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wine or great jazz. you MUST have Nancy's book, slide:ology. It's slide:ology and related slide:ology: The Art and Science of Creating Great Presentations. 2 slide:ology. We are all inherently visual communicators. Consider kindergarten: crayons, finger paints, and clay propelled our expression, not word processors. slide:ology: The Art and Science of Creating Great Presentations [Nancy Duarte] on soundofheaven.info *FREE* shipping on qualifying offers. No matter where you are .
They run TV ads, place banner ads, erect billboards, write articles, and dispatch massive amounts of annoying junk mail, all to persuade customers of the superiority of their products and services. Avoid two-line titles when giving a presentation because of the distance the eye has to travel across the slide. This book covers how to create ideas, translate them into pictures, display them well, and then deliver them in your own natural way. Mitchell Baker Using Images Worth a Thousand Words The old saying about the value of a picture was written even prior to globalization. It could be the empty areas that separate elements from one another or the drama created when an element is set in vast amounts of space.
Just look at the tipping point Al Gore created for climate change because of his slide show, or the frenzied anticipation when Steve Jobs unveils new products. We can keep blaming the software for the putrid output, but in reality we need to take responsibility. As communicators, learning to create visual stories that connect with our audience is becoming imperative—especially in light of global competitive pressure.
This book covers how to create ideas, translate them into pictures, display them well, and then deliver them in your own natural way. The pages are structured with one thought per spread, and the flow of the book follows the stages of presentation development from idea generation through delivery. So why would I do this? Historically, change occurs when a new ideology catches fire and permeates a culture, and then the people take action.
My hope is that you will change your approach, stance, and ideologies about the power a great slide has to facilitate epiphanies. It can change how you plan, ideate, create, and deliver a presentation. Once you harness the concepts around visual storytelling, mediocre slides will not be good enough any more.
Every presenter has the potential to be great; every presentation is high stakes; and every audience deserves the absolute best.
And maybe, just maybe, creating great slides will help you be more confident, cause audiences to sit up and take notice, and ultimately silence the critics of what I think is the most powerful communication medium on Earth. This book is not for you if you want to remain a marginal corporate citizen. Consider kindergarten: For instance, the following image was painted by Lucas, the son of a friend of mine.
On first glance it looks like meaningless globs of paint. The greater message here is that stories are how people understand and relate to the world, and they naturally associate those stories with appropriate imagery.
And, after looking around and comparing yourself to other kids in the classroom, you probably consented, threw in the towel, and decided that piano lessons or football might prove a better bet for primary education glory. Now, as an adult, you may not try anymore—at least in the visual realm. This is ironic considering that your employers and colleagues assess you by how well you communicate—a skill that is reflected in annual reviews, pay increases, promotions, and even your popularity.
And like it or not, your profession likely requires you to communicate using a visual tool, regardless of your proficiency or training in this medium.
Business schools in particular drill their students in management, accounting, and technology, but few offer anything approaching Design —the one thing that combines creative thinking, analytics, data assimilation, and the inherent ability to express oneself visually.
Others have noted the Catch pressure of being able to communicate well visually without the proper training. Marcus Buckingham, on a conference call about his book Go Put Your Strengths to Work, recounted his own experience this way: I took it upon myself to become as expert as I could.
And it made me a more valuable asset. Navy, recalled that presenting less than optimum slides made promotion difficult. Twenty years ago, no one would have guessed that knowledge of this visual medium would be so pervasive or so important. Indeed, International Communications Industries Association concluded from a recent study that very few presentation professionals themselves have had any graphic design training.
And these are the people who work at large companies and build slides full time! Making bad slides is easy, and it will negatively impact your career. Invest in your slides, but invest in your own visual skills as well. The alternative is to inadvertently commit career suislide.
A Case for Presentations Corporations spend hundreds of millions of dollars on advertising, marketing, and PR to attract and retain consumers. They run TV ads, place banner ads, erect billboards, write articles, and dispatch massive amounts of annoying junk mail, all to persuade customers of the superiority of their products and services.
Sometimes this is enough; consumers are convinced and accounts are won. But other times, these expensive means are merely a prelude to a personal engagement—one that will depend on the effectiveness of a presentation to seal the deal. Consider also that this slide show may be the last engagement you have with your customers before they make a purchase decision. From an experiential standpoint, few things could be more anticlimactic than a massive campaign followed by an unorganized, unmoving presentation that might not be relevant to what the audience needs from you or the company.
How is it that companies became so focused on a grandiose approach to marketing yet so reluctant to spend even a fraction of the time needed to create a great presentation?
Truth be told, the reason many organizations relegate slides to the bottom of the marketing food chain has to do with how they approach brand. Many companies have forgotten—or simply never realized—what branding is. Rather than a name or logo or tagline that reflects what a company thinks of itself, brand is what a company stands for in the hearts and minds of its customers; to be successful, the company must have an emotional connection with the consumer.
Similarly, presentations all too often reflect the agenda of the presenter rather than build a connection with the audience. This is unfortunate because presentations could be considered the last branding frontier, in terms of both the attention paid to them and where they fit in the sales cycle.
In many instances, presentations are the last impression a customer has of a company before closing a business deal. Presentations are a tool for high-stakes internal and external communications. This medium will influence many of your important constituents and the impression they develop of you and your company. So Where Do You Begin? Use the right tool the right way. At a certain point, the number of words on a slide prevents it from being a visual aid.
The audience is reading the slides instead of paying attention to the presenter, the presenter is reading the slides instead of connecting with the audience, and the whole endeavor would have been better served through a well-composed document or even an email. Unfortunately, the negative habits that lead to this kind of presentation style are deeply rooted and difficult to change. But consider this: People tend to focus on one stream of verbal communication at a time—listening and reading are conflicting activities.
However, the heavy use of text occasionally might be appropriate, but in such a case, you should be careful what medium you use. Too often, presentation software is used to create documents. Garr Reynolds, author of Presentation Zen, calls these slideuments. Did you create a document or a presentation? Either adjust your documents into slides or trust that your audience is smart enough to read and circulate your slides as a document.
If all you want to do is create a file of facts and figures, then cancel the meeting and send in a report.
Text on the slide functions as a crutch for the presenter. The audience either reads the slides or listens to the presenter. If a slide contains more than 75 words, it has become a document.
You can either reduce the amount of content on the slide and put it in the notes, or admit that this is a document and not a presentation. If it is the latter, host a meeting instead of a presentation, and circulate the slideument ahead of time or allow the audience to read it at the start. Then you can use the remainder of the meeting to discuss the content and build action plans. Presentations with 50 or so words per slide serve as a teleprompter. This less-than-engaging approach often results from a lack of time spent rehearsing the content, and is the default style of many professionals.
Unfortunately, presenters who rely on the teleprompter approach also usually turn their backs to the audience. The audience may even perceive such presenters as slow, as the audience reads ahead and has to wait for the presenter to catch up. True presentations focus on the presenter and the visionary ideas and concepts they want to communicate.
The slides reinforce the content visually rather than create distraction, allowing the audience to comfortably focus on both. It takes an investment of time on the part of the presenter to develop and rehearse this type of content, but the results are worth it. The audience will either read your slides or listen to you. They will not do both. So, ask yourself this: Case Study: Once a manager focused on tactics, he evolved into a leader by becoming a student of communications and learning how to instill vision.
Part of what Templeton figured out early is that presentations should be simple and support his communication, not be his communication. The Presentation Ecosystem Jim Endicott, author of The Presentation Survival Skills Guide, refers to the presentation development process as a three-legged stool——message, visual story, and delivery. As a presenter, you rely on the interdependence of your ideas, graphics, and execution.
Presenters often read their slides instead of putting in the effort necessary to transform them into visual stories that support their message.
The result might be described as visual vertigo: Whether or not the content and delivery are good, people exposed to crudely constructed media will walk away from a presentation subtly agitated and thus less receptive to the message. Even worse, visuals devoid of clarity can cause a subliminal lack of trust. Presentations are quickly moving from face-to-face to exponentially more powerful mass media.
How many times have you developed a presentation with the sole intent of delivering it in-person—only to find out later that a much larger audience will view it online?
This is a sensitive ecosystem. Striking a harmonious balance is important. Additionally, though the creative process can be messy and involve more iterations than you ever imagined, keep in mind that exploration, informal input, and review cycles ultimately lead to a stronger result.
What am I doing wrong? The amount of time required to develop a presentation is directly proportional to how high the stakes are. Sometimes recycling an old keynote with minimal modification works. Once you know you have a speaking engagement, immediately schedule preparation time and review cycles on your calendar. Time Estimate for Developing a Presentation 6—20 hours Research and collect input from the web, colleagues, and the industry. Who are they? What are their needs, and how can you address them?
How can the information you have make their lives better? What do you want them to do after the presentation is over? Questions like these are critical to developing relevant, resonant content. Thinking about the audience will ensure you are placing their needs first, and give you a benchmark against which you can check your message.
Describe your audience, including some combination of their fears and needs, and state the opportunities and challenges you need to address in your communications. Most importantly, share the benefits of your position and provide the audience something to do after the presentation—a call to action. Whether your presentation goal is to share information or recruit people to a cause, you are faced with the same challenge of getting the audience to follow through. Those with the most to lose—and the most to gain—are the listeners.
Define their needs, surpass their expectations, and turn them into agents of your cause. Without your audience, you are nothing. Consider the kind of relationship you want to have with your audience. Do you want to be their hero? Their mentor?
Their cheerleader? Take note. Consider this list of questions when trying to understand an audience. Remember, presentations and audiences may vary, but one important fact remains constant: Demographics and psychographics are a great start, but connecting with your audience means understanding them on a personal level. Take a walk in their shoes and describe what their life looks like. Why did they come to hear you? Are they willing participants or mandatory attendees? This is also a bit of a situation analysis.
Everyone has a fear, a pain point, a thorn in the side. Let your audience know you empathize—and offer a solution.
People vary in how they prefer to receive information. This can include everything from the setup of the room to the availability of materials after the presentation. Give the audience what they want, how they want it.
Most of the success of a presentation stems from how well it resonates with its audience—and audiences are many and diverse. Some messages have to reach people of all ages, across the economic spectrum, of all beliefs and backgrounds. Other messages have a very narrow target audience that can be distinctly defined.
How can you leverage this insight in your own presentations? Start by building audience personas before building slides. Painting a picture of a real human with real needs helps you connect to them more effectively. First, find or draw an image that represents a typical audience member or two. You can even give them names if it helps you feel like they are real.
Then answer all the questions from the previous page and put it all on one slide. This process helps build a scenario of what their life looks like. You need to figure out what motivates them. The next page provides an example of what this persona might look like. This is a single persona; as a presenter, you should create as many profiles as the diversity of your audience warrants.
After preparing this persona, the presenter can draw these inferences and make these three critical points in the presentation:. There are rewards for helping spread the word: For the fir st time in their they have th lives, e time and fu nds to trave exploring w l and are hether a tim eshare will date their ac accommotive lifestyle and desire world along to see the with their ne ed for a livab le income. They want to navigate retirement physical an with both d financial he alth.
A few prises coul medical surd dramatic ally change level and fin their activity ances so co mmitting to risky frighte something ns them. The timesha res being of fered have th transferring ow e most flexib nership of an ility for y timeshare pr and amenitie ogram.
Loca s have been tions de signed for ac seniors. First, gain ex posure to th e program: Second friends: They want to protect their nest egg, so see several they might wa competing tim nt to eshares befo sion. Kerry is re making a financially sh decirewd and wi tions on equit ll want to se y gains; Ken e projecwill want refe timeshare ow rences from ners.
Appeal to th eir need for? Also, the more impact presentaif it is movin incorporates g yet practic video and te al, and stimonials. Put as much information on the persona document as necessary to connect with them as an audience. This slide will not be projected. That is my goal. For his presentations, Justice pulls together a team of business, strategy, and communications experts. He sets the tone for a collaborative environment where all ideas are encouraged.
The first brainstorm is always about context: What is the setting of the presentation? Who are the members of the audience? Once the context is determined, the team works to develop a storyline and message. His gutsy approach centers on trying innovative new ideas and employing technologies that communicate his message in a way that resonates with the audience. As ideas are collected, the presentation team organizes them in a blocking document.
During meetings, this meta structure is displayed at all times—and tweaked on an ongoing basis—so the team can stay focused on the big ideas while completing all supporting detailed content. To distill their presentation, the first step was creating a new story from their existing presentation. Their slides contained important information that could be included in a new script. Rather than just clean up the original slides, the content was conceptually reorganized.
By thinking outside the slide and focusing on the message, it became apparent that what was thought to be a three-prong service strategy was in reality four.
The two slides were replaced with a visual overview of the services. In the original slide the technical details on the right half of the slide distracted from the message.
The main message was that there are three easy ways to install Javelin. The content circled in orange was the only part addressed verbally. So reducing the amount of additional information and using a series of slides to show the impact of an effective MBO program highlights the effectiveness and simplicity of the ZS solution.
When applied, the entire slide exits the screen as the next slide enters. It creates the sense of a larger space. People participating in these programs can feel frustrated, and the product was built specifically to address those issues. To give a human face to the new software, the presentation used stylized, full-bleed photos combined with quotes of common frustrations, now resolved.
These slides introduced each section of the presentation. Instead of printing out the presentation as-is, the audience received a handout that incorporated infographics from the presentation. Finding Your Inspiration Much of communication today has the quality of intangibility.
Expressing these invisible ideas visually, so that they feel tangible and can be acted upon, is a bit of an art form. The best place to start is not with the computer. A pencil and a sheet of paper will do nicely. Change your environment when you need to be creative. Find a spot away from your desk.
Why take this seemingly Luddite approach? Because presentation software was never intended to be a brainstorming or drawing tool. The applications are simply containers for ideas and assets, not the means to generate them. In reality, the best creative process requires stepping away from technology and relying on the same tools of expression that you grew up with—pens, pencils, and crayons. The goal is to generate ideas—not necessarily pictures yet—but lots of ideas.
These can be words, diagrams, or scenes; they can be literal or metaphorical; the only requirement is that they express your underlying thoughts. This means you can generate a large quantity of ideas in a relatively short amount of time. Cheesy metaphors are a cop-out. Instead of going for the photo of two hands shaking in front of a globe, push yourself to generate out-of-the-box ideas by word-mapping.
Often ideas come immediately. Continue to sketch and force yourself to think through several more ideas. It takes discipline and tenacity— especially when it feels like you solved it on the first try. Explore words and word associations to generate several ideas. Use word-mapping techniques, where you write or draw word associations like in the example above. Digital natives might prefer mind-mapping software for this phase. Stronger solutions frequently appear after four or five ideas have percolated to the top.
Continue generating ideas even if they seem to wander down unrelated paths. You never know what you might find, after all. It matters less what form they take at this point than that they get your message across. Take the time and spend the creative energy because the payoff will be a presentation that people not only remember, but one that inspires them to action.
Simplicity is the essence of clear communication. Additionally, sticky notes make it easy to re-order content until the structure and flow feel right. On the other hand, many people prefer a more traditional storyboarding approach, preferring to linearly articulate detailed ideas. The point is not to prescribe exactly how to work, but to encourage you to generate a lot of ideas and to do so quickly.
When generating ideas, one idea per sticky note is preferable. And use a Sharpie. The reason? If it takes more space than a Post-It and requires more detail than a Sharpie can provide, the idea is too complex. Great inventions combine new technology with widespread applicability. In the case of the Post-It, a scientist at 3M applied low tack adhesive to paper and used it to mark his hymnal for choir practice at church. Think through multiple alternatives. Bill McDonough Sketching Live Bill McDonough likes to draw on screen in front of his audience because it offers him the chance to interact with his content.
Like a professor on his blackboard, McDonough often hits the B key while in slide show mode to make his slide a blank slate on which he can project sketches from his pen tablet.
He believes that the audience should process charts one point at a time instead of all at once. Many of his charts are drawn by hand. Complex charts can be obscure or the point may not be evident, so McDonough draws the charts as he speaks to amplify the hidden points. One of the great moments of education for McDonough was when he was with the Chancellor of Vanderbilt University at a Rotary Club lunch. I can draw anything. What kind of an education system is this?
To draw in public is to open yourself to people with a kind of innocence and hope. Sketching Your Way to Success Sketching is the magical part of the process—taking rough ideas, fine tuning them, re-organizing them, and sketching it out all over again until you can see a story. Storyboarding can be intimidating.
Most people start a stick figure by drawing the head. This is a mistake. Because a stick figure represents a whole person, the best way to draw one should reflect the way you see a whole person. Think about what you notice first when seeing someone from a distance. Starting with the body allows you to capture the essence of the gesture you want to convey. The placement of the head in relation to the body is essential.
Happiness, angst, speed and sluggishness are all conveyed by the relative positions of the head and body. Next, draw the facial expression. Your basic smiley face or frowny face will work just fine. Adding a little angle for a nose will help show which direction the head is pointing. This can be especially important when you want to show two people interacting with each other. Add the legs next—they are more essential to conveying gesture than the arms.
The primary energy that propels a basketball comes not from your arms but from your legs watch basketball on TV and you can actually see this. The energy of a stick figure works the same way. Use small ovals to represent feet; this helps ground your character.
P Go to a public place and see if you can capture the gestures of the people around you in stick figure drawings. This is a great way to hone your observation skills. Above are three sketches of mine that depict different aspects of the process of having lunch.
The first sketch was the most obvious, but when given more thought, additional—and potentially better—ideas appear. Then, bring in a colleague or two and walk them through the sketches. Ask them to listen not only to your words but to evaluate whether or not the sketches capture your intent. If they become confused while you are talking, have them ask clarifying questions or sketch out their own version of your ideas. It reads as a spiral or a single, linear flow.
Using a push transition, it reveals the multifaceted process. The content from the green line on the left is a linear flow occurring in the first two slides above. The third slide relates to the orange line and is expressed as a circular flow. Splitting the content across three slides made it legible and ensured that each phase of the process received the proper focus.
Mitchell Baker Using Images Worth a Thousand Words The old saying about the value of a picture was written even prior to globalization. For this conference, the imagery served as the mechanism for the message, allowing Mitchell to tell her story the way she wanted, and it translated across languages and cultures. Use images that are culturally neutral. Instead of using slides loaded with bullets, experiment with a visual approach.
Keep graphics extremely simple. Not all cultures process info from left to right. Simplifying is essential. You could animate the content so it gradually appears—guiding the order the audience should process it. Connect with your audience. Detailed scripts actually hinder presenters from making that connection. Slides should provide a structure for presenters without cramping their style or putting words in their mouths.
In the end, a great presentation should transcend linguistic, geographic, and cultural boundaries. Truth is truth. Sketching Ideas Using Diagrams When transforming your words to images, create loose sketches of several ideas for each concept.
In this example, shapes and relationships are important, but so is the inclusion of a human form. Both these sketches convey the same concept. The first one was eliminated because it over-glorified the management system instead of focusing on the way developers work. Photos of various employees add the human element. In the first sequence, they take turns looking at each other to show they can communicate through a managed system.
The second scene depicts them working at their respective tasks while remaining connected via the management function of the development environment. These sketches become visual triggers that spark more ideas. The sketching process should be loose and quick—doodles really. Search through stock houses, magazines, even YouTube for images and vignettes to reference while sketching. Generate as many pictures as you can while keeping in mind the slide layout; you want to ensure that the elements work spatially in that format.
In this way, sketching serves as proof-of-concept because ideas that are too complex, time-consuming, or costly will present themselves as ripe for elimination. Some of the ideas you generate may require multiple scenes built across a few slides versus a snapshot on a single slide. Getting your great idea across might require that you manipulate an image, create a custom illustration, or produce a short video. If you sketch, it can sometimes be difficult for others to imagine your overall vision.
Collecting images that represent the feeling of the final artwork often helps communicate your intent. Now, find a colleague or two and walk them through your sketches. Have them give you feedback on what works, given your audience and personal style. But what if someone was looking out for you, taking care of menaces and eliminating threats before they become a problem?
P Keep yourself visually and conceptually fed by watching films, visiting museums, and reading design-related publications. Classifying Diagrams At my firm, we use sketchbooks to generate many ideas around a concept. I collected the sketchbooks of all the employees and created iconic representations of the most common diagrams. I cut these thousands of diagrams into little cards and sat on the floor for hours and sorted them. I felt like a little kid again. After a long day hunched over the diagrams, a pattern and classification began to emerge.
There were distinct differences in the diagrams and how they would be used to show relationships in information for professional communication. A diagram is a good way to explain how parts of a whole interact. When I was little, I would sit on the floor for hours sorting and arranging objects, textures, and layers in a way that told a story. The diagram section depicts examples of six common diagram types.
The first four types show common shapes that can be used to explain various abstract relationships. The last two types show illustrated solutions of a more literal, realistic nature. Below is a key for how the section is organized. Abstract Concepts: Flow Linear: Flow construction that illustrates a process with a definite start and end point. The diagram can follow a straight line or be a series of steps along a line. Flow that represents a continuous process without an end point.
Any closed loop shape could work. Divergent and Convergent: Flow that occurs when two or more elements either collide or separate out from each other as if splitting off.
Often these flows result from a combination of the preceding types. Structure Matrices: Structures that compare data with at least two different data sets. May Week. Structures that indicate clear hierarchy. Relationships can be expressed between any number of objects. Structures that show elements that stack or build on each other. They can depict both hierarchy and sequence. Cluster Overlapping: Clusters that overlap and indicate shared sets, interest, or responsibility.
Sometimes they form a new shape or area within the overlap. Clusters that emerge when shapes combine to create another shape. Clusters that are enclosed and contain at least one element that envelops another. Grouping in this way indicates which elements are part of a higher order, and which stand alone. Clusters that are linked as a unifying element to group items. A unifying element links related groups of items. It could be a line, shape, or connector of any kind. Radiate From a point: With a core: Creates a parent-child relationship.
The outer elements connect with a central element to hold the family together. Without a core: Implies that elements connect through proximity or mutual attraction. They are tied to one central area. It is by no means exhaustive.
Realistic Concepts: Pictorial Process: Why not share! Embed Size px. Start on. Show related SlideShares at end. WordPress Shortcode. Published in: Full Name Comment goes here. Are you sure you want to Yes No. No Downloads. Views Total views.
Actions Shares. Embeds 0 No embeds. No notes for slide. Book details Author: Nancy Duarte Pages: The main problem with the book, as other reviewers have alluded to, is that it sort of tries to BE a design masterpiece rather than teach you. The desig n is interesting, but it is to the point that the content is subordinated to the design.
There are maybe 5 pages worth of useful content. Another irritant to me is that this is by far the most commercial book Ive ever seen more ads than a magazine. It seemed that every few pages I was being told to buy this book, or buy all of some other guys books.
There is a two page section that is taken from Guy Kawasakis blog. The whole thing is incredibly derivative but shallow.