Friday, November 19, 2010

Ten Good Decks

Courtesy of Futurelab, here is a nicely curated selection of 10 SlideShare decks worthy of closer inspection (and side-steps the dreck which has filled the site's repository).


Thinking About Innovation by Noah Brier.

How To Build a Web App, also by Noah.

Designing Interesting Moments by Bill Scott.

History of a Button by Bill DeRouchey, author of the PushClickTouch blog.

How To Do Propagation Planning by Griffin Farley.

Just Add Points? What UX Can (and Cannot) Learn From Games by Sebastian Deterding.

Pawned. Gamification and Its Discontents, a sequel to "Just Add Points?"

Connection Planningness by Jason Oke and Gareth Kay

Beyond Advertising by Adrian Ho

Level Designers, Core Space Creation and Level Flow by Matthias Worch

Friday, November 12, 2010

Coding for Dummies

Good to know. Even if you are not intent on a "path to geek nirvana."



Thanks BBH Labs

Friday, November 5, 2010

Put the 10-20-30 rule into practice

An oldie-but-goodie from venture capitalist Guy Kawasaki. Guy evangelizes a technique to keep all presentations to less than 10 slides and no more than 20 minutes and a font size of at least 30.

The full post is located on his blog here.

  • Ten slides. Ten is the optimal number of slides in a PowerPoint presentation because a normal human being cannot comprehend more than ten concepts in a meeting—and venture capitalists are very normal. (The only difference between you and venture capitalist is that he is getting paid to gamble with someone else’s money). If you must use more than ten slides to explain your business, you probably don’t have a business.
  • Twenty minutes. You should give your ten slides in twenty minutes. Even if setup goes perfectly, people will arrive late and have to leave early. In a perfect world, you give your pitch in twenty minutes, and you have forty minutes left for discussion.
  • Thirty-point font. The majority of the presentations that I see have text in a ten point font. As much text as possible is jammed into the slide, and then the presenter reads it. However, as soon as the audience figures out that you’re reading the text, it reads ahead of you because it can read faster than you can speak. The result is that you and the audience are out of synch. Force yourself to use no font smaller than thirty points. I guarantee it will make your presentations better because it requires you to find the most salient points and to know how to explain them well.

Tuesday, August 31, 2010

We+Work = "Werking"

Scott Lukas, founder of Dosage, collected tips from people who really know how to make strategic collaborations work. The full document available below.

http://dosageconsulting.posterous.com/how-to-werk-tips-from-collaboration-experts-g

Lots of useful things to keep in mind, some are common sense - others are hard won. Here a couple headlines from the first few pages...

"Listen first, talk later"
"Establish a common vocabulary"
"Define boundaries and goals from outset; keep checking output against"
"Embrace humility"
"Having an opinion is the price of entry (to the session)"

Thursday, August 12, 2010

Getting Tweetable Moments from Your Presentations

(via Mashable)

There is some science to creating a perfect, “tweetable moment” during a presentation. That is, a memorable moment that sticks in the mind of your audience long after the presentation is over. How do you get those moments to happen? How do you get an audience to tweet it? How do you fit it into 140 characters or less?

Dan Zarrella's research study points the way...

It all comes down to Priming your audience: establish their expectations, ingratiate yourself to them, deliver a clear call-to-action (i.e. tell them exactly what you want them to do).

Then deliver the big 'AHA'! Which comes down to combining novelty, delayed orientation (i.e. the punchline), and humor.

The rest of the article goes on how to create a 'sound bite'. Good stuff. Check out the rest here.

Monday, August 2, 2010

Four Phases of Design Thinking

from Harvard Business Review:

"What can people in business learn from studying the ways successful designers solve problems and innovate? On the most basic level, they can learn to question, care, connect, and commit — four of the most important things successful designers do to achieve significant breakthroughs."

Read more here.

Tuesday, June 29, 2010

'100 beautiful slides from the world's best storytellers'

http://bit.ly/du51MK

At Cannes, this person took photos of 100 of the most beautifully designed slides to inspire your next presentation.

Good stuff.

Monday, June 14, 2010

Framing the problem

Further post on strategy and the importance of framing the problem via CIA's Phoenix checklist and Toyota's "A3" process. Very useful.

Tuesday, June 1, 2010

Four Storytelling Genres Of Brand Re-Invention

via PSFK

It seems everywhere you look established brands are in the midst of radical and ambitious re-inventions.

Beyond just new logos and taglines, brands are struggling to maintain relevance in the eyes of more sophisticated and savvy consumers. Brands often need to re-address the value proposition and create a more responsive and meaningful customer experience. Regardless of circumstances, a brand always has a story – a past, present, and future where its coming from and where its going. The key is to keep that story fresh without confusing or alienating your core audience. Our job as leaders and marketers is to tell a story that people can identify with, and locate themselves into.

It may be helpful to walk you through a few examples and teach you about four basic genres of brand re-invention that may guide the path forward.

more

How the CIA define problems & plan solutions: The Phoenix Checklist

A repost of an interesting article from BBH Labs.

The CIA have a 'Problem Definition Checklist' (dubbed Phoenix) which takes a divergent approach to problem solving and ideation. These questions are known as “context-free questions” and are designed “to encourage agents to look at a challenge from many different angles." In addition to the Problem questions, are the follow-up 'Planning' questions.

Good stuff.

THE PROBLEM
Why is it necessary to solve the problem?
What benefits will you receive by solving the problem?
What is the unknown?
What is it you don’t yet understand?
What is the information you have?
What isn’t the problem?
Is the information sufficient? Or is it insufficient? Or redundant? Or contradictory?
Should you draw a diagram of the problem? A figure?
Where are the boundaries of the problem?
Can you separate the various parts of the problem? Can you write them down? What are the relationships of the parts of the problem? What are the constants of the problem?
Have you seen this problem before?
Have you seen this problem in a slightly different form? Do you know a related problem?
Try to think of a familiar problem having the same or a similar unknown.
Suppose you find a problem related to yours that has already been solved. Can you use it? Can you use its method?
Can you restate your problem? How many different ways can you restate it? More general? More specific? Can the rules be changed?
What are the best, worst and most probable cases you can imagine?

THE PLAN
Can you solve the whole problem? Part of the problem?
What would you like the resolution to be? Can you picture it?
How much of the unknown can you determine?
Can you derive something useful from the information you have?
Have you used all the information?
Have you taken into account all essential notions in the problem?
Can you separate the steps in the problem-solving process?
Can you determine the correctness of each step?
What creative thinking techniques can you use to generate ideas? How many different techniques?
Can you see the result? How many different kinds of results can you see?
How many different ways have you tried to solve the problem?
What have others done?
Can you intuit the solution? Can you check the result?
What should be done? How should it be done?
Where should it be done?When should it be done?
Who should do it?
What do you need to do at this time?
Who will be responsible for what?
Can you use this problem to solve some other problem?
What is the unique set of qualities that makes this problem what it is and none other?
What milestones can best mark your progress?
How will you know when you are successful?

Wednesday, May 5, 2010

Assembling the New Creative Team

from creativity_unbound

The new creative team and getting it to work


WRITTEN BY EDWARD BOCHES

I get asked to talk a lot about how Mullen has changed over the last couple of years, more aggressively transforming itself from an “integrated ad agency,” with all the disciplines – strategy, advertising, media, digital, social, PR, direct, analytics — under one roof to a company that has worked to become “unbound” in its thinking and approach to problem solving.
It seems that agencies everywhere are struggling to achieve their version of the above, either trying to become more digital in their thinking or more versed in conversation marketing. And it’s no surprise that advertisers, too, grapple with developing the formula for how to assemble a team of partners and allocate marketing dollars in an age when the options across paid, earned, owned and user-generated media continue to proliferate.
For me the challenge is easily defined: we can no longer buy attention. The best crafted brand stories may be memorable, but only if someone hears them. And as consumers become more inclined to speak, share, comment, update and check-in rather than listen and absorb, we need to get out of the business of telling stories and into the business of getting others to tell them for us.
So what do make if we don’t make stories? Experiences. Experiences that earn attention, invite participation, inspire co-creation, provide utility and inherently generate more content. Those experiences can be big, game changing programs like Pepsi Refresh. Or simple, more discrete events like Brandbowl. They can exist on a single platform such as Facebook, or stretch across numerous sites and communities.
But no matter what they look like, they’re more about building something than saying something. To quote Gareth Kay, “They’re not advertising ideas; they’re ideas worth advertising.” And creating them takes a different kind of thinking, a different kind of organization, and a different kind of team.
In the old days you assembled a writer and art director, gave them a brief and hoped they came up with something great. Today, you’ve got whole different mix of people on the team. You can see the challenge already. How do you get all of these people to work together seamlessly? How can you assure they comprise an interdisciplinary team rather than a multidisciplinary team? And who’s the benevolent dictator?
Here are the 10 things that I’ve found actually help.
Start with the user
Read Tim Brown’s Change by Design and you realize that anything you want to create – product, experience, environment, and process – starts with the user. From a marketer’s perspective that means understanding a customer’s relationship to content, technology and community — not just to a category or even the brand – and finding a way to add something of value.
Change the team
You can make ads with a writer and art director. But if you want to conceive and execute platforms, utility and experiences, you need IA, UX, technology, connection planning and social media working together. This is a significant change for many agencies but one that is absolutely essential. It may come with pain and resistance but what choice to you really have? The post digital days are upon us.
Place different disciplines closer to each other
In a creative organization people need to be comfortable and familiar with each other or they’re reluctant to take chances and share ideas. It helps if they sit near each other, hang out with one another and engage in an occasional game of Ping Pong. Don’t isolate departments that you want to be interdependent. Figure out how to physically unite them.
Re-write the brief
The brief has remained unchanged for years, almost always answering the question, “What do we have to say?” Better to answer questions like, “How will we get this brand talked about?” “What can we create of value?” “How will we get people to participate?” “What can we make, invent, build that’s worthy of being advertised?” Ask those kinds of questions and see what you get back.
Get everyone involved at the start
In the old days everyone was on hold until the core creative team emerged from its lair with the idea (the message, the spot, the tagline.) If you get everyone to work together from the start the thinking will be richer, the solution won’t be an ad, and the idea will transcend any one medium. The last thing you need to come up with is the message.
Appreciate everyone’s perspective
Expect some adversity and disagreement for sure. But the quicker you can get the art director to understand that the UX person isn’t trying to screw up the look but is trying to make things work better, the faster you eliminate design for design sake. I often suggest that people practice looking at a problem from their peers’ points of view before rushing to judge someone’s recommendation.
Know each other's names
I guarantee that if your agency has more than 150 people and experiences any degree of turnover that at least half the time there are people in the room who don’t know each other. Make sure everyone introduces himself and actually says something at the beginning of a meeting. Believe it or not it increases the likelihood everyone will speak his mind and offer opinions during the meeting. It also helps counter balance the one or two vocal people who tend to dominate.
Develop leaders who can cross the T
Whoever leads the team – traditional CD, digital CD, planner, media director — needs to understand and respect all the roles and how they work together. These new leaders may be few and far between but the worst thing you can do is let a narrow perspective drive the process. The person across the top of the “T” is the most important member of the team.
Become a learning organization
With the proliferation of technology, digital platforms, social media networks, APIs, crowdsourcing, and iPhone apps it’s impossible for any one person to keep up. You can read tech blogs, bring Google and Facebook in to present their latest and greatest, and experiment with every new platform yourself. But it’s not enough. You need a mindset and a means to keep everyone up to speed and informed of what’s new. London’s Made by Many sent 18 of its 23 employees to SxSWi for five days. That’s a commitment to learning. And one that’s likely to pay off in terms of collaboration, employee morale, and fresh thinking.

Other content and links:
Books: Atul Gawande: A Checklist Manifesto
Presentations: Derek Robson, Goodby Silverstein and Partners: Agency Evolution




Tuesday, April 27, 2010

The 'Seth' Page


“If you can’t make money from attention, you should do something else for a living. “ - Seth Godin

Sources of insight gleaned from Seth Godin...collected onto one page!!!


We Have Met the Enemy and He Is PowerPoint


(from the New York Times)

WASHINGTON — Gen. Stanley A. McChrystal, the leader of American and NATO forces in Afghanistan, was shown a PowerPoint slide in Kabul last summer that was meant to portray the complexity of American military strategy, but looked more like a bowl of spaghetti.

“When we understand that slide, we’ll have won the war,” General McChrystal dryly remarked, one of his advisers recalled, as the room erupted in laughter.

The slide has since bounced around the Internet as an example of a military tool that has spun out of control. Like an insurgency, PowerPoint has crept into the daily lives of military commanders and reached the level of near obsession. The amount of time expended on PowerPoint, the Microsoft presentation program of computer-generated charts, graphs and bullet points, has made it a running joke in the Pentagon and in Iraq and Afghanistan.

“PowerPoint makes us stupid,” Gen. James N. Mattis of the Marine Corps, the Joint Forces commander, said this month at a military conference in North Carolina. (He spoke without PowerPoint.)

“It’s dangerous because it can create the illusion of understanding and the illusion of control,” General McMaster said in a telephone interview afterward. “Some problems in the world are not bullet-izable.”

In General McMaster’s view, PowerPoint’s worst offense is not a chart like the spaghetti graphic, which was first uncovered by NBC’s Richard Engel, but rigid lists of bullet points (in, say, a presentation on a conflict’s causes) that take no account of interconnected political, economic and ethnic forces. “If you divorce war from all of that, it becomes a targeting exercise,” General McMaster said.

Commanders say that behind all the PowerPoint jokes are serious concerns that the program stifles discussion, critical thinking and thoughtful decision-making. Not least, it ties up junior officers — referred to as PowerPoint Rangers — in the daily preparation of slides, be it for a Joint Staff meeting in Washington or for a platoon leader’s pre-mission combat briefing in a remote pocket of Afghanistan.

Last year when a military Web site, Company Command, asked an Army platoon leader in Iraq, Lt. Sam Nuxoll, how he spent most of his time, he responded, “Making PowerPoint slides.” When pressed, he said he was serious.

“I have to make a storyboard complete with digital pictures, diagrams and text summaries on just about anything that happens,” Lieutenant Nuxoll told the Web site. “Conduct a key leader engagement? Make a storyboard. Award a microgrant? Make a storyboard.”

Despite such tales, “death by PowerPoint,” the phrase used to described the numbing sensation that accompanies a 30-slide briefing, seems here to stay. The program, which first went on sale in 1987 and was acquired by Microsoft soon afterward, is deeply embedded in a military culture that has come to rely on PowerPoint’s hierarchical ordering of a confused world.

“There’s a lot of PowerPoint backlash, but I don’t see it going away anytime soon,” said Capt. Crispin Burke, an Army operations officer at Fort Drum, N.Y.

Gen. David H. Petraeus, who oversees the wars in Iraq and Afghanistan and says that sitting through some PowerPoint briefings is “just agony,” nonetheless likes the program for the display of maps and statistics showing trends. He has also conducted more than a few PowerPoint presentations himself.

Commanders say that the slides impart less information than a five-page paper can hold, and that they relieve the briefer of the need to polish writing to convey an analytic, persuasive point. Imagine lawyers presenting arguments before the Supreme Court in slides instead of legal briefs.

Captain Burke’s essay in the Small Wars Journal also cited a widely read attack on PowerPoint in Armed Forces Journal last summer by Thomas X. Hammes, a retired Marine colonel, whose title, “Dumb-Dumb Bullets,” underscored criticism of fuzzy bullet points; “accelerate the introduction of new weapons,” for instance, does not actually say who should do so.

No one is suggesting that PowerPoint is to blame for mistakes in the current wars, but the program did become notorious during the prelude to the invasion of Iraq. As recounted in the book “Fiasco” by Thomas E. Ricks (Penguin Press, 2006), Lt. Gen. David D. McKiernan, who led the allied ground forces in the 2003 invasion of Iraq, grew frustrated when he could not get Gen. Tommy R. Franks, the commander at the time of American forces in the Persian Gulf region, to issue orders that stated explicitly how he wanted the invasion conducted, and why. Instead, General Franks just passed on to General McKiernan the vague PowerPoint slides that he had already shown to Donald H. Rumsfeld, the defense secretary at the time.

Senior officers say the program does come in handy when the goal is not imparting information, as in briefings for reporters.

The news media sessions often last 25 minutes, with 5 minutes left at the end for questions from anyone still awake. Those types of PowerPoint presentations, Dr. Hammes said, are known as “hypnotizing chickens.”

Helene Cooper contributed reporting.

Tuesday, April 6, 2010

The Power of Anticipation

(republished from 501Places.com)

It’s the way you tell ‘em: the art of storytelling

There’s an old joke that goes something like this:

A man walks into a pub. It’s in the middle of nowhere and full of local folk. He orders his drink and sits next to the bar. There’s a lot of general chatter taking place among the locals. Suddenly one man stands up and shouts “Forty two!” The whole pub erupts in laughter. The stranger is confused. A short while later another man yells out “Sixty seven!” and again there is a riotous reaction. By now the stranger is intrigued and asks the man next to him what’s going on. “It’s quite simple” he explains. “We’ve all been coming here for years, and we’ve all told every joke that we know many times. So we decided just to give each joke a number, and now we just shout out the number and the rest of us remember the joke.”

The stranger is fascinated and asks if he can have a go, to which his new friend readily agrees. He plucks up his courage and shouts out “Twenty seven!!” Deathly silence. You can hear the wind from the moors howling through the creaky window frames of the old pub. Dejected the man returns to his drink. Just then one of the regulars stands up and yells “Twenty seven!” and receives the loudest reaction of the night.

The stranger is now very frustrated and turns to his companion and says “I don’t get it. He shouted the same number as I did, but they didn’t laugh at all for me.” The friendly local puts a consoling arm around the stranger and says “Ah, but it’s the way you tell ‘em”.

Whether we are writing blogs or telling jokes, we are practising the art of story-telling. And just like the man said in this tale, how well people relate to our message is determined by our audience’s perception of how we tell the story. If we can create a feeling of anticipation, of people caring what comes next, of identfying personally with elements of the story, then our message carries so much more power, whatever the subject.

I remember vividly an evening in a modest quarter of Bucharest in a family garden. There must have been around 20 people there, including 3 of us Brits. As the alcohol flowed and the stories got more boisterous, one man seemed to sparkle as the comedian and storyteller. I could make out no more than half of what he was saying; enough to get the gist, but not enough to understand the fine nuances of his stories. From our limited vocabulary it was clear that the jokes were getting blue, and when he asked us for a contribution we had a discussion and agreed on a joke that I certainly won’t repeat here.

Between us we quietly and laboriously told him our joke in broken Romanian, no doubt murdering the punchline in the process. He paused at the end of our effort, thought for a moment and then stood up and began to deliver our joke to the expectant audience. It was an unforgettable moment, and this guy showed a talent that should have made a good living as a comedian. He wove his own jokes into the story, adding wild gestures and hilarious facial expressions, and long before he reached the punchline we were all in hysterics; more at his superb rendition of our story than at the decidedly average quality of the punchline. He had us spellbound, and we didn’t even understand half of what he was saying!

He demonstrated to me that a great storyteller can shine out even when an audience doesn’t understand every word. Storytelling isn’t about getting every fact lined up in the right order, or about ensuring that you have the perfect structure to your yarn. Instead we are more likely to judge a good story by how we perceive the messenger than by the words we read or hear.

“Thirty eight!”

Original article is here: http://www.501places.com/2010/03/its-way-you-tell-em-the-art-of-storytelling/

Tuesday, March 23, 2010

What Personality Traits Do Designers Share?

(From Fast Company)
65 designers take the Myers-Briggs personality test, offering a window into the way designers actually think--and the meaning of "design thinking."

Designers love to debate about what personality type makes for the best designer. So Michael Roller took the extra step of getting a bunch of designers to take the Myers Briggs personality test, and published the results in a chart:


Let's ignore all the details (and the hideous, illegible pie chart at the bottom), and zoom in on the two clearest trends: 85% of respondents were "intuiting" types, while 69% were "judging." By itself that's not particularly useful. But those two personality traits offer a good insight into what "design thinking" might actually consist of.

According to the test, those that "intuit" rather than "sense" tend to focus on context and future developments, rather than simply the data at hand. Meanwhile, those that "judge" rather than "perceive" tend to see the world in terms of discrete problems that can be structured and cracked, rather than as a series of casual, open-ended possibilities.

In other words, designers are less akin to the stereotypical touchy-feely artist, and more like engineers who always keep the big picture in mind.

Thursday, March 18, 2010

Infographics Stimulus

In addition to GOOD magazine, Fast Company produces some great infographics as well. A great resource for stimulus when trying to visualize your data.

Wednesday, February 17, 2010

Do We Really Need an Hour?

"Excellent article on meeting 'waste' for which the author prescribes the 20 minute rule..."

If You're So Good at Getting to the Point, Your Meeting Shouldn't Last So Long
Posted by Darryl Ohrt on 02.16.10 @ 05:10 PM via AdAge.com's 'Small Agency Diary'

We've been conditioned to create elevator pitches for our brands. Why can't we take the same approach in meetings?

It's become an unwritten corporate rule that every meeting must be an hour. Conference rooms are booked one hour at a time, presentation decks are designed around one hour of time, and our internal clocks tell us that this meeting should last for just about sixty minutes. Why?

We've shortened our text-based lives to 140 characters on Twitter. Short status updates on Facebook. Mobile text messages that get right to the point. It seems that business communication is moving at 140 characters a minute, until it comes to the conference room, where everything. Must. Take. An. Hour.

At our agency, we don't have a capabilities deck. When we have a first-time meeting with a client, we'll talk about our agency for about 20 minutes, while showing a couple of examples of relevant work. Any more would be a bore. And if they're allowing for an hour of time, we'll spend 40 minutes listening to them.

I've found that most clients are too busy to spend significant time listening to pitches anyway, so they've done their homework in advance and know that you're capable prior to ever accepting your meeting. The majority of what I've seen in agency capability decks is already covered on the agency website. (And if it isn't, it should be.)

Are most creative solutions so complex that they need more than a few minutes? If our fantastical creative solution to a client's problem can't be conveyed within 20 minutes, perhaps it's time to do a little refining. Someone in our industry once said that if you can't explain your commercial concept to your mom in a single sentence, then it's too complex. Agency meetings could use a little thinking like this.

Pecha Kucha is an organization that creates events featuring multiple presentations, each 20 slides, for 20 seconds each. In under seven minutes, people communicate real ideas, pitch their companies and sell themselves. It's possible. You don't need an hour.

Meet or Die, a site where "lousy meetings live on forever," is devoted to the very topic of meeting waste. The site went viral within a week's time because it's something that every office worker identifies with. Everyone knows it, everyone jokes about it, but nobody's doing anything about it.

I know for most, this is an impossible dream. It would require radical changes. Like only inviting decision makers to a meeting. Or admitting that everyone in the room isn't required to contribute. (We're adults now, and we don't all need "a turn" in the meeting.) And I'm not naive enough to believe that every meeting could be culled down to 20 minutes. But what if eight out of 10 could?

Here's an idea: Look at your calendar today, and attempt to shorten every meeting. Start with "I'm pressed for time, so let's just try and keep this to 20 minutes or less." I think you'll be surprised at what can be accomplished, without all of the clutter.

Better Storytelling

This is part 2 of 4 of a four part training module from bl!k.

'Storytelling' is one of the most misused and misunderstood terms bandied about lately. This module shows how to command your audience's attention by creating strong stories and selecting meaningful content.

Wednesday, February 10, 2010

Know how to Profile your audience

This is part 1 of a 4 part training module from bl!k.

Knowing the audience that you are speaking to is key when creating a powerful presentation. Check out this module on a simple guide to begin profiling your audience.

Monday, January 4, 2010

Perfecting the Pitch

Great advice from Venture Capitalists on what they look for - and what turns them off.


In brief:

  • Modesty Doesn't Pay: introduce all your relevant experience upfront, and allow other members of the team to do the same.
  • Tell it to Mom: Explain all the assumptions on which the plan is based; explain it like you would explain it to your mother; focus on how a solution to a problem makes $; practice so a pitch lasts an hour (incl. questions); 12-to-20 slides + hard copies.
  • Don't play with the numbers