From Graphic Recording to Visual Coaching with Christina Merkley

Christina Merkley

This is why coaching is so powerful, and other modalities: that we often don't get listened to, or have that kind of attention. So that's huge in and of itself, just to have a space where, ideally, you can be yourself and you can share what's going on inside your mind and heart and spirit, and somebody's listening. And not only are they listening, they're capturing it and they're reflecting it back. Listening is key. You have to be a really excellent listener, get aligned and listen to what's happening. You have to be able to hold a bunch of information in your head, trying to figure out what's the order, what's the important stuff, because you're kind of sifting for gold. You're looking for the big nuggets.

Tobi

You said you place the nuggets on the canvas. How do you identify what is the nugget there?

Christina Merkley

Thank you, a pleasure to be here.

Tobi

And as a means of getting to know you: I was really fascinated when I came across your work, because it really combines different methodologies in a very unique way, I found. So can you describe a bit what makes your work unique?

Christina Merkley

Well, you'd have to ask the people who I work with about what makes it most unique, but let me see if I can put myself in their shoes. I've done a lot of things over the years, and I still do a lot of variety of things, so it depends on what we're speaking about. But for the most part, I help people, I call it X marks the spot. Where are you? Where are you standing right now? What's most up in your world? And I will use all sorts of techniques, but in particular visual techniques, to literally draw out and mirror to somebody where they're standing, right? All the different factors, outside and inside, that are going on. And step by step we meet that. I also do work in the future, not just the now. We start in the now: where do you want to go? Because I'm a coach. And usually people have got some sort of problem about, maybe some lack of clarity about, where do they want to go. So we draw that out. They need some organization work, so we draw that out. Okay, that's where you want to go, how do you get there? And then sometimes, and this is my specialty, is alignment work. That's where you say you want to go, those are your steps of how to get there, but it's not happening. I call it the trouble at the border, the border between where you are and where you want to be.

Tobi

And you just used the phrase, you are drawing out what's going on, which one could understand as pulling out, but you're actually drawing it, right? You're actually making it visible. And as someone who also has done a lot of, let's call it visual coaching, using our picture cards, I was very curious when I saw that you are also doing visual coaching, but in a different kind of way. So can you describe a bit, how does that process look, and what makes this drawing exercise powerful for the clients?

Christina Merkley

I think a key word is interactive. So I'm not fully aware of the full range of how you work, but for me it sounds like it might be a little more static. Whereas the body of work that I come out of is a field that is called different things. It's called graphic recording, or graphic facilitation, or visual recording, visual facilitation. Doesn't matter what you call it. I'll show you some things, I'll bring up some slides, because it helps with visuals to see things. But really it's about interactivity, doing it spontaneously as people are speaking, whether it's a group of people or a solo individual. And I'm using large, I can use blank paper for things that are very emergent, or if people are coming to me for a certain kind of thing, I can have pre-prepared forms. If I'm working with a group, they're really big, mural size ones, so everybody can see. If I'm working with an individual, and we'll do this probably here soon enough, I don't think I can cram it completely over here, but maybe you can see the little corner of my drawing tablet. I can work one-to-one with somebody, and really, as they're speaking, get that reflected to them. I have a whole cadre of tools. So depending on what's emerging from somebody, if we haven't already contracted to do a certain thing, a lot of times I get people who show up and we just figure it out. So they start speaking and I go, ah, I see what's happening, here's a tool that I can meet where you're at with, and I can literally use that tool to help us meet that in a strategic kind of way, in a useful kind of way. And I draw it out. So I literally write out, some of it is words, so I write out the words, I'm very good at condensing and synthesizing things, but then there are also accompanying visuals. And it's live, so it's very fast, and quite doodly, right? Not elaborate

Tobi

Yeah, so I have seen what you're describing at big events, where there's basically a graphic recorder and they record the highlights of what the speaker on stage says. And I think you've also been doing that, but not only. What is interesting is that you also do this in one-on-one coaching, inner work with single clients, right?

Christina Merkley

Correct. So I started in the early days with graphic recording, when there were like 70 people around the world who were doing it and we all knew each other. And I was a very young woman starting that. I'm 57 now, I was, I don't know, in my late twenties. I'm a Canadian, but I went down to California, where all cool things originate, and went to grad school in San Francisco, and that's when I first stumbled upon graphic recording. One of the key founders of that field is David Sibbet, with The Grove Consultants. And I ended up doing an internship when I was in grad school with him, with his company, and they ended up hiring me. And so in my early career I was a graphic recorder,

Tobi

Yeah, let's maybe actually look at those visuals.

Christina Merkley

Yeah, okay. Well, let me go ahead then and I'll make a segue and bring it up, because it helps to see these things instead of just talking about them.

Tobi

Yeah.

Christina Merkley

I put together a little slideshow for you. Here we go. I might as well show it, because you asked about my career track. So you'll see me in my fresh faced twenties, late twenties there, in that top, short, brown haired picture. And then the one underneath is what you're talking about, which is graphic recording. So you're off on the side with those large murals taking notes, and you're not integrated in, there's a separation between the speaker and the note taker. This has become very popular in the world. I've been an early teacher of it, trained a lot of people. It's gone global, not just me, of course, but my early colleagues as well. That's become very popular. So much so that you can even use the words graphic recording to describe it. When I first started, nobody understood this stuff. Now it's gone global. Up above is just me in one of my trainings. So I've taught a lot of people, again, these four animals. And it's gone, because of digital, even before the pandemic I was online, but of course with the pandemic everybody, including this field, went online, a lot of us are working this way now. So I continue to work both, the top picture here, that large mural method that we've been talking about, and then down below the transfer into the drawing tablets

Tobi

So that means I already have an idea of the situation on the client's end, and then I would basically, at home, in the studio, create a visual and bring that to then work with it together with the client.

Christina Merkley

Yeah. So for example, I know you work with a lot of coaches. Myself, I have my own coaching process. There are pieces for all of us as coaches. We have things that maybe we deliver repeatedly to clients. So it behooves you to create a little studio piece, right, instead of just ad hoc-ing it. If you are doing any sort of visual thing, a more polished piece just makes your life easier. That's how I first started creating a lot of things for myself, because of repetition. I'm like, I'm hearing this again and again. So I'm always paying attention to where I hear things again and again from clients. Maybe I can create either a push piece, where I'm sharing information from my kind of consultant or advisor hat, guide hat, or is there a pull piece that I can create where I need to get something out of them? Instead of me delivering material, what am I trying to pull out of them? And when we move to the two latter animals, process work, that's where we're

Tobi

Yeah. And just briefly coming back to the work we do at metaFox: I would say that is also a pull process, in the sense that yes, we bring pictures pre-prepared, oftentimes it's photo cards, but then there's really a set of 20, 30, 50 photo cards, and we work with the group or the individual to pull which photo describes the situation you're in right now, or which one should describe the future vision that you have. And so it is much less artistic, I would say, because we don't create this in the session. But it's also, I would say, an interactive pull process where the client has this experience of self-efficacy: I choose something that now stands for me, or for my issue, my goal. So that's where I saw the parallel. But of course yours takes that to the next level.

Christina Merkley

It is just a different aesthetic and a different way of working with things. But it's all visual, and it's interactive. So in a way your work would totally qualify, of course, as interactive visuals in the way that I'm describing it. And strange and wonderful that I've come up through it, and been able to play a lovely role in midwifing it over these decades too, again alongside many other people. It bumps up against all sorts of other ways of working visually. Many artists have discovered, particularly, graphic recording, and it's really changed the nature of the work. When I first did it, it was very basic, but the illustrative nature of graphic recording has gone through the roof. But where I most like to play is the two other ones, where we really get interactive. So you're not just a person off on the side, you're actually interacting with that group, like what The Grove consultants do with their large scale process, or like what I do. I really took it into working with individuals, particularly with coaching in the early days. But as I've evolved as a coach, I mentioned trauma work and I mentioned alignment work: for myself, I became very curious, again, about my clients that weren't getting fast turnaround results on their vision and on their action plans. What was interfering? So I had to learn a lot about what the things are that will interfere with a group or an individual actualizing what it is they say they want. So: process work with groups, process work with individuals. Tons of things you can do with groups, and you can add a visual element to it, which will help. Tons of things you can do with individuals: if you get some visual skills in you, then you can do that even more effectively, whatever it is you're doing with individuals.

Tobi

Maybe we can briefly unpack a bit these different animals, and start with the graphic recording. I guess this requires two major skills, actually. On the one hand the obvious one, I think, is the actual ability to draw. But I guess the other one, that maybe a person who's not familiar with this doesn't see in the first place, is staying super attentive and then also condensing: what is it that they are really talking about here, what are the key words? So I'm curious, how is that process for you when you do this live graphic recording at a conference, at a business meeting? What's going on inside your mind, and what do you pay attention to?

Christina Merkley

Yeah, so there are two different natures to what can happen in a meeting. You're just brought in for graphic recording, so you're off on the side and you're note taking. So I can speak about that. But others, and this is what I prefer, I had a master's degree in organizational development, so as much as I love doing the speakers, because it's very interesting to listen to speakers and take notes of what they're saying, I was really into the organizational development work and the change management work. So as an early graphic recorder I would be paired with consultants. First it was internal at The Grove, because they're a change management firm. Later on, even at The Grove, I would be paired with external people and they would hire me to be their graphic recorder. This is where I learned so much about process work with groups, because as a young graphic recorder I was there as the visual sidekick, the visual note taker, during an integrated process. Graphic recording taught me to be in the now, like one of those Zen monks, right? Because you have to focus, like you said, and get aligned and listen to what's happening. And then both sides of your brain are working. Listening, I said that word, listening is key. You have to be a really excellent listener, and be able to, as I age this is getting harder, be able to hold a bunch of information in your head, trying to figure out

Tobi

what's the order, what's the important stuff. You said you place the nuggets on the canvas. How do you identify what is the nugget there, in what the speaker or the facilitator says?

Christina Merkley

Because you're sifting for gold, right? You're looking for the big nuggets, not all the little stuff. Once you've got a nugget, that kind of golden piece, boom, you have to synthesize it. So, ideally, again, you've got it ahead of time, so you know the arc of what they're talking about, you know what the main points are, and when that person actually hits a main point, that's the nugget. If you don't have all that pre-work, then you're really relying on your own filter. And I believe that clients out there that hire graphic recorders, there's a variety of us, I approach things, like I said, with a mental frame, the mind, others are much more artistic. So it'll depend on the client and what they prefer and who they like, in terms of the content. I would have people hire me over and over again, and I would certainly have people who would never invite me back, and I might not know why. So maybe that might be because my filter or my aesthetic or style or something wasn't to their preference.

Tobi

Talking about how it's being received: can you describe reactions in the audience that you perceived over the years? When you do this sort of graphic recording and then a participant of the conference, of the event, comes up and looks at your work, what does it do with the audience? What does it do with the participants?

Christina Merkley

Well, with the graphic recording, we haven't talked about the facilitation yet, we'll get there, but with the graphic recording work, nowadays it's much more known. Back in the early days of doing this work it wasn't. Even with people walking into the room, I would have it pre-papered, right? I get there early and, ideally, they had natural walls that I can work with. Of course I'm going to be asking all those things beforehand. If they don't have natural walls, I'm bringing in big easels. And so those things make a statement, so when people walk in they see that. Often I'm going to create some sort of welcome poster or an agenda poster or something ahead of time. So that's a big wow in the room. So people right off the bat are like, wow, what's going on here, this is cool, what's this about? And in the opening of the meeting the person will of course introduce me. And I used to always contract to please be allowed to say a couple of words, because if I'm a graphic recorder they're never going to hear me speak after that. So it gives me the opportunity to say hello, to let them hear my voice. And if the convener hasn't done a great job of explaining it, it gives me an opportunity to say something a little more about it, and then disappear off to the side of the wall. And so then people are curious, if they've never seen it and it's just white paper up there. Some speakers and some conference hosts, to begin with, if they haven't seen the

Tobi

That's super interesting, because what would be obvious to me is when you say, yeah, it's a nice summary of the content, and people can come and look and remind themselves, ah yes, this was what we talked about earlier this morning. But it also has this element inside, that it's not only a recording but it also does something with the group. That's super interesting.

Christina Merkley

Even with graphic recording, yes. Even though we're not integrated in yet, I would usually advise, if you're going to have a speaker, the graphic recorder could actually be to the side or the back, like behind them, so that people can see the simultaneous graphic recording. Or at least to the side. It's least effective if it's behind everybody, because you're not seeing the interactive thing of it being built. Yes, you might turn around afterwards and go, wow, there are some good notes for us. But actually the best notes are where the brain is seeing the notes be created as they go, because then it understands it. That's why I like the process work even better: you are front and center and you're co-creating it with people, as opposed to being off on the side. And certainly you're not a party trick, which is where

Tobi

Yeah.

Christina Merkley

graphic recording nowadays can go, where you're more of a party trick and it's not so integrated in, neurally.

Tobi

Yeah. So let's go to the process work, where I think you don't only have this awareness part and the actual drawing part, but you are really also the facilitator, the space holder, for your clients in this work, right?

Christina Merkley

Yes.

Tobi

So how does that look?

Christina Merkley

I'll paint you a scene for it. So, again, when I first started with this work I was the graphic recorder alongside consultants, so it was two people at least. As I progressed in the work I eventually emerged as a co-facilitator and then a lead facilitator. So nowadays, when I facilitate, I do both roles: I am the consultant, the change management person, and I'm doing the note taking, all at once. So in the early days, if I'm paired with a consultant, I'm meeting with them ahead of time and we have mapped out what we're going to do when, what tools are we going to use, what push pieces. So there's an agenda. Maybe there's a different model, maybe there's a history map or something that we've got ahead of time that helps them push information. And then we move into the interactive portions, and we may have blank paper. And I have colleagues in the field who do different kinds of processes and they work more from blank paper, even though they know what they're going to do. I work a lot from templates. Again, I came up through The Grove Consultants, so I really love their process, the strategic visioning process with them. But depending on the consultant, they're going to have different things that they do. And I'm right up there, front and center. So instead of a speaker where I'm behind them or off to the side and I'm never speaking, if I'm paired with a consultant and they're doing certain things, that consultant's going to be right up there with me, with the board. You're going to see some templates here soon from the individual context, but in the group context we've got to explain this,

Tobi

And how does that change when you are even on your own, when you have all the hats on? You are the facilitator, the space holder, and the graphic recorder, the interactive one.

Christina Merkley

It is a real song and dance. You earn your keep, that's for sure. It's easier in that you don't have to coordinate with a graphic recorder, you are the graphic recorder. But I find that my aesthetic gets even more pared down, so it's going to be much more simple. And I always think it would be fascinating to hook us up to those brain scanning machines. I can feel it when my brain is shifting from left brain logic to right brain creative, and when you do both it's got to be like very highly bridged. So I'm not quite sure how I do it, but as you do it over time things become unconsciously competent. Like all the little doodles and drawings that I've done forever, I can do them with my eyes closed and almost asleep. So I can still be thinking on the logic of what I'm listening to while I'm drawing. So my brain is able to split and do both things at the same time.

Tobi

What is the impact on the clients, compared to just being in a facilitated process without the visual aspect of it?

Christina Merkley

It makes it much easier for people to follow what's happening, to be able to build on what's happening, and then to remember it. And, even more important, to have accountability, especially if you're getting into steps and things that are going to happen. Accountability is a really important thing. This is very public, it's very visible, and being visible it really helps with, hey, this is what we agreed on, this is what we co-created, this is what you said you were going to do. There has to be follow up. And so that will depend on the leader that I'm working with, who's brought me in: what are they doing with what I work my butt off to get for them? And the best leaders will really use that stuff, and they will put it up. Sometimes things are framed, laminated, the vision, the plan, all sorts of digital artifacts and stuff, because it needs to live. And I don't like to do superficial work, I'm a deep person. If I'm going to go in there and work so hard, and I'm working on behalf of everybody, I'm not just working for the leaders, so that's also a thing.

Tobi

Okay. Now we've talked a lot about graphic recording and also about the process work, where you would work with a group as a facilitator or as a co-facilitator together with another consultant. I think what's most interesting about your work is your work with individuals. Can you talk a bit about that? Who are these people that are your clients there, and how does a typical process look?

Christina Merkley

In the early days I started with those people I was working with in corporations, saying, you know, I can do this at the individual level too. So I started working with CEOs, or HR directors, marketing directors, those kinds of people who had brought me into the organization. And they wanted me to maybe help them do strategic planning, visioning stuff around their leadership, around their career. I also would work with entrepreneurs, people who own these companies. Oftentimes they wanted me to work with their business partners, or with their spouses even, because as they continued to envision new things, if they wanted to continue to have a happy, healthy relationship at home, with entrepreneurs they would have me working with their spouse and with their family members, because sometimes there was intergenerational stuff going on in the family owned businesses. So that's how it naturally started for me, and then it evolved over time. To begin with, I came out of corporate, so I was a pretty straight-laced kind of person, very linear and logical. Interested in feelings and emotions, but the corporate world in some ways wants to cut you off at the neck, right, and just work with the mind and the doer. However, some organizations might have some tough stuff going on. In the world nowadays we've had tough stuff going on for multiple years, so more savvy around emotional intelligence has really been needed, more savvy around trauma at large has really been needed. So that's unfolded for me over the course of my coaching. I started out very practical, very left brain, and I've integrated in the body, the somatic, the feelings, emotions, more and more with my work.

Tobi

And can we make that visual? Actually, let's look at that: how do you go deep in a visual way? Can you walk us through the SHIFT-IT process? You said it's an acronym that stands for the different stages of the process.

Christina Merkley

So, the SHIFT-IT visual coaching process. You see the name down here, S-H-I-F-T-I-T. There are seven stages to this. So when people show up for coaching, for me anyway, sometimes they're keeners and they're just wanting to create the next stage of themselves, they're high performers. But a lot of times people come and there's some sort of problem, their satisfaction has been interrupted. Maybe they're at a transitionary stage. Sometimes it's loss, so it could be loss of a job, loss of income, loss of a marriage or a relationship, or of a person. There could be different milestones in life, a big birthday, an anniversary, those sorts of things. Nowadays we have so much happening in the world, there are so many outside forces that are really interrupting people's intended paths for themselves. So that's the first stage: their satisfaction is interrupted and they're coming for coaching. The first thing that I do, and I was not trained to do this as a coach, but I added it in later on, in fact I was discouraged from going to the past, the next stage is harvest your history. I can do condensed versions depending on the amount of time that I have with somebody. If I have the full amount of time with them, I will go in and draw out their life map, to bring them up to the now where the dissatisfaction is, so that I can understand what's led up to it, and help them see and appreciate what they've been through. And I also do a lot of extracting of beliefs.

Tobi

So you would actually ask people, can you tell me the story of your life, and you would draw it out on a lifeline for them, the different stages, milestones, things that happened.

Christina Merkley

Exactly. Let me go show you a picture here, I can scroll down. There's a first little move, but here are the life maps. And so I have five templates. I start when they are born, what I call the arrival scene, right here. You have to put something down, so I'll put a stereotypical mother and father there, but I can change it. That's the nice thing with visuals: you can erase and you can adapt accordingly. By the way, you'll see on here my universal template, which is the yellow icon person, but I have a various series of BIPOC versions, so folks of color can be represented as well. So I've got the early scene, I've got childhood, and then I've got adolescence and young adulthood, and then adulthood. And depending on how old the person is, and how busy their life's been, I might have several sheets that I do for the adult life. And then I've got a little move at the end, it's called catch and release, the so-what of it. What are the ahas and appreciations? It's not every day you draw out your life map, so what are you seeing? Where's the gratitude? And then what do you need to let go of? Because there are some things that have happened to us that we need to leave. It's good to leave stuff and not keep carrying it, to transform things. So that's the final thing, which is a little bonfire there, of what are you going to leave behind and what are you going to transform it into?

Tobi

And here we can see nicely the template: what does this client want to let go of, the self-doubt, and what emerges from the fire? Can you describe a bit what this is doing in the process? I can see, and I've asked this earlier when we spoke about group work, but I can see this also as a two step process, that while the client is describing their life to you, or what they want to let go of, already seeing you write it down does something. What does it do?

Christina Merkley

You'll see when we go into the demo and work with you, and you'll know it from the inside out. I think it does different things for different people. But first off, this is why coaching is so powerful, and other modalities: that we often don't get listened to, or have that kind of attention put on us. So that's huge in and of itself, just to have a space where, ideally, you can be yourself and you can share what's going on inside your mind and heart and spirit, and somebody's listening. And not only are they listening, they're capturing it and they're reflecting it back. So I believe, and I know deep in my bones, that there's an act of manifestation that happens when it goes from just being thoughts up there in the head, or things that have been spoken a lot, when you put it down on paper, that's an act of manifestation. Of course, I'm going to continue to work

Tobi

Yeah. I can see how this, how you drawing this coaching process, helps the client to materialize their inner world on paper, and they can see it outside of them, and I think that can be powerful.

Christina Merkley

A lot of it is the inner world, yeah, and then it's also the outer world too. If there are different roles and different relationships that you have with people outside of yourself, then it's also codifying that as well. Here's the one that I was showing you, that I was working on with the client in the room with the big mural, this self-inventory. So, yes, we've done the history. This is one of the other tools in the now. You're going into this shift, you're going into this transitional period, you're going to sort it out: what do you have to work with? You've got your natural skills and abilities here on the left hand side. And then, yes, they may have weaknesses, and I'll write on the other side, the learning areas.

Tobi

Yeah, I think that's often the story of people in the coaching world. I'm super curious to see this in action. So maybe, can you lead us through the rest of the SHIFT-IT process?

Christina Merkley

Yeah. I'm going to go back up here. So you've seen up to the middle. The heart of the process is focusing on your future, so that's all about visioning. That brings you up to your now, we do some analysis moves on the now, and then it's like, where the heck do you want to go from here? So I have several different moves that help people move into the future. I do picture decks too, like what you folks have, collage kind of work, vision board kind of work. I do guided meditations around meeting your future self, things to help people tap into that future. And then we codify it into what I call the magnetism map, which is their vision. And then we go to the action plan, at the bottom here, take action. The vision: some people, their visions, tick, tick, they say, yep, I can do that, yep, that's possible in that amount of time, no problem. Other people, not so much. Maybe some of the vision has a thumbs up, but with some it's like, I don't know, should I, could I, will I? Then we have to do some mindset work, some alignment work. So in the process I might have to do alignment work even to help people vision, because visioning can be a very threatening act. I talked about how I work with people with extreme abuse. Some of those people actually have been heavy duty mind controlled to be literally slaves. They're not allowed to be sovereign, they're not allowed to vision. So I have to do a lot of work, and that's a whole involved process in and of itself, with my shifting the power work with Annika Lucas. But that's heavy duty trouble at the border. The rest of us, we too have programming, right? We too have mind control, from growing

Tobi

So if a person would go through the entire SHIFT-IT process, how long would that take? Is it, like, one letter is one session? Or how does that look on a bigger scale, if you zoom out of your coaching work?

Christina Merkley

Yeah. So what I've done over time, and maybe this might be interesting for people listening: when you create your own signature process, to begin with I was kind of mucking around, then eventually I created my tools, and some of them have evolved and changed over the years, but for the most part it's pretty good now. And then I had this whole process.

Tobi

So you have, in a way, a modular process. And depending on the client's situation, a different module might be more relevant than another. And you could also combine these, in the sense that some of the modules you would do in live collaboration and others could be guided self-reflection processes by the client, where they work with your material and then bring it to the session to debrief it.

Christina Merkley

You got it. You got it. It's very flexible. With my certification I'm putting all my tools, my 40-something tools, in. 17 of those are this, right? So they get a ready-made process that they can do with a person. But even the tools within SHIFT-IT, some of them are good standalone tools, like you and I are going to figure out in a second here, what to do standalone. Not all of them lend themselves to standalone, but a lot of them do, so they're very handy. Same with my other tools. Yes, you can do them in the same step-by-step process, like I've explained here quickly, but also you can just meet somebody where they're at. And if you do other kinds of coaching you can take, oh, I'm doing this thing, and then I'm going to throw in some of these maps. So there's a lot of flexibility with them.

Tobi

I see. So if I got curious now and I want to work with you, where can I find you?

Christina Merkley

Well, right in front of you is my website, so you come to this website, shift-it-coach.com. Usually people can have an exploratory chat too, if they're not sure how they plug into my stuff. So I have a little exploratory chemistry call with people, to hear what's going on for them and to match them up with the stuff that I do, what would be the best fit.

Tobi

Awesome. Thank you.

Christina Merkley

Thank you.

Tobi

This was my conversation with Christina Merkley. I found it fascinating to see how visual coaching can go so far beyond what I thought graphic recording was. From drawing out someone's entire life map to visioning and alignment work, Christina showed us the whole spectrum of what is possible when it comes to bringing visuals into coaching. If you're curious to explore Christina's work, you can find her at shift-it-coach.com. She offers private coaching retreats, online sessions, a visual coaching certification, and some of her templates as a free download. And if you want to work with visuals very easily in your own coaching, you can also go to metaFox Online and try three sessions for free. The platform makes many aspects of Christina's visual coaching approach available also to people like you and me. And if you want to see how Christina works with her own tools, then just come back in two weeks from now, when we will do a visual inquiry coaching demo with me. Christina takes me back into my past and helps me meet my future self. I am Tobi,