Index 1-7-7 Rule, 142 3D effects, 140 A-B agenda slides, 239 alignment principle, 177, 185 amplification, 125–127 Anderson, Chris, 12 Articulate Executive, The, 236 Art of Possibility, The, 225 asymmetrical designs, 166–168 Atchley, Dana, 94 Atkinson, Cliff, 69 attentiveness, 248 audience apologizing to, 238–239 connecting with, 231–239, 242, 253–263, 276 dealing with hostile, 224 getting close to, 272–273 keeping attention of, 238, 248–249, 276 projecting yourself to, 240–244 Austin, Dennis, 10 Authentic Happiness, 256 authenticity, 90–91 balance, 166–168 beginner’s mind, 33–34 bento, 5, 6 big-picture thinking, 35, 45 bilingual visuals, 158–159 B key, 275 Brain Rules, 254 brainstorming, 48, 50, 52, 96 branding, 141, 192 Breeze, James, 163 Brenman, Jeff, 194 Buchholz, Dr. Ester, 57 Budo Secrets, 223 bullet points, 5, 95, 142–143 bumper slides, 100 Burns, Ken, 22 business documents, 22 busyness, 55–56 C-D challenging assumptions, 237 child’s mind, 33–34 clutter, 9, 117, 141 cognitive load theory, 10 comics, 22, 125–127 communication removing barriers to, 264–265 skills for effective, 22, 25 as transfer of emotion, 20 computer, as “bicycle for mind,” 46–47 computer-generated presentations, 10 Conceptual Age, 14–19 concreteness, 79, 102 conflict, 85 connection, techniques for making, 232–239 constraints, working with, 39–42 contrast, 86, 173–174, 185 contribution, 225–226 conversational voice, 93, 242 core message, 64–66, 74, 96 creativity, 31–37, 55–56, 287 credibility, 80 Crowley, James, 120 Crowley, Sandra, 120 curiosity, stimulating, 258–259 Curse of Knowledge, 78 Dakara nani, 66 Decker, Bert, 244 delivery techniques, 9, 223–224 design. See also presentation design importance of, 132, 185 principles, 133-185 symmetrical vs. asymmetrical, 166–168 vs. decoration, 16 Design Book, The Non-Designer’s, 133, 177 digital storytelling, 94 documentaries, 22, 25, 84 documents vs. slides, 70–71 Dreams Time, 152 dress codes, 240, 251 Drucker, Peter, 74 Duarte, Nancy, 102–103 Dytham, Mark, 41 E-F Eenfeldt, Andreas, 202 Einstein, Albert, 116, 258 ekiben, 5 elegance, 120 elevator test, 66 emotions, 20, 80, 87, 236, 254–256 empathy, 17, 64 empty space, 161–171, 185 engagement, audience, 253–263 entertainers, 249 enthusiasm, 37, 268 Everystockphoto.com, 152 eye contact, 242 faces, 163–165 face-to-face communication, 12 films, 22, 84, 107 Fisch, Karl, 194 Flickr Creative Commons Pool, 152 font size, 244 Fotolia, 152 G-H Gaskins, Robert, 10 Gates, Bill, 117–118 Gerard, Alexis, 144 Getty Images, 152 Godin, Seth, 10, 20–21 Going Visual, 144 golden mean/ratio, 169 Goldstein, Bob, 144 Google Docs, 11 Grant, Tom, 231–232 graphic design, 86, 120, 131, 161, 173, 288 grids, 169–171 Grimes, Tom, 141 haiku, 42 handouts, 9, 21, 68–69 hara hachi bu, 248–249, 251 Heath, Chip, 78 Heath, Dan, 78 high-touch talents, 14, 19 humor, 237, 268 I-J Ichiun, Odagiri, 9 If You Want to Write, 35, 219 image libraries, 51, 152 imagery, storytelling through, 22 Isaacson, Walter, 117, 267 iStockphoto.com, 51, 152, 208, 292 Japanese Streets, 152 Japanese tea ceremony, 115, 121 jazz, 232–235 Jobs, Steve, 46, 117–118, 217–219, 239, 267–271 judo, 223–224 294 Presentation Zen
K-L Kaku, Michio, 258 kamishibai, 88 Kamishibai Classroom, 88 Kano, Jigoro, 223, 224 kanso, 119. See also simplicity Kawamura, Sachiko, 39 Kawana, Dr. Koichi, 119 Kawasaki, Guy, ix, x, 168, 244 Kennedy, John F., 79 Keynote, 11, 95, 97 Klein, Astrid, 41 Kumar, Sangeeta, 200 Landry, Chris, 196 languages, combining, 158–159 laughter, 237 Laws of Simplicity, The, 39 lecterns, 241, 264–265, 272–273, 279 left-brain thinking, 14, 20, 31 length, presentation, 248–249, 270 lighting, 276–277 Light Table view, 95, 97 limitations, working with, 39–42 live talks, 25 logos, 141 Loori, John Daido, 140 Lucas, George, 107 M-O Made to Stick, 78 Maeda, John, 39 Mann, Merlin, 208 McCloud, Scott, 125, 127 McGowan, Tara, 88 McKee, Robert, 85 McLeod, Scott, 194 meaning aptitude, 19 Medina, Dr. John, 254 meditation, 215 Meerheimb, Jasper von, 39 memory, 254 Memory and Imagination, 46 message making it stick, 78–81 presenting core, 64–66, 74 microphones, 242–243 mindfulness, 215–216 mirror neurons, 254–256 Mogi, Kenichiro, 259 moment, being in, 219, 225–228 Morgue File, 152 Moxie Software, 104–105 multimedia presentations, 9, 10, 13, 246, 267 Naked Presenter, The, 236 NASA Image Exchange, 152 naturalness, 7, 11, 25, 119, 217 negative space, 161 noise, 134, 138 Non-Designer’s Design Book, The, 133, 177 notes, presentation, 69 novelty, 237 numbers, 268. See also statistics Okazaki, H. Seichiro, 223 “one-corner” style, 125 online video, power of, 12 P passion, 226–227 Pecha Kucha method, 41, 286 pen and paper, 48, 50 Perera, Gihan, 262 performance, art of, 225, 231–232 personal stories, 236 Peters, Tom, 14, 153, 236 photo credits, 292–293 Picasso, Pablo, 31, 92 picture superiority effect, 144–159 Pink, Daniel, 14, 225 planning presentations, 45–75, 95–101 playfulness, 18 podiums, 264, 279. See also lecterns Post-it notes, 52, 95, 97, 102 Powell, Richard, 42 PowerPoint cognitive style to, 46 creating storyboards in, 95 creators of, 10 as document-creation tool, 5, 22, 71 misuse of, 10, 11, 46, 71, 95 unconventional approach to, 41 presentation, art of, 7, 9 presentation design, 131–185, 286, 288 presentation generation, 12 presentation handouts. See handouts presentations characteristics of effective, 11, 12, 25, 43 in “Conceptual Age,” 14–23 crafting story for, 77 creativity in, 31–37 deciding on message for, 64–66 delivering, 223–224 editing, 107–108 length considerations, 248–249 Pecha Kucha method for, 41 planning (See planning presentations) reading, 244–245 rules for improving, 20–21 showing structure of, 239 text vs. visuals in, 20 three components of, 69 using lectern for, 264–265 varying pace of, 270 presentation software, 11, 46. See also PowerPoint presentation techniques, 11 presentation technology, 11, 260 Presentation Zen as approach, not method, 8, 25 and beginner’s mind, 33–35 letting go of the past, 23 principles of, 7, 25 Web site, 286 presenter(s) how to become better, 286–288 and judo, 223–224 as performers, 225, 231–232 Steve Jobs as, 217–219, 266–271 for TED conference, 246–247 traits of good, 215–216, 225, 231–232, 267–271 for webinars, 262–263 Prezi, 11 professional designers, 48 projecting yourself, 240–245 proximity principle, 177, 185 PUNCH, 236–238 Q-R quotations, 153–157 Really Bad PowerPoint, 10 remote control devices, 274 repetition, 175–176, 185 restraint, 7, 9, 11, 25, 107, 119 restrictions, working with, 39–42 Reynolds, Garr, contact information, 297 right-brain thinking, 14, 19, 20, 31, 35, 287 Rose, David S., 68 Rosling, Hans, 247, 259 royalty-free images, 152 rule of thirds, 169 Index 295
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Praise for Presentation Zen: Simple
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Presentation Zen: Simple Ideas on P
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Table of Contents Acknowledgments,
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Acknowledgments This book would not
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xi
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introduction Chapter 1 Presenting i
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1 Presenting in Today’s World Wit
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The Presentation Zen Approach This
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Each Case Is Different Not all pres
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Still a Long Way to Go While presen
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Raising the Bar and Making a Differ
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The six aptitudes are: design, stor
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Symphony Focus, specialization, and
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Meaning Making a presentation is an
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Fourth, create a written document.
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Letting Go Part of the Presentation
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In Sum • Like a Japanese bento, g
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preparation Chapter 2 Creativity, L
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2 Creativity, Limitations, and Cons
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Start with the Beginner’s Mind Ze
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You Are Creative Creative power and
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Be a Pirate! Inspiration. Where can
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The Art of Working with Restriction
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Pecha Kucha: A Sign of the Changing
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In Sum • Preparing, designing, an
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3 Planning Analog One of the most i
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During the planning stages of a pre
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“If you have the ideas, you can d
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You may be thinking that this is a
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Chapter 3 Planning Analog 53
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Slowing Down to See Slowing down is
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The Need for Solitude Many believe
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It is only in still water that we c
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Asking the Right Questions It is sa
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Questions We Should Be Asking OK, s
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To get back to my wasted hour, the
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So what? (Image in slide from iStoc
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Three Parts of a Presentation If yo
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esulting in poor supporting visuals
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The Benefit of Planning Well If you
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In Sum • Slow down your busy mind
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4 Crafting the Story During your ti
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The first message sounds similar to
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• Stories. We tell stories all da
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Chapter 4 Crafting the Story 83
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In an interview with the Harvard Bu
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Essentially, that’s it: Introduce
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Stories and Authenticity I have see
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It’s Not Just About Information P
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Dana Atchley (1941-2000) A Digital
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Step 1 Brainstorming. Step back, go
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Step 4 Sketch your visuals. Now tha
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Shown here are the title slide, the
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Nancy Duarte CEO of Duarte, Inc., t
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Moxie Software www.moxiesoftware.co
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If you feel tempted to use a pictur
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108 Presentation Zen Many people ar
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110 Presentation Zen
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Our lives are frittered away by det
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114 Presentation Zen
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as interaction designers, are const
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ack on the audience. Jobs used the
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Shibumi (Elegance) Shibumi is a pri
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superfluous or decorative. They wil
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By stripping down an image to essen
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However, if you visit coffee shops
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Redux: Simplicity Is Not Easy Usual
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130 Presentation Zen
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Presentation Design A common misund
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Signal-to-Noise Ratio The signal-to
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BEFORE AFTER 136 Presentation Zen
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Is the Nonessential Always “Noise
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2D or Not 2D? (That Is the Question
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A Few Points About Bullet Points Th
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Picture Superiority Effect Accordin
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Using images is an efficient way to
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The original slide showcases variou
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All the slides on this page use ima
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Where Can You Get Good Images? Gett
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Text Within Images I almost always
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A white background is placed behind
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Creating Bilingual Visuals Combinin
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Emptiness which is conceptually lia
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Using Empty Space The blue slide at
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Whether you use images of people or
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Balance Balance is important in a d
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One way to activate empty space and
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The image on the right is not a sli
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Create your own visual style. Let i
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WEAK CONTRAST BETTER CONTRAST 174 P
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176 Presentation Zen
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This title slide lacks a design pri
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The slide on the left looks busier
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This kind of slide is not unusual b
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The more strikingly visual your pre
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7 Sample Visuals: Images & Text In
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Chapter 7 Sample Visuals: Images &
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Think Like a Designer I created the
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Chapter 7 Sample Visuals: Images &
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Chapter 7 Sample Visuals: Images &
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Chapter 7 Sample Visuals: Images &
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Chapter 7 Sample Visuals: Images &
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Chapter 7 Sample Visuals: Images &
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These two visuals are from early in
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My Declaration of Independence Pam
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Chapter 7 Sample Visuals: Images &
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In Sum A good visual enhances the s
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delivery Chapter 8 The Art of Being
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The Art of Being Completely Present
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Steve Jobs and the Art of the Sword
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You need technique and proper form,
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Chapter 8 The Art of Being Complete
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Learning from the Art of Judo You c
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Contribution and Being in the Momen
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swayed from side to side. Zander, t
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In Sum • Like a conversation, pre
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9 Connecting with an Audience Most
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“There is a Japanese visual art i
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Most presentations are too long or
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NOVEL Show or tell something novel.
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say it—because saying it out loud
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a good idea to walk into the audien
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