The ability to draw is one of the most important yet elusive skills for visual communicator.  So much emotion is leveraged on a drawing “looking pretty” that the practice is often left to experts and novices—moderately skilled folks stick to the sidelines with the burden of self-consciousness.  It is true that practice does improve drawing—physical and digital—skills.  However, regardless of skill level, the ability to effectively communicate is not necessarily linked to virtuosity: given time and medium constraints, every visual practitioner can communicate with clarity & confidence.

Michael Barry, faculty member at the Stanford d.school, presents an approach for considering how and why to sketch effectively.  The intent isn’t to create the most detailed and realistic drawings: the ability to communicate complex concepts often depends only on execution of simple shapes & concepts.  Understanding the intent of communication in the face of a challenge—whether that be drawing something in a short time, with limited tools, or amongst a group of folks speaking different languages—is generally more important than technical prowess for immediately effective visual communication.

Review the slide deck below and look for examples of shorthands and guided exercises that will give you a set of “rubber stamp” elements to put to use for quick visual communication.

Michael Barry is a founder of Point Forward; he is an Adjunct Professor at the Stanford University School of Mechanical Engineering. Active in all aspects of design, Michael has shared his presentation “Rubber Stamp Drawing” as a tool for teaching visual communication.

Ben Henretig is a co-founder of Micro-Documentaries LLC, a team of filmmakers that shoot 1-minute, actionable documentaries for mission driven orgs and businesses to help them build support for their work. In 2008, Ben worked with behavioralist, BJ Fogg, to develop and execute a highly effective video campaign for The Stanford Fund that increased donor participation 23%.  Ben continues research with Stanford Persuasive Technology Lab focusing on Persuasive Video, and has spoken to diverse audiences on topics ranging from best practices for video production to emerging trends in web video.

Notes from Ben Henretig’s talk in class on Feb 16, 2012 :

Tips & Tricks for Online Video

Plan ahead
Serendipity is part of filmmaking, but going in with a pre-thought and at least a rough plan is critical, it will help you make the most of the moment. 

Short & Sweet: 2 min or less
2 minutes is a long time online. 

Clean, clear audio
Clear audio not only helps a viewer connect, but it gives you credibility. It separates amateur video from professional. 

Have a specific and confident call to action
.
Know why you are making the video. Ask for what you need. 

Test it with friends & strangers
They will see things you don’t.

Shoot at different scales (wide shots, details, reflections, etc)
Get lots of variation so you can play with it during the editing process. Variation will give you tools to play with pacing and tone later. 

Use a tripod.
It will help you consider your framing and create legible footage. 

Excellent techniques can contribute to excellent product regardless of the equipment quality.  That said, specialized audio & video equipment can complement your work, often amplifying it to new levels of quality.  Plus, it is flat-out fun to play with cool gear.  The following is a fairly comprehensive sourcing for cameras, lighting, and audio:

Abel Cine  877 880-4267
www.abelcine.com

Adolf Gasser Photography  415 495-4365
www.gassersphoto.com

B&H Photo & Video 800 606-6969
www.bhphotovideo.com

JCX Expendables  415 824-4110
www.jcxex.com

Sammy’s Camera  310 450-4365
www.samys.com

Talamas Broadcast Equipment 617 928-0788
www.talamas.com

When investigating new equipment be sure to take into account accessories that can either make your existing equipment work better or new stuff you’ll need to accompany new equipment:

Cables
Batteries / auxiliary power
Tripods
Microphone stands / windblocks
Lights

Setup:

As you build up your inventory of tools, consider a mindful studio setup.  Depending on what and how you shoot—people, products, action, stills, interviews—you’ll need to tweak your setup.

Here are instructions for creating small photo studio for product photography—includes suggestions for lighting and backdrops.  (From luthier Frank Ford, Palo Alto, CA)  This is a solid platform for experimentation!

http://www.frets.com/FRETSPages/General/PhotoStudio/photostudio.html

Compiled here are resources to help you practice the IMPLEMENTATION of rapid visualization. This list will change as rendering capabilities improve, brands merge, and modeling becomes easier. Specifically identified because of ubiquity in industry are Adobe Creative Suite tutorials.

Computer-generated Graphics

Step-by-step tutorials for creating various types of graphics (buttons, logos, icons, etc.) using Adobe Illustrator
http://vectips.com/

The panda bear graphic for this section was created using this tutorial:
http://vectips.com/tutorials/create-a-cute-panda-bear-face-icon/

Step-by-step tutorials for creating various types of illustrations using Adobe Photoshop:
http://photoshoptutorials.ws/photoshop-tutorials/

Here is a curated list of 50 tutorials covering a wealth of techniques in Adobe Photoshop:
http://www.1stwebdesigner.com/tutorials/50-fresh-and-high-quality-adobe-photoshop-tutorials/

Hand-drawn Graphics:

This is an excellent primer with instruction for how and why to draw things by hand:
Rapid Viz, Third Edition
A New Method for the Rapid Visualization of Ideas
Kurt Hanks & Larry Belliston

The book is available free as a .pdf as well as for a low cost in print.

The Klutz series of products & toys features several excellent products that include simple, step-by-step methods for practicing hand-drawn illustrations—here is one example featuring Star Wars characters:

Draw Star Wars: The Clone Wars
http://www.amazon.com/Draw-Star-Wars-The-Clone/dp/1591746981/

Ben Henretig is a co-founder of Micro-Documentaries LLC, a team of filmmakers that shoot 1-minute, actionable documentaries for mission driven orgs and businesses to help them build support for their work. In 2008, Ben worked with behavioralist, BJ Fogg, to develop and execute a highly effective video campaign for The Stanford Fund that increased donor participation 23%.  Ben continues research with Stanford Persuasive Technology Lab focusing on Persuasive Video, and has spoken to diverse audiences on topics ranging from best practices for video production to emerging trends in web video.

Notes from Ben Henretig’s talk in class on Feb 16, 2012 :

Getting footage : “A roll” & “B roll”

What is “A Roll” & “B Roll”?
It’s pretty simple…
A Roll
 = Interviews
 or Primary Action : Content that has critical sound (like dialogue)
B  Roll = 
Details & Atmosphere : Often called cutaways

Why should you care?
It’s useful to make these distinctions so you can gauge what footage you’ll need to make your video work. “They” say that a video is made in editing, it follows that footage you bring into the editing process is all the material you have to work with. You need material. Think of it as cooking. If editing is making the meal, shooting is stocking the pantry. A-Roll is then your entree, B-Roll is your spices and seasoning. You need both for a good meal.

http://www.micro-documentaries.com/

For A Roll think in terms of:

For interviews: What you want you or your subject to say about the background of the story, the intent of the project and the call to action or ask.
And
For scenes (action): What do you need to show happening? How will you capture it to show all the needed details? Shoot the same bit multiple times to cover all the angels (see coverage below).

http://www.micro-documentaries.com/

For B Roll details think in terms of:
Locations
What do you want to show about the context?
And
Actions
What is your subject doing that conveys your intent?

A few rules to live by. 

Always overshoot.
Shoot more than you think you’ll need. Roll on anything that looks remotely interesting. It will all come in handy later.

Linger.
Hold detail shots for at least 10 seconds.
Leave room at the beginning (head) and end (tail) of every shot. If you ask a question, leave a moment of silence after the subject answers. It may feel slightly awkward in person, but all awkwardness can be overcome with honesty and humor.

Coverage. 
The gist of coverage is to shoot the same event multiple ways. It gives you material to work with in editing. Coverage is a well known term in the film industry and follows some specific and set rules (like getting a wide shot, then over-the-shoulders, then close ups, etc.) No need to worry about these specifics, but do shoot things a few times so you can get a wide shot of the action and close ups of the details & reactions. One note: change the angle from one shot to the next (get a wide shot from one location and a close up from another angle).

Hold steady.
Use a tripod for critical shots. This helps you get set and forces you to consider the framing before shooting.

Smartphones now have HD resolution cameras built in. They are far from professional-level quality, but for micro or personal projects can be very useful if you play your cards right. For “low-budget” activities you can do a lot with your phone, a few accessories, and a litte thoughtfulness.

Note: the equipment mentioned works on iPhones, we have not tested on other models. 

First, let’s look at the advantages & disadvantages of using a smartphone to make videos. 

Advantages: Easy workflow to and from your computer. You know how to use it. It looks pretty good, all things considered.

Drawbacks: The lenses aren’t great. The onboard mic is lame.  You can’t monitor the audio while you are shooting––bummer. The camera is often shaky. There is no shutter so you get weird warping effects when you pan & tilt (move the camera left & right or up & down). Exposure can vary throughout the shot because of built-in auto exposure.

The trick is to take advantage of the, um, advantages and find ways around the disadvantages.

Get Some Accessories:

For browsing supplies, check out photojojo. They have a broad selection of smartphone related accessories. We mention several other sources below as well.

Lenses

The lens on most smartphones is fixed focal length, meaning you can’t change the look of the shot by changing the internal mechanics of the lens. One workaround is sets of snap on lenses that give you fisheye, macro, & telephoto options––imperfect, but they do give you a different look. US$50 for the whole set! See also a telephoto version.
Check out this set on photojojo.
And this telephoto lens.

Audio

The onboard sound of the phone is inadequate.
Find an external mic that you can plug into the microphone jack. Here’s one & it’s only US$30:
Audio Technica ATR3350

You’ll also need a cable like this to plug it into the 3 prong mic jack on your iPhone. Unfortunately it’s US$30, too.
Mic Adapter for iPhone

Another option is a camera-mounted, shotgun mic.
the iphone boom mic
Sennheiser MKE 400
You’ll need a mount for this as well…

A cheaper but slightly less effective option is a mic that attaches to the data port. Not perfect for video, but decent for standalone audio recording (like voiceover).
Tascam im2

Handling

The shape and weight of the camera ensures that your footage will be shaky if you use it as is. Plenty product designers recognize this and have designed solutions to make hand-holding more ergonomic and balanced:

Joby Tripod
X-shot tripod adapter
X-Shot camera extender arm
OWLE Bubo
SteadiCam Smoothie

Consider a Few Things:

Lighting. 

These cameras do not have a lot of dynamic range (or ability to capture a range of highlights and shadows without looking bad). Shoot in an area where the lighting is consistent, even, and plentiful. Indirect sunlight is best for this. Think outside, but in the shade, during the day.

Auto Focus & Auto Exposure. 

AE/AF Lock
The cameras autofocus and auto expose during the shot. On iPhones, this function can be bypassed by tapping the screen to get the exposure and focus you want, then holding your finger on the screen while setting up the shot. You’ll see a flashing blue square around your finger then at the bottom of the screen you’ll see the phrase “AE / AF lock”. Done!

Audio

Make sure…
…you’re in a quiet place
…the mic is pointed away from things that make noise
…the mic is close to the subject (within 2 feet, one is better)
…you are not in a room that has a lot of echo (hard surfaces like glass & concrete––you can dampen these with rugs and pillows).

Apps for custom shooting & editing features:

Video stabilization:
Steady Lens (App)

Clip speed adjustment:
Splice (App)

Stop-motion capture:
Frameographer (App)
http://mashable.com/2012/02/04/free-stop-motion-iphone-apps/

Documentary production:
http://www.apptvonline.com/blog/how-make-short-documentary-film-your-iphone

Quick interview setup:
http://www.withdrake.com/tech/my-ultimate-iphone-4-video-recording-rig/

Examples from Real-life:

Here are some examples of the state-of-the practice for inspiration & demonstration of what can be done…

Well-known film shot & edited on iPhone 4 (in 48 hours): http://vimeo.com/12819723

iPhone Film Festival
http://www.iphoneff.com/

Notable examples using unique techniques:
http://www.iphoneff.com/archives/3427
http://www.iphoneff.com/archives/3092

Be sure to check the specific use cases you intend with any sourced media—above all pay particular regard to referencing the original work as requested: it is simply the best behavior.

Music & Audio:

Free Services

SoundCloud Creative Commons:
http://soundcloud.com/creativecommons

OpSound:
http://opsound.org/music/

Free Music Archive:
http://freemusicarchive.org/

CCMixter:
http://www.ccmixter.org/

Jamendo
http://www.jamendo.com/en/

8tracks Creative Commons
http://8tracks.com/mixes/creative_commons

Vimeo Music Store:
http://vimeo.com/musicstore

Open Music Archive
http://www.openmusicarchive.org/

Public Domain 4u
http://www.publicdomain4u.com/

AudioFarm
http://audiofarm.org/

SonnyBoo
http://sonnyboo.com/music/music.htm

Archive.org
http://www.archive.org/details/audio

Sound Click (you have to select from the pull down menu to get creative commons)
http://www.soundclick.com/business/license_list.cfm

MobyGratis (songs from Moby––not for profit: not sure where kickstarter falls––spirit, not letter)
http://www.mobygratis.com/gratis/list

Paid services

Friendly Music
http://www.friendlymusic.com/

You Licence
http://www.youlicense.com/

Magnatune
http://magnatune.com/

APM Music
http://www.apmmusic.com/

Audio Socket
http://audiosocket.com/

Pump Audio
http://pumpaudio.com/

Graphics:

The Noun Project
http://thenounproject.com/
Icons for everything. Note all require attribution.

Video & Still Images:

Video and still images:

flickr
http://flickr.com
flickr allows users to search for rights-free video and images in the advanced search settings by selecting “Creative Commons images only”.

Wikimedia Commons
http://www.wikimediacommons.org

Vimeo
http://vimeo.com
vimeo allows those who upload videos to designate them with Creative Commons licenses. It is not possible (yet) to search the site for designated videos only.

With each of the services, be sure to double check that the released rights match with your intent for use.

As with poetry—a medium keen
to the impact of visual
text treatment—

The new writing leverages the attitude
of a copywriter:
a cunning wordsmith used to selling something,
but no stranger to authenticity.
The copywriter is an honest flirt.

The age of bricked text—solid paragraphs
filling page after compelling page is not gone,
but it is treated specially, and frequently outside
the urgency of visual storytelling.

Rather than abandon authenticity, designers can act assuredly
on the premise of picking what to emphasize and understanding
the implications of leaving out something:
What happens if the audience doesn’t take the time to read
the whole paragraph? Should you instead,
- Bullet
- Every
- Point?

No, but know what you lose and gain
with each list you include and every headline
you set as BOLD.

Here are three things to remember and try:
Write this way: SHORT, SHARP, SEXY.
This often will require making amends with omitting adverbs,
however necessary, for the sake of honest, clear, and quick
communication.
The new copywriting is a happy medium.

SHORT

Treat your text as a visual element: think of it as a visual unit… a Lego block.
Write it to fit with the images you envision around it.
Make text as short as it possible to support to point of the unit.
When adding details, consider creating another visual unit.

Choose your words so that they are sympathetic to the graphic nuances.
Diction favoring long words will require hyphens when wrapped around images.
The give-and-take between text and graphics is tricky: both should be excellent,
but compromise is necessary for the pair to dazzle together.

SHARP

Back to text as a visual unit. A simple statement, stripped of details, will often do fine. The details omitted and included, however, convey content, style, emotion, and interest. The challenge in being SHARP is knowing when and how to embellish a visual text unit.

Poetry often suggests landscapes and emotions while prose is frequently more explicit about detailing such surroundings. Both are effective. Consider the type and quantity of details you can include and be considerate of why you are using them. Too many details will make your text lengthy and potentially introduce new emphasis. Too few details can leave your text feeling ambiguous and spartan. In being SHARP, write with the foundation of your text unit in mind, and add details deliberately.

Dan Klein suggests there are four types of details: Numerical, Audible, Digital (quantity), and Tactile. Each time you add one of these—or your own defined details—consider what it is doing to the visual, verbal, and emotional impact of your text. If a detail feels decadent, chop it off and feed it to the dogs. If it feels crisp and effective, proceed.

SEXY

The new Copywriting leverages language in compact quarters—in space and time. Text is often minimal because of the time it takes to read. Between bus stops, how many words does one want? This is a sad and honest truth: you have to earn attention… it doesn’t just happen.

Try tricks that are time-tested and use them genuinely: SEXY writing a medium for trying new things to grab attention and steer a conversation. These are easy tools ready for your direction:
Alliteration
Rhyme
Cadence
Radical punctuation
First-person voice
Profanity
Colloquial versus formal diction

Each of these is a winner—with attention attributes—guaranteed to snag a bit of time from frantic eyes & minds. Mind your own mind, though, for as sexy goes, consistency is critical else writing reads disingenuously.

Investigate the worth of these references:
Christopher Johnson > Microstyle: The Art of Writing Little
Virginia Tufte > Artful Sentences: Syntax as Style

Explore exemplar materials that seek to marry the written & the visual:
Make Space: How to Set the Stage for Creative Collaboration by Scott Doorley and Scott Witthoft (Wiley, 2012)

Make Space continuously balances writing style with visual treatment—incorporating short, punchy text where visual pockets allow, while favoring longer segments to control the pacing of content delivery.  See if you believe it.