name cards after sessions. They also suggest that to deliver name cards is too time-consuming to make effects in a large session.

Concept 2. Info cube
This concept is valued as the most original and eye-catching concept. JAMmers all agree that it provides multiple ways to demonstrate the story behind the concept. It could catch longer attention while people play with it because of its handy size and shape.
JAMmers do not agree that the concept can express the value of Visual Thinking clearly because the intriguing shape can mislead people to a different interpretation instead of focusing on the relationships of the small drawings. They also point out that it will take time to express the story and can only be useful when you demand several minutes in a small group.

Concept 3. Storytelling card
The storytelling cards are valued to involve a group to spend quality time understanding Visual Thinking. The flexibility of the concept is also credited by the JAMmers.
However, it will require a decent amount of time which is not realistic in generally tight-scheduled sessions in JAM visual thinking. This reality makes the concept difficult to be implemented in the practice of Visual Thinking sessions.

Discussion
The double-sided concept in “name card” indeed gained the most positive feedback in its value to imply that the functions of Visual Thinkers in sessions do not only lie in the entertaining drawing skills. It will arouse the curiosity on Visual Thinkers’ doing and help to break the long-lasting stereotype that the drawers are artists but no serious thinkers.

The concept should affect people in a very short time and inform the values of Visual Thinking clearly but not overwhelmingly. The concept is expected to make effects with a group of people in a short time. Otherwise, the concept cannot influence the performance of a Visual Thinking session significantly.

To sum up, the double-sided concept embedded in “name card” is the concept which is worth to build on to inform participants correctly with its simplicity and potential to break people’s stereotype on Visual Thinkers. It is also suggested that JAMmers could develop their own idea based on the double-sided concept, which they can feel comfortable to use.

Concept 3. Story Telling Cards

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Figure 1. To create the storyline of the cards helps participants experience Visual Thinking.

Participants can play the cards in a group. By using the cards to compose their own solutions to given situations, they can learn the roles and functions of Visual Thinking in sessions.

A. Description
This concept is a group of double-sided cards which content the illustrations of important roles, techniques, and goals in Visual Thinking (See Figure 2.). Participants follow the guidance of the JAMmers to experience Visual Thinking process in problem solving sessions . In 12 to 15 minutes, participants play the roles of Visual Thinkers, practice Visual Thinkers’ techniques, and try to reach the goals. They can also learn difficulties and values of Visual Thinking.

Figure 2. This concept is a group of selected cards which content illustrations of important roles, techniques, and goals in Visual Thinking.

B. Scenario
The cards can be use as the warm up activities in Visual Thinking sessions. A group of people is gathered and guided by one or two JAMmers. The JAMmers will ask participants to choose a card and introduce participants about the meanings of each card. Consequently, each one gets the role card can form his/her group, with whom possess a technique card or a goal card. A special situation will be given by the JAMmers, and the participants will be asked to solve the given situation by practicing their roles. The warm up session will end up in a reflection on their doings in the process.

C. Possible benefits
- Understanding Visual Thinking in practicing themselves.
- Communicating values of Visual Thinking in a dynamic and interactive way.
- A large group can be involved tog

Concept 2. Info Cube

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Figure 1. This concept is a polyhedron consisting of triangular and square facets.

With the advantage of 3-Dimensional form, the info cube can represent the dynamic and cycling flow of Visual Thinkers’ roles/functions and interactions in Visual Thinking sessions (See Figure 1.).

A. Description
This concept is a polyhedron consisting of triangular and square facets. The essential elements of Visual Thinking described in the section 3.5.2 and 3.6.1 can be pasted on the square facets. The arrows can be pasted on the triangular facets. Both of the essential elements and the graphics of arrows are printed on stickers, and JAMmers can compose their own storyline by pasting the stickers on the polyhedron (See Figure 2.).
Taking the advantage of the 3-Dimension form, the elements can be linked by the arrows as a complete cycle which represents the dynamical roles and techniques of the JAMmers (See Figure 3.). Two-way arrows indicate “switching” between their nearby elements. One-way arrows indicate the direction of flow. The building process of the storyline is also a time for the JAMmers to organize their personal introduction as a Visual Thinker.

Figure 2. Essential elements in Visual Thinking and graphics of arrows are printed on stickers. JAMmers can compose their own storyline by pasting the stickers on the polyhedron.

Figure 3. Taking the advantage of the 3-Dimension form, the elements can be linked by the arrows as a complete cycle which represents the dynamical roles and techniques of the JAMmers.

B. Scenario
JAMmers can arrive the session earlier and make a use of the time when people are orientating the surroundings and people. The JAMmers can introduce their roles and functions in the session when people are curious about their doing. Or the JAMmers can simply approach participants to have a quick chat and introduce themselves. Introduction with Info Cube can be done one-on-one and in a small group when the JAMmers demonstrate the storyline in their Info Cubes.

C. Possible benefits
- A complete and cycling flow of Visual Thinking can be represented naturally in the concept.
- Flexible in a brief inspiration or an elaborate story of Visual Thinking.
- Building process allows the JAMmers to compose their understanding about Visual Thinking coherently.

Concept 1. Name Card

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To gain an early attention from participants, it is possible to take advantage of the timing to exchange name cards. It is a social ritual widely accepted. When name cards are exchanging, a close and personal interaction is also created in between JAMmers and participants. Without knowing what will be the next graphics on the card, every introduction could be a little, fresh challenge for the JAMmers to express stories behind each card.

A. Description
This concept is a series of folded cards printed illustrations which content the essential elements in Visual Thinking (See Figure 1.). The illustrations are mainly distilled from the findings in the Contextmapping phase. Each illustration represents one key characteristic, technique, or role/ function of Visual Thinkers in sessions. For example, Visual Thinkers have to switch swiftly and frequently between being logical and being empathetic (See Figuer 2.). JAMmers can choose to have all the cards in hand or only parts of them. Therefore, the name card is shown in different illustration each time.

Figure 1. These name cards are a series of illustrations representing key characteristics, techniques, and roles/functions of Visual Thinkers in group sessions.

Figure 2. Visual Thinkers have to switch swiftly between being logical and being empathetic.

B. Scenario
Before the start of a given session, JAMmers talk to participants randomly and ask to exchange name cards and take one card out from a stack of the folded cards. The participants could be curious about the illustrations or the way it looks like. This social event simply creates a chance for JAMmers to introduce themselves. With the reference of the illustrations, JAMmers can tell the participant a brief introduction of the illustration, which expresses how Visual Thinker works and influences the thinking process. The introduction process can be a little challenging and fun for the JAMmers by randomly-appeared illustrations. The JAMmers therefore can also be aware of what his/her role in the sessions and how they can introduce it better and better.

C. Possible benefits
- Arousing instant awareness of participants
- Speaking out for JAMmers themselves
- Flexible to compose customized story for different JAMmers

Design Requirements. How to Design a Tool Avoiding Stereotype?

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1. Awareness hammer broadcasting the advantages of Visual Thinking.
The design should help JAMmers to inform their presence as Visual Thinkers in sessions by stimulating their curiosity about Visual Thinking. Participants can therefore anticipant the JAMmers’ involvement in the process instead of ignoring them.

2. Open to evolve into JAMmers’ personal tool.
To take advantages of the creativities and diversities in their changeable characteristics, the design should be flexible for the JAMmers to adjust and feel comfortable to use. The JAMmers are like creative chefs. All we need to do is to provide them the best ingredients and they can cook a dish suitable for their instinct and experience.

3. A sharing trigger for JAMmers to exchange experience.
The design should trigger JAMmers to share their experience in gaining awareness from the participants in Visual Thinking sessions

Goal of the Conceptualization

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In order to avoid the stereotype which is common reality and the most critical problem in sessions, the goal of the conceptualization is to find a way to stimulate an early curiosity of session participants. Therefore, the participants can share the stage with JAMmers and be prepared to respond to JAMmers’ questions and drawings during discussions.

Need a Neddle to Burst the Stereotype

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The findings in the Contextmapping research provide new perspectives on Visual Thinkers’ characteristics, experience, and how they perform their roles/functions with their natural instincts and learned techniques in Visual Thinking sessions. In the poster (See the post), it provides a balanced and dynamic figure of the JAMmers in Visual Thinking sessions, which switches from “the leading roles” (the blue-man side) to “the supporting roles” (the orange-girl side).

The conclusions in the previous post indicate clearly that the JAMmers need to inform and impress the participants and facilitators well in the introduction, in which they can convert their stereotype that drawers cannot be a logical thinker. The stereotype of the session participants is just like a bubble distorting the impression on Visual Thinkers. It can result in other critical problems afterwords, such problem 9, “Time issue”. Therefore, the conceptual design will be the goal to address the problem 1, “What is my role? & where is my stage?” (See the previous post).

This stereotype results in the neglect of participants or a conflict with facilitators who should cooperate with JAMmers. However, JAMmers usually have only several minutes to introduce their roles/functions to the participants in the sessions. In order to solve the problem, a concept will be developed to inspire participants and facilitators initial awareness about Visual Thinking in the beginning of the sessions. As a result, the effectiveness of Visual Thinking will not be shadowed by the misunderstandings.

9 problems & possible solutions in Visual Thinking sessions

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These nine problems defined in the previous analyzes are presented in identity cards depicting its scenarios, quotes, seriousness, and suggested solutions. Problem 1 is categorized with three stars as it is the most critical problem. Problem 8 and Problem 9 are categorized with two stars, and the rest of the problems are categorized with one star.

Analyses for research question 2

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To answer the research question 2, “What is the most critical problem when Visual Thinkers interact with the dynamic context in sessions?”, the coded phrases from the Sensitizing phase and the Deep reflection phase are partly categorized in a group, “Problems & solutions”. The conceptual framework is applied to map the coded phrases (See Figure A). The results of the “Problems & Solutions” are clustered based on the conceptual framework (See Figure B). The coded phrases with similar meanings or inclinations are put together in clusters, and each cluster was summarized in a general problem (See Figure C). The summarized problems are translated into individual identity cards for each problem to provide the insights for further solutions.Figure A. The conceptual framework

Figure B. Results of the “Problems & Solutions” clustered on the conceptual framework

Figure C. Each cluster is summarized in a general problem.

How do Visual Thinkers interact with the dynamic context in sessions?

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This is a poster to depict the research question 1: “How do Visual Thinkers interact with the dynamic context in sessions?”. I chose the metaphors, a blue man and an orange girl, to represent the characteristics and techniques of General Visual Thinkers. Like a grown man, they have to organize received data into systematic drawings and express them logically to convince people. Like a little girl, they need to be curious and empathetic to understand people’s inner expectations and personal insights. They have to switch these two sides in order to respond to the dynamics of the group in the sessions. There are four major roles/functions in the four corners of the poster, which are “Truth teller”, “Passion trigger”, “Discussion supporter”, and “Sensitive balancer”. The first two roles are performed as the leading roles in sessions while the last two roles mostly play supporting roles in the group.

General Visual Thinkers in sessions

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According to the findings and the initial analysis in the previous post, general Visual Thinkers can be described as the composition of general characteristics and techniques which are summarized in the post. General Visual Thinkers are the core of the figure below. They use their instincts and trained techniques to react to the dynamic reality in Visual Thinking sessions.
In Visual Thinking sessions, the characteristics of Visual Thinkers are made of two main parts, “Rational” (Left-brain) and “Sensitive” (Right-brain). On the one hand, Visual Thinkers have to be rational and square to convince people. On the other hand, Visual Thinkers have to be sensitive and flexible enough to understand people’s true expectations. Speaking of techniques, Visual Thinkers use logical thinking to lead session participants with clear pictures in the left hand side, like a grown man. And in the right hand side, Visual Thinkers are like a curious girl to discover inspirations and support people. Therefore, general Visual Thinkers can be depicted as a double-sided person in order to face different challenges in both ends of the spectrum.

Sensitive Balancer

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“I have to keep alert and sharp all the time. Sometimes it is difficult for me.” (C-D-6)

Based on the results of the previous post, JAMmers have to keep sensitive all the time in the sessions to observe and listen carefully about people’s doing and talking. They also pay a great deal of attention on the group dynamics to address unnecessary tensions. They balance the certain participants’ dominance by using drawings to surface unheard voice.

Discussion Supporter

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“I am dancing with the participants to lead them.” (G-D-5)

Based on the results of the previous post, JAMmers support the discussion in the sessions with the coordinated interactions. They are just like to dance with the participants, sometimes leading and sometimes following. If the flow of the communication is good, they keep it with the drawings. If the discussion does not work well, they have to take the lead and show them the possible direction.

Passion Trigger

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“I like to astonish them by making a lot of drawings and draw unexpected ideas” (F-S2-2 & F-S2-3)

Based on the results of the previous post, JAMmers trigger people’s actions by creating the moments which awakens their passion.

Truth Teller

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“I like the dinosaur I drew to depict the state of being of my client because it confronted him with his actual situation. Once seen, denial becomes impossible.” (G-S3-1)

Based on the results of the previous post, JAMmers challenge the clients about the reality they avoid to face, such as complacence and ignorance. They have to be able to differentiate the essences in the sessions and express them honestly to the participants. Taking advantage of hand drawings (See the section 2.1), the challenge can be less intimidated than the one in face-to-face confrontation.

Discussion on Findings of Research Question 1: Part 3

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It is suggested in this work that the four corners of the previous mapping also indicate the four major roles/functions of the JAMmers in Visual Thinking sessions (See the first figure below).

The essence of the inside-out process (Part A) indicates that JAMmers’ nature is to actively support discussion and thinking flow in sessions, which meets the description of “Discussion supporter”.

The essence of the logical output (Part B) indicates that JAMmers compose systematic and organized drawings to convince and challenge participants, which represents fairly the value of “Truth teller”.

The essence of the outside-in process (Part C) indicates that JAMmers uutilize their all sensory to receive explicit and implicit information in order to follow the dynamic context, which fits the description of “Sensitive Balancer”.

The essence of the empathetic output indicates that JAMmers use empathy to find out participants’ motivation and inspire them with proper drawings, which is in line with the function of “Passion Trigger”. Passion Trigger inherits the essence of Passion Finder and also the value of JAMmers’ approachable characteristic.

Discussion on Findings of Research Question 1: Part 2

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If the table is rotated 45 degrees anti-clockwise, the renewed mapping actually sheds the light on the right-brain and left-brain sides of interactions of JAMmers in Visual Thinking sessions. JAMmers bring these two sides together by switching around these two sides of their brain and apply proper techniques to deal with the dynamic context in sessions. The processes of switching (inside-out and outside-in) also play a key role to support the flow of the thinking in the sessions and to balance these two sides dynamically. To sum up, the left-brain and the right-brain are not contradicted but complete each other with proper processing.

Previous mapping

Renewed mapping

Discussion on Findings of Research Question 1: Part 1

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The answer to the research question 1, “How do JAMmers interact with the dynamic context in Visual Thinking sessions?” is discussed based on the results of analysis in the last post (or see the table above). I have discussed the content of general table with the JAMmers, we have consensus that the two-dimensional map can be identified as four parts: part A (Top-right), part B (Top-left), part C (Bottom-left), and part C (Top-right).

The content of each part features a specific type of interactions. Part A is an inside-out process to process received data into systematic and organized thinking. Part B is a logical output to translate the logical thinking into convincing and clear drawings in order to lead sessions to correct direction. Part B is an outside-in process to read people’s thinking, body language, and the group dynamic to understand their intentions and to gain key triggers. Part D is an empathetic output to surface people’s expectations and to trigger their inspirations and actions.

Analyses for research question 1: Part 2

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The terms in each posters, "Characteristics", "Techniques", and "Roles/functions" (See previous post) is summarized in a new table. All three new tables are finally integrated into one general table. On the new general table, the relationships between each categories and each specific term are ready to identify and discuss. The discussion on the new poster will lead to an understanding to human interactions in Visual Thinking sessions.

Procedures of the analysis approach

The integrated table of three groups, "Characteristics", "Techniques", and "Roles/functions"

Analyses for research question 1: Part 1

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In order to answer the first research question, “How do JAMmers interact with the dynamic context in Visual Thinking sessions?”, the coded phrases are categorized in three major groups, “Characteristics”, “Techniques”, and “Roles/functions”. An experimental analysis is applied for further investigation.

Based on the findings in literature study (Horn, 1998. pp. 209-210; Pearse, 2007), the emotional dimension of Visual Thinking is as important as the logical dimension, for example, to be able to empathize with others’ difficulties. I apply a two-dimensional map to demonstrate the coded phrases of each group in line with Visual Thinking’s reality.

These Two dimensions are identified as “hard and soft” and “outward and inward” because Visual Thinking is not only to solve practical problems but also to support group interactions in the sessions. The key words in two-dimensional map have been discussed with JAMmers, and we have consensus with this idea.

The “hard and soft” dimension differentiates the coded phrases from the logical and rational inclination (hard) to the emotional and empathetic inclination (soft). And the “outward and inward” differentiates the coded phrases from the tangible and physical activities (outward) to intangible and mental activities (inward).

Based on the two-dimensional model, the coded phrases in the groups of "Characteristics", "Techniques", and "Roles/functions" are composed as three posters (See the images below).

Characteristics

Techniques

Roles/functions

In each poster, coded phrases with similar meanings or inclinations are identified as a small group, and the general content of each cluster is summarized in a specific term. The image below is an example of the Cluster with Related Coded Phrases and a General Tem, “Passion finder”.

Deconstruct the Collected Data in Contextmapping

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The documents and notes collected in the Sensitizing phase, Case studies, and Deep reflection phase are coded as 246 single phrases. Furthermore, they are categorized with four groups, "Characteristics", "Techniques", "Roles/functions", and "Problems & solutions", in order to solve research question 1 and 2.

Here are some examples of the coded phrases.

Goal and Research Questions in Contextmapping

2010-02-20T00:18:00.008+01:00

Goal of the research
The goal of the research is to understand human interactions and to define the most critical problem when JAMmers interact with the context of JAM visual thinking. It is suggested in this work that human interactions in the Visual Thinking sessions are what JAMmers do, interact with, and expect for in Visual Thinking sessions.
Research questions
1. How do JAMmers interact with the dynamic context in Visual Thinking sessions?

2. What is the most critical problem when JAMmers interact with the dynamic context in Visual Thinking sessions?

The research question 1 focuses on three aspects, ‘’Characteristics”, “Techniques”, and “Roles/functions”. Visual Thinkers’ experience in Visual Thinking sessions is about how people deal with the dynamic contexts by proper techniques related to roots of different characteristics. Research question 2 focuses on the “Problems & solutions” in the sessions, which paves the way to identify the most crucial problem in the interactions of Visual Thinking sessions.

Welcome to my final presentation!

2010-02-16T13:55:00.007+01:00

After 9 months, the fantastic journey is near the end.

On 25th of Feb, I am going to give a final presentation of the graduation presentation. I wish to see you all there, my dear friends.

The graduation project cannot be completed without your supports, whether they are warm embraces or harsh criticism.If possible, please let me say thanks to you in person by showing the wonderful scenery that I have gone through in this project.

Topic:
Decipher the "magic" of Visual Thinking and design a
concept to inform it for JAM visual thinking

Date:
Thursday, 25th February, 2010

Time:
15:45

Location:
Wim Crouwelzaal (Room U),
Faculty Industrial Design, TUDelft,
the Netherlands Google map

PS:
1. It is a project with a focus of Visual Thinking, a young facilitation method featured creative problem-solving process with instant drawings.
2. Contextmapping research method is applied on exploring a methodology instead of a physical product.

Best Regards,
Po-Chih Tsai
蔡博智

Planning and collected data in Deep Reflection phase

2010-01-17T13:32:00.007+01:00

In the Deep reflection sessions, participants reflected on what they have done in the three-day tasks and received instructions to express their thoughts, feelings, and ideas about the Visual Thinking in sessions. Their experiences were surfaced when they were asked to present and to explain their reflections of the possible problems and solution based on the conceptual framework (See Figure below). Interview questions were asked in each step of the session (See Table above). According to the result of the discussion, they were asked to map the possible problems and solutions in the conceptual framework. Three participants finished both of the sensitizing phase and deep reflection sessions.

The image below is an example of the interview in the Deep reflection phase.

Tasks and Materials in Sensitizing phase

2010-01-17T13:24:00.013+01:00

Three-day sensitizing tasks consisting of small tasks each day are designed. JAMmers reflect on their personal information, general experience, and specific experience as a Visual Thinker in Visual Thinking sessions in the three-day tasks.

A. First-day tasks
The first-day tasks require the participants to describe their drawing history and characteristics. Each task is asked to finish in 15 minutes. (See Figures below)

The image below is an example of the first-day task, which is made by one of the JAMmers.

B. Second-day tasks
In the second-day task, participants answer what their roles, preparation, activities, tools, and techniques are in general Visual Thinking sessions. They are also asked to refer to the results of the first-day tasks. This task is asked to finish in 20 minutes. (See Figure below)

The image below is an example of the second-day tasks, which is made by one of the JAMmers.

C. Third-day tasks
In the third-day task, they are asked to reflect on their best and worst experience in Visual Thinking sessions. They are instructed to reflect on the results of the first-day and the second-day tasks. Each task is asked to finish in 20 minutes. (See Figures below)

The image below is an example of the third-day tasks, which is made by one of the JAMmers.

The Process of Sensitizing phase and Deep Reflection phase

2010-01-17T13:07:00.007+01:00

Sensitizing over a period of time prepares participants to access their experience and to express and discuss these in Deep reflection sessions. Three-day sensitizing tasks consisting of little exercises each day are designed and sent to participants several days before the Deep reflection sessions. JAMmers reflect on their personal information, general experience, and specific experience as a Visual Thinker in Visual Thinking sessions in the three-day tasks (See Figure above). There are seven participants who finished the sensitizing phase. Five of the seven participants did the tasks as I observed them and asked them some questions about their doings in the phase.

Procedures of Contextmapping Research in JAM

2010-01-17T12:47:00.008+01:00

Contextmapping research involves the following several phases: “Preparation phase”, “Sensitizing phase”, “Deep reflection sessions”, “Case studies”, “Analysis”, and “Communication” (See Figure above). The findings of the Sensitizing and Deep reflection sessions, and Case studies are analyzed in the Analysis phase. In the Communication phase, the findings in the Analysis phase are represented in a way to communicate learned insights to the following designers and inspire them.

Research Method: Contextmapping

2010-01-17T12:32:00.007+01:00

I apply contextmapping research method in this research to explore subjects’ experience in both explicit and implicit information. Visual Thinking practice is non-linear, even non rational and mixing up within the interactions between participants and Visual Thinkers in sessions. In this case, the contextmapping method is helpful to record what JAMmers say, do, know, feel, and dream for their experience in the Visual Thinking sessions. The subjects can take the sensitizing steps as a stairway to gain deep personal knowledge effortlessly (See Figure above). This knowledge cannot readily be expressed in words, and people even do not know they possess but only feel it.

Further Interpretation About Visual Thinking Processes in Sessions

2010-01-14T16:14:00.013+01:00

This drawing above depicts Visual Thinking processes in sessions: to reach hidden insights deep in people’s minds, come to shared visions and solutions, and finally realize the ideas in practical actions in Visual Thinking sessions. Different from the post: Does the Flow Run only on the Surface or Deep in Minds?, an extended explanation about realizing shared visions into actions is added in the drawing. This conceptual framework in the drawing can therefore be categorized in four major processes and five main stages (See the drawing below).

According to different features in Visual Thinking process, the five major processes are named: Grounding, Diving, Showing, Lifting, and Landing. The four main stages are named: Common Ground (Shared Mental Models), Personal Insights, Shared Visions, and Action.
The five major processes
1. Grounding
In a multi-disciplinary group, Visual Thinking can help to build shared understands in which people can communicate on a common ground. Visual Thinking in this process provides a common language (visual language) and works as a catalyst to create a fluid thinking flow. This process also includes the preparation before the sessions.

2. Diving
Visual Thinkers in this process dive with people to gain the personal insights. Visual Thinkers concentrate on all information they can detect in the process and help participants to gain deeper insights with instant sketches.

3. Showing
Visual Thinkers visualize the personal insights to bring it to the stage, “Shared Mental Models”, where people can really see and discuss each other’s ideas. As a result, the insights can be discussed and be built on with others’ ideas.

4. Lifting
The “Shared Mental Models” can be leveled up to the stage, “Shared vision” through the transformation in Visual Thinking, for example, to give a proper metaphor to describe a potential crisis in the market.

5. Landing
After a team forms a shared vision, the shared vision needs to be developed into a down-to-earth solution. In this process, Visual Thinkers will work with the clients closely to finalize the realistic solution. The “Landing” process can last longer after the session ends.

The four main stages
1. Common ground (Shared Mental Models)
Multi-disciplinary groups need to form shared Mental Models (Common ground) to communicate. The stage is the foundation for a group to talk and work together.

2. Personal insights
The stage, “Personal insights”, is where people’s personal ideas and thinking lie on. The drawings need to connect to people’s personal ideas. Visual thinkers have to work on detecting people’s real thinking and try to associate the different insights with each other.

3. Shared vision
“Shared Vision” is the stage where people share coherent ideas about the issues of the session. This vision is a higher level concept of the shared Mental Models, such as a shared future strategy to an issue. Shared visions in a team take more time to transform and develop in order to reach the core of issue and provide clear motivation for “Action”, compared to shared Mental Models.

4. Action
This stage, “Action”, is where people realize the shared vision in a practical plan. One of the purposes in the Visual Thinking is to eventually create new thinking with drawings which triggers people to action. However, having shared Mental Models is not enough to trigger radical or lasting actions for an organizational change. People need clear motivation with the shared vision.

A Fresh Start After a Long Pause

2010-01-14T11:53:00.009+01:00

Hello all...

It's been a long pause for this blog. Actually it is four months long. I had some setbacks on my ill management of the graduation project. The pressure was quiet overwhelming and therefore I decided to pause the blog. It's a bitter but necessary decision. I had to focus intensively on making the project balanced again between two ends, TU Delft and JAM. It occupied my full energy to be back on the right track and could not afford to keep an eye on the blog.

I was insensitive about the gap in between the academy and the company, the expectations of mentors in TUD and mentor in JAM. It's a harsh lesson worth to learn.

Nevertheless, the end of the project is near. Before the curtain falls, there is time to move on and reflect the process in this blog. Please stay tuned...

JAMmers' Characteristics

2009-09-29T18:29:00.004+02:00

The characteristics of the JAMmers in this chart are based on Wouter's and Jeroen's findings as they prepared for the JAM school. Here I summarized them in two dimensions, which are "Hard and Soft" and "Outward and Inward".

Personally, I see different personalities in JAM. Somehow they do share some characteristics, like sympathetic, eager to help, energetic, open-minded and humor. But none of them have all of the characteristics in the chart. There are some difference in between them. And these also lead to the difference on how they perform their Visual Thinking method in the sessions.

Focus of the Project in JAM's Work Categories

2009-09-29T16:41:00.006+02:00

After the five-year practicing, this year (2009) is a watershed for JAM visual thinking to rethink their future strategy in Visual Thinking. The categories of their previous projects indicate what they are capable to do and how much involvement of the Visual Thinking method are in each category. The involvement here means the degree that JAM visual thinking can be part in the problem-solving process with their clients.

Almost the JAMmers graduated from the Industrial Design faculty in Delf University of Technology. Designer-orientation minds motivate JAMmers to consider more about the solutions for their clients instead of being a fast and reflective drawer only producing pretty drawings. The idea triggers JAM to put their strategic focus on group sessions and long-term projects .

In the graduation project, I chose the Visual Thinking group sessions as the focus of the study because, on one hand, the group sessions can provide a holistic reflection with the effectiveness of Visual Thinking, and, on the other hand, the long-term projects need longer time to follow and more aspects to observe which can hardly scale in a 23-week research.

Strategy Week in JAM!

2009-09-29T15:01:00.007+02:00

This year, 2009, is the fifth year of JAM visual thinking. As a company, they are still as young as the babies in the field of Visual Thinking. They are still curious about everything and trying every possibilities in the Visual Thinking world. They are also wondering what their next steps are. They have numerous questions in their heads and numerous tools in their hands now. So... Maybe the first step for JAM is to jam everything together...

In the final day of the strategy week, Dennis, Mike, and Wouter brought the clay on the table. Through the clay sculpturing, we shared others' thoughts and dreams. Finally, we were jamming together to be an "one" again.

Let's wait and see what would be born in the jamming ball!

Barricades in the Way of Thinking Flows and Ways to Deal with Them

2009-09-06T18:14:00.016+02:00

We have discussed the reasons why more issues should be explored further in the previous post. Here is the first issue. We need to explore the types of barricades happening in the process which block the thinking flows. If they cannot fully solve the problems happening here, that would be definitely jeopardizing to the contributions of VT/GF.

I assume that, for different individual Visual Thinker/Graphic Facilitator, the techniques will alter depending on their personalities, their backgrounds, and the real situations which are the composition of the team, the environment, etc. We need to ask: What kind of preparation will Visual Thinkers/Graphic Facilitators do before the sessions? How do they deal with the barricades in the process? Will they pump into more energy to break them through, or use special skills to jump over them, or simply make a new path to bypass?

Does the Flow Run only on the Surface or Deep in Minds?

2009-09-06T18:14:00.015+02:00

We have discussed the reasons why more issues should be explored further in the previous post. We discussed the first issue: barricades in the way of thinking flow. It is also interesting to know that, even though VT/GF is to create a fluid thinking flow, the flow is just running on the surface, or it can run deeper to bring out profound insights, which is truly the goal of VT/GF.
On the one hand, without in-depth insights being aroused, the drawings will be disconnected with participants and become meaningless no matter how beautiful they are. These drawings in the process, in the case, are not working as catalysts. In terms of the results, the disconnected drawings will not showcase valid findings in sessions and cannot lead stakeholders to the vision they want to bring.

On the other hand, one of the unique features of VT/GF, “Speeding up by slowing down first”, is a proper example to represent the benefits of running deep. It will take some time to get in-depth insights in the thinking process until people get enough insights. However, if the flow is too fast, people will simply drift fluidly on the surface to the end. This efficient process will not guarantee a thorough solution because the process is not reflective to every one’s thoughts in mind. The final result in this case functions as a “decoration” rather than a “transformation” (see Visualization helps learning).

For Visual Thinkers/Graphic Facilitators, their experiences on this issue will be elaborated in the angles of what kinds of factors affect most, how Visual Thinkers/Graphic Facilitators evaluate the process, and how they evaluate the outcomes. For clients, their feedback will be asked and evaluated in case studies.

Issues Need to Be Explored in the Following Researches.

2009-09-06T17:51:00.006+02:00

This theoretical framework of Visual Thinking/Graphic Facilitation represented a model under ideal situations in sessions. However, we still need to know more about how Visual Thinkers/Graphic Facilitators react to the setbacks which block or stagnate the creative thinking in process, and what kind of factors will affect most when things go wrong. Many facilitation techniques already focus a lot on the implementation of icebreakers in multi-disciplinary teams, and the techniques to develop proper Infographics to report the results. There are also many how-to-do tool books in Visual Thinking/Graphic Facilitation, but there is still lack of researches on limitations of VT/GF and solutions to them in the progress.
There are other issues with a value to apply further researches. First, what are the barricades in the way of thinking flows and ways to deal with them? Secondly, is the thinking Flow running on the surface or deep in minds? A further explanation to these two issues will be given in the following sections.

How does Visual Tinking help people in sessions?

2009-09-05T16:15:00.004+02:00

This table demonstrates a quick comparison of Visual Thinking Process, Visual Design Process, Techniques in Visual Thinking/Graphic (VT/GF) Facilitation Sessions, and Benefits in VT/GF Sessions in terms of time passing by in sessions. It suggests that Visual Design Process (JAM visual thinking, 2009) in VT/GF is developed on a simple and basic individual Visual Thinking Process (Roam, D. 2008). Visual Design Process is a group-level thinking process which inherits the intuitive nature of individual Visual Thinking Process. Participants as a group in the sessions can process the information in their minds as they have done numerous times in daily time.

Visual Thinkers/Graphic Facilitators also follow similar pattern to make a good use of appropriate techniques in each stage of Visual Design Process. For example, they use “Observation skills” to collect relevant and/or subtle information in the discussion. They quickly select out all these elements and draw them in front of participants with the technique, “Fast catch: word and image”. “Observation skills” and “Fast catch: word and image” create a common ground for “Collecting elements” and “Finding coherence”. As time goes by, the technique, “Deep listening: story and metaphor” help participants to compose of the words and images into coherent stories and/or metaphors as the base of “Composition”. “Holistic reflection” finally paves a way for Visual Thinkers/Graphic Facilitators to create a living document which is based on Team Mental Models or shared understanding in the sessions.

Visual thinking process is non-linear and non-rational, which is a proper ground for breeding creativity. Eventually, the thinking flow empowered by VT/GF techniques will bring fruity benefits to individual participants and teams in the sessions, and to stakeholders and employees after the sessions.

5 Pillars to Build Team Mental Models.

2009-09-05T11:56:00.010+02:00

Jeffery et al. (2005) suggested the following 5 advices for building team mental models:

1. Clarification of team objectives and tasks, environment and variables.
Team members clarify objectives and tasks and identify collaborative modeling and effective communications as team goals. Open and thorough discussion builds understanding of each other and exercises the collaboration and communication process (Jeffery et al., 2005).

2. Establishing roles and responsibilities.
Clarifying team member roles and responsibilities should be accomplished after the team defines team objectives and the tasks necessary to accomplish the objectives and sets collaborative modeling and effective communications as team goals. This requires the development of team interaction models that represent a blueprint for how the team works as a team (Cannon-Bowers et al., 1993).

3. Information processing, communication, and collaborative modeling rules and procedures.
Team members should address techniques they will use for communicating, feedback, and sharing mental models in order to accomplish team objectives (Jeffery et al., 2005).

4. Knowledge of team members’ background and style.
Team members need to understand other team members’ knowledge, skills, abilities, preferences, strengths, weakness, and tendencies (Cannon-Bowers et al., 1993).

5. Collaborative modeling scheme.
This plan includes rules and procedures for articulating individual models and the process the team will use to develop a shared mental model (Jeffery et al., 2005).

These imperatives indicate important milestones in the facilitation sessions, which Visual Thinkers/Graphic Facilitators can follow in the progress. Visual Thinkers/Graphic Facilitators can make a certain checklist based on these five imperatives to make sure they put their efforts efficiently on rather important things. Then the participants can work together better because of the creation of the fundamental agreement on criteria of the task, personal roles, ways of common communication, each others’ backgrounds and styles, and a collaborative scheme to develop TMMs.

According to these imperatives, Visual Thinkers/Graphic Facilitators in this process also need to introduce their roles and functions to the participants. They have to make sure that the participants understand proper rules of VT/GF in the process in order to avoid miss-led information and make the best out of VT/GF.

Two Hand Drawing Animations

2009-09-04T10:54:00.007+02:00

Strawberry Swing by Coldplay

MUTO by Blublu.org

Enjoy them!

What is Visaul Thinking/Graphic Facilitation?

2009-09-04T10:28:00.006+02:00

Visual Thinkers in group sessions can distinguish from people's complex thoughts to a clear and still meaningful graphics instantly. They are just like a prism that divide the white light into several colors.

In terms of an individual, Roam D. (2008) defined visual thinking as taking advantage of our innate ability to see—both with our eyes and with our mind’s eye—in order to discover ideas that are otherwise invisible, develop those ideas quickly and intuitively, and then share those ideas with other people in a way that they simply “get”.

In the practice, there are many definitions of VT/GF published online. Here I summarized the quotes of some opinion leaders in the field: XPLANE, founded in 1993, is the most well-known and pioneering visual thinking consultancy companies in the America. Chris Pearse, co-founder of the Clarity Partnership, wrote a paper, “Putting People in Your Picture”, with profound knowledge about VT/GF in practice. Brandy Agerbeck, an experienced graphic facilitator in the America, provided valuable insights as an active visual practitioner in her career. JAM visual thinking had actively involved with the ideas to inspire people what VT/GF is and how to use it for years in the Netherlands.

To sum up their interpretations of VT/GF, Visual Thinkers/Graphic Facilitators are the visual and usually silent partners, compared to the traditional verbal facilitators (Agerbeck B., 2004). They take part in sessions and together translate people’s project into a clear and large scale image in real-time (JAM visual thinking, 2008). Visual Thinkers/Graphic Facilitators provide people an efficient means to make sense of complex issues (Pearse, C., 2007) by taking advantage of our innate abilities. People can simply get information by receiving it visually. And VT/GF in this sense is not a solution for these issues but rather a catalyst (Pearse, C., 2007) to accelerate understandings (XPLANE, 2009) in front of a large group.

Drawings reflect on Visual Thinkers’/Graphic Facilitators’ minds when they collect the general and specific senses of everyone in a given session. VT/GF is a powerful tool of recognition for everyone (Agerbeck B., 2004). These drawings can pave the way to understand each other in a complex reality and lead people to a right decision and taking actions (XPLANE, 2009).

Start with a piece of blank paper and a pen

2009-08-31T19:19:00.002+02:00

Image how children doodle on a piece of blank paper. Drawing lives since you sense that you are creating something. The fun spreads when the results are shown. It is also a time for sharing and responding. The essence of hand drawings lies in inviting people to see and share.

As an adult, we lose that ability to draw for different reasons. We are in pursuit of something more sophisticated to solve problems. We are so serious about producing solutions presented in neat computer graphics or a profound report. We ignore the truly sparkles of our wisdom which happened in the process. Visual Thinking/Graphic Facilitation (VT/GF) offers a way to help people reflect deep and respond openly in the process. If we want to duplicate the inspiring and evoking moments in the other sessions, we will have to find out how VT/GF triggers people being more creative and involved.

Nowadays, there are many terms in general using to describe what the graphic professional does when visually representing a group’s process. Some call “visual thinking”, “graphic facilitation”, “graphic recording”, and “graphic consultancy”. For the purpose of this study, the approach will be called Visual Thinking/Graphic Facilitation (VT/GF) in the fact that these two terms are mostly chosen by the facilitation companies internationally.

"Ongoing creation creates a living document" What makes Visual Thinking so special?(VI)

2009-08-31T19:06:00.005+02:00

It is interesting to see other people drawing. That becomes simply a positive cycle in the process. People will be more and more curious about what will happen next. They will then be more eager to contribute when they feel more involved in the co-creation.

Visual thinker's/Graphic facilitators' work will be a big picture depicting not only the result of the team, but the process in the discussion. People can always get their "AHA!" moments back on the picture. The picture can be added on all the time when there is new idea. It can evolve with time and keep lasting effects after participants leave the workshop.

"Excellent Complex Problem Solver" What makes Visual Thinking so special?(V)

2009-08-31T17:20:00.003+02:00

Contemporary business is complex, diverse and dynamic compared to decades ago. As the history of VT/GF described early on, VT/GF emerged when people need to solve problems involving expertise with diverse backgrounds. The creative process of solving novel problems is non-linear and even non-rational. Big paper offers scope in recording and communicating the flow of a meeting for a broader organization (Valenza, C. and Adkins, J., 2009).

In front of the participants, Visual Thinkers/Graphic Facilitators spread out all of the “elements” reflected from the verbal and nonverbal information. People can simply make a good use of their innate visual abilities (section 2.2) to browse through the sea of information in graphics, and find out relevant points and coherence which make meanings to them. This is what we do every day to predict the surrounding factors, and Visual Thinkers/Graphic Facilitators simply take advantages of the natural talent for people to thread through rather complex issues in a group level phenomenon.

The emphasis lies on creating design documents that can be understood by people from different backgrounds, and that provide a visual overview so that important factors are not lost in lines of words (Stapper P. et al., 2005). Compared to VT/GF, vocalized ideas are merely bits of vibrating air. Visual thinkers catch elusive information, record them on the paper and make them accessible as drawings. People then can always build on each other's work or opinions without losing any positive details. It can involve wider groups of stakeholders in the process of creating fresh decisions (Valenza, C. and Adkins, J., 2009).

The Gestalt laws of perceptual organization

2009-08-30T21:39:00.003+02:00

In 1912, Wertheimer, Kurt Koffka and Ivo Kohler questioned sensations theory were not enough to explain the entire perceptive phenomenon (Goldstein, EB., 2001). One of the basic principles of Gestalt psychology they demonstrated is “The whole is different than the sum of its parts.” The laws of perceptual organization are a series of rules that specify how we organize small parts into wholes by vision.

"Crappy V.S Beautiful -- Different Roles of Drawings" What makes Visual Thinking so special?(IV)

2009-08-30T21:33:00.008+02:00

There are different levels of drawings used in VT/GF. A given drawing has the ability to represent something really simple and something really complex. Visual Thinkers/Graphic Facilitators take advantages of the flexibility of drawings. In the process, they draw images and texts with open interpretation for simulating creative thinking. For the result, they choose a metaphor which contents correct and rich information deriving from participants' shared understandings.

A rough drawing could be also very meaningful since it makes sense in the discussion. However, a beautiful drawing done after workshops could be meaningless if it loses the links to the context. It is important to differentiate the functions of the drawings in the process and after sessions.

On one hand, the drawings in the process do not have to be sophisticated compared to the final mutual result. They are more like a real-time reflection (Valenza, C. and Adkins, J., 2009) of the process of meeting, which is beneficial to build TMMs. On the other hand, the refined drawings after sessions need to be profound enough to breed post-meeting ideas instead of only a reflector. A proper transformation (Stapper P. et al., 2005) helps people contemplate thoroughly with a coherent picture. However, the refined work is time-consuming (Valenza, C. and Adkins, J., 2009) and risky to lose underlying association of the drawings crating in the process.

"Different Roles of Players in the Process and Result of a Session." What makes Visual Thinking so special?(III)

2009-08-30T21:08:00.008+02:00

The picture above is about what participants and Visual Thinkers/Graphic Facilitators in a workshop will focus on in terms of "process" and "result". This picture above differentiates different expectations and purposes of participants and Visual Thinkers/Graphic Facilitators.

In top-right fan, participants always focus more on a promising result while, in bottom-left fan, Visual Thinkers’/Graphic Facilitators’ first priority is to build a sense-making process for participants.

In terms of the result in sessions, the top-left fan indicates that participants are beneficial to sense-making in the process. Finally, Visual Thinkers/Graphic Facilitators help to reach the result by building mutual sense-making in bottom-right fan.

We can conclude that Visual Thinkers/Graphic Facilitators need to alter their focus and skills in different phases in group sessions in order to assist participants’ expectations. They should be sensitive to participants’ demands and weakness in every phase, and keep on supporting them.

"3-30-300" and "AIDA" Principles in Composing a Successful Infographic

2009-08-12T12:58:00.009+02:00

Infographics, to me, is an important tool to build a sturdy bridge among researchers, designers, and also the stakeholders who do not share the same backgrounds knowledge with you.

Here is an example that I did in a research project on Town Watchers, or Wijkagent in Dutch. They are one kind of policemen, and their missions are mainly focused on how to prevent crime in communities instead of punishing crime like normal policemen. We presented the results of our findings in the research as an infographic.

In this infographic, we applied the "3-30-300" principle which indicates that, in first 3 seconds, readers can get immediately what this poster is about, in the following 30 seconds, they can know better by browsing through some subtitles or graphics, and, in the lasting 300 seconds, they can continue exploring the background knowledge with the detailed explanation. This idea could be demonstrated as the picture below.

We also apply the "AIDA" principle, which refers to Attraction, Interest, Desire, and Action. Attraction is to catch the attention of the reader. Interest is to appeal them with the topic or content. Desire is to make them eager to learn. Action is to ensure that the desire to learn is translated into actual learning.

In the first 3 seconds, we used the main metaphor, an elephant, to represent Town Watcher's compassionate personality and down-to-earth endeavor. We made it as a eye-catching item to attract people's attention and arouse people's interests in it. After their desire to learn more was triggered, n the following 30 seconds, readers can browsing through the various attributes around the elephant, such as a compassionate heart, a huge brain, and a back carrying responsibility. Then, in the lasting 300 seconds, they can learn more about the Town Watchers' daily life by reading the supporting articles and graphics surrounding the poster. The supporting materials ensure that the poster can be frequently revisited and stay fresh, informative, and inspiring.

However, an eye-catching drawing is not a guarantee to be a successful infographic. A well-made infographic must be coherent in these three levels. It is crucial to make sure there are enough clues and linkages among these three levels. So the reader will not be puzzled by the overwhelming data but always can find a way to go on. Only under a thorough, organized design process, the poster then can really attract people in the first sight and keep them been informed and inspired for a long time.

Some Great Infographic Examples

2009-08-12T08:42:00.010+02:00

What is Infographic?
"Information graphics or infographics are visual representations of information, data or knowledge. These graphics are used where complex information needs to be explained quickly and clearly, such as in signs, maps, journalism, technical writing, and education. They are also used extensively as tools by computer scientists, mathematicians, and statisticians to ease the process of developing and communicating conceptual information." _ (Source: Wikipedia)

Here I selected some great examples of Infographics:

(Picture above, Source: XPLANE-examples, Copyright xplane.com)

(Picture above, Source: Transparency: The Largest Bankruptcies in History)

(Picture above, Source: Inside Dylan's Brain)

(Picture above, Source: Infografía premiada en los 2Q/NAO 2007)

(Picture above, Source: What's In Your Mail?)

(Picture above, Source: Lance's Last Tour, the graphic and design was done by Michael Mode and Steve Cowden, the text is by Bonnie DeSimone and James Yu. )

More examples in 50 Great Examples of Inforgraphic, Cool Infographics, BRAVO!

"Speed Up by Slowing Down First." What makes Visual Thinking so special? (II)

2009-08-10T01:02:00.014+02:00

The process of Visual Thinking is just like a sequence of thinking loops. People can keep cycling in a loop or move back or forth between loops. Visual thinkers use multiple techniques to help the thinking flow smooth in the session. People can think more fluid and, instead of being rushed into next loop, slow down their thinking. People can therefore stay in a thinking loop longer until they get enough insights.

Paradoxically, people become more efficient in a rather complex and unpredictable task because of slower thinking process. The slower thinking process allows them think deeper, cohere each other, and then build a more profound Team Mental Model. This TMM will result in better performance, better predictability of errors in an uncertain context, and cooperative decision making. People, therefore, can focus on what really matters and waste less time in trial and error. Totally, the slower thinking process actually makes the whole process in a rather efficient fashion.

"Imperfect Strokes Makes Hand Drawings Human and Touchable." What makes Visual Thinking so special?(I)

2009-08-10T00:31:00.013+02:00

In the book, "the Back of the Napkin", Dan Roam (2008, p.25) pointed out that the spontaneity and roughness of hand-drawn pictures make them less intimidating and more inviting. Visual thinking is not about how polished our presentations are, but it is in how comfortable we are in thinking with our eyes. Therefore, audiences respond better to hand-drawn images (however crudely drawn) than to polished graphics. People then feel like working in a common ground and do not worry about offering up half-formed ideas for consideration.

3 Ways How Visualization Help Persuading in Ad

2009-08-10T00:12:00.008+02:00

Different drawings or pictures can represent different implications to the readers. So, we can use these properties of drawings to convey "right" information to "right" readers. In his book, ‘Visual persuasion’, Paul Messaris (1997) explores how images help advertisers to bring their points across. He described the images with three properties:

1. “Iconicity”, referring to the quality of a visual representation of sharing qualities with the object it refers to, such as a scale model of an airplane.

2. “Indexicality”, referring to the quality of a visual representation of being caused by the object and serves as a physical trace pointing to the object’s existence, such as footprints on the beach which indicates the earlier activities.

3. “Indeterminacy”, meaning that visual representations can often be interpreted in various ways. For example, in cigarette commercials, the relationship between smoking and a healthy outdoor lifestyle is often implied, but not expressed straightforwardly. The images here leave space for imagination with very little detail.

40 Free Tutorials on Advanced Drawing Techniques

2009-08-03T17:49:00.003+02:00

This is a post in the vector.tutsplus.com. This post contains "40 Free Tutorials on Advanced Drawing Techniques".

Have fun with them!

Visualizations help learning

2009-07-31T12:38:00.007+02:00

Levin (1987) examined the learning functions of visualizations in text, examined the types of visualizations that can be used of facilitate the students’ learning. They described five categories of functions of pictures in prose, which are “decoration”, “Representation”, “Organization”, “Interpretation”, and “Transformation”.

Decoration is to make texts more attractive but irrelevant to the text. Representation is to illustrate the same story as the text. Organization is to structure coherence of aspects. Interpretation is to clarify abstract concepts. Transformation is to anchor information in the text by linking it to pictures that are easier to remember.

The picture above explains the learning effects of different types of illustrations in textbooks. This picture is a replication from an illustration in the book, "Context and Conceptualization" (Stappers et al., 2005. p. 103).

The latter categories are proved to be more beneficial to effective learning for students (See picture above). The transformation function was found to have a strong effect on learning, but it happens only when the association made by the illustrator is shared by the reader.

6 Ways of Seeing, by Dan Roam.

2009-07-29T07:50:00.007+02:00

We see a number of things before we start to think. Actually, it all happens in a split second, and you don't even notice this.

We can see more than what we really “look at”. There are the “low-level” cognitive processes which take place when we receive numerous inputs and react to them without going through all over the complex brain. We filter out things and focus on something worth looking at because the “low-level” mental process enables us to act even before we think.

In "the Back of the Napkin", Dan Roam explained the pre-cognitive visual attributes as the six ways of seeing, in which he argued that people distinguished “who”, “what”, “how many/much”, “where” (positions of objects), and “when” (changing of positions) almost intuitively in a given scene, and defined “how” things influence each other and “why” in a later thought.

Understanding the potential of how our brains work in visual thinking paves a way to make a good use of them.

History of Visual Thinking, by Christine Valenza and Jan Adkins.

2009-07-28T11:36:00.017+02:00

In their newly-released paper: Understanding Visual Thinking: The History and Future of Graphic Facilitation, Christine Valenza and Jan Adkins (2009) described the nowadays global economy model with a metaphor: the neuron, compared to a vertical ladder in the Middle Ages and a flat web in the industrial age. They further explained the idea that modern people deal with the complex world by near-instant communication plugging into all levels of a problem and with multiple variables . The nonlinear thinking process for human ingenuity and creativity is rather like a human’s neuron networks than a machine.

From linear and vertical ladder to a complex neuron system, people started to be aware of the voices outside a hierarchy and tried to involve expertise with no manufacturing and commercial background, such as psychology, social science and biology. The flip chart in 1950s was probably the most well-known tool for presenting ideas and recording process in a meeting. People developed the flip chart as a more elaborate VT/GF tool with knowledge of Gestalt awareness, corporate learning, group dynamics, mind maps etc. Therefore, the poster in the front of a group in a conference could record a propound view with assembled graphics, numbers, and arguments.

In 1970s, the concept of a facilitator actively leading meetings toward conflict- and problem-solving interactions emerged with the influence of David Sibbet’s large-paper approach or Michael Doyle’s flip charts recording running dialogue, augmented with large infographic images.

In 1980s, the emergence of computer networking and the internet triggered the interactive graphics to support group process. During the period, people realized that corporations were similar to human entity, subject to more complex motives, stressors, and failures. In 1990s, many business management consultants developed large-scale change methods to involve wider groups of stakeholders in the process of creating fresh decisions.

VT/GF in 21st century now takes advantages of the convenient social networking device and on-line program and still makes a good use of efficiency and accessibilities of the conventional tools, such as hand drawing skills, big poster, and markers. Visual Thinkers/Graphic Facilitators also use fresh visual language, a knowledge of group dynamics, and contemporary business and meeting process awareness.

With a thorough introduction of important publications, facilitation theory, and key figurers, this paper leads us to go through a clear context of the history of Visual Thinking. This is really valuable to understand fundamental background knowledge in Visual Thinking.

In the paper, you can find a better and detail description of the History of Graphic Facilitation with Cristine's and Jan's extraordinary insights. Enjoy it!

How the Brain Creates Meanings? -- Tom Wujec on TED Talks

2009-07-23T12:46:00.010+02:00

Tom Wujec gave a presentation about 3 ways the brain creates meaning by vision on TED talks.

I tried to combine the 6 ways of seeing, proposed by Dan Roam in the book: the Back of the Napkin, with Tom Wujec's 3 ways here in the following summery of the presentation.

There are thirty parts of brain in relation to making visual senses. First of three major parts in the brain is called the ventral stream, which detects “who” and “what” the objects are. That's the part of the brain that is activated when you give a word to something. The second is the dorsal stream, which detects “where” and “when” in the scene. You'll create a kind of mental map of your surroundings. The third one is the limbic system where people have an emotional response to what they see. It is to say that the connections and the pattern of objects trigger the limbic system to augment memory by creating visual persistence. The process to create visual persistence can be the ways to understand “how” and ”why” attributes in the scene.

Tom Wujec also present a real case to describe how visual thinking took place in a business meeting without using power point slides in two days. For people, it is just naturally, biographically evident that visual thinking happens spontaneously even before we start to think.
Making of good use of the visual support is simply that natural for people.

What is Visual Thinking Process?

2009-07-17T21:58:00.020+02:00

This poster is my first step to decipher the Visual Thinking Process. They are originated from JAM as a concept to describe Visual Design Process.

The four steps in Visual Design Process are "Collecting elements", "Finding coherence", "Composition", and "Translation". People shift from one step to another following the flow of thinking. Visual thinkers use multiple techniques to smooth the flow of thinking in a given meeting. The flow breeds abundant benefits both in the process and final result. Please click on "read more" if you want to get more explanation.

1. What is Visual Thinking Process?

Through Visual Thinking, people can solve complex problem in the process. However, what happened in the process is something needs to be deciphered if we want to make a good use of Visual Thinking. I am going to explain the process of Visual Thinking, Visual Thinkers' techniques, and benefits of Visual Thinking in the following pictures.

2. Visual Thinking Process Creates a Flow:
In visual thinking process, there are four steps: "collecting elements", "finding coherence", "composition", and "translation". Collecting elements is when people try to explore and lay out all helpful data on the table. Finding coherence is when people start to find out linkage between data and cluster them. Composition is to figure them out in a bigger and logical scale. Translation is to transfer the result in composition with a meaningful metaphor which can motivate and inspire people in the end.

3. Underlying Flows in Visual Thinking Process:
The process is non-linear and non-rational. The underlying flows in the picture indicate that the process can shift from one loop to another. Instead of running in a linear an one-way route, it is more like cycling in each loop when people try to get more in-depth insights.

4. What do Visual Thinkers Do in the process?
Visual thinkers use multiple techniques to help the flow smooth. People can think more fluid and, instead of being pushed to next loop, slow down their thinking. People can therefore stay in a loop longer until they get enough insights.

5. Benefits of Visual Thinking:
In the process, visual thinkers' techniques help create common ground in a team, which bring benefits both in the process and the result.

The picture is an initial exploration of the power of hand drawing in facilitation workshop. I will try to make it more elaborate in the latter phase of the graduation project. Please feel free to give comments for me to improve them.

What Makes Visual Thinking So Special? -- Jan's Feedback on 2nd 10-min Presentation

2009-07-13T00:57:00.018+02:00

After 2nd 10-min presentation in JAM, I got a number of feedback from colleagues in JAM. Here is one infographic of them. Jan, an experienced visual thinker in JAM, shared his reflection on what makes visual thinking so special from other kinds of facilitation. The picture above is a visual recording of our discussion after presentation. I will do a detailed explanation for this now.

1. Multiple supporting roles in terms of "process" and "result" in a workshop:
The picture above is about what participants and visual thinkers in a workshop will focus on in terms of "process" and "result". This picture differentiate different expectations and purposes of participants and visual thinkers. In top-right fan, participants always focus more on a promising result while, in bottom-left fan, visual thinker's first task is to build a sense-making process for participants. The top-left fan indicates that participants are beneficial to sense-making in the process. Then, visual thinkers help to reach the result by building mutual sense-making in bottom-right fan.

2. Ongoing creation keeps participants always focus:
It is fun to see other people drawing. That becomes simply a positive cycle in the process. People will become more and more curious about what will happen next. They will then be more eager to contribute when they feel more involved in the co-creation.

3. Visual thinking is especially good at dealing with novel and complex problem:
Based on the picture above, we also understand that visual thinking actually is only part of the problem solving when there are many different focuses in different phases. Visual thinking is especially good for people to solve novel and complex problem. Visual thinkers catch elusive information and make them accessible as drawings. People then can always build on each other's work or opinions without losing any positive details.

4. Visual thinker's work will be a living document in the end:
Visual thinker's work will be a big picture depicting not only the result of the team, but the process of the discussion. People can always get their "AHA!" moments back on the picture. The picture can be added on all the time when there is new idea. It can evolve with time and keep living after participants leave the workshop.
5. Drawings are flexible in the levels of translation:
There are different levels of drawings used in visual thinking. A given drawing has the ability to represent something really simple and something really complex. Visual thinkers make a good use of the flexibility of drawings. In the process, they draw images and texts with open interpretation for simulating creative thinking. For the result, they choose a metaphor which contents correct and rich information deriving from participants' shared understandings.

Thanks for Jan's inspiring feedback!

"What does sustainability look like?" -- Visualizing Sustainability

2009-07-12T23:26:00.004+02:00

"Professional Visual Facilitators Mariah Howard and Julie Gieseke bring whiteboards, pens,cameras and one question to the Maker Faire: What does sustainability look like? Here is the harvest of images they discovered from the Makers"

This is quoted from an introduction of a youtube footage: "Visualizing Sustainability".

You can learn how people improvise with simply a pen and a whiteboard to draw their ideas. Sharing is such simple and fun!! Enjoy it!

What we need as a team while solving complex problem?

2009-07-09T17:24:00.027+02:00

When the world is more flat, people faced a more competitive and changeable world. The problem we have is much more complex and unpredictable than before. Therefore, we need more people with different professional knowledge to work together and solve the complex problem. However, it is not an easy task because the collaboration of the multi-disciplinary team is already a hurdle difficult to overcome for the problem-solving process. That is why we need a team to build up shared understanding or Team Mental Model.

What is Mental Model
In order to understand and predict the reality, people structure a simplified model of the world in their mind. This model reflects the individual's perception of the reality, and they work as a "blueprint" for people to deal with uncertainty and unpredictability of the world (see picture above). They do not have to be perfectly matched. People can take the action without getting all necessary information because of possessing mental models.

What is Team Mental Model (TMM)?
As a group level phenomenon (Klimoski, et al. 1994), TMMs allow team members to anticipate one another’s actions and to coordinate their behaviors, especially when time and circumstances do not permit overt and lengthy communication and strategizing among team members (Lim, et al. 2006).There is an elaborated description of the types of the -TMMs, which is purposed by Cannon-Bowers et al. (1993): equipment models, task models, team interaction models and team attribute models.

Equipment models relate to how things (tangible or intangible) function as well as the procedures to make them function and information about the functioning. Task models involve information about the task to be performed, task procedures, likely scenarios, task strategies, and environmental constraints. The team interaction model is the blueprint for how the team works as a team. Finally, the team attribute model contains information about other team members’ knowledge, skills, abilities, preferences, and tendencies.

For example (see picture above), we might call in designers, engineers, financial analyst etc. to deal with a new business problem.

Therefore, they will need to work as a group and share a Team Mental Model for better performance.

First, they need to build mutual understanding about the task (task model) and define what kind of resource and tools they have (equipment model).(see picture above)

Secondly, they will need to share others' expectations and align them (team interaction model) and understand others' abilities, strengths, and weakness (team attribute model).(see picture above)

Finally, the team have built a Team Mental Model and come up with a proper solution because of the Team Mental Model.(see picture above)

What is worth to say here is that these steps to form a TMM are not necessary in this order. It will depend on the environment, team members' previous experience, conditions in the task etc.

"The Back of the Napkin", by Dan Roam

2009-07-09T13:55:00.014+02:00

This is a book about visual thinking in an everybody-can-do-it way. With a pen, a piece of napkin and your bare hand, you are already equipped enough to solve all of the problems you can image even they are as complex as a modern business problem. The drawing power has manifested itself in this book with a series of interesting and meaningful stories and, of course, a lot of illustrations.

One of the best thing I learned here is that, even though you think you can't draw, you can still use the visual thinking as a powerful problem-solving tool. As a reader, you can easily tell how complex business problems can be solved with such simple hand drawings. And there is no magic in this process. Everyone can simply follow Dan Roam's guides in the book to start their own visual thinking adventure with no burden.

In this book, another interesting thing I found is the four steps of visual thinking process, which are "Looking", "Seeing", "Imaging", and "Showing". "Looking" is like you browse through the room when you step in a party. "Seeing" is like you notice some familiar faces. "Imaging" is that you think what will happen if you go to them. "Showing" is to choose one girl you know to go to because you are most willing to do so. I think here the four steps of visual thinking process are the basic principles I am looking for. I always believed visual thinking is indeed originated from some really basic and simple principles, which are "built-in" in human beings.

Again, there is no magic. However, we need this kind of book to make us be aware of this "built-in" super power, or we just waste our natural talents.

Check out the short introduction video on youtube. Or a longer presentation given by Dan Roam about "the Back of the Napkin".

Last but not least, it is so interesting to see underlying connections (or similarities) between Dan Roam's Visual Thinking Process and Visual Design Process in JAM visual thinking. Just like the picture above, "Collecting elements" is "Looking". "Finding coherence" is "Seeing". "Composition" is "Imaging". "Translation" is "Showing". It is so evident that the visual thinking process described here really makes sense in both personal experience and real practice. This is indeed a simple, basic principle lying in our nature.

There is also a Chinese (Traditional) version: 餐巾紙的背後 available in Taiwan now.

My 2nd 10-min presentation in JAM.

2009-07-07T14:23:00.017+02:00

Hello all, this is the result of my second 10-min presentation in JAM. The presentation is about 3 aspects: "How to build a Team Mental Model for problem-solving session?", "What is Visual Thinking and Graphic facilitation in terms of benefits and techniques?", and "What are the steps in Visual Thinking Process?"

In a gradually globalizing world, people will need to deal with problems which are more complex and have more people involved. The more complex the issue, the more experts they need. The more experts involve, the more difficulty to integrate them in a given task. The process of problem-solving, itself, simply becomes another tricky, complex problem. For a novel problem, we need to be creative. Therefore, for a novel problem of problem-solving process, we also need creative facilitation to help to cut the time of development of team mental model.

With a coordinated team mental model, a number of studies have already approved that it will result in better team performance. We will need an appropriate facilitation skill to improve the efficiency of the development of team mental model (TMM). And the facilitation can help to produce better team performance. (The theoretical formulation of TMM was depicted in the left-top coner.)

In the workshop, visual thinkers/graphic facilitators use their techniques to create a visual which can not only support people to discuss in the workshop, but also keep inspiring people after the workshop. The techniques would be "observational research", "fast catch", "deep listening", "holistic reflection", and "have your voice". (The techniques of Visual thinkers/graphic facilitators are listed on the left.)

Benefits of VT/GF can then be reveled as "free your mind", "build shared understanding", "keep focus", "engaging", "motivation", "evolving picture", and "people feel be heard". The benefits not only lie in the result of the workshop but in the process. (The benefits of VT/GF are listed in the center of the poster.)

There are two examples to describe the steps of visual thinking. First one is suggested by Dan Roam in the book: "the Back of the Napkin". He pointed out that visual thinking is looking, seeing, imaging, and showing. Second one is JAM visual thinks step. It was described also in four steps: "collecting elements", "finding coherence", "composition", and "translation". I compared these two definition and found that there are some interesting coherence between these two although the first one is more like a basic, personal principle and the second one is based on real practice in JAM. (The visual thinking process is explained in the bottom of the poster.)

I will keep updating the more detailed content of the presentation in other posts! Thanks for all of you who participate and share your thoughts about the presentation!!

What is "twitter"? Make you understand in 3 mins!

2009-06-25T14:44:00.012+02:00

It is a video produced by commoncraft. They produced the video to explain something we might hear from a lot in daily life but never got a chance to look into them deep, for example, twitter, podcasting, blogs, electing a US president, and even "Zombies!". With simple drawing elements and light animation effects, they create a special visual language to explain complex things.

Like the quate from the website, "Make complex things easy to understand.", the videos made of simple elements are rather serious in the way to produce it. I believe to select a right element is already not easy, not to mention setting the flow of video frames, writing professional scripts, and a good, simple story.

I think it doesn't look as simple as it is. This reminds me that last time Dennis talked about his opinions with what the difference is between artists, drawers, and visual thinkers. Artists and drawers do their works with their inner inspirations rather than with outer stimulation. However, visual thinkers have more to deal with since they work with people probably they are not even familiar with. They have to open their senses to receive information and interpret them into a easy-to-understand picture even it results from a complex issue.

So, translating something complex into simple and storytelling work is simply not an easy task. The process demands more cautions on reflecting and experiencing the world and people surrounding you.

Workshop "Dare to Dream Together!"

2009-06-22T12:40:00.010+02:00

Last Friday, I joined a New Book Release event in a harbor restaurant in Amsterdam. There were several presentations present by co-authors and one "Dare to Dream Together" workshop. In the workshop, JAMmers helped the participants to draw a business with their own hands. For most of them, it was the first time to do some small hand drawings themselves (probably it's just too old to remember). Neverthaless they relly liked it and were so involved in this process...

It is a great experience to see the participants to be fully engaged in the process. You can check their works and smiles in the on-line album. This workshop started with a presentation to describe how the drawings in the book were created and how Visual Design Process worked in JAM. Then in warm-up session, participants followed guidance with JAMmers to draw small objects, such as a car, a tree, a building, a starman, and etc. JAMmers went on asking them to draw each others' business model and suggested them to use the objects they just drew in the warm-up.

Amazingly, all of them were immediately engaged in the process to discuss and to draw. They really used the objects in the warm-up and created the model in their style even though most of them were not trained drawer. They seemed really enjoyed!!

I think one of the reason is that the warm-up session indeed paid off because the objects they drew were fully useful in the following drawing session. They therefore can be more confident to draw. Another reason could be that participants can simply follow a basic model (business model) instead of coming up with a new one. So with the basic structure, they can focus more on the parts they choose and the linkages between parts.

One of the participants thought it's a good way to communicate because the hand drawing is more open to interpret. Then people would not jump into the conclusion so quickly. Applying this drawing in a given discussion can offer people chances to explore new solutions. And he also wanted to use the drawing next week in his company.

Giulia E La Crisi By MediaseTube

2009-06-21T02:30:00.006+02:00

This is a video produced by Coca-Cola as their advertisement in Italy. It is in Italian, but I think you can simply understand the story of this footage. Because of the simply hand-drawing style, Coca-cola can easily sell its image as a drink which should be on the dinning table, which is probably forbidden by all mothers in every family.

Maybe it's a little bit misleading as the purpose of the advertisement is to overturn the Coca-Cola's image in most families. However, to some points, it is evident that the power of hand-drawing was represented in this promotion.

Walter, thanks for sharing the video!

Portraits of supervisors drawn before Plenary Meeting 1

2009-06-11T15:17:00.006+02:00

Not a final version... keep updating.

What I wanna know in Analysis phase? - draft!

2009-06-09T10:03:00.005+02:00

Here are some verbs which I think their meanings and roles are relevant to find out in Visual Thinking. I wish I can phrase them during the process of Analysis phase:

Mental Models, Shared understanding, Misunderstanding, Graphic facilitation, Problem solving, Decision making, Teamwork, Curiosity, Supporting, Leading, story-telling, Sketchnoting, ...

I will keep updating them when I get new inspirations during the Analysis phase.

The Story of Stuff

2009-06-09T08:10:00.007+02:00

"The Story of Stuff" is telling a story about modern products' life cycles in a very different viewpoint from typical description in textbooks.

I think this is a good example to demonstrate how complex ideas or theory can be shown in a simple and fun way by the help of meaningful and organized drawings but not to have to be sophisticated ones. This is also the value lying in the power of hand drawings.

I really appreciate their efforts to promote the values of no over-consumption and admire their works in visualizing the story which make it simple and easy to understand, and easy to spread out.

The company, Free Range Studios, which produced the film, shared an interesting idea with the expectations in Visual Thinking. Their idea is "While other creative agencies work to sell products, we work to sell ideas that build a more just and sustainable world. We're driven by a belief that the right stories told in revolutionary ways can transform society. Let us help you tell yours."

Yes! Visual thinking can help to tell the right story told in revolutionary ways to draw people into the picture and bring them deep into the concepts and ideas immediately with the power of hand drawings.

Here is also a version of 10 languages translation, including Dutch, English and Traditional Chinese. Enjoy it!

A Talk with Guido.

2009-06-04T16:54:00.013+02:00

Last Friday, I had a nice company on the train back to Delft. Guido Kuip is an illustrator, industrial designer, and visual communicator. He has worked in JAM visual thinking for several months as a part-time job. It was quiet pleasing to share his experience in JAM as a visual communicator. Here I took some notes on the picture. You can see a detailed description in the article.

In his experience in the visual thinking/graphic facilitation workshop, he thinks that:
1. Demanding and energy-consuming:
The work as visual communicators (thinkers) is demanding and energy-consuming. They have to extremely focus on observing people's talking and behavior, interpreting, and translating them into visuals.

2. Excellent drawing skills DON'T guarantee a good visual communicator:
Good drawing skills can make a picture attractive and clear, but it is just part of qualities of a good visual thinker. The picture should be also informative or intensive (Thanks for Wouter's suggestion. It was from a quote in Scoot McCloud's book.). That means a good visual thinker should be open to observe and reflect on participants' opinions.

3. Experience DOES matter in facilitation workshops:
Experienced visual thinkers can interpret, and pick up a "right" thing in a complex group discussion, and furthmore translate it in a "simple" and "understandable" metaphor.

4. Crappy drawing within context V.S. Beautiful drawing without context:
A crappy drawing could be very meaningful since it is right in the discussion. However, a beautiful drawing done after workshops could be meaningless since it loses the links to the context.

5. Visual thinkers are always out-going and open-minded:
Sometimes, people could be very passive because of reserved personalities or being unfamiliar with each other. In this case, visual thinkers have to intervene and try to help them break the ice. So the visual thinkers can not always be passive in the workshops.

Renewed Graduation Subject Description

2009-06-03T07:41:00.014+02:00

I tried to reflect deep on what has triggered me to do this project and then what will be my expectations (or my dream) for it. (see My 10-min in JAM!) Then, according to the new insights and a "tangible" goal, I changed the Graduation Subject Description a lot. Hopefully, it could be a better and less abstract ground for the GP description.

Introduction
In a gradually “globalizing” world, people have less time to communicate but have to deal with more issues in rather diverse groups, i.e. cultural difference, and professional backgrounds, etc. It is so relevant to help people to cross the barriers of misunderstandings and reach a common ground in a complex and changeable reality.

Hand drawings stand out in this domain because of its unique qualities which represents the values of imagination, naivety, creativity, freedom and error-tolerated. People can speak out-loud and to use their imagination freely without being afraid of offending others or embarrassing themselves.

For the last five years, JAM have used their drawing techniques to help people deal with complex issue within public organizations, private sectors and personal projects. In a given assignment, JAM help their clients build up shared understandings in a one-day or multi-day workshop for new ideas, solutions or visions, depending on types of assignments. In JAM, they already accumulated abundant experience in their practice and are eager to contribute their knowledge in visual thinking/graphic facilitation (VT/GF) to a promising future.

Problem definition
Due to a busy schedule and demanding daily work in JAM, people in JAM have less time to share their knowledge at work. So, what happened in the process of workshops is like a black box, which is never deciphered in a thorough research.

The research will focus on the people in JAM, their experience at work, their techniques, their limitations and expectations regarding to the VT/GF. Based on a thorough research, we can unveil the magic of the drawing power, which leads to unlimited creativity and free communication in diverse group.

Furthermore, the results of the research will also be beneficial to the world by giving a certain platform to document JAM’s works and inform benefits of the VT/GF. This platform can be, on one hand, an encyclopedia for people to explore the beauty of the drawing power in VT/GF. On the other hand, it could update with time by receiving others’ opinions.

Assignment
Decipher the “Magic” of drawing power in visual thinking/graphic facilitation, and share its benefits to the world.

Approach
1. Conduct an Analysis research on literature research and real world practice:
In the literature research, the following questions will need to be answered:
- How are creative facilitation applied in complex problem-solving? What is the purpose of using hand drawings in VT/GF? (VT/GF theories)
- What are the relationships between team mental model and team performance? How does a diverse group get shared understanding? (Shared understandings)
- How effective or in-effective are the facilitation methodology based on reviews of the outcomes? (Review of outcomes of empirical VT/GF cases )
- How should a contextmapping research be conducted in JAM? (Contexmapping theory)
In the real world practice, there would be two aspects to explore:
- In JAM’s previous projects study, the outcomes of works will be sorted and examined.
- In universal trends study, the trends of visual thinking/graphic facilitation will be looked into in websites, companies, conferences, and personal blogs.
The results of Analysis phase will form the theoretical framework for the Contextmapping phase. A research protocol will be formulated, and it will consist of research questions, theoretical framework, and methodology for contextmapping phase.

2. Conduct a Contextmapping research in JAM:
By using the theoretical framework as a fundamental, the Contextmapping research will focus on mapping the context of the real practice in JAM in VT/GF. The research will be conducted in two aspects; internal and external research. The internal research will focus on the overall graphic facilitation experience of people in JAM. In the external research, several case studies will be done and researcher will ask for opinions of their clients and experience of their partners. The results will form a model to describe VT/GF process and suggest improvement in JAM’s real practice.

3. Conceptualization and Evaluation:
This phase will mainly focus on conceptualizing a possible solution to inform the findings of the Analysis phase and Contextmapping phase. The concepts will be tested and evaluated regarding to their performance to inform and potential to evolve with time.

Results/Deliverables
• An analysis report with focuses on literature research and real world practice.
• A contextmapping report including results in contextmapping phase.
• A JAM’s VT/GF model describing VT/GF process and suggesting improvement in JAM’s real practice.
• A concept to inform benefits of drawing power reporting development of the project and receiving comments. The concept could be a platform which is a website, a booklet, a lecture, or an exhibition.
• A final thesis, an informative poster, and an oral presentation

My 10-min in JAM!

2009-06-01T19:24:00.017+02:00

On May 29th, I gave a 10-min presentation to JAMers about what triggered me to do this project, what I am going to do, and what I dream to do.
It's not that easy for me, and I would not say I am satisfied with my performance. It could be far more better. However, thanks to JAMers' kindness and generousness. They behaved less critical than I expected and gave me very constructive ideas. Then here are the presentation ...

There are four major elements in the presentation, which are 2 surprises, 1 question mark, and a dream. They formed the story why I am here in JAM doing my graduation project.

The first surprise will have to trace back to six months ago. I was in Venice to visit the Biennale Architecture exhibition. In the Japanese pavilion, It was a strong impact to me about the drawing power. When I stepped into the pavilion, it just looked like a new house with no furniture but only big, white walls. However, when I walked closer to the walls, I was surprised by the extremely detailed and delicate pencil drawings which covered all over the walls. To me, the drawings are calm but passionate, and quiet but powerful. They are naive but free all minds in the pavilion with their imagination. This was the first time I experienced such a direct and overwhelming power of hand drawings. (more about Japanese pavilion...)

About two weeks later, there were the second surprise waiting in the TUDelft IOB job market. That was where I met Dennis and had a very good impression of what JAM are doing. It surprised me that they conducted a business to help people communicate with their drawings. This impression just reminded me of the impact I had in the Japanese pavilion. This surprise gave me the idea to conduct a graduation project with them to know better of the drawing power and how to use it.

Fortunately, after several months, I am here in JAM now. However, the JAM are like a puzzle for me to decipher and read. But I do want to talk about my dream first instead of describing how to reach it. Since I can realize there are values of hand drawings through the research, I hope that I can make something to promote advantages of visual thinking in group communication. On the one hand, they could be an encyclopedia for people to explore the beauty of the drawing power in visual thinking. On the other hand, if it is set as an online website, it could not only influence other people but also receive suggestions and opinions. In this two-way interaction, it could therefore evolve themselves with time and prevent to be limited in certain presumption.

For the question mark, this is about how will I conduct the project in JAM. I think I will use another 10 mins to decribe them, but it would be in the next 10-min presentation. See you then...

Thanks to Dennis, he also filmed the presentation. You can see the video here.