Mike Rohde is a designer, teacher, and illustrator — but you’re more likely familiar with his work in sketchnoting. Mike is the author of The Sketchnote Handbook, which popularized the practice, and the founder of the Sketchnote Army, a showcase of sketchnoters and their work. He’s been described as “one of the leaders of the visual thinking revolution.” In this conversation, we discuss how Mike’s approach to visual note-taking has influenced his work.
- Mike Rohde
- The Rohdesign Dispatch (Mike’s newsletter)
- Mike Rohde on LinkedIn
- @rohdesign on Instagram
- @rohdesign on Twitter
- The Sketchnote Handbook: The Illustrated Guide to Visual Note Taking by Mike Rohde
- The Sketchnote Workbook: Advanced Techniques for Taking Visual Notes You Can Use Anywhere by Mike Rohde
- The Sketchnote Army
- The Sketchnote Army podcast
- Adobe PageMill
- Liminal Thinking: Create the Change You Want by Changing the Way You Think by Dave Gray
- Bullet Journal
- Ryder Carroll
- The Pen Is Mightier Than the Keyboard: Advantages of Longhand Over Laptop Note Taking by Pam A. Mueller and Daniel M. Oppenheimer (PDF)
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Jorge: Mike, welcome to the show.
Mike: Hey, it’s so good to be here Jorge. It’s really fun to talk with you today.
Jorge: Well, I’m very excited to talk with you. I am a fan of The Sketchnote Handbook and of your work in general, so it’s a real privilege for me to have you on the show. I think that many of the folks listening in will have likely heard of sketchnotes, so rather than ask you to introduce yourself, I was hoping that you tell us about your work. Because people might be familiar with you as the person who put s_ketchnotes_ on the scene, but I’m wondering about your work — like, what do you do day-to-day?
Mike: Yeah, that’s a great question. And I think what you might find interesting at the end is that sketchnoting is a pretty natural outgrowth of what I do day-to-day.
So, I’m a designer, a user experience designer, and I love working in software. I’m working for a software company, and currently, we have two tools that are incredibly powerful. They do search and remediation, or protection of data, but as powerful as they are, they’re also very confusing to use. They need lots of love for their interface and their interaction and their information architecture and even down to wording consistency and those kinds of things. And so, I’m in the process of redesigning those two applications and it’s really, really fun. I enjoy it!
My history goes back all the way to print design pre-internet, where I came through technical school learning how to be… at the time they called us “commercial artists,” but basically a graphic designer. I learned everything really old school. All of the work that we did was all on boards. I used X-Acto knives and T-squares and triangles and Rapidograph pens and things were shot with cameras and printed on plates. Like all these super old-school stuff. I was even fortunate in my high school days to have a little stint in printing, and so, I got to use all the lead-type printing stuff and Ludlows and California job cases and silkscreen. And I just had so much fun playing with all this technology.
The thing that’s interesting about my career is I’ve always had a split personality in a way. So, one part of me is really fascinated with design and aesthetics and those kinds of things, and the other part of me is really fascinated with technology and how things work and why they work and the functionality, so that form and function sort of become melded. And that expressed itself in interesting ways, even in my print design days because I came from the printing side.
Even though I was a creative person and a designer, initially, I was in printing and with students in my design class that I was doing as… I guess, cross training, where they sent printing students to design class, to at least be aware of design. My colleagues are all saying, “what are you doing in printing? You should be a designer!” So I switched my major and moved over, but I always had sort of one foot on the technical side and one on the design, or visual side. I could go on press checks and talk with Pressman and you know, my production file is really tight because I knew what was possible and what was dangerous. So, I would avoid those things that I knew could be problematic.
And then, that turned itself into technology, which is web technology. Got really fascinated by this stuff and started building websites for the fun of it, using terrible tools like PageMill, if anyone’s old enough to remember these terrible, terrible tools that introduced all kinds of useless code. Your code is like five times as large as it needed to be. Started there and then learn how to code by hand and when the industry really took off and it became impossible to like be a casual web developer. You had to devote yourself to it full-time because it was changing so fast, then I made the switch to hiring really good front-end developers who could take my vision, and then I focused on the customers. Understanding what they needed and turning that into identities.
I’m really big into identity. I had many years where I did logo design for small SAS startups, and then their websites. So, I was a little bit like their secret weapon… miniature agency who could do all the… you know, a variety of things, and could talk with them and understand them technically. That’s continued to be part of my life even today, working in software, which is… I think probably one of my first loves after printing.
Jorge: The word that comes to mind in hearing you talk about it is “craft.” It sounds like there’s a… there’s an appreciation there for the craft of making these things. But there’s a generation of folks who might be among the last who studied these things before everything became digitized and you had this hands-on appreciation for what it took to make these things that surround us, right?
Craft in transitional spaces
Mike: Yeah. So, I mean, that’s very true. I still remember. I would say that’s kind of an advantage. I look at it as being really fortunate that I tend to end up in these transitional spaces — transition between straight print design and then desktop publishing. I lived through that revolution. Then I lived through the web revolution and then I became fascinated by user experience design and the idea that “hey! We can design things based on what people actually will give us feedback on!” Rather than, “I like blue. I like Gotham. I like…” You know, “I like gradients. Let’s just use those!” without any regard to whether it’s usable or understandable, or it causes other problems for the people who now have to live with your creation for 10, 20, 30, 50 years, right? Because you just happened to like that.
Some degree of that is necessary as a designer; you need to bring your best practices and your taste to it. But learning about that was another transition and getting into software design again, yet another transition to see that. And I think there is a real advantage to being that. I think there is a really great book by Dave Gray called Liminial Thinking. Rosenfeld media I think produced that book. And it talks a lot about how do you deal with these transitional spaces and what’s the right way to think so that you can navigate your way through. Because there’s not going to be a map, right? It’s transitional. There is nothing there. You have to kind of figure it out and make it up as you go along and be open to flexibility and adjustment and those kinds of things.
So, having all that old school, like drawing on boards… and I think it comes through in sketchnoting, as I mentioned, because I learned old school like that was the way that I did work. When I went through design school, I was using markers to do ad layouts. I didn’t have a computer to do any of that. I didn’t have typefaces. I had to study typefaces and books and try to recreate them. The advantage is now, on demand, I can pull a piece of paper out and do some sketches and get pretty close to what I want to achieve.
And a lot of that was just simply repetitive practice and doing. And I think there’s an opportunity for even young designers coming up, maybe through sketchnoting or looking back at this old stuff to realize, “Hey! There’s some real value in those crafty or craft-focused techniques that gets you away from the computer.” we’re almost at the swinging point where now the computer is sort of dominating so much. You sort of seek these analog experiences just to get away for a while for a respite, so that you can rest from looking at a screen for a while, right? I think there’s real opportunities in that space as well. I really feel fortunate for the time that I came up and all the experiences I’ve been able to have in my career.
Jorge: One of the things that come across in_ The Sketchnote Handbook_ is that it’s almost like the origin story for how you came to this approach to taking notes. My interpretation of it was that you somehow got frustrated with the constraints of handwritten yet text-based linear note-taking, right? And if I could pick like one word to describe the emotional tone of your book is joyful — there’s this joy that comes across on every page in these very compelling drawings that speak to being made by hand. So, this notion of craft comes across. It’s very different than a book that has been laid out in a hard-line tool like Illustrator or something like that.
I’m wondering the degree to which you actually use sketchnotes in your day-to-day work. Or rather, let me ask it more broadly: how do you use notes in your day-to-day work?
Sketchnoting as a team sport
Mike: That’s a great question. I think part of something else you need to know about me is I tend to be an experimenter. I’m always trying things out and if there’s something new, I’ll explore it. I’ll pick up something new on a whim and maybe I end up not using it, but I think sometimes the hit ratio is good enough that I just keep doing it. So, I have a variety of ways that I capture. And something that I’ve said in the past is that for me, sketchnotes sort of leak out whether I like it or not.
So, as an example, I did a three-year, contracting stint with a financial services company here in Milwaukee. And I worked with developers who were working in an agile methodology. And part of what we did was trying to figure out how do we take this old software tool, take the good things from it, and then re-imagine it with all the new technology and capabilities we now have that didn’t exist when it was made. And so the solution that we found was, you know what, white boarding works really well for team wireframing.
And so, what we would do is queue up what’s the feature that we want to add, and then we would have a discussion and maybe we’d show the old app and how it did it. Talk about what was good about it, what could be improved, and then we just… as we’re having this discussion, I would be at the whiteboard with a couple of whiteboard markers and simply listening to people — the developers, or the product owners — talking about what they’re thinking.
And I would start drawing what I was hearing on the board as software, like pages and flyouts and buttons and structure. And maybe I do that in black and then as we had further discussions about what’s good and what might not work, I would start annotating in these colors. So, you could sort of separate the drawing from the notes.
And I would listen and turn and say, “Hey, did I capture what you were intending here? And the best part of my day was when a developer would say, “no, you don’t exactly have that right.” So I would offer the marker and they would come up and they would draw their idea or add their notes, right? And it became sort of a team sport.
So that’s an example of where the concept really was sketchnoting. We’re compressing and simplifying information and ideas in a compact way. Ultimately, the idea behind those whiteboards was number one, we’re having a group discussion to try and solve this problem. There’s a ton of smart people in this room that are smarter than me in a lot of things. I’m not going to be able to solve all these problems by myself; it would be foolish to think I could. And there’s an idea that once ideas start happening, other ideas start following. And so, there was this opportunity to really get the best idea.
And then finally, once it’s drawn on the board everybody feels heard, right? What they said was heard. And then ultimately we take a photo — we would take a photo of this board. It would go into a shared folder. If I got to it first, I would make my mock-up with Photoshop or Sketch or whatever tool we used at the time.
But if I didn’t, then a developer could just pick up the sketch because they were in the meeting and they would just start building based on what they saw and then call me over and say, “Hey Mike, I built this thing. What do you think? Does this work? Are there any issues?” And we would work through it. Because there were like 40 or 50 developers and me as that one designer. I was a huge bottleneck!
So, this is in some ways also a way to try and alleviate the bottleneck that we potentially could run into. And it seemed to work pretty well on all those levels. And it really… it seemed to engage the developers in a way that I haven’t seen before. Where it was less of me doing something and throwing it over the wall and saying, “now make it!” It was all of us working together. Probably the best compliment that someone could say was, “I really love that feature in the app. Who designed it?” And I would say, “We all did!”
You know, I had a part … in some ways, we couldn’t even like, you couldn’t even separate the pieces. Like, who said this or that, or like, who contributed to what? We all did it as a collaborative group of people coming up with an idea. And sometimes the best features were the ones where, “okay, this is a round seven, the dropdown to choose something.” And we would really fight through every possible angle on this feature. And sometimes those are the best features. So that would be an example of a public way that notes would be captured.
Mike’s bullet journal
Mike: Privately, I follow the Bullet Journal methodology to some degree. I don’t do everything that Ryder Carroll prescribes, but I also know Ryder and I know that he doesn’t feel like you need to take everything that he offers. You take the parts that work. And so for me, I lay out my book in this way: the left page has got a bar on the left, I call it “The Daily Plan” bar and I plan my day. And then I have the day of the week and the date, and then down the left are all the tasks that I hope to accomplish that day. I try to do about three per section.
I have one for work, one for my little side business where I do illustration and such. Teaching. And then one for personal, which would be, “got to go to the bank,” “have to go buy new toilet paper,” or whatever. Those are all on the left. And what I’ve learned over experimenting with this concept over, I don’t know, 5, 6, 7 years, is that if I didn’t allow for another place to do notes and thinking and writing I would just go backwards to other pages where there were holes in the notebook and I would draw little notes in there. So what I realized is, why don’t I just build in space to draw? I can be luxurious with my notebooks. They’re mine! Who says that I can have a blank right page? Maybe I never fill it.
What I found was that it sort of encouraged me to write notes or to do drawings, or I might be watching a TV show like Ted Lasso, and I was really inspired by something. I had a little chunk of space left, so I doodle a little drawing of the TV show so that I could remember maybe lessons learned in that TV show. All in this blank… I call it the log page. It’s just open for whatever I want. I’ve even found cases where let’s say I’ve had a busy week and these log pages are filled up for a couple of weeks and maybe I run out of space or I need some space. I usually flip backward in my book and find an empty page and just grab it and then use that as a drawing space.
So even if I passed it by two, three weeks ago or a month ago, typically I’ll flip back to it, find it, and then do a little drawing there. And then I’m pretty good about updating my index in the Bullet Journal for months and key information.
Probably the challenge with any kind of this hand-drawn stuff is digital management. How do I manage this stuff digitally? Because it does take another level of capture. You need to at least take a photo with your camera — and it’s gotten a lot better. I mean, our phones are great for this. But honestly, I have not chosen a place where the stuff would land. I haven’t developed a workflow for taking photos and organizing the notes that I take. And I feel like that’s something that I could iterate on and make better than it is now because I don’t really have a canonical “that’s the place where all my stuff is” thing for hand-drawn analog notes. It’s not like I couldn’t do it, it just hasn’t been a priority. But that’s something I’ve been thinking about.
The last place I take notes is I use a tool called Ulysses on the Mac. I like it because it’s Markdown, which forces me… it’s sort of a constraint that forces me to be simpler. I like that it’s cross-platform so it’s on my desktop Mac, it’s on my phone, and it’s on my iPad. So wherever I am, I can jump around and all the same, information is available. I’ve considered attaching images to that. I guess that’s… it is possible to do that. But typically that’s where I do my typed notes.
I will say there’s an interesting by-product of being a sketchnoter for so many years that it actually has changed the way I take my typed notes. The way I think about my typed notes is a lot more like sketchnotes and I just happened to be typing instead of drawing. So, I’m listening and I’m forming ideas about, “what is the topic that we’re talking about and how would I explain this discussion and compress it in a simple way?” Maybe it’s bullet points or a simple paragraph.
All these processes that I would use for sketchnoting are now like filters built into… even when I type the notes, they’re still being filtered by the sketchnote thinking, which is this idea of like, what’s the big idea? How do I compress it? How do I simplify it if possible and make it work in a way that when I look at it again, all those memories come back and it’s sort of like adding water to a dehydrated something, right? It suddenly comes back to life, like a mushroom. You put hot water on a mushroom and it gets big again, right? It comes back to life.
So, that’s sort of the aim and even in my typed notes… so, oddly enough, the sketchnoting stuff has sort of weaseled its way into every part of what I do, whether it’s drawing on whiteboards or my Bullet Journal or even my typed notes seem to have been impacted by this approach to note-taking.
It doesn’t have to be beautiful
Jorge: There’s so much there that I want to pull on and unpack because you’ve shared a lot and a lot of it sounds really enticing and intriguing. But this last piece about typing, that’s really fascinating. And what it made me think of was something that you do emphasize in the book, which I wanted to ask you about, which is the difference between structure and art; this notion that many people who think about drawing, I think that they focus a lot on making beautiful drawings and making drawings that are somehow… like people will be judging your artistic ability somehow.
Whereas I get the sense from the book and also from what you’re saying here, that really the underlying cognitive effort is in somehow structuring the thing that you are taking down and… doing it visually as one way of doing it, right? But you want to be able to somehow on the fly — and this is quite a skill! — you want to on the fly, be able to capture the big idea so that you can then start making sense of the thing, right? And that can work on text, it can work on the whiteboard, it can work on a notebook. So, I’m wondering about this structure versus art scale and the degree to which that may be what’s influencing the way that you’re taking text notes.
Mike: That’s a really interesting observation. You know, I think I present it in the book because I realized the audience reading it will feel like, “I’m not a great artist, so I can’t do the sketch noting. I won’t even begin.” That was the question or the challenge that I was addressing in the book. And so, my approach was, “Hey, you can draw more simply than you think with these shapes. And it’s all about the ideas and like the structure of getting the concepts down and if then on top of it, you could make it look beautiful, well, that’s…” You know, I think I described it as the whipped cream and the cherry on top, or maybe gravy and mashed potatoes or whatever it was. I was like, it’s like a nice thing to have, but it’s not a requirement. Which then everyone who’s really hung up on being a great artist now can let go of that. And, “oh, I can just do really simple imageries with these shapes and that’s enough,” right? That was a huge goal for the book.
But I think you’re right, that there is something about the importance of structure and I think it all comes back to what we started with, which is this combination that I’ve always had of technical and art sort of blended together. That’s always been a theme throughout my life, and I think it’s… I can’t think of who the person whose quote this is that “the form follows function,” right? It has to at least work first, and then you can think about making it beautiful. But there’s nothing wrong with it being both, right? They’re not mutually exclusive where it can only function or it can only be beautiful. Why couldn’t it be both things? That’s the ideal. I think that’s sort of what I aim for is: first let’s make sure we capture the core structural things so that we’re getting the message, and then on top of it if I can somehow manage to make it look interesting, that’s like an extra win.
An interesting thing you talk about is “the big idea,” sometimes in our note-taking, maybe the big idea doesn’t come until after the notes are taken. Like, there’s this assumption that you should know what the big idea is when you start. Well, maybe you don’t! Or, even a wilder idea: maybe the person speaking — if assuming it’s a speaker or someone writing a book — maybe they think the big idea is one thing, but in reality, in your context, from your perspective, it’s totally different. Like, you would take their information and sort of look at it from another angle. You could tell somebody something who’s from one country and they look at it much differently than someone from another country simply because of their background and history and language and what things mean. Like something innocuous in one culture could be offensive in another, right? You have to be careful with that sometimes.
And so, there is an opportunity to take the idea and reframe it in the way you think and that might not come until the end. After you’ve taken in all the ideas and looked at them and held them in your mind and say, “well, actually, you know what? The big idea is this thing!” And then, you could sit down and summarize it. I think of my grade school teachers all saying, “I want you to rewrite this in your own words, Mike!” Or, “you need to summarize these ideas.” And I think a summary and the ability to explain it in a compact way, shows that you’ve absorbed and understood it. And then, you’re open to, like, maybe you have it wrong. So, when you re-present it, you would say, “here’s what I hear. What do you think?” And then they’d say, “well, you’re missing this part!” Or, “there’s a little nuance here that maybe you didn’t understand.” You know, “in this case you can do this, but in that case, you can’t,” right?
So, that opens you up to modifications and improvements, but at least you’ve got the foundation. It’s so important to get the foundation right. You can’t go to the next level when the foundation isn’t set. So there’s lots of metaphors I just laid on you there, Jorge. Sorry!
Seeing what you (and others) mean
Jorge: Well, yeah. But the broader point, I think, is that the process of putting pen to paper or stylus to tablet, or what have you, is in some ways a process of discovery where you might not be entirely sure of what it is that you’re trying to capture, but the process of doing it will reveal something about it. And my sense is that it might be more true… this notion of revealing the big idea and perhaps even the structure on the fly might be different for a generative scenario, like the whiteboard you talked about earlier, where you’re with your colleagues designing something that doesn’t exist yet. You’re trying to make it come to life. That’s slightly different than trying to capture a lecture, which has been pre-structured by a speaker, right? So, in that case, what you’re trying to do is you’re trying to grok the structure that the speaker has conceived of. But I think this generative piece also has the structuring on-the-fly thing, but you’re trying to discover the structure as opposed to capturing it, right?
Mike: Yeah. Or maybe you see that part of the structure makes sense and the other part, which we assume makes sense, doesn’t make sense and needs to be reconfigured, right? There’s some logical failure in how it’s fitted. I think that’s the one thing that I really like about visualization. The thing we discovered in those whiteboard sessions: it’s a lot easier to get in sync with being on the same page than if we just simply talked about an idea, and you talked about an idea… I think the term is… It’s probably going to come to me later, but it’s this idea that we both think we agree, but we really are not exactly in alignment. And by drawing, you get a little bit closer. It’s still not perfect, but you get a little bit closer to revealing what your thinking is and someone else can then modify it and it gives another layer to that whole discussion.
Jorge: Well, I can see what you mean, right? Which is like… you’re talking about cultural differences; words might mean a different thing to different people, even within the same organization. Like we might have a different understanding of a term, but if you can put it down — especially if you’re making software — if you can sketch out a screen, all of the sudden I see what you mean in a way that is not as open to misinterpretation as the words might be.
Not everything is a nail
Mike: Yeah, it adds another dimension, I guess, maybe is a way to think of it. And probably the other thing that strikes me as we talk about all this is maybe the… I’m a big believer in finding the right tool that fits the job. It can be dangerous if you’ve… so that the danger I see around like Zettelkasten and note-taking and all this stuff is, you could just assume that that’s the hammer that’s going to solve all your problems. And then everything starts looking like a nail. And you could maybe inadvertently get trapped in a certain kind of way of thinking or structuring where you’re actually missing a lot of opportunities because you’re sort of fitting it to this approach.
Not that there’s anything wrong with those approaches; I think they’re great. And this idea that… I think there were some studies that were done not too long ago where they tested typists versus longhand note takers. And so they had like a TED Talk and they had two groups. One writes longhand, the other one had laptops. And they said, “we want you to take notes of the talk.” And so they did this talk, I think Miller and Oppenheimer — if someone wants to look it up — are the two researchers.
And so, they ran the test and what they found were the people that had keyboards ended up typing verbatim notes because they were almost fast enough to type as fast as they could hear. And so, they sort of fell into this idea that “well, I could probably type most of it.” And they started typing everything. But it was verbatim; they weren’t really thinking about what was being said or thinking about the ideas, maybe as much as the other group.
The other group almost immediately said, “there is no way long hand I can keep up with this amount of information!” So they started to do analysis and started capturing information. And it wasn’t even sketchnoting, it was just writing on lined paper. And so, they tested them, and I believe the immediate tests that they took right after the talk, they both were about in the same range. But a week later, or some period of time later, they came back and were tested and they found that the people who had to analyze and write longhand remembered far more than the typists.
And then, they realized, “well, wait a minute! We should warn the typists that ‘you’re probably going to take verbatim notes, so don’t do that!’” And they ran the test again. And it didn’t matter because as a typist, maybe you just fall into this trap of like always trying to type almost as fast as someone speaking, and then you sort of don’t go into this analysis mode. That’s what I was getting at with this sketchnote thinking, is that even though I’m typing, I’m sort of doing the longhand writing — I just happened to be using my fingers to type. And I think maybe for me I never learned how to properly type, so I have made up my own typing finger positioning. And I look at the keyboard… I do all the things you shouldn’t do. Maybe because of that, it actually led me to this different way of note-taking. I don’t know for sure, but…
Jorge: Maybe there’s a little bit of friction involved like you were saying; it’s slower so you’re less inclined to try to capture things verbatim.
We’re actually coming up on the end of our time together, unfortunately. And I wanted to ask you… on your website, you say that your word of the year is “restore.” And I wanted to ask you about that. What do you mean by “restore”?
Mike: Yeah, that’s a great question. As everyone knows, we’re two years and some months through the pandemic. For me, we did pretty well through the pandemic. We… I didn’t get COVID until I think two weeks ago. So, we did 26 months of COVID-free and then it just got us. But the thing that I found was the uncertainty in the previous job that I was in… I was with a giant company before the company I’m with. And they decided to do… rather than layoffs, they would do furloughs. And we would do five weeks of part-time, three days a week.
And so, there was some baked-in uncertainty like, “oh, what does that mean? Does that mean when I come back, I won’t have a job?” Or… I wasn’t too worried about that because I also do things on the side completely unrelated to design, which is… I like illustrating books, I love teaching sketchnoting and teams how to sketchnote. And so, I leaned heavily into those, like every opportunity to present I did. I wanted to get really good at presenting and teaching through Zoom. So I thought, “well, every time someone asks, I’m going to accept and learn.”
And so, I just started to do lots of illustration, lots of teaching, and I just cranked it up. And I was really busy for two weeks, in addition to my day job. So I… we came back from the furlough, everything was fine, but now all of a sudden I had accepted all these invitations and started doing a ton of extra work more than I normally would. And the pandemic kind of made it possible because there was nowhere to go and it kept my mind off of what was happening, and… but then I got to the end of it and I felt… at the end of 2021, I was just like, “I’m tired!” Like, “I don’t know that I want to do all that work. I’m going to actually make some goals around how many things am I going to do in 2022?”
So, I set upper limits on how many teaching engagements, and how many illustration engagements, simply so that I wouldn’t like totally burn myself out. I think I felt like I… I wasn’t burned out, but I was just tired and needed a rest. And I felt like I need to dial back. So for me, restoring was coming back to something closer to that pre-pandemic mindset where I didn’t feel compelled to accept everything and do all these projects. And so that’s kind of what it means to me.
Jorge: Well, now I am doubly grateful that you accepted the invitation to be on this show, knowing that you’re not accepting as many things. So, thank you for sharing that, Mike. Where can folks follow up with you?
Mike: I would say the best place to go would be rohdesign.com that’s my website. You can see my books there. Got a bunch of book samples you can download for free. My blog is there, which I’ve been running since 2003. I don’t post to it as regularly as I used to, but I do occasionally put things there. You can sign up for my email newsletter there. And then probably the place I’m most active on social is Instagram since it tends to be visual, I tend to post things there. So that’s probably a good place to interact with me and see work or reach out and say, hello. I’m, you know, I’m @rohdesign and all those places, Instagram, Twitter… I’m doing a little more LinkedIn. So, you can find me in those places. And I’m happy to discuss things with you.
Jorge: And rohdesign is R O H design, right?
Mike: Yes, exactly.
Jorge: Right. Well, awesome! I’ll include all of those in the show notes. I was thrilled by the opportunity of talking with you. Thank you so much for sharing.
Mike: Well, you’re so welcome. This was really a lot of fun. It was a fun discussion, and I’m excited to hear how your audience reacts to it and what they think.
Jorge: Before we go, I have a brief commercial announcement. Information architecture is more important than ever. And yet, many people in organizations don’t know much about IA. So I’ve launched a new online workshop to teach the fundamentals of information architecture. You can check it out at ia.wtf. That’s ia.wtf. Thanks!