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.
A former A2L jury consultant and Kenneth J. Lopez, J.D. Founder/CEO A2L Consulting Having conducted hundreds of mock trials and observed and polled jurors in hundreds of actual trials, we see the jurors asking the same questions over and over again – questions that the trial presentation should have answered. In view of that, here are five different subjects for trial graphics that are almost sure to answer some jurors' question in every case. They are so standard as scene-setters that they almost always have a place in a trial. Without them, triers of fact often feel as if they have come in after the movie started and that they can't rewind to get the answers. These five trial graphics fill in important blanks, prevent confusion, and create the foundation to tell your story, your way. Imagine the difference between being introduced to someone merely by name (“This is John Doe”), to whom you nod politely, but in whom you are unlikely to take interest -- and being introduced more fully (“This is Professor John Doe, who is in charge of research on meteors at M.I.T.”), whom you now likely have greater interest to get to know. 1. An organizational trial graphic or players chart showing the major players, their relationships, and their role in the case as you see them. A players chart answers questions like: Who initiated the relationship? What did each need or bring to it? Why? Who is in charge? Who did what? Who knows whom? What are the coalitions and who are adversaries? Who was a good or bad actor? A2L is hiring! Know a talented presentation designer for our DC headquarters?
by Ken Lopez Founder/CEO A2L Consulting The title of this article shouldn't sound like a breaking news headline, but let's be honest, it does. Most PowerPoint presentations are bullet-point-riddled text-heavy electronic projections of a speaker's notes. Most lawyer-delivered PowerPoint presentations are the same — just with even more text and smaller fonts. As a result, a significant majority of speakers (and lawyers) using PowerPoint presentations are hard to understand and dramatically less persuasive than they could be. There are exceptions of course. The kinds of litigators and others who become clients of A2L Consulting's litigation graphics division are the first exceptions. They typically learn the rules of effective presentation and high-level visual persuasion based on well-established neuroscience principles and rigorous psychological studies. The second exception is Lawrence Lessig, a Harvard law professor. I had the pleasure of seeing him deliver a presentation at TEDx MidAtlantic recently. Whether or not one agrees with his message, almost everyone can learn a lot from his presentation style and the methods he used to achieve visual persuasion. Here is a video of that presentation:
by Ken Lopez Founder/CEO A2L Consulting I love a good trial timeline whether it's a printed large-format trial board or whether it's in PowerPoint form. This goes for my colleagues here at A2L, as well. In fact, we love timelines so much that we've even produced a book with more than 30 types of trial timelines illustrated. Timelines are used as demonstrative evidence in just about every trial. They serve an obvious purpose of orienting judge and/or jury to the order of events and how those events relate to one another. It's the one exhibit that helps make sense of it all, particularly in a complex case. As our trial timine book discusses, a timeline does not have to be limited to simple chronologies. In fact by incorporating graphs, photos, color schemes and more, a timeline can transmute from being simply informative to being quite persuasive.
by Ken Lopez Founder/CEO A2L Consulting
by Ken Lopez Founder/CEO A2L Consulting
I find that by knowing how long something typically takes to do well, one can actually become better at doing that task. It makes sense, right? Once you know how long great work takes, you stop second-guessing your schedule as you do the work. I remember noticing this when I was doing computer animation in the 1990s.
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