There's something almost tactile and sculptural about working on a whiteboard. Sometimes it reminds me of ceramics, the way you can use your fingers and unexpected tools to push and shape the dry-erase ink across the whitevoard surface. It has a quality all of its own.

Whiteboard graphic recording works beautifully for big and small sessions where the conversation moves fast and you need to keep up in real time. It's immediate, responsive, and there's an energy to it that suits certain rooms perfectly. The one consideration is longevity — unless you have an endless supply of whiteboards to fill, this medium works best when the output doesn't need to live in the space long-term.

There is some post-production involved after the session — cleaning up light glare, colour correcting, and digitising the work so it can be shared and used, but the result is a polished, usable artefact that captures everything from the room.

There is nothing - nothing - more satisfying than organising and replenishing my markers before a session. Fresh ink, replacement nibs, a full spectrum of colours laid out and ready. After 20 years of curating this kit, the ritual still delights me.

Scribing on paper. board, or canvas is the medium to choose when you want the physical artefact to genuinely last. A few of my larger strategic captures are framed in boardrooms and government offices around Australia - and there's something wonderful about work that starts as a live conversation and ends up as something people want to keep looking at.

Traditionally, graphic recorders have worked on white foamcore boards — and many still do. I stopped buying it years ago. It dries out pens quickly, gets scruffy at the edges, and frankly it's terrible for the environment. There are better options, and I'll always use them.

The beauty of this medium is the texture and richness that comes from working across materials - pens, pastels, pencils, watercolour - layered together in ways that a whiteboard or screen simply can't replicate. My kit has been evolving for two decades and can match any branding palette you hand me.

The right surface depends on what you need the work to do - how it will be displayed in the room, whether it needs to live on your wall afterwards or simply be digitised and shared. We can work through all of that together before your session to find the right option for your space, your session and your budget.

I should confess: I fell into digital scribing at approximately 9:55pm in a Covent Garden Apple Store, the night before a large multi-day event at the Tate Modern in London.

I'd been booked, completed two days of setup and prep in the huge space and then the decision was made, last minute, that I'd be scribing digitally. "Great!" I said, with complete confidence, while quietly noting that my Wacom tablet was sitting at home approximately 10,000 miles away. A very late night in a London hotel room followed, practicing with a brand new iPad and getting acquainted with the particular idiosyncrasies of the Apple Pencil.

Ten minutes into the first session the next morning, I was in absolute heaven.

That was the beginning of a love affair that hasn't dimmed. Digital scribing — and the iPad in particular — has become a genuine specialism, and if you've seen my work you'll probably understand why.

The magic is in the zoom. Being able to move across a vast canvas and zoom in for detail means my lettering stays crisp and neat and my illustrations stay sharp, even at speed. And unlike working with physical markers, every brush texture, nib width and colour exists at the touch of a button — no swapping pens, no running out of a specific shade of teal mid-session, no compromises.

The other thing I love is the immediacy of the deliverable. Full colour backgrounds, logos and images dropped directly into the work, branding matched on the fly — and the moment the conversation ends, so does the post-production. No photography, no digitising, no colour correction. C'est fini.