CZ’s original and strategic work to brand us has worked out very well. CZ delivered the whole package: strategy, design, and execution. — Alan Tronson, AdvantEdge Advisors


Communicate with Simplicity and Power
March 22nd, 2009 by dave

It’s a simple idea, but not simplistic.
“Audiences want to hear ‘the story’ of your facts,” says Garr Reynolds, author of Presentation Zen: Simple Ideas on Presentation Design and Delivery.

That takes restraint, preparedness, and creativity. Here Reynolds talks about how to connect to your audience through your presentation.

Brand & Strategy: What defines an effective presentation?

Garr Reynolds: I do not think in terms of performance, I think in terms of conversation–about how to best have a conversation or discussion about a subject with the audience.

The presentation is always about the message. The focus isn’t how I can make things easier for me; it’s how I can make the message more meaningful, relevant, and memorable for the audience.

Why do people fail at PowerPoint presentations? 

Because they hide behind a list of facts or talking points. Many do it in an effort to ensure they have covered every possible base. But this isn’t best for the audience.

Facts, data, and information are plentiful. But a successful presentation brings more to the table. You want to connect the topic to the audience. And to do this, you must provide analysis, insights, and stories that back up your data or your case.

Why does the narrative approach sometimes fall flat?

Because it is irrelevant or off-topic. All stories must come back to support your underlying message. We remember stories and examples, but if they are not relevant or are not understood, they are just noise.

Are videos effective?

Relevant video clips work very well. I often use them to bring in other people to the talk (via the large screen) or to show actual examples from the field. They help tell the story for me.

But they can’t be superfluous.

When appropriate, they effectively illustrate your point: showing examples, bringing in other voices, and breaking up your talk in a way that adds interest.

What’s your advice for giving presentations without technology—going “analog” as you call it?

The same principles of Presentation Zen apply. If the approach did not apply to analog presentations, it would not be much of an approach.

Always keep in mind: Restraint in preparation; simplicity in design (or structure); and, naturalness in delivery.

I often only use a whiteboard. Some of the best talks I have heard have been delivered with only a whiteboard (or no visuals at all).

If it is only a small gathering of people around a table, slides on a screen are usually not necessary. It depends on the situation and the objectives, but for smaller meetings, it is usually enough to have some handouts and a good conversation around the table.

If you need to illustrate an idea, then use the whiteboard.

So you must evaluate the audience before you develop a presentation?

Yes, understanding your audience is key. Before the presentation, get as much information as possible about the audience and their expectations.

I think one always has to be careful of making claims without evidence to back it up, but this is especially true if you’re dealing with an audience that is accustomed to “seeing the numbers”—or the proof.

It’s also important to understand the culture of your audience. If I am speaking to a Japanese audience, for example, I give lots of examples and I provide a lot of time to respond during discussions.

Make sure you know who you are speaking to.

Beyond Pretty
October 23rd, 2008 by dave
It’s pretty, but is it effective? 

According to Peter Phillips, author of Creating the Perfect Design Brief, design should be less about aesthetics and more about successfully messaging to your target audience. Here Phillips offers advice on what you need to keep in mind when delivering design:

Brand & Strategy: What is the most common mistake made by the client when working with a designer?

Peter Phillips: Keeping the design professionals separated from the decision makers. It is common for business managers to think of design as a support service. But in a well-functioning organization designers are strategic partners in business.

Project managers do not know all the questions that need to be answered. Designers need to be interacting with project managers, sales people, the target audience, and final decision makers.

Keeping designers in the “back room” doesn’t lead to the best design solutions.

What is the ideal environment for producing great design?  

A good analogy would be that of a patient-doctor relationship. In order to find solutions to a health problem, a patient must tell their doctor everything and then trust the doctor—who has specialized training and experience—to recommend the best treatment plan. Clients need to partner with the designer—and then trust their expertise.

Does the design process change based on the design deliverable?

Absolutely. The process is different if you’re designing a product rather than a poster. “Web design” has become a term used to describe the work of web developers and coders- not design professionals. But nowadays, web design is more important than ever for all kinds of organizations as more people go to the Web to gather information and make purchase decisions.

How critical is it to design with feedback from your target audience?

You can’t rely upon the opinions of those within the organization. Immediate family members are not good judges of a baby’s beauty. They are simply too close.

You don’t need to spend a lot of time or money on market research and testing. Just tag along with your sales people or talk to customers who come into your establishment. Show them the design concepts you are developing and get their reaction. After all, those are the folks for whom your design project is intended.

You point out that aesthetic design isn’t necessarily the most effective design. What do you do if internal voices don’t “like” the most effective design?

You cannot allow personal opinions to drive the design process, because they are not relevant. You must determine what design is the most effective at addressing the business need.

If someone says, “But I don’t like red.” You must be prepared to make a case for why red is the most effective color to meet the business need (e.g. it evokes feelings of strength in the target audience).

How do you measure success?

At the end of a design project you cannot objectively measure the greatness of a design, but you can measure its effectiveness. A design that meets the business needs laid out at the beginning of a design project is a success!

Selling the Invisible Education
April 27th, 2005 by dave

A college or university education may be the ultimate service to market. In this exclusive CZ interview with Harry Beckwith, best-selling business author of Selling the Invisible and The Invisible Touch, he addresses the core issue of positioning and marketing the service of Higher Education.

B&S: How is a university education akin to a service?

Harry Beckwith: An education is a service—a classic one. It’s intangible and amorphous; in fact, if it’s a great education, it’s lifelong because a great education teaches you how to think and to continue to educate yourself for your life. You can’t see, touch, taste or feel an education. You can only sense its benefits, the real value of which defy estimation.

It’s hard to tell the differences among many colleges, at least based on their marketing. For example, all view books and web sites appear the same. Design seems like a commodity.

Harry Beckwith: If you’re showing the same photos everyone else is showing, you are all but shouting that you’re not special.

But it’s not accurate to say that design is a commodity. The design of school facilities may be, but that’s only because schools continue to insist on looking like other schools, and architects insist on building “a college building,” instead of something special and distinctive. They fall into a perceptual trap.

The design of everything you do, including and especially your collateral, need not appear commoditized. Design happens on a blank sheet of paper. Anything can happen there, if you let it. The iPod is just an MP3 player—and yet it isn’t. Its design breaks it from its pack.

How does a university discover its message?

Harry Beckwith: Through a disciplined look at its peer schools, and a deeper look at how each of those schools is perceived. You then ask, “How are we different?” and “How might we be perceived differently?”

I worked with the University of Oregon last year. We found a clear point of distinction by examining what prospects—students and donors—thought of Oregon’s peer schools and how they tended to perceive the University of Oregon. We didn’t try to create something utterly new, to plant a brand new idea in people’s minds. Instead, we took what already was in their minds, and leveraged it to the school’s advantage. It wasn’t unlike doing Oregon tourism ads that actually stress the rain rather than trying to avoid that subject. It rains there. You take what people know and point out the advantages they may have overlooked.

You also need to know what positions are most meaningful to a prospect. There are eight and no, I’m not telling. It’s a trade secret, at least until my book in 2009.

Then ask, Which of those positions can we hold? When you decide to take that position, stay on message. Very few schools, and too few marketers, do that.