Create Better Slides and More Effective Presentations

Create Better Slides
and more effective presentations

Margery Stegman
Partner, Schenkel/Stegman Communications Design
Introduct|on
Pl everyone. l'm Margery SLegman. We're golng Lo be Lalklng abouL how Lo creaLe more effecLlve slldes and
presenLaLlons. 1o do Lhls, lL helps Lo know a llLLle of Lhe baslc cognlLlve research and prlnclples on how we
learn. 1hen, l'll glve you some deslgn guldellnes Lo puL you on Lhe paLh Lo more engaglng presenLaLlons.
I|rst, a ||tt|e about my background
l'm a parLner aL Schenkel/SLegman CommunlcaLlons ueslgn and we've been ln buslness slnce 1988
We help companles creaLe vlsual Lools for markeLlng, sales and lnvesLor communlcaLlons
Lhls lncludes onllne and offllne medla lncludlng: web slLes, ldenLlLy, markeLlng and sales maLerlals,
presenLaLlons, and Lrade show booLh graphlcs
We work ln Lhe 828 space and our cllenLs lnclude many bloLech companles. We also work wlLh oLher
Lechnology companles, nonproflL organlzaLlons, educaLlon, and servlce buslnesses
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l'd llke Lhls Lo be a conversaLlon, so l'm plannlng Lo sLop perlodlcally Lo Lake quesLlons and Lhere wlll also be
Llme aL Lhe end.
_______________________________________________________________________________________
WlLh all Lhe sesslons Laklng place durlng Lhe conference, Lhere are presenLaLlons belng made all day and
mosL lnclude someLhlng vlsual. Pas anyone seen a greaL sllde deck? WhaL made lL successful?
WhaL klnd of slldes have you seen LhaL haven'L worked? Why?
What I'm go|ng to show you next, wh||e we|| |ntent|oned on the presenter's part, doesn't he|p the
aud|ence access and reta|n |nformat|on.
Schenkel/Stegman Communications Design 2
1h|s s||de |s a document, not a v|sua| a|d.
1here ls so much Lo read and process LhaL lL would be lmposslble for Lhe audlence Lo look aL
Lhe sllde and llsLen Lo Lhe presenLer slmulLaneously.
CCk LkAMLLS
So ls Lhls one. lL's [usL Loo much lnformaLlon.
1hls charL would Lake a long Llme Lo declpher. lL's Loo busy and confuslng for someLhlng
lnLended Lo help learnlng.
We're all Llred of slLLlng Lhrough presenLaLlon afLer presenLaLlon wlLh sllde afLer sllde full of Lype
slLLlng on busy backgrounds wlLh a mess of unlnLelllglble charLs and graphs.
Lven Lhe mlllLary has had enough. 1hls recenL, very humorous arLlcle ln Lhe ?(/ @*2' A&7(1
conflrms Lhe polnL.
WCkLD | Apr|| 27, 2010
We nave Met the Lnemy and ne Is owero|nt
8y LLlSA8L1P 8uMlLLL8
owerolnL has crepL lnLo Lhe dally llves of u.S. mlllLary commanders and reached Lhe level of
near obsesslon.
1AkL CUk kLSLN1A1ICN 1C 1nL NLk1 LLVLL
8efore we Lalk abouL how Lo make a greaL sllde l'd llke Lo spend [usL a couple mlnuLes
Lalklng abouL sclenLlflc research. ln Lhls case, cognlLlve sclence.
1here's a Lerm for Lhe experlence we someLlmes have durlng presenLaLlons. lL's called
B*/(2B*&-) C>(2%*,#3 lL acLually lnhlblLs learnlng and Lhls research proves lL.
1he assumpLlon abouL learnlng, LhaL you can slmply LransmlL unllmlLed amounLs of
lnformaLlon ln a sLream and Lhe audlence wlll recelve lL, compleLe, has no basls.
1o communlcaLe more effecLlvely wlLh mulLlmedla Lools, we need a beLLer undersLandlng of
how people learn.
CCGNI1IVL SCILNCL kLSLAkCn kCVIDLS INSIGn1S
Slnce Lhe 1990s, 8lchard Mayer and hls colleagues aL uC SanLa 8arbara have conducLed
dozens of sLudles on mulLlmedla learnlng and Lhe way Lhe human mlnd works. CLhers, have
done sLudles on memory capaclLy. And nelson Cowan, and Ldward 1ufLe have wrlLLen abouL
presenLaLlons and cognlLlon. !1 ,-6*-( .,7&%&,2 /&)0 )0&1 2(1(,2D0<
We know Lhere are Lhree Lypes of memory: sensory, work|ng, and |ong-term
Cur sensory memory, made up of Lhe slghLs and sounds mosL of us experlence consLanLly, ls
poLenLlally unllmlLed.
Long-term memory, where we sLore lnformaLlon, also has unllmlLed capaclLy.
Cur work|ng, or short-term memory, on Lhe oLher hand, ls severely llmlLed ln lLs capaclLy. lL's
[ob ls Lo brlefly hold slghLs or sounds and Lhen lnLegraLe Lhem lnLo long-Lerm memory. So llke
Lhls clogged hlghway ramp, Lhere's a very narrow passage beLween Lhe Lwo.
We know from currenL research LhaL worklng memory can process only Lhree or four pleces
of new lnformaLlon aL a Llme.
SlghLs and sounds. vlsual and verbal. eople recelve and process lnformaLlon ln each of
Lhose channels separaLely.
hoLographs, lllusLraLlons, charLs and dlagrams are accessed vla Lhe vlsual channel, narraLlon
ls accessed vla Lhe verbal channel.
When Lhere are words on a sllde, Lhey may go ln Lhrough Lhe vlsual channel, buL Lhe braln
lnsLanLly converLs Lhem Lo language and Lhus verbal slgnals.
Accord|ng to the research, peop|e understand a mu|t|med|a presentat|on better when the
words are narrated a|one.
owerolnL's bullL-ln feaLures for layers of bulleLed LexL, busy backgrounds, shrlnklng
everyLhlng Lo flL on one sllde, and sLandard LemplaLes are well enLrenched ln many
presenLaLlons we see.
?eL you won'L flnd any research showlng Lhls supporLs learnlng. nor wlll you flnd a
quanLlLaLlve raLlonale for Lhe 6-by-6 rule LhaL mandaLes LhaL slldes should have slx llnes of
LexL wlLh slx words per llne.
When you show more lnformaLlon Lhan worklng memory can handle, Lhe audlence
remembers only blLs and pleces.
1he research ln cognlLlve sclence and educaLlonal psychology shows the best way to he|p
peop|e |earn |s w|th narrat|on and |mages.
So, now LhaL we know whaL we're deallng wlLh - Lhere's a soluLlon. 1oday, l'm golng Lo
show you how Lo presenL your buslness case ln slldes, based on Lhe sclence of how we
learn. We'll apply baslc graphlc deslgn prlnclples LhaL wlll help you creaLe vlsuals LhaL
engage your audlence and supporL learnlng.
SeLLlng up and Lelllng your sLory ls a lesson for anoLher presenLaLlon enLlrely. 8uL, no maLLer
whaL your Loplc, keep ln mlnd lL's abouL Lhe audlence, noL abouL Lhe presenLer.
1here are many excellenL resources on conLenL developmenL. lf you aren'L famlllar wlLh lL, l
hlghly recommend Cllff ALklnson's book E(6*-# E5%%() B*&-)13 Pls SLory 1emplaLe ls a greaL
way Lo geL your LhoughLs organlzed and your headllnes wrlLLen. Pe Lakes you Lhrough Lhe
process of creaLlng a compleLe presenLaLlon sLep-by-sLep. l've adapLed some of hls
lnformaLlon for Lhls Lalk.
Carmlne Callo has greaL weblnar based on hls book B2(1(-) %&'( F)(>( G*913 llnd lL onllne. lL's
Lhree, one-hour sesslons and LoLally worLh lL.
1here are also communlcaLlons professlonals who wlll develop your sLory wlLh you. lf you'd
llke a referral Lo one, l have a neLwork of provlders l can lnLroduce you Lo.
I1'S A8CU1 1nL AUDILNCL
1here are a number of research-based prlnclples you can use Lo reduce cognlLlve overload.
llrsL, puL only one ldea on each sllde. WrlLe a clear headllne LhaL expresses each ldea.
8esearch shows people reLaln more LhaL way.
keep headllnes relaLlvely shorL and large enough Lo be seen aL Lhe back of Lhe room, whlch ls
roughly 40 pL Lype. All Lhe headllnes should be Lhe exacL same slze. Ld|t your words, not the
font s|ze.
nexL, Lo ald worklng memory, segmenL your sLory lnLo manageable pleces.
8egln wlLh, and conLlnually refer back Lo Lhe Sllde SorLer vlew as you work. ?ou'll see how
your sLory flows ln Lhe headllnes.
LaLer, as you add vlsuals, you'll be able Lo see Lhe relaLlonshlps beLween lmages, and Lhe
paclng of your enLlre presenLaLlon.
lf you flnd long pauses on parLlcular slldes or a loL of lnformaLlon abouL one of your
concepLs, break LhaL sllde up lnLo more slldes.
A sllde ls noL a documenL or a LeleprompLer. lf you're accusLomed Lo readlng your sllde,
conslder Lhls: the aud|ence can read faster than you can say the words. 1hen Lhey'll be
walLlng for you Lo caLch up. 1he audlence wlll elLher read your sllde or llsLen Lo you, Lhey
can'L do boLh.
Use the s||de as a v|sua| a|d to re|nforce your verba| message.
Cne of Cllff's Lrlcks ls Lo work ln noLes age vlew and puL all Lhose bulleL polnLs lnLo Lhe
noLes area and use Lhem as parL of your narraLlon. use Lhe sllde area above for your headllne
and lmage. 1haL's lL.
1hls approach addresses Lhe vlsual and verbal channels separaLely, promoLlng a deeper
undersLandlng of lnformaLlon.
anlmaLlon: LexL and bulleLs
move off Lhe screen
?ou can eaL Lhe peanuL buLLer or Lhe [elly alone, buL aren'L Lhey beLLer LogeLher?
Larller we Louched on Lhe facL LhaL people learn beLLer from a comblnaLlon of words and
lmages. Whlle lL can seem challenglng Lo come up wlLh lmages LhaL represenL your message,
ln [usL a couple mlnuLes l'm golng Lo show you how Lo do [usL LhaL.
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Slmply deslgned, plcLure-superlor" slldes lncrease reLenLlon and lmprove LransferablllLy, Lhe
ablllLy Lo use LhaL new lnformaLlon.
1oday ln our [obs, effecLlve communlcaLlon ls a requlremenL regardless of our professlon.
And llke lL or noL, vlsual Lools, llke owerolnL, are a facL of llfe. 20 years ago no one would
have guessed LhaL aL leasL some graphlc deslgn Lralnlng would be so lmporLanL.
lor Lhe nexL few mlnuLes l'm golng Lo glve you a crash course ln graphlc deslgn 101, as lL
relaLes Lo deslgnlng slldes.
nCW 1C CkLA1L GkLA1 SLIDLS
8elleve lL or noL, we are all vlsual communlcaLors. 1hlnk back Lo klndergarLen when
we used crayons, palnL, clay, paper and glue Lo express ourselves, noL word
processors and spreadsheeLs. ?eL, somewhere along Lhe way many of us goL Lhe
message LhaL we weren'L good aL drawlng so we Lrled sporLs or muslc or someLhlng
else lnsLead.
?ou're all used Lo bralnsLormlng Lo come up wlLh new ldeas Lo wrlLe reporLs and arLlcles, or Lo
solve problems. CreaLlng vlsual represenLaLlons of your message concepLs uses Lhe same
process.
8uL", you'll say, whaL we offer ls lnLanglble. We have a servlce, or a sofLware producL, a
proprleLary blologlcal process or a new buslness model. ?ou can'L 1(( LhaL!" 1rue, and lL may
seem challenglng Lo express Lhese &->&1&9%( ldeas vlsually.
LeL's Lalk abouL how Lo geL sLarLed.
I|rst, bra|nstorm
resenLaLlon sofLware was never lnLended Lo be a bralnsLormlng or drawlng Lool. lf you have
a drawlng LableL for your compuLer, you can use LhaL. CLherwlse, a pencll and paper work
[usL flne. 8emember, you've done Lhls before, maybe noL ln a very long Llme, buL lL wlll come
back Lo you.
lnlLlally, Lhe goal ls Lo generaLe as many ldeas as posslble ln a shorL amounL of Llme. CfLen,
ldeas come qulckly, whlch ls a good Lhlng. Avold [usL golng wlLh Lhe flrsL Lhlng LhaL comes Lo
mlnd because sLronger soluLlons ofLen come Lo llghL laLer on. lL's flne Lo wander down a
seemlngly unrelaLed paLh, you never know whaL you mlghL flnd. 1ry uslng word assoclaLlons,
word mapplng, or even mlnd-mapplng sofLware.
When you have a loL of ldeas, choose a handful LhaL meeL your ob[ecLlves. 8eflne Lhem
farLher Lo a flnal dlrecLlon. 8e[ecL cheesy meLaphors and overused cllches.
1hls example ls from Lhe book F%&#(*%*+6 by nancy uuarLe. Pow ofLen have you had Lo Lalk
abouL parLnershlp ln your buslness dlscusslons? Pow many Llmes have you puL Lhe word on a
sllde? lf lL's an lmporLanL concepL, maybe Lhere's anoLher way Lo geL lL across LhaL wlll make
a sLronger lmpresslon.
lnvesL Lhe Llme and energy ln Lhe creaLlve process. 1he payoff wlll be a memorable
presenLaLlon LhaL [usL mlghL lnsplre your audlence.
Cnce you've skeLched ldeas for all your slldes, organlze Lhem lnLo a sLoryboard ln order Lo
vlew Lhe conslsLency of sLyle and flow of your vlsual ldeas. Whlle l'm showlng you a snap
shoL of some of Lhe compleLed slldes ln Lhls deck, you should do Lhe same Lhlng wlLh your
skeLches.
?ou can lay all your lndlvldual pages ouL on Lhe desk or floor, use sLlcky noLes on a wall or
scan your drawlngs lnLo your compuLer and acLually place Lhem ln owerolnL. use Lhe Sllde
SorLer vlew Lo see all your slldes LogeLher. 1here are lnsLrucLlons for Lhls Lechnlque ln Lhe
book E(6*-# E5%%() B*&-)1.
8u||d your brand
1hese may seem raLher baslc, buL Lhe deslgn declslons you make abouL background, color,
fonL and lmage requlre care, LhoughL and mosL lmporLanLly conslsLency. Choose Lhe elemenL
sLyles and sLlck wlLh Lhem. Make sure Lo plck elemenLs LhaL wlll resonaLe wlLh your audlence
and represenL your brand. lor example, you'd hardly expecL Lo see a playful scrlpL fonL used
for a presenLaLlon abouL a hearL sLenL.
Pavlng sald LhaL, on occaslon lL's approprlaLe Lo break Lhe rules. 8uL only lf Lhere's a real
reason Lo do so. lf you do lL all Lhe Llme, you lose Lhe opporLunlLy Lo creaLe a vlsually
memorable momenL.
owerolnL comes wlLh fonL and color paleLLe Lhemes, buL beLLer yeL cusLomlze your own. lf
you don'L know how Lo do Lhls, seek ouL onllne LuLorlals and forums for lnsLrucLlons.
nexL, l'm golng Lo Lalk abouL each elemenL separaLely.
8ackground
1he sllde background ls your canvas, Lhe conLalner for Lype, color and lmages. And whlle lL
may be whlLe or a color, plaln or LexLured, or lnclude a slmple moLlf, what |t |s not |s a p|ece
of art |tse|f. Choose whaL wlll supporL your conLenL noL whaL wlll compeLe wlLh lL.
?ou rarely see prlnLed brochures covered wlLh some of Lhe crazy backgrounds we see ln
presenLaLlons. A sllde background should be open and slmple raLher Lhan crowded and
ornamenLed.
SLay away from Lhe masLers LhaL come wlLh owerolnL. lnsLead, draw from your company's
markeLlng maLerlals and creaLe someLhlng compaLlble.
?ou see lL all Lhe Llme, buL Lhere ls no rule LhaL says your logo should appear on every sllde.
ln facL, your logo doesn'L lllusLraLe your message, lL's exLraneous and dlsLracLlng Lo Lhe eye.
lf you're plannlng Lo dlsLrlbuLe your slldes, puL your logo ln Lhe noLes area.
Co|or
Color can be sub[ecLlve and very personal, everyone has oplnlons abouL lL. SomeLlmes, very
sLrong oplnlons. LeL's face lL, we all have boLh favorlLes and Lhose we deLesL, some we'll wear
and oLhers we wouldn'L be caughL dead ln.
lck colors LhaL represenL your company, your message and your audlences' expecLaLlons.
Avold colors LhaL are negaLlvely assoclaLed wlLh your lndusLry, such as brlghL red for a
flnanclal company.
1o help you beLLer undersLand color relaLlonshlps, become famlllar wlLh Lhe color wheel,
whlch was orlglnally dlscovered by Slr lsaac newLon.
1he co|or pa|ette
8efore you choose your color paleLLe, you'll have Lo declde on a background color. 1he
human eye requlres conLrasL for vlslblllLy. And whlle your paleLLe may look greaL on your
compuLer screen, when pro[ecLed some colors may look dlfferenL or faded.
When chooslng your colors Lhe sky ls deflnlLely noL Lhe llmlL. SelecL three to f|ve core co|ors
from Lhe color wheel.
Cnce you've flnallzed your paleLLe, place lL on a sllde and pro[ecL lL Lo ensure conLrasL and
compaLlblllLy.
1here are numerous resources abouL color Lheory and use. ?ou can also flnd onllne and
prlnLed color paleLLe guldes.
Ionts
1hlnk abouL a blllboard when you Lhlnk abouL your fonLs and your conLenL. CommuLers have
Lo process whaL's on Lhe blllboard very qulckly as Lhey drlve by. Can you lmaglne whaL would
happen lf blllboards were full of bulleLed llsLs?
?our audlence should be able Lo process and undersLand your message ln a few seconds.
lonLs each have Lhelr own personallLy: serlous or playful, bold or meek, and so on. ?ou're
probably famlllar wlLh Lhe Lwo prlmary deslgnaLlons, ser|f and sans ser|f. 8ecome famlllar
wlLh Lhe dlsLlncLlons beLween varlous fonLs. Look aL Lhe helghL and welghL and Lhe varlous
shapes creaLed by Lhe leLLerforms.
Pow fonLs are comblned ls a deslgn fundamenLal. use no more than two fonts ln your
presenLaLlon. Color, welghL and lLallcs may be added for emphasls.
Avold anlmaLlng Lype unless lL adds meanlng or emoLlon.
Images
When l refer Lo lmages, LhaL lncludes phoLographs, lllusLraLlons, dlagrams and charLs or daLa.
ln all cases, slmpllclLy ls besL.
LeL's Louch on each caLegory.
hotographs
Slnce we're Lrylng Lo ellmlnaLe LexL and bulleLed llsLs from our slldes, Lhe saylng a plcLure ls
worLh a Lhousand words ls apL. ?eL wlLh all Lhe lnexpenslve sLock agencles offerlng a myrlad
of cholces for [usL abouL any glven concepL, how do you choose? very carefully!
SelecL lmages LhaL work LogeLher, llke a famlly. 1hey should be well-LhoughL-ouL and should
convey your key message slmply and eleganLly.
I0,) #* )0(1( 80*)*1 0,>( &- D*77*- )0,) +&>( )0(7 , .,7&%6 .((%<
I||ustrat|ons
l am noL Lalklng abouL cllp arL or cheesy carLoons. 1hose are Lo be avolded llke Lhe plague.
?ou can flnd greaL lllusLraLlons on sLock slLes.
rofesslonally drawn lllusLraLlons can easlly convey a concepL because Lhe arLlsL has Lhe
luxury of comblnlng elemenLs noL seen ln real llfe. 1hey can also change Lhe scale and Lhe
color. And of course Lhere are many lllusLraLlon sLyles and medlums.
What |s th|s |||ustrat|on about?
[f|rst] We commlssloned Lhls lllusLraLlon for a cllenL. 1he company wanLed Lo geL across LhaL
lL had valuable asseLs for parLnerlng, lncludlng producLs, Lechnology and lnLellecLual
properLy.
[second] ln Lhls one, Lhe company's Lechnology enables large-scale producLlon of dlfflculL Lo
express proLelns and anLlbodles.
8oLh Lhese concepLs were done ln dlfferenL sLyles, yeL because Lhey are falrly slmple Lhe
message ls clear. Cn a sllde, LhaL's lmporLanL slnce Lhe audlence wlll be looklng aL Lhe lmage
for a relaLlvely shorL Llme.
Charts
l can'L Lell you how many presenLaLlons l've saL Lhrough over Lhe years aL Lhls very
conference where Lhe presenLer has puL mulLlple charLs and graphs overlapplng on one sllde.
oorly drawn, confuslng charLs and graphs. 1he facL ls, a sllde ls noL a good medlum for
showlng complex daLa. lf you wanL Lo share complex daLa wlLh your audlence, provlde Lhem
wlLh a handouL.
now, l undersLand LhaL Lhe sofLware you use Lo generaLe Lhe lnformaLlon ls lnLended Lo ald ln
your research and aesLheLlcs aren'L a requlremenL. 8uL when you presenL Lhe daLa on a
screen Lo an audlence lL needs Lo be pared down Lo deplcL only Lhe mosL lmporLanL polnL.
Show on|y the one th|ng you want them to remember about the data.
[second] 1ry Lo Lhlnk abouL oLher ways Lo geL Lhe lnformaLlon across.
Chart Var|at|ons
Pere's one way Lo express a relaLlonshlp concepL. 8uL, you mlghL noL even need a charL aL all
Lo make your polnL.
D|agrams
ln addlLlon Lo daLa charLs and graphs, we also use dlagrams Lo deplcL processes and
relaLlonshlps. Conslder Lhe sLrucLure of an organlzaLlon charL, Lhe flow of a work process, or
Lhe clusLer of a vln dlagram.
1here's an excellenL compllaLlon of examples of common shapes LhaL can be used Lo creaLe
dlagrams ln F%&#(*%*+6 by nancy uuarLe.
As wlLh Lhe oLher lmage Lypes we've been dlscusslng, your dlagrams need Lo be slmple and
clear. A complex dlagram shown on one sllde ls overwhelmlng. lnsLead, break Lhe dlagram up
lnLo smaller pleces and dlsplay lL across several slldes.
J*(1 ,-6*-( 0,>( H5(1)&*-1 ,9*5) ,-6 *. )0( >&15,% (%(7(-)1 )0,) 7,'( 58 , 1%&#(<
now LhaL we've looked aL Lhe varlous vlsual elemenLs LhaL make up a sllde, we need Lo
arrange Lhem ln a way LhaL asslsLs worklng memory wlLh processlng Lhe lnformaLlon.
1hls v|sua| h|erarchy esLabllshes a sLrucLure Lo Lhe sllde and guldes Lhe vlewer Lhrough Lhe
elemenLs. Slze, placemenL and color help deLermlne whaL has promlnence.
K5(1)&*-L 0*/ 7,-6 &#(,1 +* *- , 1%&#(<
8ased on Lhe arrangemenLs you choose, you can creaLe feellngs of Lenslon, exclLemenL, calm,
luxury, and so on.
Gr|d Systems
=*/ 7,-6 *. 6*5 ,2( .,7&%&,2 /&)0 +2&#1< Crlds provlde a sLrucLure for arranglng
elemenLs. Crlds are used ln prlnLed maLerlals and web slLes, so why noL on a sllde?
robably because Lhe owerolnL defaulL ls one large box Lo conLaln all vlsual elemenLs
cenLered on Lhe sllde.
Anchorlng our vlsual elemenLs on a grld helps Lhe audlence anLlclpaLe where Lhe conLenL
wlll appear. Across mulLlple slldes Lhls bullds conslsLency. Crlds also sLreamllne deslgn
declslons, whlch can be valuable for corporaLlons where Lhousands of employees develop
slldes lndependenLly.
lor slldes, Lhree, four, and flve columns are mosL common.
Cnce you've declded on a grld, deLermlne where you'll place your conLenL. Make sure Lo
leave open secLlons for clear space.
1he slze and poslLlonlng of elemenLs on a grld ldenLlfy Lhe maln polnL qulckly.
ln Lhese examples, Lhe dark gray boxes represenL lmages, Lhe llghL gray boxes represenL
Lype.
Also referred Lo as clear space, open space or negaLlve space, wh|tespace ls Lhe areas of
Lhe sllde LhaL are lefL unused. 1hey aren'L necessarlly whlLe, buL Lhey are [usL as
lmporLanL Lo your sllde layouL as oLher vlsual elemenLs.
lf you flnd whlLespace ls belng ellmlnaLed Lo squeeze ln more conLenL, your sllde ls
packed Lo LlghLly. LllmlnaLe everyLhlng LhaL doesn'L change your meanlng or break Lhe
conLenL lnLo mulLlple slldes.
And remember, your presenLaLlon shouldn'L be done ln a vacuum. As much as posslble, relaLe
lL Lo your oLher communlcaLlons maLerlals.
1hls example shows a group of maLerlals LhaL my flrm creaLed, over Llme, for our cllenL Source
Mux. ?ou can see Lhe Lle-ln beLween Lhe prlnL pleces, Lrade show booLh, web slLe and
presenLaLlon.
Create a presentat|on that supports your company's |dent|ty.
l Lhlnk Lhls ls Lhe waLch phrase Lo keep ln mlnd as you creaLe your slldes. ulsLlll each sllde
down Lo lLs essence. lf an elemenL doesn'L supporL your maln ldea, remove lL.
1here's so much we have Lo say, buL we know from the research that peop|e |earn better
when we create our s||des w|th the work|ng memory |n m|nd.
!"%% ),'( 7*2( H5(1)&*-1 -*/3
1nL MCS1 LIILC1IVL kLSLN1A1ICNS
1hank you so much for comlng Loday. l hope Lhe lnformaLlon l've presenLed has been
useful.
leel free Lo conLacL me lf you have any oLher quesLlons we dldn'L geL Lo Loday or lf l can
help you creaLe vlsual Lools for markeLlng, sales and lnvesLor communlcaLlons.
lf you're lnLeresLed ln more lnformaLlon abouL Schenkel/SLegman. please leL me know.

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