Graphic Recording & Martina Grigoleit

Graphic recording is considered the pinnacle of visualization, and for good reason. Martina Grigoleit shares everything you need to know about this fascinating topic in this interview.

Martina Grigoleit is a true veteran of graphic recording. After studying communication design, she worked for many years as a designer and illustrator in marketing. It's hard to believe, but that was 25 years ago. Even back then, she always looked beyond the obvious, training to become a yoga teacher on the side, and eventually finding her way to graphic recording. Today, she is a successful author and demonstrates how well a passion for visualization can be combined with a love of yoga.

Dear Martina, you're a professional now, but how did you actually get into graphic recording?

I used to facilitate innovation workshops. For example, people would sit there brainstorming ideas for a chocolate bar, and I would sketch what that chocolate bar could look like. Then one day, Andreas Gärtner came to me and said he'd seen something like that online, and we could give it a try… Back then, almost no one knew what graphic recording was. That was the first time I'd ever done it. That was about 16 years ago, and what we ended up with was incredibly ugly and unstructured. But back then, nobody seemed to know any better, neither we nor the client.

It's amazing what can come from such an idea, and it's great that you took this step! What qualifications should someone have if they want to pursue this profession?

For me, there are two areas that need to be combined. One is creativity and drawing. The other is facilitation and consulting. One should be able to filter information, distinguish between what's important and what's not, ask the right questions, and guide clients effectively through the process. These two distinct areas are combined, and their importance varies depending on the job. Ideally, one should possess both skills.

And if I think, "That's where I see myself," how do I begin? Are there specific courses for that?

Unlike before, there are now countless courses available. There are basic introductory courses in visualization, where, for example, sketchnotes are created from simple shapes. From there, you can continue your education. Further training in facilitation and moderation is certainly helpful as well. So, you can now easily put together your own training program. I also offer this in the visual arts field. I have small workshops that can be built upon each other like building blocks. But at some point, you simply have to take the plunge and get the job done.

The first time, that must be a huge hurdle, right?

Yes. But you don't have to do it all alone; you can also seek help. I also support newbies with all the preparation. How to conduct conversations with clients, what information should be included... Such individual visual coaching is, of course, also an option.

We've already discussed the skills of a graphic recorder. What else is important besides that?

Maybe it's courage. There's simply a point where you have to take the plunge. Whether online or in person, you're obviously on stage and a huge number of people are watching you. That takes a little bit of courage, and you have to be the right kind of person for it.

And everything else one should know can surely be found in your book. Would you like to give us a little preview?

Yes, I've written a book about graphic recording. The subtitle is "The ABCs of Live Visualization" because I cover a bit more than just graphic recording in it. It's my attempt to really explore the topic from all angles. It's perfect as a handbook for anyone wanting to pursue this career.

In it, I not only explain what graphic recording is (which, by the way, is also very helpful for clients), but also cover a lot about clarifying the project scope. What are the differences between graphic recording and visual facilitation? Where else can it be used? I also explain related areas, such as strategy visualizations. Furthermore, I discuss pricing and cost calculations. Clarity makes life so much easier. I also communicate my prices openly on my website. That way, everyone knows exactly what they're getting into. So, you really can find everything you need in this book.

By the way: You can find a sample chapter of Martina's book here .

You're very open about "fuck-ups." What's the funniest thing that's ever happened to you?

There were times when we graphic recorders were booked every single day. I'm very organized, so I've always been well-prepared. Once, I drove from the hotel to my job and discovered that nobody was there. Nobody. My biggest fear was always that I was in the wrong place, and that's what I initially thought. Then it turned out I was simply a whole day early. But that was great because it gave me an extra day off. 🙂

You were lucky you weren't a day late! 😀 After 16 years of experience, do you even still get stage fright?

I always start with stage fright. Always. There's always that fear of the blank canvas. But by now, of course, I also have the experience that it always works out. So, naturally, I'm a bit more relaxed. Unlike before, I can sleep the night before.

Then you probably ask about the schedule and topics before a gig, right?

Yes, I have a list from the first call to the last. It probably has 30 questions on it that I ask. I pester the clients until I have all the information. 😉 The agenda is part of it, as are things like: "Is this going in the direction of facilitation or visualization?"

And what if it's a topic you're completely unfamiliar with?

So far, there hasn't been a topic where my understanding wasn't sufficient. Generally, clients want an outside perspective. The most challenging topic for me so far was "new technologies in mining," and it was in English. Looking back, I wonder how I managed that. But there hasn't been a project yet where I really needed to understand every single detail. Most of the time, the discussion is more about how people want to collaborate. Specific mining knowledge isn't necessary for that.

A lot of work takes place digitally these days. How has your daily work routine changed since then?

Everything has changed. The first thing is that I don't travel around as much anymore. And then, of course, I now draw much more digitally on the iPad. But I also always offer my clients the option of using analog tools. And many of them keep coming back for that, because the longing for paper is still very much alive in this digital world. It might even be growing stronger. And I have a large Neuland GraphicWall hanging on my wall at home, so I can point my camera at it. And then, of course, I also work a lot with a digital camera and small sheets of paper, and naturally with all the Neuland markers . 🙂

Do you offer any courses on this topic?

Yes, I have a video course to accompany my book: Graphic Recording – The Masterclass . In it, I describe exactly how I do it and which tools I use. I also offer shorter modules and a two-day in-person training course in collaboration with HanseLab in Lübeck.

We've already talked about your tools. Do you have a favorite tool from Neuland?

I actually use almost everything from Neuland, because there's really no competition when it comes to markers. But a few things I absolutely love are the LW-X and the FatOnes , the really thick ones. And I love two of the metallics, the silver and the blue. They're fantastic for writing on black.

Good choice! 😉 How did you actually get to know Neuland?

I used to use Neuland without giving it much thought. Back then, I'd occasionally post pictures from my graphic recordings. Then, in 2014, Guido contacted me on Facebook. He said he liked my work and was sure that EuViz would be a good fit for me. And so I went. I'll be eternally grateful to him for approaching me. 😀 That was a complete game-changer for me. And that's when things slowly started to pick up, with more and more commissions.

How cool! Now for a slightly more serious topic… Creative people often struggle with self-doubt. Do you have any tips for finding new motivation or overcoming creative block?

My experience is that this kind of blockage occurs when you wait too long, when you overthink things for too long. My first tip would be "Just do it." Just do it, ideally right now. You can certainly draw inspiration from others, but definitely don't copy them. And since I come from the yoga world, I naturally have a few tricks for dealing with these kinds of situations. This insecurity often arises when you're afraid of disappointing someone or not being good enough. And there are breathing techniques that can bring your attention back to yourself. But the simplest thing is to sit down for 10 minutes and concentrate on your breath. The exhalation should always be a fraction longer than the inhalation. I do this when I realize I'm completely stuck.

Wow, this interview is really packed with helpful information about graphic recording. A big thank you to you, Martina, for taking the time for us!