 Rydw i'n meddwl, dyna'r pethau, mae'r ffordd yn ymdau. Rydw i'n meddwl, mae'r ffordd yn ffodol. Rydw i'n meddwl, mae'n Marthyn Weller. mae'r ffordd yn gogem, mae'n meddwl a'r byd. Mae'n gweithio ffodol. OER er mwyn i'r ffordd yn ymdeg. Mae'n meddwl i'r ffordd, mae'n meddwl i'r ffordd yn ymdeg. Mae'r cyfrannu o'r bydd yma yn y cwrnod, mae'n ddigon gyda'r OER. Felly yw'n hwyl i'r Hwylio, mae'n ddigon. Felly mae'n ddigon, mae'n ddigon. Mae'n gweld ymgymell Cathrin, Beth gyda'r cyfrannu Cathrin, mae'r cyfrannu cyfrannu gyfrannu gyfrannu golygu a wedi'i gilydd o'r llyfr o'r ddigon. Felly mae'n gwybod yma cathrin a'r cyfrannu ar y cyfrannu. Fe yna'r cyfrannu, mae'n cyfrannu i'r cyfrannu, having cherished these moments rather than here, which you don't know what's going to happen so so it's great, you'll be... This is your first Official recreation conference, you are really welcome to lovely community going back. So I'll pass over to my co-chairs and then introduce themselves... So, to Beth you will go next to Beth you will go next? You're welcome, so much. Hello everyone, it's fantastic to be here and I'm really vient to see everyone. My name is Beth Pitt and I'm part of the Gojciem team. In case ac yn cael ei wneud bod y cyfnod o'r ffordd yma, gyda'r ymddwyr Cymru, yng Nghymru, ymddwy'r 130 ac ymddwy'r 200 o'r ffordd i'r cyfrans ac ymddwy'r cyfrannu fod yn gweithio'r ei gwybod, ac yn bwysig i'r ffordd a'r ddyfodol, cyfrannu'r ddechrau'r gweithio, ac yn gweithio'r gweithio ar y cyfrannu. Felly, rwy'n cael ei gweithio ar y fan yng nghymru. I have gone through the process of being a member, alumni and part of the team. And yesterday we had the chance to have our first face-to-face seminar with I guess students around the world. So, yeah, but a great team and I'm really looking forward to staying with you on this list. Hi everyone, I'm Rob Farrow. I'm a researcher at the Open University. OER was actually one of my first, maybe the first, Open Education Conference I attended. And if you know the kind of work that we do, you'll know that we've been doing full-time Open Education research since around 2012 or so. So it's quite an honour and quite a journey to actually be one of the co-chairs now, quite exciting. But it's even more exciting to be in a position to actually congregate and meet with people again. Cos it's been a long haul, right, the last couple of years, quite isolating. So this is the kind of moment where you know, you kind of would hope to get to at certain points in the past. So it's just quite exciting to be here and it's really nice to see everyone. Well, thanks Rob. I think we've spent a couple more of time to say before we go into the keynotes. Oh, it's the other button. I see. So there's some stats. So it's taken place over three days, synchronous and asynchronous. Hybrid, online, face-to-face. We're trying to hit all the targets, all the things, all the methods. Participants from 20 different countries. 29 scholarships have been awarded to people from 10, 3, 3, 1s. Over 80 different sessions. 200 participants. So I think that's kind of really interesting, although the face-to-face is be you and select, I think. That's what we can call it. I think it's kind of really different. The hybrid event is kind of hitting the sort of numbers that we used to get. I think people are still engaged in this. So follow along on the hashtag there. I want a big thanks to our friends at Reclaim Posting for sponsoring the conference. I'll do the pitch for Jim, Jim Grill, who's my PM on the team. But if you need hosting for websites and stuff, Reclaim are the team to go to the area with you. So with that, that's the end for us, and we're going to move into our keynote, which I get to chair. So I'm really pleased. Our opening keynote is going to be Rob, but mainly Brian Mathers, who's the guy behind all the penguin drawings. And I think if you're wondering why penguins, that all will be revealed in the next bit. So I'm going to hand over to Rob and Brian. This is mainly a Brian session, not a Rob session. But I'm just going to do a little bit of an introduction. So Brian is the one who's really responsible for our kind of visual identity in GoGM, which has been very powerful in a very good way of communicating of what we're doing and connecting people. This is a logo that Brian designed for us. And you can see the inverted earth in the corner with the global south as the main projection rather than the north. And these are the really nice, interesting ideas that Brian brings to us. This is like a travel ticket from the Golden Age of travel. This is one of the concepts that Brian helped us develop. Here you can see his notes when we were just kind of going, Yeah, we want something like this and we're not really sure, but here's a load of ideas. Can you make sense of all this? We were trying to work out what we might say to people about what GoGM stands for and why people should consider joining the network and that kind of thing. And yet you can see how the process works. Brian's so good at just kind of drawing your ideas out and kind of making something coherent and visually interesting and powerful. It's time for the Penguin Explanation. So Brian can play impartial credit here. The original thing with the penguins was when we were first getting some swag done, it was like, you can have a stressed penguin if you want. And people were like, well, you have PhD students, they're kind of stressed, but maybe we should get a penguin. But then obviously the penguin kind of took off a little bit. The thing is, it was really Brian that brought the whole concept to life and brought the penguin into the heart of it as a motif and a character and a kind of avatar for people to connect with. So, yeah, we've had this golden age of travel kind of motif and this fed through some of the outputs that we do and the guides that we've created. I won't spend too long talking about these, these guides and these outputs from GoGM are the ones that Brian illustrates and does the covers for and helps us to really draw together into something quite unique, I think. And so, in a way, Brian, you're the kind of missing member of the GoGM team. It really is that much of a good close working relationship. So if you want to see some more penguins, have a look on the GoGM website and you can check out all these books that we put together. And with that, I will hand you over to Brian to do something visual and interesting. I appreciate that this is a bit of a tough gig because of what has gone before in the last couple of years. And if you're like me, you know, I have a low level of social anxiety, you know, bubbling up. It comes along and sort of just notches that up. A few bits and I feel like we've really got to practice being social again. I guess it's maybe a little bit different if you're an introvert or if you're an extrovert in terms of how you see that. But anyway, it's real privilege. And so I'm just saying thank you to you for coming and getting social. OK. Good. Right. We're all good. Let me see. I'm just good. A lot more visual than I used to be. If you know me, you'll know that I started my career as a software engineer. And I have built software and grown teams and sold to businesses. And by 10 years ago, I found myself inside a corporate business that I had sold a business to and slowly my soul was being drained. And it was then that someone introduced me to a stylist and an iPad. And having not really, if you'd asked me, could I draw, I would probably told you knew at that point. That was sort of about 10 years ago. There's something about a stylist and an iPad that is very forgiving in a way that a pen needs to be a pair of... isn't it? Because you can undo very easily with a stylist and iPad. And since then, the stylists and the iPads have come a lot better. In particular, the Apple Pencil is incredible. But fast-forwarding a little bit. In the work that I do now, openness is a very hard of it. So I was, thanks to what's wrong for tearing me up so nicely. And I'm maybe making it look as if I'm a magician when it comes to creating all these things. But if you've worked with me before, you know that my process starts with conversation. I was reflecting with some of the companies we have with some people in Kenya and some people in Myanmar. With some of the University projects we did. And language becomes an issue in terms of encouraging people to be open. Because I know that if I can get people talking about stuff they care about, that outcomes go away. And it's sort of gold in the way of humour, humour chiefly. I'm always on the lookout for humour. Both dark humour and light humour. Dark humour is probably even more powerful, you know. So I've actually been on the side all along. The punchline was, I'm more visual than I usually am. But it's that openness really that feeds into all of the stuff that I create with visual thinking. And every so often I forget about it. Every so often somebody says, oh Brian you're so good at drawing, can you just draw us a thing? And I'm like, oh yes of course I'm a magician, I'll just draw that thing. And then I realise, oh no, I've missed the essential part of the process which is to have the conversation. To get people talking, the people who know about the stuff. Get them talking, getting them being open about it. And in therein are the truth. So all of these things for all of the class I've been in, it all comes from those conversations. So I was just going to, a little bit to my new one, at least sit here and see if this works. So the change is what you see, isn't it just that one little speech bubble? That sort of changes what you see. And comic strips, something that again I've learnt a lot about in terms of the power of reducing something to a single black line. But the people I identify with and empathise with, and that says something. Again I'll touch briefly just on how much I've learnt from you in our community. From working with Audrey Waters I learnt the power of metaphor in terms of that. We're working with Alta, I've learnt a lot about livescribing. And really Alta gave me that opportunity to come along and try to capture and create a landscape of a conversation. I'm not again, it was a series of experiments but I learnt so much from what then people saw in those visual landscapes. Gojien, you saw the visual language. Once you have visual language, once you've settled on the golden age of travel, or England's and the golden age of travel really, you can go in all sorts of directions. It's really so powerful and sometimes finding and defining that visual language is quite a process. But once you've got it, oh my goodness, you can go fast very quickly. For me, I'm hosting, I learnt a lot about aesthetic. So how something feels, because I've realised that you process how something feels way before you cognitively process it, if you see what I mean. So if there's words involved, it's why I suppose pictures watch so well on Twitter. You absorb the picture and then you read the sentence, you know what I mean. But there's a subliminal level there that you can't do anything about. You've already had a reaction to it. So the aesthetic of how something feels becomes important. If you don't believe me, just ask Comic Sans font. If I was thinking just before this talk, I've often found contracts, like a legal contract, very sort of overpower, because there's always times when you ruin font. It's sort of saying I'm an author of a document, and you probably don't have the knowledge to be able to process this legal text. But if you change the font to Comic Sans, how would that feel? A hard document, but hey, it's private school. So how something feels is actually really key, and I get offended very quickly whenever I see things that people spend a lot of time on that really don't have any visual element at all, or somehow I'll make me switch off, I guess, because there maybe are just times in a moment, no doubt, and it didn't get me started. There's something about how we empathise with the simplicity of just two dots, and we can't help but see a face there. If you don't receive an email from me, you'll notice that I always sign off my email with a little sideways column on the bracket, and it's basically saying I'm sending me this email with a smile, because without that, emails are neutral, but of course nothing's neutral, because we paint in colours that aren't there, so you can read an email from someone. You paint in meaning that isn't there, that isn't intended, I'm the worst at this, I'm serious, I paint in all sorts of things, but I think people are thinking about me whenever I read something, right? So there's something about that human element of two dots and a line, and if you're drawing a self-portrait, drawing me as a self-portrait is pretty easy, just a circle, a triangle. There's been a few times when I've done a self-portrait drawing elements as part of a workshop, and it really is a bad idea, it's a terrible idea, because how you see yourself is not how you are seen by other people, even the strongest of people, sometimes I'm sorry, do me a little bit, and there's like really, my ears are there, and there's all these layers of complexity that we do in ourselves, that means that actually drawing humans is quite problematic, but that's why penguins are such a good idea, right? Because with penguins, you know, we can say a lot through them, we can't help but empathize with them, right? If you think about it, penguins are cute and cuddly, right? Smiling, boys, but they're also community burrows, I guess, at the picture I have in them, in terms of Antarctic. I'm reluctant to say the word colony in this context, because I know, I've never taken it in a context, communities better work, but sort of penguin communities, but also these penguins know about survival, they deal with harsh conditions, but to draw them, they're also a dream, in terms of the contrast, not the yellow, the yellow we are in, in terms of ffinting the big. So I suppose I strong-armed go GM into using penguins more and more, because they're perfect for our culture, they're perfect for, you know, to be able to communicate through, to be able to make them dance, you know, to play the tuba, I'm sure penguins have a good go of playing tuba. I should credit Rob Meller here, actually, because I'm just remembering that he does have a drawing that I did of him as his profile on Twitter, which is brief, I have to say, but maybe it's because he features his dog as well, and maybe that's the trick. Now, let's see. So, yeah, penguins are also relatable, you know. Again, this came directly from a conversation, as all of my things do. You know, some of it, I remember that Rob was sort of saying that in some way nothing's tuned, because I'm still in the room, you know, sort of getting things done. But we complain that through penguins. I suppose that's that humor, or something like that earlier. But penguins can also help us understand things that are difficult. Of course, they do them, they don't, right? It's cognitive ease, isn't it? It's that feeling that you've got a bunch of penguins looking at these big words and going, you know what I'm saying? All right. But somehow your initial default responses all like can understand this too. You okay? And it's just that little bit of cognitive ease that helps you step into something. As opposed to a word 2003, you know, diagram that sort of feels like, oh, this feels too hard for me to understand, even if it's the same diagram, but it's just your initial reaction is one of defence, rather than one of embrace. Right? You know, penguins can give us a different perspective, I think, in terms of just even looking at words from a different angle. It's a very obvious little trick, really, but you know, a penguin making a slew of angel. There's some sure they do. But also, penguins can help us to reflect, I guess, on what has been a tricky time, you know, in the last couple of years, and help us to process that. So, you know, to wrap up, what's the penguin saying on this board? Any suggestions, caption competition? I'm not just a mascot. So, I think what's started off is actually a really lovely idea in Gwgian, where if I get it right, that you were sort of sending this on to the participants of the network, and they would take a photograph of where here's the penguin in Barcelona, or here's the penguin in Beijing, or wherever the penguin got to. The idea that, yeah, a penguin is not just a mascot. It can be a companion on a journey, or it can help us understand things, or it can help us process some pretty heavy things too. Okay, so we're going to draw some penguins, okay? If you're up for that. But of course, in drawing anything, we've got to give you three golden rules, right? So rule number one, do not overthink this. This is not your PhD, okay? This is like your journal that pretty much no one has ever seen, okay? If you put it like your PhD, then you probably revert to the version of you in primary school where somebody is going, that's not right, okay? It's really easy to overthink things. I am the worst at overthink things, and that's where just a little bit of encouragement and a little bit of process really helps, okay? Rule number two, play it cool, okay? I want to mean by that ease that if you're not in the way of drawing every day, which I guess most of you probably aren't, then your hand's going to make a mark that your eye's going to go, well, that isn't right, and by playing it cool, it's just like just go with it, okay? Because I think to think of drawing something as an outcome only is missing the point. It's more of a conversation with your PhD, and some of the best stuff that I've created has been accident, right? Has been you start somewhere and actually a different idea appears or you add a different little character, or the bird that you started to create, the penguin starts to tell you what it wants to be, and that's this third rule. Follow the idea, right? Even though you start off with, oh, what I'm trying to draw is this. If it takes a little detail, follow the detail, okay? Okay? With me? Good. I should say that I also have this T-shirt I'm wearing, limited edition, but I'm going to give you the opportunity to share your creations and not that it's a competition, but it's a competition. You know what I mean? We're all those sort of things, right? And I know this session has been recorded, so there's a T-shirt for the live participants and a T-shirt for those that are never watching it, okay? So how do you draw a penguin? Have you got pens ready? Are you going to go with me? Right, okay. So how do you draw a penguin? Now this is where it gets a bit tricky, because I've got a classic music playing in the background. I mean, you know what I mean? Now there's no pressure, but at the minute there's pressure. Anyway, I'm going to do my best. Right? So you're sort of drawing some sort of shape like that as the penguin body. I'm going to try it. It's like a cucumber that's sort of fat at one end or something like that. What do you think that sort of shape is? Eggplant. Eggplant. It is, but it's like an eggplant. You know what I'm saying? It's actually really helpful to think in shapes. Quite often, usually in YouTube tutorials, they tell you this sort of thing in shapes. Anyway, and next I'm sort of drawing that little bachy, you know, big part. And if you just want a little triangle just like that, I've done it. If you just sort of do the, like a little, just the top of that bachy, the top of that bachy on the top there. When you're drawing sort of two eyes, you'll find that actually the eyes are the killer. You know, it has a very different feel if you draw them close together or far apart but experiment and just go with how it is. And then if you sort of draw sort of two circles around your eyes, like of all the penguin things I've created, most of what's doing a communication part of the eye because they're not saying stuff. You know, there's no speech bubbles, and they're almost like looking at you going, hey, I'm playing a tuba, haven't you seen a penguin play a tuba before? Or something like that, I don't know. It's probably different things in different people's heads. Right. And then there's this sort of, the white bit just here on the, you know, and then let's think about flippers. Again, don't worry about drawing over things that are just extra lines or anything like that. Just go with it. You're still with me? Good, right. Let's draw some flippers because the flippers are sort of like sort of two flat squares poking out. Yeah? And if you want to, you can just sort of tidy up and connect those little flat squares at the bottom. All right? Now one other trick I'm just going to show you, like I know that obviously I'm on an iPad and you're probably not on an iPad, but to make a thing lift off the page, you've got to think about where the light comes from. Okay? And I'm just going to, on this, so the app that I'm using is an app called Procreate. So I'm just going to use a layer underneath and I'm just going to use a grey, but I'm just going to show you this and you can decide whether you want to add a little bit of shading to your drawing. Okay? So let me see. So I'm thinking that the light is coming from over there. So everything on this side of the panel is going to be shaded, right? And the difference that this makes is massive. Okay? Even though you get too much strips to do with any shading at all, but obviously the pendulums that I tend to draw today, so I'm thinking, right, well, the body is probably going to cover that bit there, and there's probably a bit there, and there's a wee bit underneath that bit there, and there's probably a little bit on the beak, maybe, even as well. Maybe you can just add a little bit of a shadow that then the penguin has. And the difference that that makes in terms of it, then becoming a 3D thing that steps out is massive. Okay. Now then, we're going to have some fun. So I want you to think of some sort of prop that you can give your penguin. Okay? So you can see that I've just drawn a few props right there. Most of them are properly silly. But also, if and I cheat, think of something simple, right? Don't go for something very complicated. You know, there's nothing wrong with a penguin, with an umbrella, or a penguin holding a can of soup. I hear they like soup. Fish soup. But think of a prop, whatever prop you want, and add that to your penguin. Here, might even just be a hat. A hat's actually not a bad thing. Right. If you had a good drawing of a prop, any prop, good. I know that's quite tricky, because you're inventing this yourself. That's alright. And then lastly, the last thing I want you to add is some sort of statement. Okay? So you think about, maybe an obvious one is a thought problem. Okay? But ask yourself, look at what you've created, and ask yourself, what is my penguin saying to me? It might capture an emotion that you're feeling, you know, or it might just be speaking back at you, complaining, I don't know. Whatever it is that your penguin's saying, see if you can capture it. And obviously, there's different ways to do that. Penguin holding a sign is quite tucked under its flipper. It's quite a good idea. You know, sandwich board. Holding a big box. Wearing a t-shirt. Holding a sign. Whatever it is. And then just write a little message on the front of that. See what I'm doing. It's lovely seeing heads down, people working your way, there's some tongues. You're getting into it. Well done. If you're not the hammer of doing this, this is getting out of your comfort zone, I applaud you. I applaud you because it is definitely good for the soul to create. But also, there's lots of cheats here. If you've drawn a penguin once, drawing it the second time is a lot easier. Right? Because I've watched the most professional cartoonists, right? And they will draw things in pencil over the ink. Getting two cracks. That's almost like cheating. But seriously, I often will draw stuff from pen, take a photograph and then draw over it. And have two goes out. Of course it's definitely better. Right. So, when does one abandon their artwork? Because artworks are only ever abandoned. They just sort of stop at some point and go, I'm going to share that. I'll move on. So let me give you a place to abandon your artwork. The remixer machine allows you to share a photograph of what you've just done. I'm briefly just going to show you how to do that. Um, the URL is a bit of a long one. I'm sorry about that. It was remexer.visualthinkery.com slash g slash c slash oer20. Remixer.visualthinkery.com and that's a little private gallery just for oer20s. And I knew some of you have used the remix machine before. Let's see people typing. I'm going to just flip to it and then just the remixer machine. And essentially you can oh, I tell you what I need to do. I need to save my drawing. So this is my drawing here. I'm just going to save that right here. And then there's a little changed photo of that at the top. So if I click that up and I'm going to use that and then I can sort of zoom in a little bit and drag it in the centre. And then when I'm ready I can press publish. Publish. And then you will see that my example is down at the bottom. So if you get a chance to do that then I would love to see what you have created. If that doesn't work for you for whatever reason because it is your Twitter thing or your Google thing, that's also okay. If you want to come and show me, I'd love to see it anyway. If it's doing it on the train on the way back to Edinburgh you know I'm adding it then and that's okay too. Just whenever you get two minutes, see if you can add your creation to the remix gallery. And I'll just put that and we'll just put the URL back on there just in case you need it. Now listen, I'm going to leave it there. I have used it all of my time. It's been lovely to speak with you this morning. Thank you for humoring me by actually drawing some paintings. Thank you.