Ty Hatch loves the joy of creating random doodles - S13/E07

Sketchnote Army Podcast

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1+ y ago 45:14

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In this episode, Ty Hatch, who started sketchnoting as a practice to pay attention and stay awake shares why he still loves the art and his work on creating headshot illustrations and creating sketchnotes for meetings and conferences.

Running Order

Intro
Welcome
Who is Ty Hatch?
Origin Story
Ty’s current work
Sponsor: Concepts
Tips
Tools
Where to find Ty
Outro

Links

Amazon affiliate links support the Sketchnote Army Podcast.

Tools

Amazon affiliate links support the Sketchnote Army Podcast.

Tips

Everybody is creative in their own way, and that's okay.
Enjoy what you do. You can like a range of different things, and that's okay.
Set boundaries for the things that are really important to you, in your life that are not work-related. Set those boundaries, talk about them, and live your life in a way that reflects your priorities.

Credits

Producer: Alec Pulianas
Theme music: Jon Schiedermayer
Shownotes and transcripts: Esther Odoro

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Support the Podcast

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Episode Transcript

Mike Rohde: Hey everyone, this is Mike, and I'm here with Ty Hatch. Ty, welcome to the show. It's so good to have you.

Ty Hatch: Thanks, Mike. It's great to be here.

MR: Ty, we've known each other for years and years. We were talking about when we thought we connected, you had a pretty pinpoint accurate time-point.

TH: Yeah. It's funny. Back in 2008, I went to a UX Week, which was a conference put on by, for those that remember Adaptive Path, I think they got purchased and became the in-house UX department for Capital One a few years ago. I was there and I was like, "I need to pay attention." Did some sketch notes, or just did notes, I wasn't thinking about it. Got an email from you after I posted them up on the OG photo-sharing Flickr, and you're like, "Hey, can I put these into my Sketch Note Army?" And so, we just stayed in touch throughout the years since then, so.

MR: Yep. Well, that leads right into telling us a little bit about who you are and what you do.

TH: You bet. I am a UX manager for O.C. Tanner, which is an employee recognition company. I help create the space for employee recognition. I Work with a team. I have three people on my team. We're part of a larger experience group, and we focus on how can people feel appreciated at work by the employers. It's a really fun thing to do. I also, as you know, do sketch notes at times and random doodles and whatnot when the time allows. That's me. I enjoy UX design. It's a fun problem space to be in.

MR: Well, I can relate to that as a UX principle, UX designer. I find it fascinating as well. I focus on software, but there are tons of opportunities to make things better, always, seems like. It's good to hear you're focusing on that, and that's such a critical space, especially now with all the challenges of hiring people and maintaining employees, and having them not leave by recognition. Huge, huge opportunities there, I would think.

TH: Yeah. It's huge. You, like me, it's hard to feel sometimes like you're moving the needle and you're making a difference for people. One of the things that really gets me going is knowing that the work that I'm doing is actually helping people feel that appreciation, that they get that recognition from not only their peers, but from their leaders and whatnot.

MR: Yep. Super important. It's something that often goes under the radar and managers might not think much about it, but is so critical. Often it doesn't cost you much other than time and a little bit of thoughtfulness. So, that's really cool. I would love to hear a little bit more about how you ended up in the space where you are both professionally, but also as a sketchnoter. Had you always drawn since you were a little kid? What's been your history? Let's start from when you're just a little guy.

TH: I spent a lot of time outdoors growing up. I grew up in Southern Idaho and southeastern Washington. Miles outside of my small town. There wasn't much to do there. We were too far out to get TV reception. We often joked we got matching ants on our TV screen because this was back in the days before cable. We had terrible TV reception on our black and white TV. We did have indoor plumbing, and electricity, so that was always good.

My brother and I, we would leave the house, go out in the backyard. We didn't have neighbors at the time, and so, we would just go out sometime after breakfast and typically we'd come back around dinnertime 'cause we were hungry. We would always have some sort of adventure and whatnot. I think at some point, a friend of ours introduced us to Dungeons and Dragons and I became a really big fantasy nut.

This was the early days of D&D. I used to have a first edition, Monster Manual and Player CanBall and DMS Guide and all that. We colored them, I coloring books 'cause they were all just black and white illustrations. I loved it. Got into reading books and whatnot. Wanted to play football, but didn't seem to get enough interest for college people. We were in a small town, nobody really knows what's going on with a small town.

I served a mission for my church for a couple years and then returned home. I was visiting my grandparent's house, and this is probably my favorite story about what got me into what I do today is there was this really awesome a couple of these burly looking pirates on it. I was like, "Well, this is cool, visual stimuli to get someone board at grandma and grandpa's house, right? It said the white family, I said, "Oh, that's a Piratey name."

I was like, "Oh, let's read about these pirates." It wasn't pirates. It was a story about the artistic legacy of NC Wyatt and his son Andrew, and his grandson Jamie. I just got hooked and in fact, I have a self-portrait from that issue that I took out of the magazine. I think I found a couple copies over the years. But there was a really little self-portrait that he did that I have hanging on my wall.

There was some painters tape. And I was like, "Oh, you get paid doing art? What? Completely radical concept for me. I'd always loved comic books. My brother and I collected comics over the years. I figured, I was like, "Oh, what can I do with art?" I started exploring the different art-related careers and I stumbled upon graphic design because as I learned about illustration as a career, I was like, "That's really competitive. I don't know that I'm good enough to compete there, but I can definitely think visually and solve problems." So, I tended toward that.

That was about the time I was a junior at state school in Washington State where I'd met my wife and I applied for an art school in Portland and I'm like, "There's no way they'll let me in." But surprisingly, they did. I finished a BFA in graphic design. My senior capstone project there at the time was a website, this is what? 1998 I wanna say. Right about the time my oldest was born. And my senior project was an informational website on typography, which is still out there.

I did a really quick redesign of it the next year 'cause it was a hideous thing when I got looking at it in reality. But it's still fitting there, 20-some-odd years later. It was an informational website about typography. Cause actually, I fell in love with typography in school. That's one of the things I absolutely loved. I was like, "Oh, could I make money doing typography?" I was like, "No, I can't." Type is another one of those professions, it's a very niche specialty.

MR: Yeah. You can do it, but you have to really work at it.

TH: Yeah. But I love design. I love the visual solving of problems and communicating clearly with design. For several years, I did that and slowly over time morphed into more of an interaction UX designer. Just as the industry changed, I'm like, "This is a good thing. This can provide for me and my family and I enjoy doing it." You slowly over the years gravitated into technology and doing UX.

That was the thing that got me where I'm at. Particularly doing sketchnotes, like the sketch note that I did at UX Week was the first time that I actually shared anything that I'd done like that. I would do 'em in my sketchbooks 'cause it helped me process what was being communicated, presentations that I would go to.

I really took off though, I wanna say about 2014, 2015 when I got my first iPad. There's this little app that was really cool. I'm like, "This is cool." I was trying to use it with my finger, but the company that made the app, which is Paper. The company at the time was called, FiftyThree.

MR: FiftyThree. Yep.

TH: I think I got one of their styluses, which looked like a carpenter's pencil. I was like, "This is cool." But I didn't like the drag of the rubber on it, but it made my finger drawings not as crappy. I'd used that stylus. I tried to play around with it a bit more. Then Apple introduced the pencil and it was a game changer for me.

I've dabbled a bit with other applications, but the Paper is still my go-to when it comes to sketchiness because of how it works. I still maintain sketchbooks. I have one now. It's more random skulls and patterns and headshots. Like you see I participate in October each year, which is a drawing challenge. If you go over into my Instagram, you'll see that I have a few. I think I actually made it through all 31 days this year.

MR: You did.

TH: Which is like maybe the second or third time that I've done it. I've completed Inktober. But that's just fun. It's a good challenge to just do random headshots. I enjoy the personalities that come out of those headshots. That's a bit of how I got into it, what I've been doing.

MR: Wow. And now, do you still do sketchnoting from time to time?

TH: I do. I haven't had as much with the pandemic. Right before the pandemic, I was actually doing a fair amount of it. I was getting contacted by conferences to help with that. I did a Mind the Product conference and did a plural site live as well. They were a lot of fun.

Did the thing with—what I like about—my particular process with sketchnotes is I prefer being in person at any one event 'cause processing that real-time is the thing that I did. I've tried to do it with different random, YouTube presentations and stuff like that, but I don't get quite the energy and the vibe off of a live event.

MR: Interesting. When I look at your style, I see you have a very unique ink style, I dunno how to describe it, but it looks like you're using a brush pen or something. There is some single-line work, right, but there's some that looks like it's kind of thick and thin. What is the tool that you're using to achieve that? I assume you're still on Paper, right?

TH: Yeah. Looking at the ink over stuff, I typically, I'll pencil it out, I'll sketch out in pencil and then I just use fine liners. I use a fine linear and then like a 0.8. Sometimes I'll go in with the smaller one. One little tool that I saw, a Kaweco.

MR: Oh, yeah.

TH: I was like, I put it in my cart and it's really hard to justify that experience. Not a cheap thing, hey. But it got low enough and I'm like, okay, it was my birthday. And I was like, I told my wife, "I'm gonna splurge and get this." And like, okay. I love it. I haven't done much drawing with it.

I got an extra broad nib and it's a little too thick for me. My pen addiction, my writing instrument addiction is breathing and well, and I collect art supplies when I'm trying to figure out something I wanna do. I ordered a broad nib off of Jet pens, which is not a good site if you like ready instruments. It's not good for your wallet. It's a great size.

MR: Great site, and yeah, you spend a lot of money there pretty easily.

TH: Oh yeah.

MR: Paper now is owned by, WeTransfer the file transfer company, and still is maintained and has had some updates. Like you, I use Procreate for illustration work, but if I'm doing sketch notes, I go right to Paper. At this point, it feels really natural, the tools, I'm very aware of them. When you do sketchnoting in Paper, what are the tools that you like to use there? I'm just curious about that. Looking at, just have one of your samples up here on my screen. Looks like you're—

TH: I have an iPad Pro that I use with an Apple pencil. Typically, when I do it, I'll—what I love about Paper is the intuitiveness of the tools. They have a paintbrush, they have a ink pen or fountain pen. They have a couple different types of markers and a pencil. Typically, I like to do a little sketch of the presenter. And so, if you look at it, you'll see that most frequently. Then notes around the topics they're talking about.

Often, I'll get the sketch of the presenter. I do that in the quiet moments of their presentation. I'll either use the ink pen, the fountain pen version, a medium nib. It's relatively inexpensive to pay for the pro version for Procreate or for the Paper.

MR: Right. It's $12 a year, I think.

TH: Yeah. I'm more than happy to pay that 'cause it's given me a lot of opportunities. The thing that I love is the color mixing. They've nailed color mixing like nobody else has, and I think it's one of the best things that they've done in software. I'll use that or I'll use a one the fine liner to do the block letters and whatnot.

Every now and then, I have little people pop up that are just a head body and arms, legs to sometimes self-characters and concepts that the designers are doing. Because the thing that I found really interesting with sketch notes is that it's that real-time synthesizing of the concepts that they're presenting that I get the most out of 'em. Largely, it started as a selfish practice to pay attention and stay awake, but I found that I still love doing that because it really helps me to get something outta these presentations as well. But yeah, Paper is hands down the most intuitive tool, I think, for just sketching out in general. I love it.

MR: I agree. Well, we're talking a little bit about Sketchnoting specifically. We've done who you are and what you do. We got your story of your origin. Tell us a little bit about something you're working on now, whether it's work or personal that you're excited about that you can share with us.

TH: Well, let's see. One of the things I'm really excited about, I have no clue how to do it, is I want to try and figure out how I can work a little bit more in conversational device. Conversational device seem to be taken a lot. There's the ChatGPT bot that everybody's talking about. All these AI-based tools, which have their place, I think. But how can I build a conversational way to present my work or to present myself?

I've done some really terrible things. Experiments that will never see the light of day. One of the things I love about design is that's experimentation is part of trying to figure out a solution. You and I both know as designers, it's like, you can't really come up with a good solution unless you know what the problem is. And so, trying to figure that out from my perspective, like, okay, how can I make something like this happen and in a way that I can somehow manage, right?

I will fully admit to being an old school. It's like my personal psych is there. I think I got a redesign out last year that I'm really happy with. That was the seven-year cycle of refreshing a personal site. It seems like seven to eight years is about the time it takes for me to get around to saying, "I should probably redesign my personal site." And actually, finding the time to do it.

I want to, being able to maintain that in a way because with all the different social media things, it's really hard to improvise where your content is in a good way. 'Cause if you post on social media, you don't have a real centralized location for any of the content that you can put out. You have to say, "I'm gonna focus on this platform."

That's really the dangerous thing, I think. How do you position yourself not only as a working professional, a design professional like we're as an artist you know, and give yourself a home where people know, "Oh, if I go here, I'll be able to find and go look at all the other things."

'Cause as much as I love social media and Instagram, I'm tired of seeing an ad every third post in Instagram as I scroll through my feed. Then you have other social media services that kinda self-destruct. I want to have a good centralized location, and I haven't been able to get that fully done yet.

'Cause as much as everybody loves WordPress and it powers so many sites, you have to really want to put in that time and effort to make WordPress work. There's other platforms and stuff too, but it's like, how can you make your content your own and have it in a place that everybody can know, "Okay, if I go here, I'll find their stuff." I'm trying to figure that out for myself.

MR: That's something that challenged me as well. Years ago, I decided to go to Squarespace just because I could build what I wanted and not think too much about it, and constrained me a lot. Paper does provide, and it's grown to meet my needs over time. That's been really good to secure as well. I had an instance where I ran websites on WordPress and didn't update, and someone was running a legal pharmaceutical site buried in my website, and I was like, "All right. Not doing that anymore."

I was out on WordPress self-hosting and switched to Squarespace, and it's been a good experience. But yeah, I felt the same way you talk about, you know, scrolling through Instagram, it feels like more and more of its ads and less and less of its actual content. I have to really fight through the ads to actually get to my friends for interesting things, and that's frustrating. Someone's going to hopefully solve that problem soon.

TH: There's a lot of different platforms out there, you know, Mastodon is taking off, but it's like, in my mind, it's a little too complex for the normal person. Just about everything, you have to feed the algorithm. You have to continually be putting stuff out there to maintain any audience. People have lives outside of posting on social media.

One thing I think in general that people don't think about too much is I have a life that is very important to me with my family, and it's like, I'm not gonna be posting all the time for these different platforms. It's great. I love doing it, but it's like, that's not my primary, one of my key focuses.

MR: That's the question everybody has to ask, right, to what am I gonna feed this thing? What are its expectations of me? 'Cause sometimes you come to realize that these platforms have expectations for what they want you to do that doesn't align with what you wanna do. You have to make that decision because you only get so much time. It keeps going away. That's really fascinating. Well, I hope that redesigning your website goes well. I know what that feels like. I haven't done it for a while, so I know what a challenge it is.

TH: I appreciate that. One thing I'm really interested in trying out, and maybe I'll be doing it a little bit this week a bit if I can, is AWS has this thing called Amplify Studio where they've pre-built some components and whatnot, in React powered by a Figma template. And so, you change your components in the Figma template, connect your account, and you should be able to launch out some app or whatever.

I have the template, it's been taunting and mocking me for several months since I discovered it. An inanimate software can't do that. AI might be able to do that, but inanimate software doesn't necessarily do that as you're constant saying, "Hey, you got this, are you gonna do something at some point?"

MR: For those who don't know, Figma is a design tool, vector-based design tool where many designers build often their prototypes and their mockups with. What Ty's talking about is he would build a mockup of his site and then use React, which is kind of a backend technology, I think is a fair way to describe it populated by—

TH: It's a JavaScript framework—

MR: Framework, that's the word I was looking for.

TH: Yeah. Just help build out components. AWS is Amazon Web Services, which is the—basically simple way of looking at it is they provide a lot of the Cloud hosting services for a lot of providers. When your services aren't working, there might be an AWS outage somewhere causing some of that stuff. When the internet services go down, sometimes there's outage with some of these cloud providers—

MR: Well later in the show, we'll definitely have a link to your website. Maybe by the time this episode launches, you'll have a new site up there that people can look at.

TH: It gives me a goal to work on.

MR: There you go. There you go. Let's take a little shift now and talk about tools. We've hinted at some, you talked about Paper by WeTransfer as a digital tool. Let's jump back into analog, and more specifically, are there brands of pens that you like, brands of paper, notebooks, pencils, so that people who are listening can dig them up and maybe experiment a little bit?

TH: Absolutely. Right now, if I look at my desk, I have a mechanical pencil, and I'll send you some links so you can put these in show notes. It's a mechanical pencil, 0.51 with a metal coral is by Uni. The nice thing is, when you have a metal pencil, you'll often have this little nib that kinda gets bent and breaks. But what's nice about this pencil is that it retracts. It's fairly affordable. I think it's like maybe about 15 bucks. It's not a polymer is on the back of it.

I also love fine liners. I've gotten the rounds with a whole bunch, I have some, Copics. The current one that I'm using is a Uni pen fine liner. I've found that I really like these really good waterproof so I can lay down watercolor washes or alcohol on so on. I got this one earlier this year. We did a team offsite. We got a rotating 600.

MR: Those beautiful pens.

TH: It was a Ballpoint. I'm not such a huge fan of ballpoint pens. But I discovered that Kaweco makes a gel pin insert refill, and so, I got a Kaweco gel pen insert in there. Then have a Kaweco fountain little porch fountain pen. The thing that amazes me-- yeah, it's tinier than I thought it was, but the thing I love about it is that the ink just flows and it's beautiful. It's really great.

As far as what do I draw on, in the day, it's often post notes, making lists, and whatnot. I have sketchbooks. Right now, I'm using one. I've been experimenting a little bit with what I want to use for sketchbooks and stuff. This one's by a company, Global Art materials. It's just a generic kinda sketchbook.

For years and years, I've used Moleskin's Art sketchbooks, which are great. I love that size. I got a eight by eight, or seven and a half by seven and a half watercolor sketchbook. I found that that was a little too precious. I was like, "Oh, I gotta do art in this stuff." I got the Kickstarter for "The Sketchnote Idea Book."

MR: Thank you.

TH: I love it, Mike. It's fantastic. The pages are bright white, which I absolutely love and they held all sorts of things. I got some watercolor in my old one. I have one somewhere, an Emergency Kit in case I have to go somewhere. I have another one somewhere that I'm like, lemme experiment with this stuff, and then maybe I'll get back to the Idea book. I found that that notebook that you guys put together was really one of my favorites in recent years.

MR: Great.

TH: The quality of the paper and the whiteness and the thickness made it really, really flexible. The only thing for me is maybe it was a hair too big, a little too wide. I like a little bit smaller, but I absolutely love the paper quality you guys did on that. Then like sketch notes or not sketch notes, but on the Ink Tobra drawings, I found a five by seven Strathmore 400 pad of paper that's really thick that I absolutely love.

All of the years, and 2021s, I only did like 16 of them. I have all those originals hanging out on a piece of paper somewhere. One my goals with my personal site is to be able to set up a way to sell some of these 'cause that's fun or good if this is just sitting and collecting dust in your house. If you do it, I think that one of the real choices of making art is sharing it with people and helping them appreciate it. One of the things I wanna get going as well.

MR: That sounds good. As far as digital, you talked about, of course, Paper. We got into that a little bit already. Are there any other tools that you like to play with? Or is that your go-to for pretty much everything?

TH: I do have Procreate on my iPad. My kids use it a lot more than I do. One thing I found is I don't like the glossy slide of the Apple pencil on just a make a screen so I have a textured screen protector on it to give it that textural fill of paper. I found that that makes a huge difference for making marks on iPad. That's really it. I've toyed with, Adobe Fresco, Concepts app. There's one that the Icon Factory does, I can't remember it's Ben's go-to tool.

MR: I think Ben Crothers likes that—Ben Norris likes that one.

TH: Norris, yeah. I dabbled that a little bit. What I like about Paper is the ability to go from pencil to ink to watercolor. The brush that they have in Paper is fantastic. How you can lay your color, make it deeper and rich if you want.

I haven't been able to get Procreate to do that. Procreate's a fantastic tool. I love it. But for Sketch notes, to me, it feels like it's a little too powerful. What I love about Paper is Paper's really good at just capturing your flow of thinking, whereas you have to be a lot more deliberate in your usage of Procreate. Although, if you're a Concept artist or somebody that's doing stuff like that, then absolutely that's a great place.

My son does a lot of—he loves Pokemon, he loves Mario. He's been doing it. He's gonna be turning 25 this next year. And I'm like, "Dude, you could do commissions of people’s Pokemon on teams." He does this fantastic stuff. I'll send you a link to his Pokemon stuff. He'll do characters and whatnot. He's drawn so many Mario things. He's drawn hundreds of Pokemon and he gets them scaled. I just absolutely love looking at his stuff. I'm like, "Dude, you could probably do something with this. "But he's like, "Yeah, I know Dad, but I do this for fun." Which is great.

MR: That sounds like a great variety of tools. You had quite a span. Some that I hadn't thought about, especially the Kaweco. I think it was the Kaweco insert that goes into the Rotring, I think you talked about. 'Cause I'm not a ballpoint fan either. There's a Schaffer insert that I use in my Retro 51s that I really like too. Probably a similar insert, I suppose.

TH: I really like the Kaweco one. There's another one that seems to get pretty good reviews that I've seen on, I wanna call it Otto.

MR: Oh yeah. Otto. I've had otto. Yeah, those are great. That's Japanese, I think.

TH: Mark-making on a budget is a big deal for me. It's not necessarily the tools that make the person, it's what you do with the tools that you have. I think having a widely available set of tools is really important, but also making sure that they're budget-friendly, right?

MR: Mm-hmm.

TH: Is an important thing too.

MR: Yep. I totally agree. Let's make one last shift into tips. The way I frame this is to imagine someone's listening. Maybe they're kind of at a plateau, or they just need some inspiration, little inspiration, little boost. What'd be three tips you would give that person to encourage them in their sketchnoting or visual thinking or just thinking, doing visual work experience.

TH: The first tip, and I think this is a pretty important one. I've had a lot of people, when they find out I'm a designer, they throw, "Oh, I'm not artistic." And to me, it's not about being artistic. It's about being creative. I like to tell people everyone's creative in their own way. How you express your creativity is going to be different than how I express my creativity.

My creativity comes out in the form of sketch notes and these random headshot illustrations that I do. Your creativity may be that you are a fantastic accountant and you can come up with really great ways to make things better and more efficient. Other people may just be fantastic books or bakers. Everybody expresses their creativity differently.

It's not about being artistic, it's about expressing yourself in the work that you do. I think it's perfectly okay to admire for somebody's work and say, "Oh, that's fantastic," and be a fan of it, but also not beat yourself up like, "Oh, I'm not that good at because I can't draw like my sorority and illustrate all these school books." I can draw my own thing and I can be happy with it. And so, I think my first one would be, everybody is creative in their own way, and that's okay.

With that, it goes to what I would say is my second tip is enjoy what you do. That it's really hard, I think, especially today for people to feel like, oh, I can enjoy this. I think you need to give yourself permission to enjoy those things that you find pleasing. There's so many things out there today, it's easy to get overwhelmed with them.

I think it's okay to be nerdy and geeky or really into sports or, you can like a range of different things. If my kids were tell you what I like, they'd rattle off a list of dozens of things 'cause I don't think it's good to limit yourself to liking just one thing. You can like a range of different things, and that's okay. That would be my second one.

The third one is, there's a script quote from Iron Glass. You've probably heard this. You can find a YouTube video on it somewhere, but he's talking about the work that you want to do when you—everybody has a particular taste and style in their head that they imagine. But then when you try and do it, it doesn't meet those mental expectations, but you can get there by working at it.

I really think that everybody's capable of doing really great stuff, but you need to work to get to that point. Don't give up, but that's the whole—and I think follow your passion is really bad advice, but I think do what you enjoy because it may be that you may not enjoy your job which is providing for you and maybe your family. But if there's something outside of that that brings you joy and that you enjoy doing, do that in a way that helps you be happy.

Over time, what you do with that will match what you see in your head. There may be opportunities that come up as a result of doing that because you never know. Opportunity—I forget who said this quote. Opportunity is often masked as hard work. If you're not doing the work to prepare for the thing that you want to do when that opportunity comes, you're gonna be ill-prepared to do that, that you want to do.

And so, it's important to do the things that you feel are important that you love and you'll have an opportunity at some point. Timing is really important. I'll do a fourth one because this one I feel—and I've mentioned a little bit. You need set boundaries for yourself on what you do. You need to be able to say, this is what's important to me, and these other things aren't so important.

And so, when it comes down to it, you know, I won't be doing this, this, or this because it conflicts with my more important thing. For me, personally, my most important thing is my family, and everything that I do, I do—I love design. I find that an extremely fulfilling, rewarding career, but it's a means to be able to provide for the family and make sure that they're taken care of.

I think that a lot of people are like, this is my hustle. This is my thing. If you put so much of yourself into that, that you identify that with that, and if that thing goes away, where are you left? Set the boundaries for the things that are really important to you in your life that are not work-related. Because I can guarantee you everybody has something that's very important to them, that it's not work-related.

Set those boundaries, talk about those boundaries, and live your life in a way that reflects your priorities because as you do that, people will see that, they'll understand that, they'll respect that. And as you do those things and you express yourself through whatever creative means you have, you'll gain those opportunities to be able to do those things and then lead a more fulfilling life and that you're you're happy with. You won't be living with regrets if you do those things.

MR: I love the fourth tip. That's really great. Really encouraging. Well, thank you for all those tips and we appreciate your wisdom for all of us here. It seems like just minutes and suddenly we're near the end of the show. I'd love to hear where's the best place for people to find you? Websites, social media, whatever you think would be the best place to start and connect.

TH: You bet. I do have a personal site as we were talking about. It's at tyhatch.com. That's gonna be where you can find me. I have links off to all my socials. I'm on Twitter for however long that's still up. I'm on Instagram. You can find me at both of those. Most social media, you can find me at Ty Hatch. Instagram, Twitter, those have been my mainstays.

I do have a profile on Mastodon as well. You can find me there tyhatch@mastodon.online. And then also most of my schedule archive of at this point in time lives over on Pinterest. You go to pinterest.com/tyhatch.com/sketchnotes. I think I have a collection of about 300 different sketch notes that I've done.

MR: Oh, that's great.

TH: You can find me there. I'm always happy to field any questions. If you see something you like, send me a note. Say, "Hey Ty, I really like this sketch. Do you have it?" And if it's something from October, happy to do that. I did a thing years ago, oh gosh, it's been almost 10 years. Really, Mike, I'm getting old. I did this thing about 10 years ago called Artist Trading Cards, or ATC. I think it might still be up if you go to apcs.tyhatch.

I did a bunch of Artist Trading Cards. It started off ostensibly as like, "I'm gonna do a little Christmas present for coworkers." And it turned into a four-month project that I had a daily post of thumb little sketch that I did.

I'm happy to sell these or trade with you if you want to trade physical objects. There's a whole range of those out there as well. It's fun. I enjoy doing random doodles and I think some point, there will be an opportunity for 'em, but until then I get to enjoy them.

TH: Yep.

MR: Cool. Well, we'll definitely get show notes put into the episode. So if you're anything in or any of these things pique your interest, you can go check it out. We have links to it. And thanks so much, Ty for being on the show. I'm so appreciate the work you do and the representation you put into the world and your leadership really need people like you doing that. And I'm so glad that you do it.

TH: Thanks, Mike. It's been a pleasure. It's been fantastic talking with you today.

MR: You too. Well, and for everyone listening, that'll wrap another episode of "The Sketchnote Army Podcast." Till the next episode, this is Mike. Talk to you soon. All right. I'm gonna stop my recording.

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