The Litigation Consulting Report

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.

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 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

by Ken Lopez Founder/CEO A2L Consulting Over the past three decades I've heard hundreds of lawyers say, “I won't need many graphics because my case is not very visual.” Usually, that's followed up with “It's really a case about documents” or “It’s a dispute over who said what,” or “It’s just about what someone's actions were.” Fortunately, there’s a clear and straightforward answer to these objections: What drives the need for visuals in a case is not the underlying subject matter. It’s your audience's need to see things as well as hear them. In effect, every case is a visual case today. So instead of wondering whether your case lends itself to litigation graphics, you should probably be asking yourself whether you are substituting your judgment about the need for visuals for your audience's core psychological needs. Remember, lawyers tend not to be visual learners themselves, while many or most jurors will be in that category. One trial lawyer said this particularly well in this short video about why litigation graphics are important.

by Tony Klapper Managing Director, Litigation Consulting A2L Consulting At A2L, we strongly believe that strong visual presentations are indispensable to courtroom success. But great visuals don’t just create themselves. Top-notch litigation graphic artists are the ones who make unforgettable visuals, and that means that graphic artists need to be a crucial part of any trial team. And good graphic artists aren’t easy to find. As a graphic design website explains, a great graphic designer should “love art in all its forms” and “should live to create and to be inventive.” A graphic artist needs to understand color, composition, typefaces and dozens of other design elements and to use the best digital tools available.

by Jeanne Cannarozzi (Former) Business Development Manager A2L Consulting Trial teams often struggle to find just the right analogy or metaphor to help convince a jury. As persuasion consultants, our role is very often that of finding options for analogies or metaphors for a trial team to consider. It's one of those times when our office looks a lot like an advertising agency with a group trying to brainstorm. I want to share some resources used by our team in coming up with good techniques for trial teams to use.

by Ken Lopez Founder/CEO A2L Consulting I’ve seen a great many lawyers read documents aloud at trials, and, not coincidentally, I’ve seen lawyers lose cases in part because they did so. Both experience and the science of persuasion tell us that reading documents to a jury is a persuasion killer. But of course there are times when you absolutely need to read a document out loud. This article will help you find the best ways to do so when it is necessary. There are at least five good reasons why reading documents out loud is harmful. I will go through them, then offer three guidelines for reading passages of text to a jury or judge when it is necessary. After all, it’s hard to imagine trying a contract case without reading the key provisions of the contract. The split-attention effect/redundancy effect is easy to recognize, and we've all experienced it. In summary, if you are presented with a written document and it is read to you at the same time, your brain will have a hard time sorting out whether to read or to listen. What you might not know is that you actually end up far worse off reading written materials while seeing an image of those materials than you would have if you had just done one or the other -- read the materials or listened to the words. See The Redundancy Effect, PowerPoint and Legal Graphics.

How many slides should a world-class trial lawyer or trial presentation consultant create for use in a typical trial? That’s an interesting question that I hadn’t thought of until recently, when I had a fascinating debate with some litigators about this topic. One took the view that a trial with twice as many issues should require twice as many slides, even if the two trials are of equal length. I disagreed, and I think these litigators found my position confusing at first. I told them that the presumption for any trial team should be to use as few slides as possible to make a point. More slides just create more complexity. And that inhibits persuasion. There's a famous quote that has been attributed to many people, but it is correctly attributed to French mathematician Blaise Pascal: “I would have written a shorter letter if I had more time.” I think this sums up in many ways the goals of effective trial presentation. If you find yourself going to trial with 500 slides that you plan to use in a five-day trial, you are probably overdoing it. But people do that all the time. I wrote about this topic in an article discussing how the PowerPoint slides that you do use are informed by the ones you don't. I think of it like a sculptor and Michelangelo’s famous saying how he could see the finished piece in the block of stone, he just needed to chip away the extraneous stones. I do think trial presentation should work something like that. That's why it takes a long time to make a good presentation and why you should not find yourself at the end of the trial apologizing for not having written that shorter letter. Here are a handful of best practices for any PowerPoint slide presentation with additional reading incorporated throughout:

by Alex Brown Director of Operations A2L Consulting

by Maureen Vogel Litigation Graphics Artist A2L Consulting Before becoming an artist here at A2L Consulting, I was what you might call a typical graphic designer. I specialized in creating visual art, primarily for nonprofit organizations in the Washington, DC area. My primary focus was usually to visually convey a single important message with each graphic. I’d never concerned myself personally or professionally with the world of litigation. When I was a graphic designer, the software platforms Photoshop, Illustrator and InDesign were my standard canvas. However, as a litigation graphics artist, I usually stick to PowerPoint as the fundamental visual presentation tool. Although graphics may often incorporate visual concepts developed outside the PowerPoint platform, this is the foundation for presentation, and much of my artwork is now done in PowerPoint itself (and sometimes in Keynote for Apple devices). PowerPoint is a surprisingly powerful tool. In addition, I have noticed that there are quite a few differences between graphic design and litigation graphics art. Here are some of the differences I have observed that I find most interesting. 1. Color psychology is very important in litigation-focused graphics. Yes, color psychology is important in the graphic design realm as well. But in litigation graphics, using the wrong colors in court could offend your audience or negatively affect their mood. That would be a catastrophe. One example I’ve encountered at work was when the client asked me to change a list of people’s names on a PowerPoint slide from black to red. Red is a color we generally try to avoid in PowerPoint slides because it can increase aggressive feelings in audience members (jurors). Also, I had my own personal aversion to red; depending on the culture, the color red can also invoke very different emotions. For example, in Japan, my home country, writing a person’s name in red means that person will die soon. This would accordingly evoke a very specific emotion in the wrong audience. Because the client’s goal in changing the black font to red was simply to make it more visible and not necessarily to invoke feelings of alarm or aggression toward the people listed, we suggested a brighter blue font instead of red. Almost any color you can think of invokes a specific emotional response, so plan accordingly for your litigation graphics. A2L is looking for talented graphic designers! Read more here.