Questions
Research questions
Not of method but of heart
INSUFFICIENT DATA FOR MEANINGFUL ANSWER.
More by accident
only the questions
A Day at the Park
A Comic by Kostas KiriakakisOnce you see that an answer is not serving its question properly anymore, it should be tossed away. It's just their natural life cycle.
They usually kick and scream, raising one hell of a ruckus when we ask them to leave. Especially when they have been with us for a long time.
You see, too many actions have been based on those answers. Too much work and energy invested on them. They feel so important, so full of themselves. They will answer to no one. Not even to their initial question!
Keep digging
An Article by Ryan SingerThe hardest thing about customer interviews is knowing where to dig. An effective interview is more like a friendly interrogation. We don’t want to learn what customers think about the product, or what they like or dislike — we want to know what happened and how they chose... To get those answers we can’t just ask surface questions, we have to keep digging back behind the answers to find out what really happened.
Why Sketch?
What you have observed closely
Drawing requires that you pay attention to every detail—even the seemingly unimportant ones. In creating an image (no matter how skillfully), the lines and tones on the paper provide ongoing feedback as to what you have observed closely and what you have not.
A single image
Scientific illustrations can achieve certain things that photographs cannot. A good illustration can portray difficult-to-photograph or rarely witnessed events. It can incorporate everything that’s important into one single image or show a special view of a subject.
It would be next to impossible to observe, in nature, a dozen different aquatic species in their natural habitat, posing perfectly together and all in focus at one time—but such a scene can easily come to life in an illustration.
Parallel refinement
My studies of live animals usually begin with a series of quick drawings, all on a single page. When the subject changes position—which it pretty much always does—I abandon the first sketch and start a new one. Continuing on in this way, the page fills with mostly unfinished squiggles until the animal eventually resumes one of its earlier poses. If that happens, I add as much detail or refinement to one of the easier sketches as I can. While this is all going on, I also jot down written notes that help explain what I observed and what seemed significant.
Color reproduction
In-person, live observation of color is a practice for which I feel there is no adequate substitute. Photographs are often imprecise in reproducing color.
The negative spaces
Focus on the negative spaces surrounding the object to give yourself a fresh perspective on the form.
Hues subdued
Colors in nature are, in general, more subdued than what comes directly from the pencil or the tube of paint. Greens, especially, tend to be a lot browner than we expect.
Unfinished
Leave the drawing unfinished. Record as much information as you need, but don’t draw any forms, details, or colors that are merely repetitive. The back and front of a representative flower on a plant, for example, or half of a bilaterally symmetrical animal may be all that’s necessary.
A red sea fan
Ink and watercolor drawing of a red sea fan.
Sketches
Sketches and written notes.