The Litigation Consulting Report

The other day, I noticed a New York Times obituary for Alan Peckolick, a graphic designer and illustrator known for his distinctive corporate logos and typeface designs. Peckolick championed “expressive typography.” He wrote a textbook called “Teaching Type to Talk.” He created General Motors’ “GM” logo, and letterforms for Mercedes-Benz, Pfizer and Revlon. In a 2015 interview, Peckolick explained that he conceived of “letterform as a piece of design. Cat is not ‘cat’ — it’s c-a-t. That’s what led to the beginning of the expressive topography.” Peckolick belonged to a pioneering generation of designers who reinvented typeface as a form of art. They believed that, just as words convey literal dictionary meaning, so do they express figurative value through typeface and letterform. In litigation graphics, imbuing words with depth of meaning and expression is mission-critical. Each letter counts. Each word must carry its own weight on the page. There simply is no space to waste. And in addition to practicing economy of language, we must elevate the appearance of words to convey essential meaning. As a design blogger wrote: Typography often provides that at-a-glance first impression that people gauge and judge the rest of the design by — so your font choices need to be purposeful and appropriate. Is your font saying “beach vacation” when it should be saying “job interview”? Do the elements of your font “outfit” clash, or do they complement each other? Are they effectively communicating the qualities you want to project? Ask yourself, does the chart you are devising use an easy-to-read, unobtrusive typeface? Does the timeline have enough white space to let a juror follow it with her eyes? Does the font say “major patent issue worth hundreds of millions” or does it say “routine commercial dispute”? By power-packing words with multi-layers of meaning, we communicate at the highest level, allowing words not simply to “speak” in unison with graphics, but to come alive and leap off the page at the reader. Other free A2L Consulting articles and resources related to graphic design, font usage, and persuasion tricks in litigation graphics include: Font Matters - A Trial Graphics Consultant's Trick to Overcome Bias Still Think Persuasion is About Talking While Showing Bullet Points? Free Download: A Guide to Making Great Trial Timelines 5 Demonstrative Evidence Tricks and Cheats to Watch Out For A Surprising New Reason to Repeat Yourself at Trial Watch Out for Subliminal Messages in Trial Graphics The Top 14 Testimony Tips for Litigators and Expert Witnesses Never Use Bullet Points - Here's Why Don't Use PowerPoint as a Crutch in Trial or Anywhere 6 Trial Presentation Errors Lawyers Can Easily Avoid 12 Reasons Bullet Points Are Bad (in Trial Graphics or Anywhere) 10 Criteria that Define Great Trial Teams How Much Text on a PowerPoint Slide is Too Much? 5 Ways to Maximize Persuasion During Opening Statements - Part 4 Free A2L Consulting Webinar: Persuasive Storytelling for Litigation The 12 Worst PowerPoint Mistakes Litigators Make 12 Ways to SUCCESSFULLY Combine Oral and Visual Presentations The Effective Use of PowerPoint Presentation During Opening Statement 16 PowerPoint Litigation Graphics You Won't Believe Are PowerPoint 12 Questions to Ask When Hiring a Trial Graphics Consultant

It is unquestioned that technology has had a profound impact on our environment in the last couple of decades. Our brains are constantly adapting at a physical level to our environment, and research has suggested that technology has changed the way we perceive, remember, and process information. Not much has yet been said, however, about how technology has changed the ways in which jurors process information and the appropriate new styles that trial lawyers ought to use in presenting information to a jury. The growth of the internet, 24-hour television, and mobile phones means that we now receive five times as much information every day as we did 30 years ago. With the appropriate internet connection, technology allows us to access any information in less than a second. According to Internet Live Stats (2014), 88.5 percent of people in the United States are internet users. In addition, the internet has also changed the way we as a society process information. For example, when we read a book we do so linearly, from one sentence to another, but when using multimedia devices, we scan for keywords and grab small bits of relevant information. The internet has influenced people’s cognition in a way which they will now typically forego complex analytic thinking to get information quickly and easily. In other words, people allow the internet or even their smartphones to think for them. As a result, it is much harder to sustain attention, to think about one thing for an extended period, and to think deeply when new stimuli have been pouring in all day long. This is not to say that technology has negatively impacted our brain. Instead, the excess amount of information at our fingertips has changed the way we process large amounts of information and specifically, what information engages our attention.

As you might expect, I think about the litigation graphics industry a good deal. It’s a fairly new industry, and it is undergoing constant change. The way I think about it, the industry is actually fairly small. There are perhaps three other serious national players that I would be mildly comfortable recommending when A2L is conflicted out of a case. Still, though, these firms are quite different from A2L, so a trial lawyer should expect an entirely different experience as a customer than with A2L. Most of our competition now uses the term “litigation consultant” that we first started using in the mid-1990s. In fact, we may have been the first to use it the term. However, this term means vastly different things from firm to firm. At A2L, we use the term litigation consultant primarily to refer to attorneys on our staff with a creative expertise, trial experience, and an understanding of persuasion science who interface with trial teams to help: develop the visual presentation develop themes, narratives, and strategies for the opening statement work with our jury consultants to help test cases As one can readily discern, these people are truly trusted advisors. They add value as opposed to taking orders.

A trial team might reasonably start a meeting with their litigation graphics consultants by saying, “We’re looking to you to help us design the best litigation graphics possible for this case.” It's a reasonable sounding goal to be sure. But what does it mean really? I think this means a lot of things. Ultimately, it must mean those trial presentation graphics will help win the case. Nothing else matters more. So, when you are talking to your trial graphics consultants, consider what you really intend to communicate about your goals. Here are nine things that I think define the best litigation graphics and how to get to them for your case. Eliminate the Mediocre Litigation Graphics: In my last article, I wrote about how the team with the most litigation graphics will not necessarily emerge the winner. The winner will be the team that refines its PowerPoint deck sufficiently to only show the best litigation graphics. See also 10 Reasons The Litigation Graphics You DO NOT Use Are Important. Your Notes Are Not Your Trial Presentation: All too often, litigators start building their trial presentation by creating text slides in PowerPoint. Typically, many bullet point style slides are left over that hamper persuasion and recall. See Still Think Persuasion is About Talking While Showing Bullet Points? and Don't Use PowerPoint as a Crutch in Trial or Anywhere We're Not Talking About Just Documents: Some people believe that when they've hired a hot-seat operator, they've hired a litigation graphics consultant. Ninety-nine times out of one hundred, they have not. They've hired a technology expert with excellent courtroom experience. However, this person is almost certainly not trained in the persuasion sciences. See Why Trial Tech ≠ Litigation Graphics Beauty is Not the Goal: Most litigation graphics firms focus on form over function. I appreciate great design better than most people, but the best graphics are the ones that are the most persuasive, not the most beautiful. See Litigation Graphics: It's Not a Beauty Contest

Since litigation graphics are so crucial to winning a case, it’s a necessity to put your litigation graphic artist in a position where he or she is most likely to succeed. How should a litigation graphic artist begin his or her work? Here are some possibilities. The artist can listen to the attorneys and experts describe what kind of demonstrative exhibits they want; The artist can take direction from an intermediary like a litigation consultant or jury consultant; The artist can work from the pleadings; The artist can improve upon a deck that's already been produced in draft form; The artist can work from a trial outline; The artist can listen to the attorneys and experts confer with a litigation consultant and ask questions of his or her own, then agree on a plan based on this conversation. After 22 years of doing litigation graphics consulting, I believe the last method is the one that produces the best results. You might ask why. After all, wouldn't it be faster if the artist is simply told what to do, and wouldn’t it be cheaper of the artist is asked to work from a trial outline?

by Ken Lopez Founder/CEO A2L Consulting Trial teams routinely spend tens of thousands, even hundreds of thousands of dollars, developing litigation graphics for a big case. They do this because litigation graphics are among the top five things that can affect the outcome of a trial. Over three decades and after thousands of conversations with trial teams about litigation graphics, I've watched some cases start off on the right foot and some on the wrong foot. That turns out to be critical. Frequently, the way an engagement starts between a litigation graphics team and a trial team will define the success of the engagement. So, here are 11 best practices designed to help your trial team get the first meeting (we call these meetings intake meetings) with your litigation graphics team just right. Know your litigation graphics provider. There are two kinds. The first type is a true consulting or trusted adviser firm populated by litigators, jury consultants, and information artists. The second is really a group of order takers or trial technicians. How you behave toward each type of firm matters enormously. The latter type shouldn’t be considered for big-ticket litigation, so I won't further address how to handle them. Send the litigation graphics team the pleadings in advance. Great litigation graphics consultants can digest and synthesize enormous amounts of information. The sooner you send that information, the better. Time matters enormously. I don't think you can conduct a proper intake meeting in less than an hour. I've had some run eight hours. I think the right amount of time is probably about two hours. Advocate! This is a good chance for you to convince a group of people who don't know much about your case that you are right and you deserve to win. It's easy practice.

by Tony Klapper Managing Director, Litigation Consulting A2L Consulting War rooms at trial are very intense, high-pressure places. Obviously, the lawyers in the trial team are going to make the war room their “office” for the duration of the trial, as will other team members such as paralegals and consultants. Here are five reasons why a trial team should always consider having a graphic artist on site, right beside the attorneys. If an artist is not there, side by side with the lawyers, the team will lose a certain amount of flexibility and responsiveness. If a lawyer wants a visual to be slightly modified, based on testimony that’s just now being heard, there’s nothing like having someone by her side to share thoughts with. The response can be immediate and in real time. Communication between the lawyer and the litigation graphics artist is much easier to achieve. If the artist is not there, miscommunications can creep in like a child’s game of “telephone.” A lawyer can show an artist on site exactly what she means because the artist is able to see and hear the lawyer, not just read an email or listen on the phone.

Law360 is a top legal industry publisher owned by Lexis-Nexis. Its daily newsletters are a must-read for trial lawyers involved in big-ticket litigation. This interview, Trial Consultants Q&A: A2L Consulting's Ken Lopez, was originally published on April 28, 2017, and is reprinted here with permission. Links to A2L articles and resources have been added by A2L in this reprint. Q: What aspect of trial consulting do you and your firm specialize in? What is unique about your firm, compared to other trial consulting firms? A: Founded in 1995, our firm is a leading national litigation consulting firm that helps trial lawyers and other advocates more reliably win complex and high-dollar disputes. We are typically in trial year-round and deliver world-class client-pleasing results in three key service areas: jury research and consulting, litigation graphics consulting, and trial technology consulting. We have recently been voted #1 in each of these categories by major legal publications. The composition of our leadership distinguishes it from other trial consulting and litigation consultant firms. Unlike firms whose origins are rooted in the trial technology business, the engineering business or the marketing/public relations fields, our team is composed of experts in the persuasion sciences. These include former litigators from top law firms, attorney-artists and social science Ph.Ds with decades of experience working with judges and juries. We primarily serve AmLaw 100 law firms and their clients. However, the firm regularly works with boutique law firms and in-house departments. It counts amongst its clients nearly all top law firms and a large portion of the Fortune 500. Most people find A2L through its litigation and persuasion-focused blog, The Litigation Consulting Report. It has nearly 10,000 subscribers and was named one of the top ten blogs in litigation by the American Bar Association. Q: What was the most interesting or memorable case that you worked on? A: The average case at A2L Consulting is a business dispute between global companies with $100 million at stake where we provide jury consulting, a mock trial, litigation graphics, and courtroom hot-seat trial technology support. One of our most memorable cases was entirely — not average. Through a top trial lawyer, we were hired to work on behalf of a surviving family member of the 1996 crash of ValuJet Flight 592 in the Everglades. This was not a plane that exploded or quickly crashed. Instead, oxygen containers in the cargo area helped fuel a fire that caused smoke to fill the plane. Then, the oxygen-fueled fire burned through the passenger cabin floor from below. After some time, controls on the plane were destroyed by the fire. Then, the plane flipped and dove into the Everglades below. No one survived. It took a long time for the tragedy to unfold and the passengers had awareness of what was happened. We know this because the plane was equipped with recording devices in both the cockpit and the passenger cabin. The recording is confidential, but none of us who worked on this case will ever forget what we heard on that recording. To help the jury visualize the experience the passengers had, we could have created a 3-D animation to show what the experience inside of the cabin was like. Instead, we synced that chilling audio with an animation we created that helped tell the tragic story. Once the animation was admitted into evidence, the case quickly settled. Q: Which stage of the trial process is the most challenging, and why? A: While we support all phases of litigation from prefiling to appeal, our firm most often focuses its consulting efforts on the opening statement. Indeed, we speak and write about opening statements often. Perhaps second only to jury selection, the opening statement can make or break an entire case. It provides the framework and narrative upon which the judge or jury will hear the evidence. For many, consciously or subconsciously, the decision about the outcome of the case will be made during opening statement. Because the opening statement is so critical, the best trial lawyers expend enormous amounts of effort preparing for openings. I’ve seen some trial lawyers practice their opening more than 100 times over the course of a year. Not surprisingly, these trial lawyers tend to win their cases. In every type of litigation consulting we provide, the opening statement is a central focus. When we conduct a mock trial, the attorneys present their openings to mock jurors or mock judges. When our senior litigation consultants work with top trial lawyers to refine their trial presentation, we ask them to present their openings as part of that process. When we design a PowerPoint presentation for opening, we ask our clients to do run-throughs of openings. When we introduce one of our trial technicians/hot-seat operators to a trial team, we ask the first chair to practice opening statements so they develop a rapport with the trial tech. Indeed, sometimes, we are asked to draft an opening statement as part of our litigation consulting effort. Opening statements are the most challenging part of the trial process because they should be. Cases are regularly won and lost because of them. Q: How has trial consulting evolved over time? What major differences are there between the industry when you started and the industry now? A: Our firm, now a national litigation consulting firm with jury consulting, litigation graphics consulting and trial technology consulting practices all voted #1 by the legal industry, was started as Animators at Law, an animation and litigation graphics firm for trial lawyers focused on persuasion. Back in the mid-1990s when we started our firm, the idea of using demonstrative evidence/litigation graphics during a trial was new. Today, no serious trial lawyer would go to trial in big-ticket litigation without litigation graphics and nearly all would hire a litigation graphics consulting firm like ours. When we started our firm, PowerPoint did not exist. Most litigation graphics were printed trial boards. Today, trial boards are used as unique emphasis tools that supplement a PowerPoint trial presentation. The practice of jury research has changed too. It has evolved from a guru-dominated practice where gut instinct drove many decisions. Today, there is more scientific rigor among top jury research firms. They let the data speak for itself and supplement that data with advice based on experience. Of course, the trial technology practice has radically changed. In the 1990s, it barely existed. Now, the complexity of cases demands that an experienced trial technician/hot-seat operator run the technology, show the trial presentation and be ready to pull up evidence on a moment’s notice. Q: What are some of the biggest challenges when working with attorneys and their clients? A: One of my colleagues likes to say, “they call it the practice of law, but nobody is practicing.” I agree wholeheartedly. If I could change one thing about the way trial lawyers prepare for trial, it would be the way they practice. The correlation between open practice in front of peers and winning cases is unmistakable. Half of the time, trial lawyers practice extensively and seek feedback from litigation consultants and colleagues. These lawyers tend to win their cases. When we see a trial lawyer who wants to privately prepare their trial presentation on the eve of trial, we worry. It’s not that this approach can’t work. It often does. Instead, we simply recognize that the more a trial team openly practices, the more often that trial team wins.

by Tony Klapper (Former) Managing Director, Litigation Consulting A2L Consulting For the purpose of telling a story or presenting data, experts have, over the years, suggested two different approaches. I will call them the “static” approach and the “build” approach. The static approach, in the hands of outstanding practitioners of data presentation, can have memorable results. Essentially, it conveys a great many types of information simultaneously, using graphic elements to show the relationship among the different varieties of data. Long before the advent of computers, French civil engineer Charles Joseph Minard, a pioneer in the presentation of data, created brilliant drawings depicting Napoleon’s Russian military campaign of 1812. These are a classic example of the static approach. The drawings, published in 1869, show the size of Napoleon’s army at each point of the campaign, the distance traveled, the latitude and longitude, and other key pieces of information. The acclaimed contemporary information scientist Edward Tufte says Minard’s work is “probably the best statistical graphic ever drawn,” high praise indeed. Trial lawyers also need to tell stories and present complex data sets to juries. That, in fact, is a good summary of what trial lawyers do. Lawyers and clients sometimes ask us at A2L to use this “static” approach and create a demonstrative that “says it all” in one large graph or chart. However, despite Tufte’s praise for Minard’s classic design, we think that judges and juries often learn better from a “build” approach, which starts with the basics of a story and builds it up incrementally. In our view, there is great benefit to not overwhelming a jury but in reaching a result in baby steps, especially when using a PowerPoint presentation for a jury trial. If a jury went into deliberations using a Minard-type document, we are not sure that all the jurors would fully see the ramifications of all the data, no matter how skillfully it was presented. In fact, the presentation itself during trial may take too much time and may be ineffective—as the lawyer (or the witness) is trying to orient the jury as to what to focus on and not focus on at any particular moment in the narrative. People tend to learn incrementally, not all at once. When many variables need to be presented – say, corporate earnings and profits, the number of market competitors, and prices over time – we often prefer to start with a PowerPoint with just one of those variables and build it up slowly. Trials are one area of endeavor in which we think the “build” approach may work better than the “static” approach. Other free and popular A2L Consulting articles related to legal infographics, PowerPoint litigation graphics, PowerPoint presentation for a jury trial, and demonstrative evidence generally: 16 PowerPoint Litigation Graphics You Won't Believe Are PowerPoint 15 Fascinating Legal and Litigation Infographics Information Design and Litigation Graphics Litigators, Portray Your Client As a Hero In 17 Easy Storytelling Steps Litigation Graphics, Psychology and Color Meaning 6 Studies That Support Litigation Graphics in Courtroom Presentations How Much Text on a PowerPoint Slide is Too Much? 9 Things I’ve Noticed About Effective Litigation Graphics After 20 Years as a Litigator 16 Litigation Graphics Lessons for Mid-Sized Law Firms 17 Reasons Why Litigation Consultants Are Better at Graphics Than Law Firms Why Trial Tech ≠ Litigation Graphics Good-Looking Graphic Design ≠ Good-Working Visual Persuasion 12 Reasons Litigation Graphics are More Complicated Than You Think

by Ken Lopez Founder/CEO A2L Consulting There are a handful of large law firms that have in-house graphics departments and use them as profit centers with their corporate clients. When a big case is on its way to trial, the large firm develops its own litigation graphics, and the law firm bills the client for in-house graphics in the same way (albeit at a lower rate) that lawyers are billed out. By and large, I think the law firms win and the clients lose in these scenarios. You would think that having an in-house litigation graphics department might make some sense. After all, the corporation being represented by the large law firm likely has an in-house marketing department. That works out pretty well, right? As someone who has watched the insourcing and outsourcing ebb and flow of law firm litigation graphics departments over the past three decades, I have seen one thing remain constant: High-end outside litigation graphics firms are radically better than in-house law firm graphics departments. Here are some reasons why: The vast experience gap: A firm like A2L may go to trial 50 or 100 times per year - and those are mostly big-ticket cases. No large law firm comes close. Large law firms typically have fewer than a dozen big-ticket cases across many offices. Common sense would tell anyone that the creative staff working on one or two cases in their office probably get less experience toward being a master of their craft compared to those artists working on dozens of cases per year. See, With So Few Trials, Where Do You Find Trial Experience Now? Law firms rarely retain good talent: Most litigation graphics artists worth their salt are either working for firms like A2L or freelancing for a firm like ours. We're always hiring full-time and contract litigation graphic artists with true intellectual curiosity, considerable artistic talent, and the ability to work wonders in PowerPoint. See, 16 PowerPoint Litigation Graphics You Won't Believe Are PowerPoint. Outside litigation graphics firms are a better value: When you have $10 million or even $10 billion at stake and getting the most persuasive litigation graphics may vary your graphics spend by $5,000, isn't the best value the choice that gives you the best chance of winning? See, 12 Reasons Litigation Graphics are More Complicated Than You Think. No adjustment for venue: In a firm like ours, jury consultants are mingling with the litigation graphics team. Juries in the Southern District of New York are different than those in the Northern District of California. Our information designers understand this and know to question the jury consulting team about varying their message accordingly. Very often, our customers have no idea they are getting this value, but I'm fairly certain they are not getting it from their in-firm departments.

by Tony Klapper (Former) Managing Director, Litigation Consulting A2L Consulting I recently had the opportunity to make a presentation at a federal judges’ conference in New Jersey that brought together judges and lawyers from that state. About 300 lawyers attended, as did about two dozen federal judges. The subject of my presentation was storytelling and its role in trials. After my presentation was over, I informally polled the judges in the room on their views concerning the importance of visuals at trial and the role of storytelling. Every single one of the judges, with the possible exception of one bankruptcy judge, indicated that he or she thought that the use of demonstratives was a critical part of any trial presentation. This is a notable indication, if an unscientific one, that judges, who are key decisionmakers in any courtroom, understand the role of visual persuasion. I would add a caveat. They are judges, after all, and I have little doubt that they will sua sponte reject a trial lawyer’s effort to tell a story visually that in the judge’s view is inherently unfair to the other side. Judges will control what goes on in the courtroom when it comes to the use of demonstratives as part of your narrative, as they will in every other aspect of a trial. That means that, as we said in our most recent post, trial lawyers should always have a backup plan in mind, a “Plan B” in case the judge views their original approach as objectionable. But the results of my informal poll are consistent with what we at A2L have been saying for the past several years here. Jurors are human beings who learn best when they learn visually, and they understand a case the most instinctively if it comes to them in the form of a story. Other articles about bench trials, mock bench trials, using demonstrative evidence with judges, and visual storytelling from A2L Consulting include: 21 Ingenious Ways to Research Your Judge 7 Things You Never Want to Say in Court 10 Suggestions for Conducting Mock Bench Trial Consulting Exercises Using Litigation Graphics in Bench Trials: How Different Is It From Jury Trials? 11 Surprising Areas Where We Are Using Mock Exercises and Testing Storytelling at Trial Works - But Whom Should the Story Be About? Winning BEFORE Trial - Part 3 - Storytelling for Lawyers 12 Ways to SUCCESSFULLY Combine Oral and Visual Presentations 3 Articles Discussing What Jurors Really Think About You 11 Tips for Winning at Your Markman Hearings 5 Essential Elements of Storytelling and Persuasion 11 Tips for Preparing to Argue at the Federal Circuit 5 Keys to Telling a Compelling Story in the Courtroom Preparing for ITC Hearings Three Top Trial Lawyers Tell Us Why Storytelling Is So Important