Tips you may have missed

The tips cover the following categories: Message, Media, Mechanics and More,
and are coded as follows:

S - for Scripting (the message)

V - for Visual design (the media)

D - for Delivery skills (the mechanics)

L - for Logistics (the "more" such as technology, environment, etc.)

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Using the Build Sequence - (V)

Eye movement can be affected by the sheer amount of information the audience is allowed to see on a given visual. One way to soften the blow for the audience is the to use the build sequence. Many software programs can create this build sequence automatically for you when you design electronic images. "Animation Schemes" in PowerPoint, for example, allow for a variety of build sequences.

This build technique is used to reveal text elements of a visual in stages in order to maintain a steady focus for the audience. The first line revealed and the remaining information hidden. The presenter is able to concentrate on this element of the visual until the next item is needed.

To enhance the build sequence, you can dim the color of the prior item (usually to a shade of gray) and then reveal the next item. This allows the audience to focus on the brighter and most current element while still being able to see what has already been covered.

If you choose the "dim" effect, be sure to have a dark background, so the contrast between items is clear.

The Overlay Technique - (V)

Another sequencing method that helps with data clutter is when you reveal a section of information at a time. Text, data, and graphic elements - each of which contains complete thoughts - can be revealed in segments or stages called "overlays".

If you show the audience the completed "busy" image immediately, the many elements might distract the eye and reduce the effectiveness of the visual. When the eye is bombarded with multiple activities or thoughts, it doesn't know where to look first. If it takes you time to design the visual, you have to give the audience time to digest it.

Can you reveal your busy image in pieces, like a puzzle? If the audience watches as the pieces of the puzzle fall into place, they can appreciate the whole picture when completed. It's always easier to add to the clutter of a simple visual than it is to try to subtract from an already cluttered image to its simplicity.

Symbols as Silhouettes - (V)

Although geometric shapes are more universal, the use of graphic symbols in a visual can be very helpful. Symbols represent ideas and those that translate well across media offer the most utility. One measurement of utility is if the symbol can be made into a silhouette and still retain its identity. If you fill the symbol completely with black, making it two-dimensional, the loss of depth may cause the original object to lose its meaning.

For example, a stack of quarters when silhouetted would look like a cylinder. The link to money is gone. But a coffee cup would only lose depth, yet still maintain its shape as a cup. This is important in other forms of media, such as printed hard copy.

In pure black and white, printouts may show objects once with depth as big blobs of who knows what. Printers today are sophisticated enough to print grayscale images, but what if you have to fax a copy of the printouts to someone? Not every element can or needs to be a silhouette. But if the symbol translates well to a purely solid shape, you can use the shape in a lot of situations.

Establishing Depth with Photos - (S)

There is a whole area in the background of each visual just waiting to be used. Sometimes a template is used to fill the background. If the template already contains a lot of elements, you have less chance to use symbols as part of the background. That's why you may prefer to use simple templates allowing the background to be more open for other elements.

One of the best uses of the background is to incorporate photographs or "natural images". A photo is the real-life symbol of an idea. Keep in mind that photos usually contain hundreds of thousands of colors in various degrees of brightness. If you add text or other elements on top of a photo, be aware of light and dark spots. Sometimes the foreground information may blend right into the photo and not be as visible. This usually happens with text. You may have to adjust the brightness and contrast of the entire photo in order for lighter text to be readable.

You don't have to use photos everywhere, but a well-placed real-life image can add value to your message. In keeping with our recurring theme of a visual presenter, it makes a lot of sense to use real people in real situations, not only in the message but in the media as well.

Writing a Speech Backwards - (S)

In our last tip we discussed how a person could learn an already prepared speech by hearing it read aloud, first. The things the speaker remembers and recounts from that first "hearing" are the high points or anchors in the script. Then the speaker works on developing a familiarity with the other elements in the speech. The words precede the actions, in this case.

Can the actions precede the words? Of course! Many plays have been written from the original improvisations among actors, who were told to create action from a given a set of circumstances. Speeches can be written in the same way.

To craft a speech from scratch, let the speaker discuss a given topic aloud for a while. The speechwriter simply listens to (or records) the speaker. From that information the actual speech is prepared. The speaker will then have an easier time delivering such a speech since the concepts were originally derived from the speaker's knowledge.

Working with a Written Speech - (S)

Because the average person can't memorize a speech, he or she will usually read it to the audience. When we see someone reading, we have less faith in that person's knowledge of the subject. In fact, we may even doubt the person's sincerity if the message is emotional.

One way to help someone with a written speech is to have them go through the presentation without the words. The more someone understands the basic flow of information and can them express the ideas and main points in his or her own words, the easier it is to later substitute the words of another.

In the theatre, the actors hear the first reading of the play, then play each scene in their own words (improvisation) to get familiar with actions and intentions. Later, when they learn the lines they are able to make the playwrights words more personal since those words are tied to actions and intentions already experienced.

"DO" and "SAY" Scripting - (S)

One of the last stages of the scripting process is the actual process of providing the script. At times you may simply provide an outline or you may wait until the visuals are created and provide the presenter a copy of the presentation in print form. In either case you haven't assured a consistency in delivering the essence of the message you've created. You need to provide a script.

There are basically two kinds of scripts, those that DO and those that SAY.

Both are designed for the presenter and they normally show the description of each visual (or the actual visuals) and the related message for each visual. The message can be conceptual (driven by actions) or concrete (driven by words).

A DO script is conceptual and a SAY script is concrete. The DO script contains suggested actions to convey each element in the presentation. A SAY script contains the actual words to use during the presentation. A SAY script is basically a written speech linked to the supporting material.

More on "Do" and "Say" Scripts - (S)

A "Do" script is conceptual and a "Say" script is concrete. Do Scripts enhance the authenticity of the delivery and help each presenter develop a unique delivery style. This method requires very little memorization, which reduces the chances for error and inconsistency.

Simple visuals that don't lead or confine the presenter are the key to effective conceptual presentations.

Say Scripts seem to offer more consistency than Do Scripts because all the correct words to support the message have been decided. Sometimes exact wording is necessary, either because someone prefers to work that way and is good at memorization (very rare) or because the person is presenting in a situation where precise timing and complete accuracy are crucial.

Say scripts tell a presenter exactly what to say and require that the presenter memorize or read the script word-for-word. Say scripts are usually more effective when using a see-through prompter, which gives the appearance that eye contact is being maintained.

Although Do scripts offer the greatest expression of individual style, Say scripts conform to a higher expression of consistency. To support the notion of a visual presenter you need to provide the kind of script that offers the best opportunity for the message to be received by that particular audience.

Making Concepts "Portable" - (S)

Concepts need to be portable in the sense that more than one person in the company is able to express those concepts in a variety of circumstances.

Naturally, a growing company is likely to have multiple presenters. However, the complexities of the supporting elements for your message may be more difficult for some presenters than others, because each presenter places his or her personal spin on the information being conveyed. Thus, individual style will breed inconsistency.

To assure better consistency among multiple presenters, consider developing support items with limited details. When faced with less information, a presenter defers to actual experience, personal philosophy, and general concepts to express the verbal corporate message. In essence, they express themselves throughout the presentation, and the result is a more believable statement of knowledge for the audience.

Checking the Corporate Philosophy - (S)

See if your presenters understand the company philosophy in the same way.

Ask your presenters to list the three most important things the company does or provides. Then look at the company mission statement and see how many of those things match. Two out three is good. Anything less means the presenter doesn't "get it." The person needs to be more "in tune" with the corporate philosophy.

However, if you find that many of the presenters in your company are not in tune --- well, maybe the executives who helped pen the philosophy need to communicate better to those embracing what might be the wrong message!

After all, if every student fails the exam, the fault may be with the teacher.

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