THE PRESENTATION DESIGN CRASH COURSE

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J
Joseph Gelman

Join date: 18/07/2018

THE PRESENTATION DESIGN CRASH COURSE

Infomation Document:

Post Date: 19/07/2018, 04:09
File Size: 25.93 MB
PRESENTATION DESIGN CRASH COURSETHE beginner’s guide to creating beautiful, impactful and thoughtful PRESENTATIONs. HI! I WRITE ABOUT MARKETING/BRANDING FOR HONIGMAN MEDIA AND IDEON AND TEACH DIGITAL MARKETING AT GENERAL ASSEMBLY I’M JOE GELMAN STORYTELLING RHETORIC DESIGN 1 2 3 3 ELEMENTS OF GREAT PRESENTATIONS STORYTELLING 1 STORIES HUMAN BEINGS ARE NATURALLY RECEPTIVE TO GREAT STORY FROM A YOUNG AGE, WE LOVE A HARDWIRED THE HUMAN BRAIN IS TO CRAVE STORIES read THE article ? “SHARED FICTIONS “HUMANITY’S ASTOUNDING ABILITY TO COOPERATE IS DUE TO OUR ABILITY TO BELIEVE IN watch THE talk ? – Dr. Yuval Harari IN THE REAL-WORLD THERE ARE NO SUCH THINGS AS… MONEY BORDERS LAWS IN THE REAL-WORLD THERE ARE NO SUCH THINGS AS… MONEY BORDERS LAWS THE STORIES WE TELL OURSELVES LIE AT THE HEART OF OUR SHARED IDENTITIES IF IDEAS ARE LIKE VIRUSES STORIES ARE HOW WE MAKE THEM CONTAGIOUS ALL MARKETERS ARE STORYTELLERS buy THE book ? … IT ONLY MAKES SENSE THEN THAT ALL GREAT BRANDS ARE NOTHING MORE THAN GREAT STORIES GREAT PRESENTATION SKILLS CAN HELP TELL YOUR STORY HOW CAN YOU MAKE YOUR STORIES MORE EFFECTIVE? YOU PAY ATTENTION TO THEIR SHAPE “BASIC SHAPES “ALL GREAT STORIES THROUGHOUT THE HISTORY OF WRITING HAVE ALL SHARED ROUGHLY THE SAME watch THE talk ? –Kurt Vonnegut START END GOOD BAD Recognize this story? SIMILARLY, GREAT PRESENTATIONS ARE MADE BY JUXTAPOSING GOOD vs. BAD “ALL GREAT PRESENTATIONS SHARE “AFTER LOOKING AT HUNDREDS OF PRESENTATIONS I FOUND THE SAME BASIC SHAPE watch THE talk ? –Nancy Duarte PROGRESS IS RELATIVE… COMPARE THE WORLD AS IT IS WITH WHAT IT COULD BE I LOOKED AT A LIST OF THE MOST FAMOUS FIRST LINES IN LITERATURE AND FOUND THAT GREAT AUTHORS DO THIS TOO! “All happy families are alike; each unhappy family is unhappy in its own way.” – ANNA KARENINA leo tolstoy “It was a bright, cold day in April, and THE clocks were striking thirteen.” – 1984 george orwell THIS CONTRAST WILL MAKE YOUR MISSION CONVINCING 2RHETORIC “THE purpose of DESIGN is to Inform and Delight” –Milton Glaser “THE purpose of PRESENTATION DESIGN is to Inform, Delight & Persuade” RHETORICAL TRIANGLE ARISTOTLE DEVISED A SYSTEM CALLED THE RHETORICAL TRIANGLE PATHOS LOGOSETHOS RHETORICAL TRIANGLE EMOTION LOGICTRUST GREAT PRESENTATIONS NEED ALL THREE OF THESE ELEMENTS TO BE THROUGHLY CONVINCING Would this ad make you want a Big Mac? LOGIC ALONE WILL NEVER CONVINCE ANYONE! IF IT DID, NO ONE WOULD SMOKE THE TRUTH OF THE RHETORICAL TRIANGLE IS WHY ANTI-SMOKE ADS LOOK LIKE THIS • BULLETS? • KILL • ATTENTION NOT JUST BECAUSE THEY ARE VISUALLY UNEXCITING… …BUT ALSO BECAUSE THEY MISS 2/3 KEY APPEALS GREAT STORYTELLING WILL APPEAL TO EMOTION AND GREAT DESIGN WILL CONVEY TRUST 3DESIGN FIRST THINGS FIRST, LET’S COVER THE BASICS COMPOSITION NOTICE THE POINTS OF INTEREST WHERE THE LINES INTERSECT THE Last Supper Leonardo DaVinci THIS FRAMEWORK IS CALLED THE RULE OF THIRDS AND IT’S A GREAT WAY TO MAP OUT YOUR SLIDES LOOK! I PRACTICE WHAT I PREACH! MULTIPLY THE IMPACT OF YOUR POINTS OF INTEREST, BY GIVING THEM PLENTY OF BREATHING ROOM MULTIPLY THE IMPACT OF YOUR POINTS OF INTEREST, BY GIVING THEM PLENTY OF BREATHING ROOM ALL THESE UNOCCUPIED SQUARES THIS IS REFERRED TO AS NEGATIVE SPACE COLOR THIS IS THE COLOR WHEEL. IT’S A CONVENIENT WAY FOR ARTISTS AND DESIGNERS TO DIAGRAM THE RELATIONSHIPS OF COLORS AND TO IDENTIFY HARMONIOUS PAIRINGS Fun Fact: THE color wheel was ?rst introduced by Isaac Newton in 1672 THE COLOR WHEEL ANALOGOUS THIS WORKS COMPLEMENTARY THIS WORKS IN FACT, I USED A COMPLIMENTARY COLOR SCHEME FOR THIS PRESENTATION CONTRAST AS VISUAL CREATURES, HUMAN BEINGS ARE PATTERN-RECOGNITION MACHINES SO WHEN A PATTERN IS BROKEN WE TAKE NOTICE: IT STANDS OUT BETTER THE MORE WAYS YOU CAN CONTRAST THE BIGGER THE IMPACT WILL BE THE DUTCH MASTER JOHANNES VERMEER INTUITIVELY UNDERSTOOD THE POWER OF CONTRAST. JUST LOOK AT THE DRAMA THE INTENSE LIGHTING OF THE FACE ACHIEVES BY BEING SET AGAINST A DARK BACKGROUND I RAN A PHOTOSHOP FILTER THAT AVERAGED THE COLORS AND IT’S CLEAR JUST HOW BRIGHT THE FACE IS. BUT LOOK AT HOW MUCH DARKER THIS COLOR LOOKS IN ISOLATION. ? ? THE CONTRAST OF THE BACKGROUND IS WHAT MADE IT IMPACTFUL. Looks much darker now, no? TYPOGRAPHY Serif Sans Serif QUALITY SERIFS Times New Roman Bodoni Georgia Garamond QUALITY SANS SERIFS Avenir Futura Helvetica Gill Sans Garamond 60pt goes great with Helvetica. Since Helvetica is very rigid and Garamond is calligraphic THE contrast works nicely. Notice how neiTHEr one distracts from THE oTHEr; instead THE two fonts complement each oTHEr wonderfully. HELVETICA 120pt Once you’ve set your type using a harmonious grouping of timeless fonts, accentuating this contrast with a nice complimentary color scheme simply sets your work over THE top. HELVETICA 120pt YOU MIGHT HAVE NOTICED THAT I DIDN’T USE THE TYPEFACES I RECOMMENDED NEUE HAAS UNICA Iowan Old Style IN CASE YOU WERE CURIOUS, HERE ARE THE TYPEFACES I ACTUALLY USED “Learn THE rules like a professional, so you can break THEm like an artist.” –Pablo Picasso SIMPLICITYSIMPLICITYSIMPLICITY MOST CRAPPY SLIDES SUCCUMB TO DATA OVERLOAD ESPECIALLY WHEN IT COMES TO DATA VISUALIZATION STRIP ALL UNNECESSARY DETAIL “THE best DESIGN is as little DESIGN as possible.” –Dieter Rams FOR TEXT, FOLLOW GUY KAWASAKI’S 6/60 RULE NO MORE THAN SIX WORDS PER SLIDE NO LOWER THAN 60 POINT FONT* *I only broke this rule because I’m not giving THE talk in person. Again, break rules only once you know ‘em well. WHEN IN DOUBT TAKE IT OUT! LOOK AT HOW DRAMATICALLY IMPROVED THIS SLIDE WAS ONCE IT WAS SIMPLIFIED SOURCE: PRESENTATION Zen Garr Reynolds Follow Write Me Connect THANKS FOR READING! KEEP IN TOUCH! JoeGelman.com
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