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Presentation and Communication
Informal
Allows samples to be
evaluated by touch;
organization is not so
important, although
a tray or box can be
used to give order to
schemes.
Sample Book
Allows for integra-
tion of images of
furniture, hardware,
textiles, and paint
colors.
Volumetric
Arranges samples
on a hard surface,
such as foam board,
with an overlap of
materials.
Formal
Mixes samples and
images in a rigorous,
gridded system.
the materials that will be used throughout an interior project. Materials should be proportion-
ally represented on each board to give the client a clear understanding of the nishes that will
should be finished in a professional manner: Fabrics should be upholstered onto a hard board;
each material that they intend to use: one for the sample board, one for the designer’s library,
There are many ways in which samples can be presented to reect the professionalism of the
Typical Sample Board
1 Sheer fabrics for drapery
2 Upholstery fabrics
3 Paint colors
4 Stone for counters/flooring
5 Carpet
6 Wood for millwork
7 Tiles for restrooms
8 Cork flooring
1
4
6
7
5
8
3
2
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THE INTERIOR DESIGN REFERENCE + SPECIFICATION BOOK
DIGITAL PRESENTATIONS
Digital presentations differ dramatically from printed ones. The most striking difference stems
from the digital presentation’s greater reliance on a well-developed narrative sequence to tell
the story of the design. A projected presentation is a less interactive medium than boards, as
viewers cannot casually flip back and forth among the material, nor allow their eyes to absorb
information in a slower manner. Because of this, the designer must take care to script the nar-
rative content of what is being communicated.
With computers becoming ubiquitous in the design professions, more presentations are be-
ing made to potential clients digitally, using a projector and a screen. Typically, this takes the
form of a series of slides that show previous work, ideas for a particular design solution, and
project organization. This type of presentation is as useful to the presenter as it is to the
audience—it keeps the content focused and reminds the speaker of what to address at any
given point.
Many applications are involved in creating a digital presentation. Apple’s Keynote, Adobe’s
InDesign, and Microsoft’s PowerPoint are among those that can facilitate presentations, and
the designer should become familiar with their techniques and strategies.
(SEE THE RESOURCES CHAPTER FOR LINKS TO PRESENTATION AND COMMUNICATION SOURCES.)
Projection vs. Design Boards
A projected presentation is developed as a linear narra-
tive, in which elements of importance are reiterated to
ensure that the audience comprehends the work. A design
board, on the other hand, has elements that are read at
different times and out of sequence.
1 2
3 4
5 6
7 8
1
2
3
4
5
6
8
7
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Presentation and Communication
Digital presentations differ dramatically from printed ones. The most striking difference stems
from the digital presentation’s greater reliance on a well-developed narrative sequence to tell
the story of the design. A projected presentation is a less interactive medium than boards, as
viewers cannot casually flip back and forth among the material, nor allow their eyes to absorb
information in a slower manner. Because of this, the designer must take care to script the nar
-
ing made to potential clients digitally, using a projector and a screen. Typically, this takes the
form of a series of slides that show previous work, ideas for a particular design solution, and
InDesign, and Microsoft’s PowerPoint are among those that can facilitate presentations, and
Constructing an Effective Digital Presentation
The variables in designing for a digital presentation are many:
the size of the screen onto which the work will be projected
may not be known; the light levels in the space in which the
presentation will be made cannot be predicted; the manner in
which people will react to the delivery cannot be anticipated.
The designer can, however, focus the attention of the audi-
ence by following the recommendations below:
ensure that the audience comprehends the work. A design
Increase the size of your
fonts
Fonts used in printed layouts
may be illegible when projected
on a screen. Add a few point
sizes to captions and headings.
Limit the use of serifs
Although useful for reading long
psses of text te riety of
thicknesses in a serif font can
dissolve when projected.
Separate content into
smaller pieces
Placing as much content on a
slide as you would on a large
board will result in too many
images; separate them.
Do not use bulleted lists
• bullets simplify
• reduce complexity
• incomplete sentences
Avoid clip art
Clip art can often call into ques-
tion the content of the presenta-
tion. Rely on your own drawings.
Increase the contrast of
your color palette
Projectors have limited control
over color management. Increas-
ing contrast will ensure your work
is legible.
Avoid showing samples
and sample boards
Color accuracy changes from
projector to projector. If you are
going to talk about samples,
have the real ones with you.
Create summary slides at
signicant moments
If you have talked about a number
of ideas, include them all on a
pros-and-cons summary page.
Know your data
Review any signicant—or
insignicant—numbers and facts
so that you can recite them at
any moment.
Pace your delivery
Having a timer function in
presentation software is a good
thing, but it can make you rush.
Practice prior to presenting.
Pace your content
Develop your presentation so
that all of the elements balance
out. Don’t spend fteen minutes
on dull content.
Pace yourself
e presenttion is yours elx
and take the time you need to get
your ideas across.
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THE INTERIOR DESIGN REFERENCE + SPECIFICATION BOOK
RENDERING TECHNIQUES FOR PRESENTATIONS
Renderings play an important role in any presentation of an interior project. The ability to
render a simple drawing—that is, to add textures, shadows, and other material qualities to
a drawing—greatly enhances its readability. Moreover, good rendering techniques allow a
drawing to operate as a visual guide to how an interior is organized and how decisions that
have been discussed are being deployed. Typically, designers reserve sketching for process
drawings, not just for internal sessions with the project team, but as a collaborative tool for
communicating ideas quickly at a meeting or presentation with the client, consultants, or
contractor. Today, most presentation renderings are computer generated.
Shadows and Texture
When used in nonperspective drawings such as plans or sections, shadows provide an easy
way to read the elevational heights of various objects, and add depth as well. Computational
rendering packages can make shadow plans a quick and effective way of demonstrating infor-
mation to the client, but care should be taken in determining the angle of a shadow so that
design elements are not obscured.
PERSPECTIVE RENDERING TECHNIQUES
Hidden Line and Shadows
Like perspective drawings done by hand, hidden line images essentialize the space through
the use of lines. Shadows and textures in a hidden line image can deepen an image, give clar-
ity to certain elements of the design, and express more fully the designer’s intent. As with
plans and sections, shadow position and intensity should be chosen carefully. These drawings
can be produced within a three-dimensional application, but are more easily assembled as
collages within a two-dimensional raster image program.
Line and Color
Adding color to a line drawing empha-
sizes aspects of the interior environ-
ment in a clear and minimal way.
Light
Key to any understanding of space is light. Computers can simulate light within interior space
through a variety of algorithms, including surface renderings and raytrace renderings. The
former do not adequately represent light or materials, however, and the accuracy of the latter
is not as rich as other solutions. Recently, two alternative algorithms have been introduced:
global illumination and physically accurate solutions. Global illumination calculates both direct
and indirect light that enters a space. Color from reflected surfaces is bounced into the scene.
Physically accurate rendering software simulates the precise physics of light in an environment;
it allows for careful evaluation of both natural light entering a space and artificial light within a
space. These calculations are computationally intensive and can take many hours to complete.
Designers should familiarize themselves with the complex factors that influence the efficiency
of any solution.
Material and Shadow Plan
Material plans and sections—onto which the material palette of a project has been collaged—
can demonstrate the location, proportion, and effect of materials within a space. Materials
can also be desaturated, or transparencied down, to allow the space of the plan or section to
remain visible. Material plans are more effective when combined with shadow plans, as the
abstraction of the plan is given a specic sense of space. They are also best presented in
combination with sample boards.
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Presentation and Communication
have been discussed are being deployed. Typically, designers reserve sketching for process
rendering packages can make shadow plans a quick and effective way of demonstrating infor
-
PERSPECTIVE RENDERING TECHNIQUES
Hidden Line and Shadows
Like perspective drawings done by hand, hidden line images essentialize the space through
the use of lines. Shadows and textures in a hidden line image can deepen an image, give clar-
ity to certain elements of the design, and express more fully the designer’s intent. As with
plans and sections, shadow position and intensity should be chosen carefully. These drawings
can be produced within a three-dimensional application, but are more easily assembled as
collages within a two-dimensional raster image program.
Line and Color
Adding color to a line drawing empha-
sizes aspects of the interior environ-
ment in a clear and minimal way.
Line, Color, and Shadow
Adding shadows to a line drawing gives
greater depth and drama to an image.
Light
Key to any understanding of space is light. Computers can simulate light within interior space
through a variety of algorithms, including surface renderings and raytrace renderings. The
former do not adequately represent light or materials, however, and the accuracy of the latter
is not as rich as other solutions. Recently, two alternative algorithms have been introduced:
global illumination and physically accurate solutions. Global illumination calculates both direct
and indirect light that enters a space. Color from reflected surfaces is bounced into the scene.
Physically accurate rendering software simulates the precise physics of light in an environment;
it allows for careful evaluation of both natural light entering a space and artificial light within a
space. These calculations are computationally intensive and can take many hours to complete.
Designers should familiarize themselves with the complex factors that influence the efficiency
of any solution.
Material plans and sections—onto which the material palette of a project has been collaged—
can also be desaturated, or transparencied down, to allow the space of the plan or section to
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