[…] SE
You persuade and you entertain and you excite. Those are the tools that you use for presentations. And none of these apps do that – not even Figma, which is made for designers. Or you have a really good designer who can create components that your producer can maybe reuse, but you still need design skills. Dekks was a step towards pre-composed modules and blocks that you can design with your own content. Most of the time your presentations repeat. You need the same templates and modules. You just stitch them together in a different way. […]

[…] AR
I think these days presentations are not linear at all. I find when presenting ideas that you do end up moving around and having that ability to kind of almost edit in real time, you’re presenting something but you can edit the presentation in real time and you can move things in and jump around. It’s more of a holistic experience rather than a linear experience. […]

[…] SE
It’s also about just simply almost un-designing presentations, while still making them look and feel good. A lot of designers over-design their presentation and their design becomes more of a thing than the actual ideas that they present. At the end of the day, the design really should just elevate the ideas that you have to show for your clients. That’s what we’re trying to solve. […]

[…] Post-rationalisation. I still use it now. When at the start of a project I don’t have any precise ideas, I search, I experiment, I run a few intuitive tests, and once I’ve got visuals that make sense, I formulate the idea. When presenting the visual to the client I link what I have produced to the subsequent idea. It sounds like a con job, as if we were snowing the client but intuition rules because intuition makes sense. There is obviously a reason for spontaneously choosing this or that artistic or graphic solution. […]

[…] DL
I am responsible for new business and if there’s a new client, I want to meet them. So my design approach – and it’s a big part of the quality of the project – is reading the room, making a connection with people: who are they? What are they concerned about? What are they inspired by? And who in our studio can react in a way that is relevant for these people? How do we work with them in a way that they keep feeding the inspiration, the creation and so we’re not afraid that it might go wrong? I really try to tune in… My part is more the tuning in on the human level. […]

[…] JF
if you can sum up an idea and send it to a client, then you don’t need to present it in person (…) your communication skills should be good enough to be able to clearly communicate an idea in a document. […]

[…] Presenting ideas has to be as straight and direct as possible. […]

[…] You have to build trust with clients and build a conversation where they understand your creative thinking and your problem solving. They must be willing to take the risk. And you have to show them why it’s important to take risks. […]

[…] I tell my students that no matter how good they are there’s always going to be someone less competent and less gifted than them but better equipped at selling themselves (…) then let’s make sure competent people also manage to sell work of quality. […]

[…] In my profession you can never think for one second that people comprehend what you’re doing. They’re incapable of telling the difference between a good logo and a bad logo, a good font and a bad font. A rule is to only show options you’re proud of, so you’ll be pleased no matter what they choose. […]

[…] Basically, the client knows best how his brand is working and how it should communicate. But it’s always the strategic idea, or the dogmatic thinking behind the design first. It’s very important for people to follow the reasoning behind something which may be disruptive, because otherwise, as I’ve said before, it’s just “looking good” or “weird”. […]

[…] In terms of process, typically, there is some point when there is a presentation and they want to see a concept. However, before that, in our sketching process, we stop halfway and we invite the clients to see our sketches. (…) We will make a selection but there could be tens of things that we will share.
With the client we then have a discussion on what works, what doesn’t work, what they feel is right. It can be very confrontational because they see a lot and not everybody knows how to deal with image. (…) From their reaction, we get a better understanding of where we have to go. (…) That initial process, we call it “the kitchen review”. […]