| Introduction: | | | | |
| | | | standard NTSC video monitor. LCDs, LEDs and |
| After working with hundreds of executives on | | | | VGAs all do |
| every rung of | | | | |
| | | | a better job compared to traditional video |
| the corporate ladder, I've been a witness to | | | | but it never hurts to |
| some of the best | | | | |
| | | | fatten up those borders and edges a little.A |
| and worst presentations ever created with | | | | second case for sticking with basic fonts has |
| Microsoft | | | | to do with |
| | | | |
| PowerPoint. The program is so evolved these | | | | the "font load." Every PC comes with certain |
| days that | | | | universal fonts. |
| | | | |
| there are tools, effects, transitions and | | | | As time passes, most PC users add fonts they |
| settings available | | | | find around |
| | | | |
| that will either help or hinder your | | | | the Web, or fonts are added automatically |
| effectiveness as a | | | | from programs |
| | | | |
| presenter. Everyone wants to have a powerful | | | | they install.Unless you will be presenting |
| presentation, | | | | from your own PC, be very |
| | | | |
| and there are some very simple ways to | | | | wary of using any fonts outside that |
| accomplish this.First of all, keep in mind | | | | standard font load. |
| that the audience is not assembled | | | | |
| | | | Microsoft PowerPoint automatically replaces |
| to watch a slide show. There is nothing more | | | | any fonts, |
| sleep | | | | |
| | | | which do not exist on the "show" PC with |
| -inducing than a dimly lit room and dull, | | | | something simple. |
| content-cluttered | | | | |
| | | | Your material won't disappear, but it may |
| slides after a hot lunch. Take it from a | | | | not look the same |
| frequent napper in Art | | | | |
| | | | as it did when you created your slides.There |
| History 101!With great tools it is all too | | | | are many times a font switch can go unnoticed |
| easy to forget that the message | | | | - |
| | | | |
| you are delivering is coming from Y-O-U. You | | | | going from Helvetica to Arial is practically |
| know the | | | | an even swap to |
| | | | |
| material inside and out! See yourself as the | | | | the untrained eye. Other times, it can wreak |
| focus of the | | | | havoc with your |
| | | | |
| show, and use support tools like Microsoft | | | | word wrapping; throwing previously "safe" |
| PowerPoint to | | | | text off the bottom |
| | | | |
| reinforce the key elements of your | | | | of the screen in older versions of PPT, or |
| presentation -- to be your | | | | making it size |
| | | | |
| backup singer while you stand front and | | | | down in the newer versions. It's always a |
| center.Now doesn't that make you feel a | | | | good idea to |
| little special? It should! | | | | |
| | | | punch through your slides before presenting |
| For whatever reason it may be, you have been | | | | on the "show" |
| asked to | | | | |
| | | | computer.This is a good place to talk about |
| speak as an expert; to weigh in with your | | | | size. I mentioned earlier |
| opinion; to share | | | | |
| | | | why creating slides nobody can read is a |
| your discoveries; this is your time in the | | | | presentation |
| spotlight so let the | | | | |
| | | | disaster. With fonts, bigger is better. |
| software and laser pens support your | | | | There is undoubtedly a |
| performance and not | | | | |
| | | | fine line between large, and "horsey," or |
| overpower it.Keep It Simple, Superstar: | | | | too large. One old |
| | | | |
| A good place to start is by looking at the | | | | trick to check for readability is to pull up |
| amount and | | | | your presentation in |
| | | | |
| complexity of the material you need to | | | | the Slide Show mode, then lean back from |
| present. An easy way | | | | your monitor and |
| | | | |
| to keep your presentation from becoming an | | | | squint. This simple exercise will show you |
| uncontrollable | | | | what your |
| | | | |
| monster is to remember the six-by-six | | | | projected image will look like to someone in |
| guideline. Six bullets | | | | the back row of |
| | | | |
| to a slide, six words per bullet. This is a | | | | your audience. Screen sizes on location are |
| simply brilliant way | | | | chosen based |
| | | | |
| to avoid the dreaded "Presentation Karaoke" | | | | on the size of the room so this works |
| syndrome -- a | | | | whether you're |
| | | | |
| speech where either the presenter reads | | | | presenting in a boardroom, or a ballroom. |
| directly from the | | | | The dynamics of |
| | | | |
| slide or the audience reads along with the | | | | screen distance to screen area are relative |
| presenter -- or | | | | from a 32" video |
| | | | |
| both! Six-by-six works so well, it is taught | | | | monitor to a 9' by 12' screen.In general, I |
| as a presentation | | | | find headlines between 34 and 40 points, and |
| | | | |
| model in many communications seminars | | | | body text of 28 to 34 points usually show |
| throughout | | | | quite well. For title |
| | | | |
| corporate America. Can you go five-by-five | | | | slides, I head to the 60-point range for |
| or | | | | names and 40 to 50 |
| | | | |
| seven-by-seven? Of course you can. Any | | | | points for title, division and company.Table |
| individual slide | | | | Times: |
| | | | |
| may need adjustments as you go along but by | | | | Call me a neat-freak, but I'm a big fan of |
| keeping the | | | | tables. Whenever |
| | | | |
| six-by-six guideline in mind you're | | | | you have information which needs to line up |
| guaranteed to keep the fat | | | | in columns -- |
| | | | |
| trimmed from your presentation.Let's add | | | | use a table! Spacing out your columns within |
| sub-bullets to the mix. I try to avoid subs, | | | | a text box |
| but | | | | |
| | | | might get it "close enough" but is that |
| sometimes that is impossible. When subs are | | | | really "good enough?" |
| involved, I | | | | |
| | | | Dropping a table onto your slide will ensure |
| keep them the same size or just slightly | | | | your decimal |
| smaller as the | | | | |
| | | | points line up, and using right justify on a |
| regular first-line bullet text, and let the | | | | left side column |
| indentation tell | | | | |
| | | | and left justify on a right side column will |
| viewers the next line is a sub. The default | | | | make |
| templates often | | | | |
| | | | comparisons or "versus" lists a cinch to |
| reduce subs into the unreadable zone.If you | | | | read.Using tables will also help you avoid |
| find yourself going to a second or (yikes!) | | | | the formatting mess I |
| third | | | | |
| | | | mentioned earlier when dealing with missing |
| sub-bullet, you need to re-work your | | | | fonts. Your |
| material. Perhaps by | | | | |
| | | | sizing and style may change, but to borrow |
| changing the headline to a shortened version | | | | from Led |
| of your first full | | | | |
| | | | Zeppelin... The table remains the |
| bullet, or losing the first actual "bullet" | | | | same.Background Check: |
| to create a sub-head. | | | | |
| | | | There are many presenters who use customized |
| I find that presenters often create a | | | | |
| headline and hold it | | | | |
| | | | backgrounds and templates these days from |
| through an entire section. A full page | | | | royalty-free |
| "chapter" slide at the | | | | |
| | | | websites around the world. While I |
| beginning of a new portion of material will | | | | |
| allow you to then | | | | whole-heartedly support this idea, it should |
| | | | be said that a |
| change each subsequent slide headline and | | | | |
| make it more | | | | colorful photographic background might not |
| | | | be your best |
| custom to the material in the bullets below. | | | | |
| In a fluid | | | | friend without some minor tweaking.Make sure |
| | | | your presentation text has high-contrast when |
| presentation your audience won't forget your | | | | |
| subject."But, but, but... If you have the | | | | |
| space, why not use it?" The | | | | using a custom background, template, or even |
| | | | a basic |
| answer is simple. Your slides are there to | | | | |
| drive home or | | | | background color. If you have a dark color |
| | | | like corporate |
| re-state important points, to help with | | | | |
| keywords a | | | | blue, maroon or purple, go with a light font |
| | | | like white or |
| note-taking audience member should jot down, | | | | |
| and to | | | | mustard yellow. A light background would |
| | | | call for darker |
| preface or summarize your presentation or | | | | |
| "chapters" | | | | lettering. A background color in the middle |
| | | | range (with a |
| within. There's nothing worse than having so | | | | |
| much on a | | | | luminosity comparable to "middle gray" for |
| | | | you |
| slide that you either cannot get through the | | | | |
| material, or the | | | | photographers out there) can often set off |
| | | | either a light or |
| audience cannot read everything because the | | | | |
| font is too | | | | dark font. Contrast is the key!If you have |
| | | | your heart set on a busy photographic |
| small.In an average presentation, a speaker | | | | |
| will hit two to three | | | | background, try creating a large |
| | | | semi-transparent text area |
| slides a minute. That alone will guide you | | | | |
| into choosing | | | | in the center by using the drawing and fill |
| | | | tools. This is |
| your words carefully to cover everything you | | | | |
| put on the | | | | called "screening back" in the world of |
| | | | print, and it will allow |
| screen. If you don't plan on speaking about | | | | |
| something, or | | | | a "taste" of the pattern or photo to come |
| | | | through without |
| assume you will skip through certain | | | | |
| segments, remove | | | | muddling your words. If you have access to a |
| | | | paint program |
| that material from your slides. Bullet | | | | |
| points remaining | | | | like Adobe PhotoShop, you can create some |
| | | | stunning |
| untouched will leave your audience asking | | | | |
| mental | | | | backgrounds using blurs, overlays and tints |
| | | | with the |
| questions instead of listening to | | | | |
| you!Charting a Course to Success: | | | | simplest of tools and filters. I like to |
| | | | have a clear image for |
| Here is a pet peeve of mine I see far too | | | | |
| often. A chart with | | | | the MTL, then a blurred, screened or |
| | | | otherwise affected |
| so much information on it that nobody in the | | | | |
| audience would | | | | complimentary image for the text slides.Fear |
| | | | of Flying: |
| be able to take it all in during the short | | | | |
| time it is onscreen. | | | | I saved this subject for last because I |
| | | | think it's where most |
| Not to name names, but financial analysts | | | | |
| and engineers | | | | people go awfully wrong! Think about all the |
| | | | television |
| with timelines tend to be the biggest | | | | |
| offenders when it | | | | programs, commercials, movies and sporting |
| | | | events you |
| comes to charts! Granted, there is value to | | | | |
| showing a | | | | watch. Now try to recall the last time you |
| | | | saw a clock wipe, |
| trend-line over a period of time -- any | | | | |
| stockbroker will tell | | | | mosaic blocks, or barn doors to transition |
| | | | from |
| you | | | | |
| | | | one scene to another -- or to bring text on |
| that. Obfuscation typically occurs when too | | | | and offscreen. If |
| many ticks are | | | | |
| | | | you're like me, it has been a while! In the |
| labeled. This can leave a junkyard of 10 | | | | same way a |
| point, aliased text | | | | |
| | | | person who is new to videography tends to |
| that does nothing but look horrible.The | | | | lie on the zoom |
| fixes are easy. If your trend is over twenty | | | | |
| years, just give | | | | in / zoom out button, people who want to add |
| | | | "pizzazz" to |
| us five year labels. We realize the spaces | | | | |
| between are | | | | their presentation tend to heap on the wacky |
| | | | transitions!For the record, here's an opinion |
| non-labeled years. If you have a particular | | | | of mine. If you have ever |
| peak or valley, call | | | | |
| | | | used 'Random Transition" within a |
| it out in the chart area rather than on the | | | | presentation you should |
| axis. Put a star at | | | | |
| | | | have your mouse and keyboard crushed into |
| the peak or use a different colored line for | | | | unusable |
| emphasis. If your | | | | |
| | | | shards of plastic. Just. Say. No. The last |
| budget goes from zero to $1,000, just give | | | | train to Effortville |
| us $0, $500, and | | | | |
| | | | just left and you were not on it.A simple |
| $1k. Label your bars with "Show Value" | | | | dissolve, or even a Wipe Right / Wipe Left is |
| instead. Trust me | | | | a |
| | | | |
| when I say anyone with particular questions | | | | communications convention we are all so |
| about a chart | | | | familiar with that it |
| | | | |
| will seek you out after the program, bring | | | | happens without bringing attention unto |
| it up in Q&A, or | | | | itself. Why would |
| | | | |
| e-mail you about it later.If you're the type | | | | you add a transition that shocks the |
| to put a chart into your presentation then | | | | audience out of "show |
| | | | |
| say onstage, "I know you can't read this, | | | | mode" where they were concentrating on your |
| but..." Do | | | | material, and |
| | | | |
| something about it before hitting the | | | | into "what the heck was that" mode? It's the |
| podium. By admitting to | | | | equivalent of |
| | | | |
| the audience that your chart is useless, | | | | hearing a cell phone ring at the theater -- |
| you're also saying | | | | it takes you out of |
| | | | |
| you don't value their time. Dropping off | | | | the story and back to reality; and that's |
| some data and | | | | certainly no way to |
| | | | |
| increasing the size of the remaining font | | | | drive home your point at the end of a |
| should do the trick, | | | | slide!Similarly, animating text should be |
| | | | done with much |
| and it doesn't take much work. For | | | | |
| particularly complex | | | | forethought. PowerPoint is slick enough at |
| | | | this stage that |
| charts and graphs, create two versions! With | | | | |
| a simple on | | | | you can produce some very clever, |
| | | | professional text effects. I |
| screen version and a complex, fully labeled | | | | |
| handout version | | | | personally like an occasional fly from any |
| | | | given side to |
| you have the best of both worlds.Another | | | | |
| suggestion for charts and graphs is to remain | | | | create a little "wow" when called for, but |
| flat. | | | | my old standard will |
| | | | |
| The 3-D options can look good in bar charts | | | | always be the Wipe Right. With a television |
| and pies, but in | | | | production |
| | | | |
| my opinion nothing beats a clean, flat 2-D | | | | background, that's how we always read on |
| chart with | | | | bullet points |
| | | | |
| high-contrast labels.Fontastic Results: | | | | from the character generators on location or |
| | | | in the studios. It |
| Fonts are a tricky beast. A creative font | | | | |
| style you might find | | | | is still probably the most-used convention |
| | | | for bringing text |
| clever or "cutting edge" while polishing | | | | |
| your presentation on | | | | onto a program. Take a look at tonight's |
| | | | television news and |
| the plane is likely to come off as silly | | | | |
| when it hits the screen. | | | | see which transitions they use |
| | | | repeatedly.The bottom line with motion is |
| Creative fonts are also hard to read when | | | | that it should always |
| used as body or | | | | |
| | | | enhance your material; not detract from your |
| even smaller headline text. An exception to | | | | presentation.That's a Wrap: |
| using standard, | | | | |
| | | | Each presentation by every presenter will be |
| clean typefaces like Arial, Palatino, or | | | | different. We |
| Trebuchet would be | | | | |
| | | | create guidelines like these knowing they |
| for large title slides or for Meeting Theme | | | | have latitude to be |
| Logos (MTLs) | | | | |
| | | | ignored when the need arises. Understanding |
| which sit onscreen as your audience comes in | | | | why powerful |
| to, and | | | | |
| | | | presentations work, and why others fail is |
| leaves the room. Other than those two | | | | like peeking |
| situations, it's safer | | | | |
| | | | behind the curtain at a magic show. In the |
| to stick with simplicity.How about using | | | | end, the goal is to |
| Times or New York for a typeface? Fonts | | | | |
| | | | create a shared experience between presenter |
| with a serif (the little hooks and slants on | | | | and |
| the ends of the | | | | |
| | | | audience. Microsoft PowerPoint can do |
| letters) are fine to use in larger sizes -- | | | | wonders in the right |
| let's say 32 points | | | | |
| | | | hands. But just as a chef must learn his |
| and higher. The problem with using smaller | | | | kitchen tools, |
| serif fonts is | | | | |
| | | | successful presenters must learn the tips |
| that the thinner points in the ascenders and | | | | and tricks of |
| descenders | | | | |
| | | | using today's presentation tools.And never |
| (the lowercase j or top of the f for | | | | forget... You are the star of the show.I hope |
| example) can basically | | | | this column helps you to stay on-point, next |
| | | | time you |
| disappear on-screen depending on the chosen | | | | |
| face. | | | | PowerPoint.Gary Lewis is a graphic designer |
| | | | with over twenty years of |
| Obviously, losing your type is not a best | | | | |
| case scenario. Any | | | | experience in television production, post |
| | | | production and |
| font (or graphic device like an arrow shaft | | | | |
| or the outline of a | | | | presentation design.For creative, |
| | | | Royalty-Free backgrounds and stock photos |
| shape) which is thinner than 2 points, is | | | | |
| very likely to | | | | (and plenty of free samples!) visit Pro |
| | | | Background |
| disappear when projected, or to vibrate when | | | | |
| shown on a | | | | Art today! |