Making-Original-Products-presentationzen

More documents

Recommendations

Info

to what? When Steve Jobs talked about numbers in his keynotes, he often broke them down. For example, he may have said something like four million iPhones sold is the equivalent of 20,000 per day since the units went on sale. 20 percent market share? In and of itself that does not mean much, but the meaning becomes clear when he compared it to others in the field. When presenting data, always ask yourself “compared to what?” Make it visual. Jobs used huge screens and large, high-quality graphics for his keynotes and special events. The images were clear, professional, and unique, and never from a template. Charts and graphs were simple and beautifully clear. There was never “death by bullet point.” Jobs used the screen to show visual material and only occasionally for displaying short lists. He displayed data in a way that the meaning was instantly clear. Not every presentation requires photos or movie clips, but if you do use multimedia, make it simple, yet of high quality. Introduce something unexpected. Jobs’s presentations always had something new. But he also surprised audiences just a bit each time. Humans love the unexpected. We love some element that makes us go “aah!” The brain loves novelty. Vary the pace and change techniques. Jobs was good at varying the pace from fast to slow and changing the flow by using different techniques. He did not stand in one place and lecture, a very bad way to present. Instead, he mixed in video clips, images, stories, data, different speakers, and live hardware and software demos. Just talking about information for one or two hours is much too boring for the audience (and for the presenter). If the talk were only about information and new features, it would be more efficient to give that information out in a handout for people to read when they have the time. Go the appropriate length. Jobs never included unnecessary details and finished on time. He was aware that presentations cannot go on too long and got to his points smoothly and quickly. If you cannot explain why your topic is important, interesting, and meaningful in 20 minutes or less, then you do not know your topic well enough. Try to make talks as short as possible while still making the content meaningful, keeping in mind that every case is different. The key is not to fill your audience up; you want them to leave wanting just a little more. Save the best for last. People will make an assessment about your performance in the first two minutes, so you have to start strong. But you have to finish even stronger. People best remember the first part and the last part of your presentation. The middle stuff is important, of course, but if you blow it at the beginning or at the end, all may be lost. This is why you have to rehearse your opening and your closing so much. Jobs was famous for his “one more thing” slide where he saved the best for last—after it appeared he was finishing. Steve Jobs often talked about changing the world, and he did change the world in his short 56 years on this planet. His incredible dedication to detail, simplicity, and aesthetics raised the bar for technology, business, design, and beyond. He even raised the bar for presentations. In spite of his mercurial nature, he was a true master. He was a true sensei.
When Jobs showed numbers, they were big and impossible to miss. In this photo taken at Macworld 2008 in San Francisco, he is announcing that over five million copies of Mac OS 10.5 were purchased since its release. (Photo by David Paul Morris/ iStockphoto.com.) Jobs always made good use of images to compare and contrast features. In this photo he is introducing a new iPod Nano during an Apple special event in 2007 in San Francisco. (Photo by Justin Sullivan/ iStockphoto.com.)
Page 2 and 3:
Praise for Presentation Zen: Simple
Page 4 and 5:
Presentation Zen: Simple Ideas on P
Page 7 and 8:
Table of Contents Acknowledgments,
Page 9 and 10:
Acknowledgments This book would not
Page 11 and 12:
xi
Page 13 and 14:
introduction Chapter 1 Presenting i
Page 15 and 16:
This page intentionally left blank
Page 17 and 18:
1 Presenting in Today’s World Wit
Page 19 and 20:
The Presentation Zen Approach This
Page 21 and 22:
Each Case Is Different Not all pres
Page 23 and 24:
Still a Long Way to Go While presen
Page 25 and 26:
Raising the Bar and Making a Differ
Page 27 and 28:
The six aptitudes are: design, stor
Page 29 and 30:
Symphony Focus, specialization, and
Page 31 and 32:
Meaning Making a presentation is an
Page 33 and 34:
Fourth, create a written document.
Page 35 and 36:
Letting Go Part of the Presentation
Page 37 and 38:
In Sum • Like a Japanese bento, g
Page 39 and 40:
preparation Chapter 2 Creativity, L
Page 41 and 42:
Page 43 and 44:
2 Creativity, Limitations, and Cons
Page 45 and 46:
Start with the Beginner’s Mind Ze
Page 47 and 48:
You Are Creative Creative power and
Page 49 and 50:
Be a Pirate! Inspiration. Where can
Page 51 and 52:
The Art of Working with Restriction
Page 53 and 54:
Pecha Kucha: A Sign of the Changing
Page 55 and 56:
In Sum • Preparing, designing, an
Page 57 and 58:
3 Planning Analog One of the most i
Page 59 and 60:
During the planning stages of a pre
Page 61 and 62:
“If you have the ideas, you can d
Page 63 and 64:
You may be thinking that this is a
Page 65 and 66:
Chapter 3 Planning Analog 53
Page 67 and 68:
Slowing Down to See Slowing down is
Page 69 and 70:
The Need for Solitude Many believe
Page 71 and 72:
It is only in still water that we c
Page 73 and 74:
Asking the Right Questions It is sa
Page 75 and 76:
Questions We Should Be Asking OK, s
Page 77 and 78:
To get back to my wasted hour, the
Page 79 and 80:
So what? (Image in slide from iStoc
Page 81 and 82:
Three Parts of a Presentation If yo
Page 83 and 84:
esulting in poor supporting visuals
Page 85 and 86:
The Benefit of Planning Well If you
Page 87 and 88:
In Sum • Slow down your busy mind
Page 89 and 90:
4 Crafting the Story During your ti
Page 91 and 92:
The first message sounds similar to
Page 93 and 94:
• Stories. We tell stories all da
Page 95 and 96:
Chapter 4 Crafting the Story 83
Page 97 and 98:
In an interview with the Harvard Bu
Page 99 and 100:
Essentially, that’s it: Introduce
Page 102 and 103:
Stories and Authenticity I have see
Page 104 and 105:
It’s Not Just About Information P
Page 106 and 107:
Dana Atchley (1941-2000) A Digital
Page 108 and 109:
Step 1 Brainstorming. Step back, go
Page 110 and 111:
Step 4 Sketch your visuals. Now tha
Page 112 and 113:
Shown here are the title slide, the
Page 114 and 115:
Nancy Duarte CEO of Duarte, Inc., t
Page 116 and 117:
Moxie Software www.moxiesoftware.co
Page 118 and 119:
If you feel tempted to use a pictur
Page 120 and 121:
108 Presentation Zen Many people ar
Page 122 and 123:
110 Presentation Zen
Page 124 and 125:
Our lives are frittered away by det
Page 126 and 127:
Page 128 and 129:
as interaction designers, are const
Page 130 and 131:
ack on the audience. Jobs used the
Page 132 and 133:
Shibumi (Elegance) Shibumi is a pri
Page 134 and 135:
superfluous or decorative. They wil
Page 136 and 137:
By stripping down an image to essen
Page 138 and 139:
However, if you visit coffee shops
Page 140 and 141:
Redux: Simplicity Is Not Easy Usual
Page 142 and 143:
Page 144 and 145:
Presentation Design A common misund
Page 146 and 147:
Signal-to-Noise Ratio The signal-to
Page 148 and 149:
BEFORE AFTER 136 Presentation Zen
Page 150 and 151:
Is the Nonessential Always “Noise
Page 152 and 153:
2D or Not 2D? (That Is the Question
Page 154 and 155:
A Few Points About Bullet Points Th
Page 156 and 157:
Picture Superiority Effect Accordin
Page 158 and 159:
Using images is an efficient way to
Page 160 and 161:
The original slide showcases variou
Page 162 and 163:
All the slides on this page use ima
Page 164 and 165:
Where Can You Get Good Images? Gett
Page 166 and 167:
Text Within Images I almost always
Page 168 and 169:
A white background is placed behind
Page 170 and 171:
Creating Bilingual Visuals Combinin
Page 172 and 173:
Emptiness which is conceptually lia
Page 174 and 175:
Using Empty Space The blue slide at
Page 176 and 177:
Whether you use images of people or
Page 178 and 179:
Balance Balance is important in a d
Page 180 and 181:
One way to activate empty space and
Page 182 and 183:
The image on the right is not a sli
Page 184 and 185:
Create your own visual style. Let i
Page 186 and 187:
WEAK CONTRAST BETTER CONTRAST 174 P
Page 188 and 189:
Page 190 and 191:
This title slide lacks a design pri
Page 192 and 193:
The slide on the left looks busier
Page 194 and 195:
This kind of slide is not unusual b
Page 196 and 197:
The more strikingly visual your pre
Page 199 and 200:
7 Sample Visuals: Images & Text In
Page 201 and 202:
Chapter 7 Sample Visuals: Images &
Page 203 and 204:
Think Like a Designer I created the
Page 205 and 206:
Page 207 and 208:
Page 209 and 210:
Page 211 and 212:
Page 213 and 214:
Page 215 and 216:
These two visuals are from early in
Page 217 and 218:
My Declaration of Independence Pam
Page 219 and 220:
Page 221 and 222:
In Sum A good visual enhances the s
Page 223 and 224:
delivery Chapter 8 The Art of Being
Page 225 and 226:
Page 227 and 228:
The Art of Being Completely Present
Page 229 and 230:
Steve Jobs and the Art of the Sword
Page 231 and 232: You need technique and proper form,
Page 233 and 234: Chapter 8 The Art of Being Complete
Page 235 and 236: Learning from the Art of Judo You c
Page 237 and 238: Contribution and Being in the Momen
Page 239 and 240: swayed from side to side. Zander, t
Page 241 and 242: In Sum • Like a conversation, pre
Page 243 and 244: 9 Connecting with an Audience Most
Page 245 and 246: “There is a Japanese visual art i
Page 247 and 248: Most presentations are too long or
Page 249 and 250: NOVEL Show or tell something novel.
Page 251 and 252: say it—because saying it out loud
Page 253 and 254: a good idea to walk into the audien
Page 255 and 256: in volume through the use of a micr
Page 257 and 258: Avoid reading a speech. Never read
Page 259 and 260: Stand, Deliver, Connect Hans Roslin
Page 261 and 262: This principle does not encourage w
Page 263 and 264: In Sum • You need solid content a
Page 265 and 266: 10 The Need for Engagement We say t
Page 267 and 268: It’s not the thing... It’s the
Page 269 and 270: Photo in slide: Jiji The slide abov
Page 271 and 272: Kenichiro Mogi, a famous brain scie
Page 273 and 274: No matter what the digital toolmake
Page 275 and 276: 5. Get them active. Make your webin
Page 277: A very common scene is shown above.
Page 280 and 281: Be very clear and very focused. In
Page 284 and 285: Get Close to the Audience My experi
Page 286 and 287: Use a Small Remote to Advance Visua
Page 288 and 289: Leave the Lights On If you are goin
Page 290 and 291: How Do You Know When You Are Engagi
Page 292 and 293: 280 Presentation Zen
Page 294 and 295: What we think, we become. —Buddha
Page 296 and 297: 284 Presentation Zen
Page 298 and 299: How to Improve There are many thing
Page 300 and 301: Lessons Are All Around You We can f
Page 302: A journey of a thousand miles begin
Page 305 and 306: Chapter 7 Chapter 8 istockphoto.com
Page 307 and 308: K-L Kaku, Michio, 258 kamishibai, 8
Page 309 and 310: Garr Reynolds travels the world giv
Page 311 and 312: Ideally suited to use alongside one
Page 313: Join the PeachPit AffiliAte teAm! Y
show all

Making-Original-Products-presentationzen

Create successful ePaper yourself

Delete template?

Save as template?