Write about an example of communication that could be improved by applying the visual design principles
/
9 Visual Media LEARNING OBJECTIVES
After studying this chapter, you will be able to
1 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003830#P7001012451000000000000000003834) Explain the power of business images, discuss six principles of graphic design that help ensure effective visuals, and explain how to avoid ethical lapses when using visuals.
2 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p70010124510000000000000000038a5#P70010124510000000000000000038AA) Explain how to choose which points in your message to illustrate.
3 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p70010124510000000000000000038eb#P70010124510000000000000000038F0) Describe the most common options for presenting data in a visual format.
4 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003a57#P7001012451000000000000000003A5C) Describe the most common options for presenting information, concepts, and ideas.
5 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003ab4#P7001012451000000000000000003AB9) Explain how to integrate visuals with text, and list three criteria to review in order to verify the quality of your visuals.
6 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003b3d#P7001012451000000000000000003B42) Identify the most important considerations in the preproduction, production, and postproduction stages of producing basic business videos.
MyBCommLab® Improve Your Grade!
/
More than 10 million students improved their results using Pearson MyLabs. Visit mybcommlab.com (http://mybcommlab.com) for simulations, tutorials, and end-of-chapter problems.
COMMUNICATION CLOSE-UP AT GoPro gopro.com (http://gopro.com)
If you’ve watched a daredevil video on YouTube in the past few years, chances are the video was shot with a GoPro camera. GoPro’s digital cameras have captured everything from extreme snowboarders to Felix Baumgartner’s epic 24-mile freefall leap from the edge of space. The “adrenaline market” is at the core of the GoPro brand, but the growing population of GoPro users also includes �ilmmakers, sports and wildlife photographers, oceanographers, atmospheric researchers, and others who need high-quality video footage from a small, rugged, and relatively inexpensive digital camera.
/
Viewer interest in extreme sports and other eye-catching events and phenomena created a huge market for GoPro’s video cameras. Under the leadership of founder and CEO Nick Woodman, the company has capitalized on this visceral appeal with an extensive social media presence centered on online video.
© epa european pressphoto agency b.v./Alamy Stock Photo
Not surprisingly, for its own business communication needs GoPro makes extensive use of video. Like many companies, it uses video to showcase new products and provide how-to advice for customers. However, GoPro has gone far beyond what many companies do with video by harnessing the amplifying power of social media. The company has taken user-generated content to the extreme, using a variety of recognition and reward mechanisms to encourage GoPro customers to submit video clips. For example, GoPro runs a nonstop contest that recognizes customers for the best footage shot on GoPro cameras. These photos and clips are then highlighted on the company’s website and all across the major social media platforms, including YouTube, Facebook, Twitter, Google+, and Instagram.
The company’s strategy of building a global video community has been a huge success. When Google (which owns YouTube) announced its �irst-ever monthly ranking of the highest-performing branded channels on YouTube, it determined that GoPro had the most engaged fan base. To measure engagement, Google factors in such variables as the amount of time visitors spending watching videos, the number of repeat visitors, and the number
/
of times people “like” a video or leave a comment. When you consider that virtually every video on GoPro’s YouTube channel functions as an advertisement for the company’s cameras, you get an idea of the immense promotional power that this high level of engagement represents.
After several years of rocketing growth while amateurs and professionals scooped up its ever-improving cameras, GoPro captured 70 percent of the market for action cameras. However, the market became more or less saturated at that point, as most people who wanted a camera had one. With its primary market satis�ied, the company faces the classic “now what?” question that many growing companies face. GoPro has decided to move into the drone market, where its cameras have been used on other companies’ drones for some time. Whether it can gain a foothold as a drone manufacturer remains to be seen, but the company will surely continue to leverage the power of video and social outreach as it tries to repeat its early success.
Video is an obvious choice of medium for a company that makes video cameras, but video has become a primary business communication medium for companies in virtually every industry. From product tutorials and demonstrations to employee training to seminars and speeches, many companies now use video to supplement or replace other media choices. And video is part of the larger shift toward visual communication that has altered the business landscape in recent years. Even if your job doesn’t involve snowboarding off cliffs or parachuting from space, you’ll probably use video and other visual communication tools to connect with colleagues and customers.1 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003DA4)
/
9.1 Understanding Visual Communication LEARNING OBJECTIVE
1 Explain the power of business images, discuss six principles of graphic design that help ensure effective visuals, and explain how to avoid ethical lapses when using visuals.
As a company in the business of digital video, GoPro (pro�iled in the chapter-opening Communication Close-Up (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003806#P700101245100000000000000000381F) ) emphasizes the visual element in every aspect of its communications. However, visual communication in all its forms has become important for companies in virtually every industry. This chapter is designed to help you appreciate the power of images and the visual evolution of business communication. It explains how to identify which points in your messages to illustrate; how to select the best visual for each of those points; how to create effective visuals in any medium, from memos to reports to webpages to presentations; and how to produce basic business videos.
THE POWER OF IMAGES Well-designed visual elements can enhance the communication power of textual messages and, in some instances, even replace them. Visuals can often convey some message points (such as spatial relationships, correlations, procedures, and emotions) more effectively and more ef�iciently than words. In general, in a given amount of time, effective images can convey much more information than text.2 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003DA6) In the numbers-oriented world of work, people rely heavily on trend lines, distribution curves, and other visual presentations of numeric quantities. Visuals attract and hold people’s attention, helping your audience understand and remember your message. Busy readers often jump to visuals to try to get the gist of a message, and attractive visuals can draw readers more deeply into your reports and presentations. Using pictures is also an effective way to communicate with the diverse audiences that are common in today’s business environment.
Like words, visuals often carry connotative or symbolic meanings.
In addition to their direct information value, visuals often convey connotative meaning as well. As you read in Chapter 5 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000002445#P7001012451000000000000000002445) , words and phrases carry connotative meanings, which are all the mental images, emotions, and other impressions that the word or phrase evokes in audience members. A signi�icant part of the power—and risk—of visual elements derives from their connotative meanings. Even something as simple as a watermark symbol embedded in letterhead stationery can boost reader con�idence in the message printed on the paper.3 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003DA8) Many colors, shapes, and other design elements carry visual symbolism (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003C46) , and their
/
symbolic, connotative meaning can evolve over time and mean different things in different cultures (see Figure 9.1 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003830#P7001012451000000000000000003840) ). Being aware of these symbolic meanings and using them to your advantage are important aspects of being an effective business communicator.
Figure 9.1 Visual Symbolism
A red cross (with equal-length arms) on a white background is the well-known symbol of the Red Cross relief organization. It is also used to indicate the medical branches of many nations’ military services. The red cross symbol is based on the �lag of Switzerland (where the �irst Red Cross organization was formed), which over the course of hundreds of years developed from battle �lags that originally used the Christian cross symbol. Although the Red Cross emblem is not based directly on the Christian symbol, the organization uses a red crescent in countries where Islam is the dominant religion and is known as the Red Crescent. To avoid any association with religious symbols, the International Federation of Red Cross and Red Crescent Societies (the global umbrella organization for all national Red Cross and Red Crescent organizations) recently adopted the Red Crystal as its new symbol.
Because they have so much power to communicate, visuals must be carefully planned, competently created, and seamlessly integrated with text. An awkward sentence or grammatical error deep within a report might not be noticed by the majority of readers, but a poorly chosen or clumsily implemented visual will be noticed by most—and can confuse or alienate audiences and damage your credibility. You don’t need to be a professional designer to use visuals effectively, but you do need to be aware of some basic design principles if you want to avoid making highly visible mistakes. This chapter gives you enough background to begin creating your own business visuals, and with some practice you’ll be able to craft effective visuals for nearly any communication project you might encounter.
THE VISUAL EVOLUTION IN BUSINESS COMMUNICATION
Thanks to advances in technology and changing audience expectations, business communication is becoming more visual.
Several technological and social factors are contributing to the increasing use and importance of visuals in business communication. The process of creating and working with visual elements used to be the domain of experts with complex and expensive tools. However, digital technology has changed this situation dramatically. Inexpensive digital cameras and smartphones can be used to produce high-quality images and video, and the software needed to create diagrams, process photos, edit video, and prepare other visual elements continues to get both easier and more powerful all the time. Design and production tasks that used to take days can now be completed in hours or even minutes. Business communicators have the tools
/
to reach wider audiences in less time, using equipment that costs less and requires fewer skills.4 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003DAA)
While technology has been putting visual design and production into the hands of everyday business communicators in recent years, audience skills and expectations have been evolving as well. Two changes in particular could affect your communication efforts in the coming years. First, U.S. government research indicates that only half of the adult population in the United States has the literacy skills considered necessary for success in today’s workplace.5 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003DAC) In other words, depending on the nature of your work, you could �ind yourself communicating with audiences whose skills could prevent them from successfully reading your documents. Visuals could play a vital role in communicating your messages to audiences with lower reading skills. Second, because technology has multiplied the ways in which communicators can create visuals, and as people grow up and live in a more visual, media- saturated environment, audiences are likely to expect messages to be more visual.
Visual literacy is the ability to create and interpret visuals successfully.
As a result of these changes in both the tools and the communication environment, visual literacy (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003C43) —the ability to create effective images and to correctly interpret such images—has become a key business skill.6 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003DAE) Whether you are using visuals to reach an audience with limited reading skills or to magnify the impact of your written messages, knowing how to help your audience see what you see will enable you to become a more effective communicator.
THE FUTURE OF COMMUNICATION
Gestural Computing
If you’ve ever wished that you could just wave your hands at your computer and have it do your bidding, that wish might come true in a few years. The aim of gestural computing is letting users control computers and other digital devices through modes of motion, such as waving your hands or moving your eyes.
Gestural computing can be accomplished through various means. One approach, which is already used widely in video games, involves handheld devices that convert motion to digital commands. The Nintendo Wii controller is a well-known example of this technology. Another approach involves sensors that detect and translate motion without requiring users to hold anything. Good examples are BMW’s Gesture Control interface, which lets drivers wave their hands and move their �ingers to select entertainment and navigation functions, and wireless control mechanisms for smartwatches and other wearables that let users interact with their devices simply by moving their �ingers in the air (rather than reaching with one hand to use a touch interface).
/
Entertainment and other consumer applications of gestural control are intriguing, but the technology can also aid business communication. By simplifying interaction with mobile devices, it could make creating and consuming content on media devices more ef�icient. Imagine “typing” a report through your smartwatch by wiggling your �ingers while you commute to work on your bicycle. In addition, like haptic computing (see page 164 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000002c1c#page_164) ), gestural computing can open up possibilities for digital interaction for people with motor impairments that limit the use of conventional input devices such as keyboards.
WHAT’S YOUR PREDICTION?
Research the current state of gestural computing to identify one way in which the technology has the potential to change business communication practices. Do you agree with the predictions the experts make? Why or why not?
Sources: “Gesture Recognition,” TechTarget, accessed 6 April 2016, whatis.techtarget.com (http://whatis.techtarget.com) ; Deidre Richardson, “Aria Silicon Module Adds Gesture Control to Android Wear, Pebble Time,” ExtremeTech, 3 June 2015, www.extremetech.com (http://www.extremetech.com) ; Bill Howard, “AirTouch: BMW’s Air Kiss for Touchscreen Gesture Controls,” ExtremeTech, 4 January 2016, www.extremetech.com (http://www.extremetech.com) .
VISUAL DESIGN PRINCIPLES
Creating effective visuals requires basic knowledge of the principles of good design.
Just as creating effective sentences and paragraphs requires working knowledge of the principles of good writing, creating effective visuals requires some knowledge of the principles of good design. Even though few businesspeople have the opportunity to formally study the “language” of line, mass, space, size, color, pattern, and texture, anyone can learn enough of the basic concepts to craft effective basic visuals.
When you encounter visuals that you �ind appealing or unappealing, effective or ineffective, stop and ask yourself what caused your response. Did a particular design grab you and practically force you to pay attention, or did you pass right by with hardly a notice? Did one chart reveal its information quickly and easily, while another made you spend time decoding its confusing message? Did one photo appeal to you at an emotional level and therefore draw you into a document, whereas another was off-putting and caused you to lose interest? By thinking about your own reactions to visual designs, you can become a more effective designer yourself.
As you consider your reactions to various designs and create designs of your own, you’ll begin to see how six fundamental principles help distinguish ineffective and effective designs:
Consistency. Audiences view a series of visuals as a whole and assume that design elements will be consistent from one page to the next. Think of consistency as visual parallelism, in the same way that textual parallelism helps audiences understand and compare a series of ideas.7 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003DB0)
/
You can achieve visual parallelism in a variety of ways, including through consistent use of color, shape, size, texture, position, scale, or typeface. Contrast. To emphasize differences, depict items in contrasting colors, shapes, or sizes. For example, to highlight the difference between two quantities in a chart, don’t use two shades of blue; instead, use blue for one and yellow or some other dramatically contrasting color for the other. Balance. Balance can be either formal, in which the elements in the images are arranged symmetrically around a central point or axis, or informal, in which elements are not distributed evenly, but rather stronger and weaker elements are arranged in a way that achieves an overall effect of balance. A common approach to informal balance is weighing one visually dominant element against several smaller or weaker elements.8 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003DB2) In general, formal balance is more calming and serious, whereas informal balance tends to seem more dynamic and engaging. Emphasis. Audiences usually assume that the dominant element in a design is the most important, so make sure that the visually dominant element really does represent the most important information. You can do so through color, position, size, or placement, for example. Conversely, be sure to visually downplay less important items. For instance, avoid using strong colors for minor support points, and deemphasize background features such as the grid lines on a chart. Convention. Visual communication is guided by a variety of generally accepted rules or conventions, just as written communication is guided by an array of spelling, grammar, punctuation, and usage conventions. These conventions dictate virtually every aspect of design.9 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003DB4) Moreover, many conventions are so ingrained that people don’t even realize they are following these rules. For example, if English is your native language, you assume that ideas progress across the page from left to right because that’s the direction in which English text is written. If you are a native Arabic or Hebrew speaker, however, you might automatically assume that �low on a page or screen is from right to left because that is the direction in which those languages are written. Flouting conventions often causes breakdowns in communication, but in some cases, it can be done to great effect.10 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003DB6) For instance, �lipping an organizational chart upside down to put the customers at the top, with frontline employees directly beneath them and on down to the chief executive at the bottom, can be an effective way to emphasize that customers come �irst and that the managers are responsible for supporting employees in their efforts to satisfy customers. Simplicity. As a general rule, simple is better when it comes to visuals for business communication. Remember that you’re conveying information, not expressing your creative �lair. Limit the number of colors and design elements you use, and take care to avoid chartjunk, a term coined by the visual communication specialist Edward R. Tufte for decorative elements that clutter documents and potentially confuse readers without adding any relevant information.11 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003DB8) Computers make it far too easy to add chartjunk, from clip art illustrations to three-dimensional charts that really display only two dimensions of data.
Nearly every aspect of visual design is governed by conventions that set audience expectations.
/
THE ETHICS OF VISUAL COMMUNICATION
Remember that the power to communicate with visuals comes with the responsibility to communicate ethically.
Power always comes with responsibility—and the potential power of visuals places an ethical burden on every business communicator. Ethical problems, both intentional and unintentional, can range from photos that play on racial or gender stereotypes, to images that imply cause-and-effect relationships that may not exist, to graphs that distort data (see Figure 9.2 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003830#P7001012451000000000000000003878) on the next page).
Altering the scale of items in a visual is just one of many ways to emphasize or deemphasize certain aspects of information. For example, to increase the perceived size of a product, an advertiser might show a close-up of it being held by someone with smaller-than-average hands. Conversely, a large hand would make the product seem smaller.
You can work to avoid ethical lapses in your visuals by following these guidelines:12 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003DBA)
You can take many steps to emphasize or deemphasize speci�ic elements in your visuals, but make sure you don’t inadvertently commit an ethical lapse while doing so.
Visuals can’t always speak for themselves; make sure your audience has enough context to interpret your visuals correctly.
Consider all possible interpretations—and misinterpretations. Try to view your visuals from your audience members’ perspective. Will their biases, beliefs, or backgrounds lead them to different conclusions than you’ve intended? For instance, assume that you want to show how easy your product is to use, and the photograph you’ve chosen just happens to show an older person operating the product. Will anyone conclude that what you really mean to say is that your product is so simple that “even an old person can use it”? Provide context. Even when they are completely accurate, visuals can show only a partial view of reality. Part of your responsibility as a communicator is to provide not only accurate visuals but enough background information to help audiences interpret the visual correctly.
/
Figure 9.2 In�luencing Perception Through Visual Design
/
Figure 9.2a (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003830#P7001012451000000000000000003878) shows impurities measured over the course of a 12-month period; the vertical scale is set from 0 to 120, suf�icient to cover the range of variations in the data. However, what if you wanted to make the variations from month to month look more severe? Less severe? Figure 9.2b (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003830#P7001012451000000000000000003878) , with the scale “zoomed in” to a narrow range of 60 to 110, makes the variations look much more dramatic. The result could be a stronger emotional impact on the reader, creating the impression that these impurities are out of control. In contrast, Figure 9.2c (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003830#P7001012451000000000000000003878) expands the scale from 0 to 200, which minimizes the appearance of the variations in the data. This graph is visually “calmer,” creating the opposite impression—that there’s really nothing to worry about. The data shown in all three graphs are identical, but the graphs send three different messages to the reader. Are any of the graphs unethical? That depends on the communicator’s intent and whether it inhibits the audience’s ability to make informed decisions.
Don’t hide or minimize negative information that runs counter to your argument. Obscuring information prevents your audiences from making fully informed decisions regarding your content. Don’t exaggerate information that supports your argument. Similarly, you have a responsibility not to oversell information in support of your argument. You should also resist the temptation to alter or enhance photographs and other images in order to support your arguments. Don’t oversimplify complex situations. By their very nature, visuals tend to present simpli�ied views of reality. This is usually a bene�it and one of the key reasons for using visuals. However, take care not to mislead an audience by hiding complications that are important to the audience’s understanding of the situation. Don’t imply cause-and-effect relationships without providing proof that they exist. For example, if you create a line chart that shows how increasing sales seem to track with increasing advertising expenditures, you can claim a correlation but not necessarily a cause-and- effect relationship between the two. You can claim a causal relationship (meaning that the increase in advertising spending caused the increase in sales) only if you can isolate advertising spending as the only factor that can account for the increase in sales. Avoid emotional manipulation or other forms of coercion. For instance, a photograph of an unhappy child being treated as a social outcast because he or she doesn’t own the trendiest new toys could be considered an unethical way to persuade parents to buy those products for their children. Be careful with the way you aggregate data. Preparing charts, graphs, and tables that present data often involves decisions about aggregating, or grouping, data. Such decisions can have a profound effect on the message your audience receives (see “Ethics Detective: Solving the Case of the Hidden Numbers (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003830#P700101245100000000000000000389B) ”). For example, if you aggregate daily production levels to show only a single data point for each week, you might be obscuring important variations that happen from day to day.
The ways in which you aggregate data for display can affect the messages and meanings that your audience extracts from your visuals.
/
ETHICS DETECTIVE
Solving the Case of the Hidden Numbers
You’ve been assigned to present the results of an industrywide study of the effects of insecticides. Your audience consists of the department heads in your company, whose experience and educational backgrounds vary widely, from chemical engineering to insurance to law. You’re convinced you need to keep your report as simple and as jargon-free as possible.
You’re not a scienti�ic expert on insecticides, but your supervisor has introduced you to a scientist who works for a trade association that represents chemical producers, including your �irm. The scientist is familiar with the study you’ll be reporting on, and she has experience in communicating technical subjects to diverse audiences. You jumped at the chance to have such a knowledgeable person review your presentation for technical accuracy, but you’re uncomfortable with some of her feedback. In particular, you question her advice to replace the line chart shown here, which displays the number of insecticide poisonings and deaths by age.
The scientist suggests that this chart is too busy and too dif�icult for nonspecialists to understand. As an alternative, she provides this bar chart that selects four speci�ic ages from the entire range. She says this chart communicates the same basic idea as the line chart but is much easier to read.
ANALYSIS
You agree with the scientist that the line chart is visually busy and takes more effort to process, but something bothers you about the bar chart. Does it present the insecticide situation accurately and honestly? Why or why not?
/
9.2 Identifying Points to Illustrate LEARNING OBJECTIVE
2 Explain how to choose which points in your message to illustrate. To help identify which parts of your message can bene�it from visuals, step back and consider the �low of your message from the audience’s point of view. Which parts of the message are likely to seem complex, open to misinterpretation, or even just a bit dull? Are there any connections between ideas that might not be obvious if they are addressed only in the text? Are there a lot of numeric data or is there other discrete factual content that would be dif�icult to read if presented in paragraph form? Is there a chance that the main idea won’t “jump off the page” if it’s covered only in the text?
If you answer yes to any of these questions, you probably need one or more visuals. When you’re deciding which points to present visually, think of the �ive Cs:
Effective visuals are clear, complete, concise, connected, and compelling.
Clear. The human mind is extremely adept at processing visual information, whether it’s something as simple as the shape of a stop sign or as complicated as the �loor plan for a new factory. If you’re having dif�icultly conveying an idea in words, consider whether a visual element will do the job instead. Complete. Visuals, particularly tables, often serve to provide the supporting details for a main idea or recommendation. A table or another visual can provide these details without getting in the way of your main message. Concise. You’ve probably heard the expression “A picture is worth a thousand words.” If a particular section of your message seems to require extensive description or explanation, see whether there’s a way to convey this information visually. With a picture working in conjunction with text, you may be able to reduce your word count considerably. Connected. A key purpose of many business messages is showing connections of some sort—similarities or differences, correlations, cause- and-effect relationships, and so on. Whenever you want readers to see such a connection, determine whether a chart, a diagram, or another illustration might help. Compelling. Will one or more illustrations make your message more persuasive, more interesting, more likely to get read? You rarely want to insert visuals simply for decorative purposes, of course, but even if a particular point can be expressed equally well via text or visuals, consider adding the visual to make your report or presentation more compelling.
REAL-TIME UPDATES
LEARN MORE BY READING THIS ARTICLE
/
Four communication challenges where visuals can be more effective than text
Training, product reviews, complex data presentations, and social media can all bene�it from visual content. Go to real-timeupdates.com/bct14 (http://real-timeupdates.com/bct14) and select Learn More in the Students section.
As you identify which points in your document would bene�it from a visual, make sure that each visual you decide on has a clear purpose (see Table 9.1 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p70010124510000000000000000038a5#P70010124510000000000000000038C3) ).
TABLE 9.1 When to Use Visuals
Purpose Application
To clarify Support text descriptions of “graphic” topics: quantitative or numeric information, explanations of trends, descriptions.
To simplify Divide complicated descriptions into components that can be depicted with conceptual models, �lowcharts, organization charts, or diagrams.
To emphasize
Call attention to particularly important points by illustrating them with line, bar, and pie charts.
To summarize
Review major points in the narrative by providing a chart or table that sums up the data.
To reinforce Present information in visual form to supplement descriptions in text.
To attract Make material seem more interesting by decorating the cover or title page and by breaking up the text with visual aids.
To impress Build con�idence by using visual forms to convey authenticity and precision.
To unify Depict the relationships among various elements of a whole.
TABLE 9.2 Selecting the Best Visual
Communication Challenge Effective Visual Choice
Presenting Data
To present individual, exact values Table
To show trends in one or more variables, or the relationship between those variables, over time Line chart, bar chart
To compare two or more sets of data Bar chart, line chart
/
Communication Challenge Effective Visual Choice
To show frequency or distribution of parts in a whole Pie chart
To show massive data sets, complex quantities, or dynamic data Data visualization
Presenting Information, Concepts, and Ideas
To show geographic relationships or comparisons Map, geographic information system
To illustrate processes or procedures Flowchart, diagram
To show conceptual or spatial relationships (simpli�ied) Illustration
To tell a data-driven story visually Infographic
To show (realistic) spatial relationships Photograph
To show processes, transformations, and other activities Animation, video
/
9.3 Selecting Visuals for Presenting Data LEARNING OBJECTIVE
3 Describe the most common options for presenting data in a visual format. After you have identi�ied which points would bene�it most from visual presentation, your next decision is choosing which type of visual to use for each message point. As you can see in Table 9.2 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p70010124510000000000000000038a5#P70010124510000000000000000038F4) , you have many choices for business graphics, which can be roughly divided into those for presenting data and those for presenting information, concepts, and ideas.
For some content, the decision is usually obvious. For example, to present a large set of numeric values or detailed textual information, a table is often the obvious choice. However, if you’re presenting data broken down geographically, a color-coded map might be more effective, showing overall patterns rather than individual data points. Also, certain visuals are used more commonly for certain applications, as you’ll see in the following sections.
Business professionals have a tremendous number of choices for presenting data, from general-purpose line, bar, and pie charts to specialized charts for product portfolios, �inancial analysis, and other professional functions. The visuals most commonly used to present data include tables; line and surface charts; bar charts, pictograms, and Gantt charts; scatter and bubble diagrams; and pie charts. (Note that most people use the terms chart and graph interchangeably.)
TABLES When you need to present a large number of speci�ic data points or pieces of information, choose a table (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003C3A) , a systematic arrangement of data in columns and rows. Tables are ideal when your audience needs information that would be either dif�icult or tedious to handle in the main text.
Printed tables can display extensive amounts of data, but tables for online display and presentation slides need to be simpler.
Most tables contain the standard parts illustrated in Figure 9.3 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p70010124510000000000000000038eb#P7001012451000000000000000003935) on the next page. Every table includes vertical columns and horizontal rows, with useful headings along the top and side. For printed documents, you can adjust font size and column and row spacing to �it a considerable amount of information on the page and still maintain readability. For online documents, you may need to reduce the number of columns and rows to make sure your tables are easily readable, particularly on mobile devices. If
/
you can’t simplify a table enough to make it easily readable in a web or mobile browser, provide the full table as a downloadable PDF. If you want to give the audience the opportunity to manipulate the table’s content, you can provide it as a downloadable or online spreadsheet. Tables for presentation slides usually need to be the simplest of all because you can’t expect audiences to read detailed information from the screen.
Although complex information may require formal tables that are set apart from the text, you can present some data more simply within the text. You make the table, in essence, a part of the paragraph, typed in tabular format. Such text tables are usually introduced with a sentence that leads directly into the tabulated information. Here’s an example:13 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003DBC)
Figure 9.3 Parts of a Table
Here are the standard parts of a table. No matter which design you choose, make sure the layout is clear and that individual rows and columns are easy to follow.
Here is how �ive leading full-service restaurant operators compare in terms of number of locations and annual revenue:
OSI Restaurant Partners Dine Equity Carlson Brinker Darden Major Chain(s) Outback Steakhouse, Carrabba’s Applebee’s, IHOP Friday’s, Pick Up Stix Chili’s, Maggiano’s Red Lobster, Olive Garden Locations (n) 1,470 3,300 990 1,550 1,800 Revenue ($, Millions) $3,600 $1,414 N/A $2,859 7,113
Source: Hoover’s website, accessed 25 February 2016, www.hoovers.com (http://www.hoovers.com) ; “America’s Largest Private Companies,” Forbes, accessed 25 February 2016, www.forbes.com (http://www.forbes.com) ; company �inancial reports available on Google Finance, accessed 25 February 2016, www.google.com/�inance (http://www.google.com/�inance) .
/
When you prepare tables, follow these guidelines to make they are easy to read:
Use common, understandable units and clearly identify which you’re using, whether dollars, percentages, price per ton, or some other unit. Express all items in a column in the same unit and round off for simplicity whenever doing so won’t eliminate essential details. Label column headings clearly and use a subheading if necessary. Separate columns or rows with lines or extra space to make the table easy to follow; in complex tables, consider highlighting every other row or column in a pale, contrasting color. Provide totals or averages of columns or rows when relevant. Document the source of the data, using the same format as a text footnote (see Appendix B (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p700101245100000000000000000747b#P700101245100000000000000000747B) ).
Tables can contain numerals, text, symbols, or other facts and �igures. Text tables are particularly appropriate for presenting survey �indings or for comparing various items against a speci�ic standard.
LINE AND SURFACE CHARTS
Line charts are commonly used to show trends over time or the relationship between two or more variables.
A line chart (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003C28) illustrates trends over time or plots the relationship of two or more variables. In line charts showing trends, the vertical axis—or y axis—shows the amount, and the horizontal axis, or x axis, shows the time or other quantity against which the amount is being measured. Both axes often start at zero in the lower left corner, but you can exercise a fair amount of �lexibility with both axes in order to present your data as clearly as possible. For instance, to show both positive and negative values (such as pro�it and loss), you can have the y axis span from a negative value up to a positive value, with zero somewhere in between. Of course, you should always avoid distorting the data in ways that could mislead your audience, as noted in the section “The Ethics of Visual Communication (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003830#P7001012451000000000000000003873) ” on pages 233 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003830#page_233) –235 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003830#page_235) .
/
Figure 9.4 Line Chart
This line chart compares the temperatures measured inside two cement kilns at half-hour intervals from 8:00 A.M. to 5:00 P.M.
If you need to compare two or more sets of data, you can plot them on the same chart for instant visual comparison (see Figure 9.4 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p70010124510000000000000000038eb#P70010124510000000000000000039B4) ). Two or three lines on a single chart are usually easy to read, but beyond that, things can get confusing, particularly if the lines cross.
Spreadsheet forecasting functions can help predict future values based on past values shown in a line chart.
Because they usually show the behavior of one or more variables in the past, line charts often raise the question, “What will happen in the future?” For instance, if you present sales data for the past 12 months, your audience may well ask what you think will happen in the next 12 months. Predicting the future is always risky, but you can use a spreadsheet’s forecasting tool to extend a line into the future, using a statistical technique known as regression analysis. Check the program’s Help function for more information on using its linear regression, trend line, or forecasting functions. However, when using these tools, be aware that all they can do is extract patterns from past data and extend them into the future. They don’t have any awareness of the “real-life” factors that shaped the past data and that will shape the future data.
/
Figure 9.5 Surface Chart
Surface, or area, charts can show a combination of trends over time and the individual contributions of the components of a whole.
A surface chart (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003C37) , also called an area chart (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003C07) , is a form of line chart with a cumulative effect; all the lines add up to the top line, which represents the total (see Figure 9.5 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p70010124510000000000000000038eb#P70010124510000000000000000039C8) ). This presentation helps you illustrate changes in the composition of something over time. One common use is to show how sales of individual products contribute to the company’s overall revenue.14 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003DBE) When preparing a surface chart, put the most important segment on the bottom and build up from there.
BAR CHARTS, PICTOGRAMS, AND GANTT CHARTS A bar chart (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003C0A) portrays numbers by the height or length of its rectangular bars, making a series of numbers easy to read or understand. (Vertical bar charts are sometimes called column charts.) Bar charts are particularly valuable when you want to
You can create bar charts in a wide variety of formats; choose the form that best illustrates the data and relationships in your message.
/
Compare the sizes of several items at one time Show changes in one item over time Indicate the composition of several items over time Show the relative sizes of components of a whole
As the charts in Figure 9.6 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p70010124510000000000000000038eb#P70010124510000000000000000039EC) show, the bar chart is a versatile tool that can serve many purposes. Grouped bar charts compare more than one set of data, using a different color or pattern for each set. Deviation bar charts identify positive and negative values, or winners and losers. Segmented bar charts, also known as stacked bar charts, show how individual components contribute to a total number, using a different color or pattern for each component. Combination bar and line charts compare quantities that require different intervals. Paired bar charts show the correlations between two items.
Figure 9.6 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p70010124510000000000000000038eb#P70010124510000000000000000039EC) also suggests how creative you can be with bar charts. You might align the bars either vertically or horizontally, or you might use bar charts to show both positive and negative quantities. No matter what you do, however, be sure to space the bars evenly and place them in a logical order, such as chronological or alphabetical.
/
/
Figure 9.6 Bar Charts
Here are six of the many variations possible with bar charts: singular (9.6a), grouped (9.6b), deviation (9.6c), segmented (9.6d), combination (9.6e), and paired (9.6f).
/
Figure 9.7 Gantt Chart
A Gantt chart is a specialized bar chart that uses bars to show durations of tasks and lines to show dependencies between tasks, such as when one task cannot be started before another one is completed.
You can also convert the bars of a bar chart into lines of symbols, so that the number or length of the symbols indicates the relative value of each item. A chart that portrays data as symbols instead of words or numbers is known as a pictogram (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003C2E) . The chief value of pictograms is their novelty and ability to convey a more literal, visual message, but they can be more dif�icult to read if not designed with care, and they can present a less professional tone than a straightforward bar chart.
Closely related to the bar chart is the time line chart (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003C3D) , which shows how much time is needed to complete each task in a given project. When you want to track progress toward completing a project, you can use a type of time line chart known as a Gantt chart (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003C1C) (see Figure 9.7 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p70010124510000000000000000038eb#P7001012451000000000000000003A0B) ).
SCATTER AND BUBBLE DIAGRAMS
Scatter diagrams compare entities against two variables; bubble diagrams compare them against three.
/
If you need to compare several entities (companies, markets, employees, and so on) on two variables, such as revenue and pro�it margin, use a scatter diagram (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003C34) , also known as an XY diagram (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003C49) . This diagram is similar to a line chart in the sense that one variable is plotted along the x (horizontal) axis and another along the y (vertical) axis. In a scatter diagram, however, individual points are plotted, not continuous lines. A bubble diagram (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003C0D) expands to three variables, with the size of the bubble representing the third variable (see Figure 9.8 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p70010124510000000000000000038eb#P7001012451000000000000000003A1B) ).
PIE CHARTS
Pie charts are used frequently in business reports, but they are often not as helpful to readers as bar charts and other types of visuals would be.
A pie chart (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003C31) is a commonly used tool for showing how the parts of a whole are distributed. Although pie charts are popular and can quickly highlight the dominant parts of a whole, they are often not as effective as bar charts or tables. For example, comparing percentages accurately is often dif�icult with a pie chart but can be fairly easy with a bar chart (see Figure 9.9 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p70010124510000000000000000038eb#P7001012451000000000000000003A32) ). Making pie charts easier to read can require labeling each slice with data values, in which case a table might serve the purpose more effectively.15 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003DC0)
DATA VISUALIZATION
Data visualization tools can overcome the limitations of conventional charts and other display types.
Data visualization is an important feature for companies using big data.
/
Conventional charts and graphs are limited in several ways: Most types can show only a limited number of data points before becoming too cluttered to interpret, they often can’t show complex relationships among data points, and they can represent only numeric data. As computer technologies continue to generate large amounts of data that can be combined and connected in endless ways, a diverse class of display capabilities known as data visualization (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003C13) work to overcome all these drawbacks. In some instances data visualization is less about clarifying individual data points and more about extracting broad meaning from giant masses of data or putting the data into context.16 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003DC2)
Figure 9.8 Bubble Diagram
A bubble diagram shows three variables: distance along the x and y axes, plus the diameter of each bubble. In this case the rate of revenue growth is plotted on the x axis, pro�it margin is plotted on the y axis, and the size of the bubbles represents annual revenues. For instance, MooreComp has the greatest revenues but the lowest pro�it margin, although it is growing faster than two of its three competitors.
/
Figure 9.9 Pie Charts Versus Bar Charts
Pie charts are used frequently, but they aren’t necessarily the best choice for many data presentations. This pie chart does make it easy to see that assemblers are the largest employee category, but other slice sizes (such as Sales, Engineers, and Admin) are not as easy to compare and require a numerical rather than a visual comparison. In contrast, the bar chart gives a quick visual comparison of every data point.
REAL-TIME UPDATES
LEARN MORE BY READING THIS ARTICLE
New thinking on data visualization
As data visualization matures, see what visual communication expert professor Alberto Cairo has to say on the subject. Go to real- timeupdates.com/bct14 (http://real-timeupdates.com/bct14) and select Learn More in the Students section.
Data visualization has become an important tool for companies working with big data, a term used to describe massive collections of data from a variety of sources piling up at high speeds.17 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003DC4) Interactive apps let users “drill down” into data sets to �ind details or look at data collections from a variety of perspectives (see Figure 9.10 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p70010124510000000000000000038eb#P7001012451000000000000000003A49) on the next page).
/
In addition to displaying large data sets and linkages within data sets, other kinds of visualization tools combine data with textual information to communicate complex or dynamic data much faster than conventional presentations can. For example, a tag cloud shows the relative frequency of terms, or tags (content labels), in an article, a blog, a website, survey data, or another collection of text.18 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003DC6)
REAL-TIME UPDATES
LEARN MORE BY VISITING THIS WEBSITE
Data visualization and infographics gateway
This unique web resource offers links to a vast array of data visualization and infographic techniques and examples. Go to real- timeupdates.com/bct14 (http://real-timeupdates.com/bct14) and select Learn More in the Students section.
Figure 9.10 Data Visualization
Data visualization displays and software tools take a wide variety of forms. Here is a mobile app that lets users explore a large data set from different perspectives and at varying levels of detail.
Courtesy of Tableau.
/
9.4 Selecting Visuals for Presenting Information, Concepts, and Ideas LEARNING OBJECTIVE
4 Describe the most common options for presenting information, concepts, and ideas. In addition to facts and �igures, you’ll need to present other types of information, from spatial relationships to abstract ideas. In these situations professionals often look for visual solutions to complement or even replace textual information. The most common types of visuals for these applications include �lowcharts and organization charts; maps; illustrations, diagrams, and photographs; infographics; and video (covered in the �inal section of the chapter).
FLOWCHARTS AND ORGANIZATION CHARTS
Use �lowcharts to show a series of steps in a process or other sequential relationships.
If you need to show physical or conceptual relationships rather than numeric ones, you might want to use a �lowchart or an organization chart. A �lowchart (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003C19) (see Figure 9.11 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003a57#P7001012451000000000000000003A66) ) illustrates a sequence of events from start to �inish. It is particularly helpful when illustrating processes and procedures in which there are decision points, loops, and other complexities. For general business purposes, you don’t need to be too concerned about the speci�ic shapes, although do keep them consistent. However, be aware that there is a formal �lowchart “language” in which each shape has a speci�ic meaning (diamonds are decision points, rectangles are process steps, and so on). If you’re communicating with computer programmers and others who are accustomed to formal �lowcharting, make sure you use the correct symbols to avoid confusion. Graphics programs that have �lowchart symbols usually label their functions, making it easy to use the right ones.
Use organization charts to depict the interrelationships among the parts of a whole.
As the name implies, an organization chart (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003C2B) illustrates the positions, units, or functions of an organization and the ways they interrelate (refer to Figure 1.3
/
(http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p70010124510000000000000000010d4#P700101245100000000000000000110C) on page 8 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p70010124510000000000000000010d4#page_8) for an example).
MAPS
Use maps for such tasks as representing statistics by geographic area or showing spatial relationships.
Maps can show location, distance, points of interest (such as competitive retail outlets), and geographic distribution of data, such as sales by region or population by state. In addition to presenting facts and �igures, maps are useful for showing market territories, distribution routes, and facilities locations.
/
Figure 9.11 Flowchart
Flowcharts show sequences of events and are most valuable when the process or procedure has a number of decision points and variable paths.
Figure 9.12 Geographic Information Systems
Businesses use geographic information systems (GISs) in a variety of ways. By overlaying maps and aerial or satellite imagery with descriptive data (such as this map of gas prices in the Chicago area), companies can use these displays for such purposes as planning sales campaigns, optimizing transportation routing, and selecting retail or production sites.
When combined with databases and aerial or satellite photography in geographic information systems (GISs), maps become extremely powerful visual reporting tools (see Figure 9.12 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003a57#P7001012451000000000000000003A79) ). As one example, retailing specialists can explore the demographic and psychographic makeup of neighborhoods within various driving distances from a particular store location. Using such information, managers can plan everything from new building sites to delivery routes to marketing campaigns.
ILLUSTRATIONS, DIAGRAMS, AND PHOTOGRAPHS
/
Use illustrations and diagrams to show how something works or how it is made or used; illustrations are sometimes better than photographs because they let you focus on the most important details.
The opportunities to use illustrations, diagrams, and photographs are virtually endless. Simple illustrations can show the network of suppliers in an industry, the �low of funds through a company, or the process for completing the payroll each week. More-complex diagrams, including interactive online diagrams, can convey technical topics such as the operation of a machine or repair procedures.
Word processors and presentation software now offer fairly advanced drawing capabilities, but for more precise and professional illustrations, you may need a specialized package such as Adobe Illustrator or Trimble SketchUp. For more-technical illustrations, computer-aided design (CAD) systems such as Autodesk’s AutoCAD can produce extremely detailed architectural and engineering drawings.
Use photographs for visual appeal and to show exact appearances.
Photographs offer both functional and decorative value, and nothing can top a photograph when you need to show exact appearances. Because audiences expect photographs to show literal visual truths, you must take care when using image-processing tools such as Adobe Photoshop.
MOBILE APP
Instagram has become wildly popular for personal photos, but many companies use the photo-sharing service for business communication as well.
To use photographs successfully, consider these guidelines:
Consider whether a diagram would be more effective than a photograph. Photographs are often unmatched in their ability to communicate spatial relationships, sizes, shapes, and other physical parameters, but sometimes they communicate too much information. For example, to show how to adjust a speci�ic part of a complicated machine, a photo can be confusing because it shows all the parts within the camera’s view. A simpli�ied diagram is often more effective because it allows you to emphasize the speci�ic parts that are relevant to the problem at hand. Learn how to use basic image-processing functions. For most business reports, websites, and presentations, you won’t need to worry about advanced image-processing functions and special effects. However, you need to know such basic operations such as the difference between resizing (changing the size of an image without removing any parts of it) and cropping (cutting away parts of an image). Make sure the photographs have communication value. Except for covers, title slides, and other special uses, it’s usually best to avoid including photographs simply for decorative value. Be aware of copyrights and model permissions. As with textual information you �ind online, you can’t simply insert online photographs into your documents. Unless they are speci�ically offered free, you have to assume that someone owns the photos and is entitled to payment
/
or at least a photo credit. In addition, professional photographers are careful to have any person who poses in photos sign a model release form, which gives the photographer permission to use the person’s image.
Make sure you have the right to use photographs you �ind online.
REAL-TIME UPDATES
LEARN MORE BY VISITING THIS WEBSITE
Ideas for using Instagram for business communication
The Instagram for Business blog discusses ways to use the popular photo-sharing service. Go real-timeupdates.com/bct14 (http://real- timeupdates.com/bct14) and select Learn More in the Students section.
INFOGRAPHICS
Infographics can offer stylized versions of basic charts and graphs or more engaging narratives that tell a story or illustrate a process.
Infographics (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003C1F) are a special class of diagrams that can convey both data and concepts or ideas. In addition, they contain enough visual and textual information to function as independent, standalone documents. Broadly speaking, there are two types of infographics: those that are stylized collections of charts or graphs and those that have a structured narrative. The �irst type don’t necessarily convey any more information than basic charts and graphs in a conventional report would, but their communication value lies in their ability to catch the audience’s attention and the ease with which they can be distributed online. The second type, represented by Figure 9.13 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003ab4#P7001012451000000000000000003AA5) , take full advantage of the visual medium to tell stories or show interconnected processes. Such infographics can be powerful communication tools, even to the point of replacing conventional reports.
REAL-TIME UPDATES
/
LEARN MORE BY VISITING THIS WEBSITE
Ten tools for creating infographics
These online tools (many are free) offer a variety of ways to create infographics. Go to real-timeupdates.com/bct14 (http://real- timeupdates.com/bct14) and select Learn More in the Students section.
/
9.5 Producing and Integrating Visuals LEARNING OBJECTIVE
5 Explain how to integrate visuals with text, and list three criteria to review in order to verify the quality of your visuals. Now that you understand the communication power of visuals and have chosen the best visuals to illustrate key points in your report, website, or presentation, it’s time to get creative. This section offers advice on creating visuals, integrating them with your text, and verifying the quality of your visual elements.
/
Figure 9.13 Infographics
In general, infographics can be divided into simple presentations of data and visual narratives such as this one, which use the full power of the medium to tell stories or illustrate processes.
Courtesy of Sustainable America.
CREATING VISUALS
Programs and apps offer a variety of graphical tools but don’t automatically give you the design sensibility that is needed for effective visuals.
Computers make it easy to create visuals, but they also make it easy to create ineffective, distracting, and even downright ugly visuals. However, by following the basic design principles discussed on pages 232 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003830#page_232) –233
/
(http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003830#page_233) , you can create all the basic visuals you need—ones that are both attractive and effective.
Learning how to use your computer tools will help you save enormous amounts of time and produce better results.
Whether you’re using the charting functions offered in a spreadsheet or the design features of a specialized graphics program, take a few minutes to familiarize yourself with the software’s quirks and capabilities. For important visuals, try to have a professional designer set up a template for the various types of visuals you and your colleagues need to create. In addition to helping ensure an effective design, using templates saves you the time of making numerous design decisions every time you create a chart or graphic.
A visual’s level of sophistication should match the communication situation.
No matter which tools you’re using, take care to match the style and quality of your visuals with the subject matter and the situation at hand. The style of your visuals communicates a subtle message about your relationship with the audience. A simple sketch might be �ine for a working meeting but inappropriate for a formal presentation or report. On the other hand, elaborate, full-color visuals may be viewed as extravagant for an informal report but may be entirely appropriate for a message to top management or in�luential outsiders.
MOBILE APP
Graph (Android) and Numbers (iOS) are two of the many apps available for creating charts and graphs on mobile devices.
INTEGRATING VISUALS WITH TEXT For maximum effectiveness and minimum disruption for the reader, visual elements need to be carefully integrated with the text of your message. In some instances visual elements are somewhat independent from the text, as in the sidebars that occasionally accompany magazine articles or photo essays such as you see in Chapters 1 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p700101245100000000000000000105b#P700101245100000000000000000105B) , 4 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000001f59#P7001012451000000000000000001F59) , and 8 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003454#P7001012451000000000000000003454) in this textbook. Such images are related to the content of the main story, but they aren’t referred to by a speci�ic title or �igure number.
/
For reports and most other business documents, however, visuals are tightly integrated with the text so that readers can move back and forth between text and visuals with as little disruption as possible. Successful integration involves four decisions: maintaining a balance between visuals and text, referring to visuals in the text, placing the visuals in a document, and writing titles and other descriptions.
Maintaining a Balance Between Illustrations and Words
As far as the content allows, maintain a comfortable balance between text and visuals.
Strong visuals enhance the descriptive and persuasive power of your writing, but putting too many visuals into a report can distract your readers. If you’re constantly referring to tables, illustrations, and other visual elements, the effort to switch back and forth from words to visuals can make it dif�icult for readers to maintain focus on the thread of your message. The space occupied by visuals can also disrupt the �low of text on the page or screen.
Make sure your visuals match the needs, expectations, and interpretation skills of your audience.
As always, take into account your readers’ speci�ic needs. If you’re addressing an audience with multiple language backgrounds or widely varying reading skills, you can shift the balance toward more visual elements to help get around any language barriers. The professional experience, education, and training of your audience should in�luence your approach as well. For instance, detailed statistical plots and mathematical formulas are everyday reading material for quality-control engineers but not for most salespeople or top executives.
Referencing Visuals
To tie visuals to text, introduce them in the text and place them near the points they illustrate.
Unless a visual element clearly stands on its own, it should be referred to by number in the text of your report. Some report writers refer to all visuals as “exhibits” and number them consecutively throughout the report; many others number tables and �igures separately (everything that isn’t a table is regarded as a �igure). In a long report with numbered sections, illustrations may have a double number (separated by a period or a hyphen) representing the section number and the individual illustration number within that section. Whatever scheme you use, make sure it’s clear, consistent, and easy to follow.
Help your readers understand the signi�icance of visuals by referring to them before readers encounter them in the document or on the screen. The following examples show how you can make this connection in the text:
/
Figure 1 summarizes the �inancial history of the motorcycle division over the past �ive years, with sales broken into four categories.
Total sales were steady over this period, but the mix of sales by category changed dramatically (see Figure 2).
The underlying reason for the remarkable growth in our sales of youth golf apparel is suggested by Table 4, which shows the growing interest in junior golf around the world.
Help your readers understand why each visual is important.
When describing the data shown in your visuals, be sure to emphasize the main point you are trying to make. Don’t make the mistake of simply repeating the data to be shown. Paragraphs that do are guaranteed to put the reader to sleep. The visual will (or at least should) provide all these details; there is no need to repeat them in the text. Instead, use round numbers that sum up the message. For example, you might say, “As Table 4.2 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p70010124510000000000000000021ce#P70010124510000000000000000021E4) shows, more than two-thirds of the respondents earn less than $20 per hour.”
Placing Visuals
Place each visual as close as possible to its in-text reference to help readers understand the illustration’s relevance and to minimize the effort of reading.
Try to position your visuals so that your audience won’t have to �lip back and forth (in printed documents) or scroll (on screen) between the visuals and the text. Ideally, it’s best to place each visual within, beside, or immediately after the paragraph it illustrates so that readers can consult the explanation and the visual at the same time. This scheme works well both in print and online. If at all possible, avoid bunching visuals at the end of a section or the end of a document; doing so asks a lot of the reader. (Bunching is unavoidable in some cases, such as when multiple visuals accompany a single section of text—as in this chapter, for instance.) Word-processing, desktop-publishing, and web-design programs or apps let you place graphical elements virtually anywhere you wish, so take advantage of this �lexibility.
Writing Titles, Captions, and Legends
A descriptive title simply identi�ies the topic of an illustration; an informative title helps the reader understand the conclusion to be drawn from the illustration.
/
Titles, captions, and legends help connect your visual and textual messages and ensure a seamless reading experience. A title (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003C40) identi�ies the content and purpose of the visual, along with whatever label and number you’re using to refer to the visual. A descriptive title (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003C16) simply identi�ies the topic of the illustration, whereas an informative title (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003C22) calls attention to the conclusion that ought to be drawn from the data. Here’s an example of the difference:
Descriptive Title Informative Title Relationship Between Petroleum Demand and Re�inery Capacity in the United States
Re�inery Capacity Declines as Petroleum Demand Continues to Grow
An informative title saves readers the work of interpreting the visual to extract the main idea from it. Regardless of whether your titles and legends are informative or descriptive, phrase them consistently throughout a document.
A caption (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003C10) usually offers additional discussion of a visual’s content and can be up to several sentences long, if appropriate. Captions can also alert readers that additional discussion is available in the accompanying text. A legend (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003C25) helps readers “decode” the visual by explaining what various colors, symbols, or other design choices mean (several of the �igures in this chapter use legends, for example). Legends aren’t necessary for simple graphs, such as a line chart or bar chart with only one series of data, but they are invaluable with more complex graphics.
VERIFYING THE QUALITY OF YOUR VISUALS Visuals have a particularly strong impact on your readers and on their perceptions of you and your work, so verifying the quality of your visuals is an essential step. Ask yourself three questions about every visual element:
Review each visual to make sure it doesn’t intentionally or unintentionally distort the meaning of the underlying information.
Is the visual accurate? Be sure to check for mistakes such as typographical errors, inconsistent color treatment, confusing or undocumented symbols, and misaligned elements. Also verify that the information in visuals and text matches. For data presentations, particularly if you’re producing charts using a spreadsheet, verify any formulas used to generate the numbers and make sure you’ve selected the right numbers for each chart. For �lowcharts, organization charts, diagrams, photos, and other visuals, make sure that each visual delivers your message accurately and that you have inserted the correct image �iles.
/
Is the visual properly documented? As with the textual elements in your reports and presentations, visuals based on other people’s research, information, and ideas require full citation. (Even if the graphical design is entirely yours, any underlying information taken from other sources needs to be documented.) Also, try to anticipate any questions or concerns your audience may have and address them with additional information, as needed. For instance, if you’re presenting the results of survey research, many readers will want to know who participated in the survey, how many people responded, and when the questions were asked. You could answer these questions with a note in the caption along the lines of “652 accountants, surveyed the week of January 17.” Similarly, if you found a visual in a secondary source, list that source on or near the graphic to help readers assess the information. Alternatively, you can list sources in an appendix. Is the visual honest? As a �inal precaution, step back and verify that your visuals communicate truthful messages. Make sure they don’t hide information the audience needs, imply conclusions that your information doesn’t support, or play on audience emotions in manipulative or coercive ways.
For a review of the important points to remember when creating visuals, see “Checklist: Creating Effective Visuals (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003ab4#P7001012451000000000000000003B0D) .” For more information on visual communication, including design principles, ethical matters, and the latest tools for creating and displaying visuals, visit real-timeupdates.com/bct14 (http://real-timeupdates.com/bct14) and select Chapter 9 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003806#P7001012451000000000000000003806) .
VISUAL MEDIA ON MOBILE DEVICES Whether it’s a training video, an interactive big-data tool, or a GIS system used for on-site analysis, more and more employees need to consume visual media on smartphones and tablets. The constraints of small screens are even more acute with visuals than they are with text, so preparing visual content for mobile users takes careful planning and the use of display tools designed for mobile devices. With screen space at a premium, think carefully about audience members’ needs, including the circumstances in which they’ll be using their devices, so you can prioritize and sequence the delivery of information (see Figure 9.14 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003ab4#P7001012451000000000000000003B33) ).19 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003DC8)
CHECKLIST Creating Effective Visuals
Emphasize visual consistency to connect parts of a whole and minimize audience confusion. Avoid arbitrary changes of color, texture, typeface, position, or scale. Highlight contrasting points through color, position, and other design choices. Decide whether you want to achieve formal or informal balance. Emphasize dominant elements and deemphasize less important pieces in a design. Understand and follow (at least most of the time) the visual conventions your audience expects. Strive for simplicity and clarity; don’t clutter your visuals with meaningless decoration. Follow the guidelines for avoiding ethical lapses. Carefully consider your message, the nature of your information, and your audience to choose which points to illustrate.
/
Select the proper types of graphics for the information at hand and for the objective of the message. Be sure the visual contributes to an overall understanding of the subject. Understand how to use your software tools to maximize effectiveness and ef�iciency. Integrate visuals and text by maintaining a balance between illustrations and words, clearly referring to visuals within the text, and placing visuals carefully. Use titles, captions, and legends to help readers understand the meaning and importance of your visuals. Verify the quality of your visuals by checking for accuracy, proper documentation, and honesty.
/
Figure 9.14 Visual Displays on Mobile Devices
Think through your audience’s needs carefully when designing mobile visuals. As with this mobile app from the Hipmunk airfare-search service, present only the most essential information on each screen, with no extraneous information, and let users tap through for more details.
Courtesy of Hipmunk, Inc.
/
9.6 Producing Business Videos LEARNING OBJECTIVE
6 Identify the most important considerations in the preproduction, production, and postproduction stages of producing basic business videos.
No matter what career path you pursue, chances are you’ll have the need or opportunity to produce (or star in) a business video. For videos that require the highest production quality, companies usually hire specialists with the necessary skills and equipment. For most routine needs, however, any business communicator with modest equipment and a few basic skills can create effective videos.
The process of creating videos is divided into preproduction, production, and postproduction.
The three-step process adapts easily to video; professionals refer to the three steps as preproduction, production, and postproduction (see Figure 9.15 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003b3d#P7001012451000000000000000003B49) ). You can refer to one of the many books available on basic video production techniques for more detail, but here are the key points to consider in all three steps. (A note on terminology: digital videography has inherited a number of terms from �ilm that don’t make strict technical sense but are in common use anyway, including footage to indicate any amount of recorded video and �ilming to indicate video recording.)
STEP 1: PREPRODUCTION When you’re recording speeches, seminars, and other events, planning is crucial because you have only one opportunity to get the footage you need. And even when you have the �lexibility to retake footage, thoughtful planning will save time and money and lead to better-looking results. For any video, be sure to think through the following seven elements:
/
Figure 9.15 Creating Effective Business Videos
By following a methodical process in the preproduction, production, and postproduction stages, any business communicator with even basic equipment can create effective videos.
Purpose and scope. With every communication effort, of course, it’s essential to identify the purpose of your message and de�ine the scope of what you will address before you start. This is doubly important with video, however, because it is a linear medium that forces people to watch it in a prede�ined sequence. Most viewers won’t sit through rambling or repetitive videos, so �igure out what your point is and determine the briefest possible way to make it.
REAL-TIME UPDATES
/
LEARN MORE BY READING THIS ARTICLE
Using Snapchat for business communication
With its massive and still-growing audience, it’s no surprise that the photo- and video-sharing network has caught the attention of business communicators. Go to real-timeupdates.com/bct14 (http://real-timeupdates.com/bct14) and select Learn More in the Students section.
Scene composition. Visualize what the camera is going to see. If you’re demonstrating a new product, for example, do you want people to see it in a realistic setting, or would it be better to use a “clean stage” so that nothing else will compete for the viewer’s attention? For “talking head” videos, in which someone talks directly into the camera at close range, an uncluttered background is preferred unless the setting is relevant. However, you don’t need to resort to a bare white wall behind the subject; this can make the video feel more like an interrogation. A tastefully decorated of�ice can look uncluttered without feeling stark or cold. Think carefully about the overall environment as well. Trying to conduct an interview outside or at a busy tradeshow, for example, can bring all kinds of noise and visual distractions into the equation.
Just as painters compose a scene, with a video camera you compose a scene by making decisions about what to show and where to place your camera.
Camera placement. As you visualize the scene or scenes you plan to shoot, think about where to place your camera. Wide, medium, and close-up positions each have their own strengths and weaknesses, depending on what you’re trying to convey. For example, showing a wide shot of a crowd’s reaction can emphasize the emotional impact of a speech, but a wide shot looking at the speaker from a distance will have less impact because viewers won’t able to see the emotions on the speaker’s face. As a technical point, position the camera as close as you can for the shot you’re trying to achieve, rather than using the camera’s zoom capability. Using zoom makes the recording more vulnerable to shaking and makes it more dif�icult for you (or the camera’s autofocus function) to keep the picture in focus.20 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003DCA) If you need to zoom because you can’t get the camera close enough, be sure to use optical zoom only, not digital zoom, which reduces the picture quality. Lighting. Good lighting is essential for a quality production, which is why professionals sometimes spend hours lighting a single shot. Lighting can be a complicated subject, but for most business videos, the simplest solution is to get a strong but soft light directed from behind the camera toward the subject (person, place, or thing) being �ilmed. This ensures that the subject is well lit and that the camera’s exposure settings aren’t overwhelmed by extraneous light coming from the background. Professionals use large “softboxes,” re�lectors, and other special equipment to direct light onto their subjects, but you can often take advantage of windows and natural daylight.21 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003DCC)
If you have arti�icial lighting that is too harsh, you can soften the light by �iltering it through parchment paper.22 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003DCE)
/
When �ilming people, be particularly careful about strong overhead lights, which can create un�lattering shadows. And when shooting outside, look for locations in full shade if possible to avoid the deep shadows created by direct sunlight.23 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003DD0)
Invest the time and, if necessary, the money to get good lighting; it is essential to quality video production.
Sound. Your camera or smartphone probably has a microphone to record sound along with video, but in most cases you should use an external microphone instead. The reason is that the camera’s microphone will pick up too much noise because it is too far away from the person or persons who are speaking, and these omnidirectional microphones pick up sound from every angle.24 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003DD2) In most cases the best solution is to pin a small lavaliere microphone on each speaker’s lapel. Note that you can also record one or more audio sources separately (if you have speakers in different locations, for instance) and mix them together in postproduction. Shot list. The director and professional videographer Steve Stockman advises to always think of a video in terms of discrete shots, rather than as one endless recording.25 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003DD4) You can imagine shots as the equivalent of subsections or even the paragraphs in a report, each one leading smoothly to the next. Preparing a shot list ahead of time helps you identify all the footage you need to capture, and it serves as a checklist when you’re shooting. And going beyond a shot list, whenever you’re creating a video speci�ically (as opposed to recording a training session or some other event), consider writing a script that describes every scene and visual and contains speaking notes or even fully written dialogue. Some people are adept at improvising, and this is often �ine for informal tutorials and other purposes. However, for important videos, a script is advised. The script is also an important planning and communication tool, helping you make sure all the pieces and people are ready when it’s time to shoot.26 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003DD6)
A shot list serves as your outline and checklist while you’re �ilming.
B-roll material. The “B-roll” is another legacy term from �ilm. It refers to a collection of secondary shots that can later be edited in to add visual interest, smooth over transitions, or otherwise improve the �low of the �inished product.27 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003DD8) For example, an interview with your company’s CEO will look fairly static after a few minutes, but you can later cut in footage or images of your company’s products, website, customers, manufacturing facilities, or other related scenes or images. The videographer Jefferson Graham makes it a point to show an image or clip of anything mentioned by a narrator or interview subject.28 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003DDA) During postproduction, you can weave together your primary footage with B-roll video clips and still images, using the audio to maintain continuity from start to �inish. Audiences will still get the full spoken message, only with a more interesting visual presentation.
/
B-roll is �ilm terminology for extra scenes and images that can enhance your �inal production.
In addition to these planning considerations, be sure to identify and prepare all the equipment the shoot will require, from camera(s) to lights to props. If you plan to use a smartphone as your video camera, check out some of the apps that give you more control than the phone’s built-in software provides.
REAL-TIME UPDATES
LEARN MORE BY VISITING THIS WEBSITE
Great advice for getting started in digital video
Indie Film Making offers a wealth of advice on producing quality videos. Go to real-timeupdates.com/bct14 (http://real-timeupdates.com/bct14) and select Learn More in the Students section.
STEP 2: PRODUCTION With all your preproduction done, you’re ready to shoot your video. These four tips will help you collect great footage:
/
Figure 9.16 Framing Your Shots: Finding the Right Range
Decisions about how you frame your shots can have a dramatic effect on information delivery and emotional impact. Compare the effect of these long, medium, and close shots, for example. Remember that your viewers can see everything the camera sees, but only what the camera sees.
Digital Vision/Getty Images
Frame each shot carefully. Framing refers to the decisions you make regarding what the camera sees and doesn’t see when you aim it (see Figure 9.16 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003b3d#P7001012451000000000000000003BAD) ). For example, if you’re �ilming someone demonstrating a product, you’ll have to decide where the camera should be aimed for each of your planned shots. If the presenter is talking at one point without using the product, you might frame the shot to emphasize the speaker’s face. Then when the presenter interacts with the product, you might frame the shot to emphasize his or her hands. Just remember the obvious but sometimes overlooked point that the viewer sees everything the camera sees—but only what the camera sees. Framing decisions are particularly important if your videos will be watched on small-screen mobile devices, because small screens can limit the amount of detail viewers can see clearly. The question of balance (see page 232 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003830#page_232) ) is important as well. Keeping a speaker’s face in the center of the screen can look dull and rigid after a while, so experiment with positioning him or her just off- center to create a more dynamically balanced scene (see Figure 9.17 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003b3d#P7001012451000000000000000003BBE)
). Also, search for interesting angles for the shots you have planned.29 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003DDC)
/
In addition to �ilming the subject head on, for example, you might get some footage of him or her from the side or from high or low perspectives.
Figure 9.17 Framing Your Shots: Finding the Right Balance
Visual balance is another key decision when framing your shots. For a close-up of a person speaking directly to camera, for example, positioning the subject slightly off center makes the scene feel more dynamic. This also gives you room to display text on screen, if desired.
© IndiaPicture/Alamy Stock Photo
Keep the camera still. If the camera moves around—intentionally or unintentionally—during a shot, the resulting footage puts a greater demand on your viewers. Shaky video from a handheld camera is uncomfortable to watch, so whenever possible, use a tripod or other stabilizing arrangement. And intentionally moving the camera forces viewers to process additional visual information that may or may not be relevant.30 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003DDE) Moving during a shot also changes the background and lighting because the camera is looking at the scene differently. Sometimes you don’t have a choice and have to follow a moving subject, but don’t move the camera while �ilming unless you really need to.
Resist the temptation to move around with your camera while �ilming unless it is absolutely necessary.
/
Take B-roll footage. In addition to the B-roll shots you planned in preproduction, keep an eye out for other interesting scenes and images that might enhance the �inished video. It’s better to shoot lots of footage you don’t use than to regret not capturing something when you had the chance. Don’t use the special effects in your camera. Many video cameras can add special effects such as pixilation or “old-timey” sepia tones, but using these features in the camera usually permanently alters the video. Instead, export “clean” footage to your editing software and add any effects in postproduction, where you can easily undo anything you try.31 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003DE0)
STEP 3: POSTPRODUCTION
MOBILE APP
Videoshop offers a variety of postproduction tools for enhancing mobile videos right on your phone.
Postproduction (often referred to simply as “post”) is where interesting, high-quality videos come to life, as you use editing software to weave your main footage and B-roll footage into a seamless show and enhance it with music, titles, and other elements. Postproduction also lets you cut out clumsy bits of footage, record narration, potentially replace sections of dialogue, and make other �ixes. With even low-cost video editing software, you can produce surprisingly sophisticated videos.
Here is a general overview of the postproduction process:32 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003DE2)
Postproduction involves the use of video editing software to place all your video and audio elements in the desired sequence.
1. Transfer your video footage to your computer and load it into the editing software.
2. Evaluate your material, identifying the shots you want to keep and those you can delete.
3. Use cut and paste to move sections of video around as needed to put the story in the desired order.
4. Weave in B-roll images and clips. Your company might also have a standard library of media elements to use in videos, including logos or introductory sequences.
5. Add transitions (such as a blend or quick fade to black) between video segments, if desired.
6. Synchronize the main audio track with the video and record narration as needed.
/
7. Add an intro (a brief sequence at the beginning) and an outro (a brief sequence at the end). Business videos often include company logos, website URLs, and other branding elements in intros and outros. Intros and outros often contain brief musical segments as well as a way to transition into and out of the spoken portion of the video.
8. Add text titles and other features as needed.
9. Create a distributable �ile. Video editors give you a variety of output options at different �ile sizes and screen resolutions, and some let you upload directly to YouTube.
As more and more companies rely on video for internal and external communication, learning some basic video skills will make you a more effective and more valuable communicator. For more on planning and producing business video, visit real-timeupdates.com/bct14 (http://real- timeupdates.com/bct14) and select Chapter 9 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003806#P7001012451000000000000000003806) .
COMMUNICATION CHALLENGES AT GoPro You’ve joined the customer engagement team at GoPro, where your responsibilities include creating training materials to help customers use their GoPro cameras more effectively. Apply what you’ve learned in this chapter and throughout the course to the following challenges.
INDIVIDUAL CHALLENGE: A shot list is an important planning tool, particularly for complicated projects and situations in which you have limited time and opportunities to capture the footage you need. Your task is to create a sample shot list that customers can use to plan their own lists. Identify a part of your college campus or a section of your local area that has six distinct points of interest or special features. Imagine that you will be producing an orientation video, and prepare a shot list that identi�ies six locations where you would like to �ilm. For each location, describe the speci�ic shots you would like to get. For example, if you’ve chosen a monument in your town, you might want a wide-screen shot to establish the setting and a close-up shot that pans up the monument to show it in detail.
TEAM CHALLENGE: With a team assigned by your instructor, your task is to plan and produce a simple three- to four-minute video that shows viewers how to use some of the more important features of a smartphone. (Choose any phone that someone on your team has.) The purpose of the video is to serve as a sample for GoPro users who want to �ilm production demonstration videos. Three or four minutes isn’t a lot of time, so limit your scope to only a handful of major features. Follow the preproduction, production, and postproduction steps described on pages 251 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003ab4#page_251) –253 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003b3d#page_253) , then present your video the class. The emphasis with this process is on clear and effective communication, not professional-grade production quality, so don’t worry too much about fancy effects or an elaborate set. Instead, focus your efforts on creating a video that communicates your key points well.
/
Quick Learning Guide
KEY TERMS
area chart Another name for a surface chart
bar chart Chart that portrays quantities by the height or length of its rectangular bars
bubble diagram Chart that expands the scatter diagram idea to three variables, with the size of the bubble representing the third variable
caption Brief commentary or explanation that accompanies a visual
data visualization A diverse class of displays that can show enormous sets of data in a single visual or show text and other complex information visually
descriptive title Title that simply identi�ies the topic of an illustration
�lowchart Process diagram that illustrates a sequence of events from start to �inish
Gantt chart The best-known type of time line chart
infographics Diagrams that contain enough visual and textual information to function as independent, standalone documents
informative title Title that highlights the conclusion to be drawn from the data
legend A “key” that helps readers decode a visual by explaining what various colors, symbols, or other design choices mean
line chart Chart that illustrates trends over time or plots the relationship of two or more variables
organization chart Diagram that illustrates the positions, units, or functions of an organization and their relationships
pictogram Chart that portrays data as symbols instead of words or numbers
pie chart Circular chart that shows how the parts of a whole are distributed
scatter diagram Chart that plots discrete data points, with one variable along the x (horizontal) axis and another along the y (vertical) axis
surface chart Form of line chart with a cumulative effect; all the lines add up to the top line, which represents the total
table A systematic arrangement of data in columns and rows
time line chart Chart that shows how much time is needed to complete each task in a project
title Text that identi�ies the content and purpose of a visual
visual literacy The ability to create effective images and to correctly interpret such images
/
visual symbolism The connotative (as opposed to the denotative, or literal) meaning of visuals
XY diagram Another name for a scatter diagram
SUMMARY OF LEARNING OBJECTIVES
1 Explain the power of business images, discuss six principles of graphic design that help ensure effective visuals, and explain how to avoid ethical lapses when using visuals. Well-designed visual elements can enhance the communication power of textual messages and, in some instances, even replace textual messages. Visuals can often convey some message points (such as spatial relationships, correlations, procedures, and emotions) more effectively and more ef�iciently than words. In the numbers-oriented world of work, readers rely heavily on trend lines, distribution curves, and other visual presentations of numeric quantities. Visuals attract and hold people’s attention, helping your audience understand and remember your message. Visuals are also an effective way to communicate with diverse audiences.
When preparing visuals, (1) use elements of design consistently so you don’t confuse your audience; (2) use color and other elements to show contrast effectively; (3) strive for a visual balance, either formal or informal, that creates a feel that is appropriate for your overall message; (4) use design choices to draw attention to key elements and to visually downplay less important items; (5) understand and follow design conventions that your audience expects (even if the expectation is subconscious), although you can consider unconventional design choices if they promise to convey your message more effectively; and (6) strive for simplicity in all your visuals, making design decisions that enhance the reception and understanding of information rather than obscure or confuse it.
Communicators are responsible for avoiding both intentional and unintentional ethical lapses when using visual elements. They can work to avoid these lapses by (1) considering all possible interpretations—and misinterpretations—of their messages and avoiding design choices that could lead to unwanted interpretations; (2) providing suf�icient context, whether visual or verbal, for audiences to understand the meaning and signi�icance of visuals; (3) not hiding or minimizing negative information that runs counter to their arguments; (4) not exaggerating information that supports their arguments; (5) not oversimplifying complex situations by hiding complications that are relevant to the audience’s understanding; (6) not implying cause-and-effect relationships without providing proof that they exist; (7) avoiding emotional manipulation or other forms of coercion; and (8) being careful with the way they aggregate data.
2 Explain how to choose which points in your message to illustrate. To decide which points to illustrate, �irst step back and consider the overall �low of your message from the audience’s point of view. Identify elements of the message that might be complex, vulnerable to misinterpretation, or even dull. Look for connections between ideas that should be highlighted or extensive collections of data and other discrete factual content that might be dif�icult to read in textual format.
3 Describe the most common options for presenting data in a visual format. The visuals most commonly used to present data include tables, line and surface charts, bar charts, pictograms, Gantt charts, scatter and bubble diagrams, and pie charts. You will probably use line, bar, and pie charts most often in your business communication efforts. Moving beyond basic display formats, designers continue to invent new data visualization tools to present large or complex sets of data.
4 Describe the most common options for presenting information, concepts, and ideas. Among the most commonly used visual formats in business communication are �lowcharts (which depict a sequence of events in a process), organization charts (which show the
/
relationships among people or elements in an organization), various types of maps (including data-driven map displays made possible by geographic information systems), illustrations (which are often used instead of photographs because they can focus attention on speci�ic parts of an object), diagrams (used to convey designs, interrelated ideas, and other complex entities), photographs (used when realism or emotional impact is important), and infographics (hybrid elements that contain enough textual and visual information to function as standalone documents).
5 Explain how to integrate visuals with text and list three criteria to review in order to verify the quality of your visuals. To integrate visuals with text, strive for a balance between text and visuals; refer to visuals clearly; place visuals to maximize the smooth �low of reading; and write helpful titles, captions, and legends. To verify the quality of your visuals, make sure every visual is accurate (there are no mistakes or missing information), properly documented (the creator of any underlying data used in the visual has been given complete credit), and honest (the visual honestly reveals the real meaning of the underlying data or information).
6 Identify the most important considerations in the preproduction, production, and postproduction stages of producing basic business videos. The key tasks in the preproduction stage are verifying your purpose and scope, thinking about the composition of the scenes you want to �ilm, deciding where you’ll place your camera(s), planning lighting, making arrangements for sound recording, writing a shot list or full script as appropriate, and identifying B-roll material that will enhance the �inal video.
During the production stage, be sure to frame each shot carefully, keep the camera still while �ilming unless the situation demands that you move it, take B-roll footage, and remember not to use the special effects in your camera so that you can export clean footage.
The postproduction stage generally consists of nine steps: (1) transfer your video footage to your computer and load it into the editing software; (2) evaluate your material, identifying the shots you want to keep and those you can delete; (3) move sections of video around as needed; (4) weave in B-roll images and clips; (5) add transitions between video segments, if desired; (6) synchronize the main audio track with the video and record narration as needed; (7) add an intro and an outro; (8) add text titles and other features as needed; and (9) create a distributable �ile.
MyBCommLab
Go to mybcommlab.com (http://mybcommlab.com) to complete the problems marked with this icon .
Test Your Knowledge To review chapter content related to each question, refer to the indicated Learning Objective.
9-1. Why is simplicity important in business visuals? [LO-1] (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003830#P7001012451000000000000000003832)
/
9-2. What are the “�ive Cs” to consider when deciding which points to illustrate? [LO-2] (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p70010124510000000000000000038a5#P70010124510000000000000000038A8)
9-3. What type of data visual would you use to illustrate trends over time? [LO-3] (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p70010124510000000000000000038eb#P70010124510000000000000000038EE)
9-4. When would you use a bubble diagram instead of a scatter diagram? [LO-3] (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p70010124510000000000000000038eb#P70010124510000000000000000038EE)
9-5. For what purposes are Gantt charts used? [LO-3] (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p70010124510000000000000000038eb#P70010124510000000000000000038EE)
9-6. What is the purpose of adding titles, captions, and legends to visuals in reports? [LO-5] (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003ab4#P7001012451000000000000000003AB7)
9-7. How do you check a visual for quality? [LO-5] (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003ab4#P7001012451000000000000000003AB7)
9-8. Why do experts recommend against using the built-in microphones in video cameras? [LO-6] (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003b3d#P7001012451000000000000000003B40)
9-9. How does B-roll footage help enhance the appeal of business videos? [LO-6] (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003b3d#P7001012451000000000000000003B40)
Apply Your Knowledge To review chapter content related to each question, refer to the indicated Learning Objective.
9-10. What similarities do you see between visuals and nonverbal communication? Explain your answer. [LO-1] (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003830#P7001012451000000000000000003832)
9-11. After studying the designs of corporate websites, Penn State University professor S. Shyam Sundar discovered quite an interesting phenomenon: The more interactive and engaging a website is, the more likely visitors are to “buy into whatever is being advocated” on the site. In other words, if two websites have identical content, the site with greater interactivity and more “bells and whistles” would be more persuasive.33 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003DE4) Is it ethical to increase the persuasive power of a website simply by making it more interactive? Why or why not? [LO-1] (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003830#P7001012451000000000000000003832)
9-12. You’re writing a report for the director of human resources on implementing team-based management throughout your company. You want to emphasize that since the new approaches were implemented six months ago, absenteeism and turnover have been sharply reduced in all but two departments. How do you visually present your data in the most favorable light while maintaining honest communication? Explain. [LO-1] (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003830#P7001012451000000000000000003832)
/
9-13. In addition to telling readers why an illustration is important, why else should you refer to it in the text of your document? [LO-5] (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003ab4#P7001012451000000000000000003AB7)
9-14. Imagine that you are going to �ilm your instructor’s next lecture and you have the luxury of using three cameras. Where would you position them and why? (If you are taking an online course with no classroom, describe a generic classroom setting.) [LO-6] (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003b3d#P7001012451000000000000000003B40)
Practice Your Skills Messages for Analysis
9-15. Message 9.A: Presenting Data (Bar Charts) [LO-1] (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003830#P7001012451000000000000000003832) , [LO-3] (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p70010124510000000000000000038eb#P70010124510000000000000000038EE) Examine the bar chart in Figure 9.18 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003CA7) and point out any problems or errors you notice.
9-16. Message 9.B: Presenting Data (Line Charts) [LO-1] (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003830#P7001012451000000000000000003832) , [LO-3] (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p70010124510000000000000000038eb#P70010124510000000000000000038EE) Examine the line chart in Figure 9.19 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#P7001012451000000000000000003CB1) and point out any problems or errors you notice.
/
Figure 9.18 Bar Chart for Analysis
Figure 9.19 Line Chart for Analysis
Exercises
/
Each activity is labeled according to the primary skill or skills you will need to use. To review relevant chapter content, you can refer to the indicated Learning Objective.
9-17. Applying Visual Design Principles [LO-1] (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003830#P7001012451000000000000000003832) Find three visual presentations of data, information, or concepts on any business subject. Which of the three most clearly presents its data or information? What design choices promote this level of clarity? What improvements would you make to the other visuals to make them clearer?
9-18. Communication Ethics [LO-1] (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003830#P7001012451000000000000000003832) Using a spreadsheet, create a bar chart or line chart from data you �ind online or in a business publication. Alter the horizontal and vertical scales in several ways to produce different displays of the original data. How do the alterations distort the information? How might a reader detect whether a chart’s scale has been altered?
9-19. Presenting Data (Bar and Pie Charts) [LO-3] (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p70010124510000000000000000038eb#P70010124510000000000000000038EE) As a market researcher for a statewide chain of car dealerships, you’re examining car and truck ownership and lease patterns among single drivers in various age groups. By discovering which age groups have the highest percentages of owners, you will be better able to target advertising that promotes the leasing option. Using the information that follows, prepare a bar chart comparing the number of owners with the number of people who lease in each age category. Be sure to label your chart and include combined totals for owners and lessees (“total drivers”). Then prepare a pie chart showing the proportion of owners and lessees in the one age group you think holds the most promise for leasing a new vehicle. Write a sentence that prepares your company’s management for the information shown in the pie chart.
Age Group Number of Owners (in Thousands) Number of Lessees (in Thousands)
18–24 1,830 795
25–29 1,812 1,483
30–34 1,683 1,413
35–44 1,303 1,932
45–54 1,211 1,894
55–64 1,784 1,435
65–74 3,200 1,142
75+ 3,431 854
9-20. Presenting Data (Bar Charts) [LO-3] (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p70010124510000000000000000038eb#P70010124510000000000000000038EE)
/
Team up with a classmate to design charts based on a comparison of the total tax burden of the U.S. taxpayer with that of people in other nations (see the data following this paragraph). One teammate should sketch a horizontal or vertical bar chart, and the other should sketch a pictogram from the estimates that follow. Then exchange charts and analyze how well each conveys the situation of the U.S. taxpayer. Would the bar chart look best with vertical or horizontal bars? Why? What scale is best? How does the symbol used in the pictogram enhance or obscure the meaning or impact of the data? What suggestions can each student make for improving the other’s visual aid?
Estimates show that Swedish taxpayers spend 51 percent of their incomes on taxes, British taxpayers spend 48 percent, French taxpayers spend 37 percent, Japanese taxpayers spend 28 percent, and U.S. taxpayers spend 27 percent.
9-21. Presenting Data (Line Charts) [LO-3] (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p70010124510000000000000000038eb#P70010124510000000000000000038EE) Here are last year’s sales �igures for the appliance and electronics megastore where you work. Construct a line chart that will help you explain to the store’s general manager seasonal variations in each department.
STORE SALES (IN $ THOUSANDS)
Month Home Electronics Computers Appliances
January 68 39 36
February 72 34 34
March 75 41 30
April 54 41 28
May 56 42 44
June 49 33 48
July 54 31 43
August 66 58 39
September 62 58 36
October 66 44 33
November 83 48 29
December 91 62 24
9-22. Presenting Data (Line Charts) [LO-3] (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p70010124510000000000000000038eb#P70010124510000000000000000038EE) Using rough approximations of the data, re-create the line chart in Figure 9.4 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p70010124510000000000000000038eb#P70010124510000000000000000039B4)
/
on page 239 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p70010124510000000000000000038eb#page_239) as a bar chart (estimate the numerical values). Which of these two formats does the better job of conveying the information?
9-23. Presenting Data (Data Visualization) [LO-3] (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p70010124510000000000000000038eb#P70010124510000000000000000038EE) Explore several of the data visualization tools available through the Bovée & Thill Data Visualization and Infographics Gateway. (Go to real- timeupdates.com/bct14 (http://real-timeupdates.com/bct14) and select Learn More in the Students section.) Choose one that has the potential to help business managers make decisions. Write a post for your class blog, explaining how this tool could assist with decision making. Be sure to include a link to the site where you found it.
9-24. Presenting Information, Concepts, and Ideas (Photographs) [LO-4] (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003a57#P7001012451000000000000000003A5A) With a team assigned by your instructor, �ind a busy location on campus or in the surrounding neighborhood, someplace with lots of signs, storefronts, pedestrians, and traf�ic. Scout out two different photo opportunities: one that maximizes the visual impression of crowding and clutter, and one that minimizes this impression. For the �irst, assume that you are someone who advocates reducing the crowding and clutter, so you want to show how bad it is. For the second, assume you are a real estate agent or someone else who is motivated to show people that even though the location offers lots of shopping, entertainment, and other attractions, it’s actually a rather calm and quiet neighborhood. Insert the two images in a document or blog post and write a caption for each that emphasizes the two opposite messages just described. Finally, write a brief paragraph discussing the ethical implications of what you’ve just done. Have you distorted reality or just presented it in ways that work to your advantage? Have you prevented audiences from gaining the information they would need to make informed decisions?
9-25. Presenting Information, Concepts, and Ideas (Maps) [LO-4] (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003a57#P7001012451000000000000000003A5A) You work for C & S Holdings, a company that operates coin-activated, self-service car washes. Research shows that the farther customers live from a car wash, the less likely they are to visit. You know that 50 percent of customers at each of your car washes live within a 4-mile radius of the location, 65 percent live within 6 miles, 80 percent live within 8 miles, and 90 percent live within 10 miles. C & S’s owner wants to open two new car washes in your city and has asked you to prepare a report recommending locations. Using a map of your city, choose two possible locations for car washes and create a visual depicting the customer base surrounding each location.
9-26. Presenting Information, Concepts, and Ideas (Organization Charts) [LO-4] (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003a57#P7001012451000000000000000003A5A) Create an organization chart for your college or university. Start with the school’s website to learn the various of�ices and departments.
9-27. Selecting the Right Type of Visual [LO-3] (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p70010124510000000000000000038eb#P70010124510000000000000000038EE) , [LO-4] (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003a57#P7001012451000000000000000003A5A) With a team of two or three other students, brainstorm and then sketch at least three types of charts you can use to compare the populations of all 50 states in the United States. You can use any of the graphic ideas presented in this chapter, as well as any ideas or examples you �ind from other sources.
/
9-28. Planning Business Videos; Mobile Skills [LO-6] (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003b3d#P7001012451000000000000000003B40) Assume you are producing a video interview of your college or university’s president. The purpose of the video is to encourage high school students to consider applying to your school. The interview will take place in the president’s of�ice, but you want to add some B-roll footage to make the video more visually appealing. Identify six scenes around campus that you could �ilm for this purpose. Next, using a digital camera or the video capability in a phone, �ilm these six scenes and share the B-roll footage with your class. Be sure to frame them in a way that they will be adequately viewable on mobile screens. As an option, add voiceover narration, titles, and other enhancements.
Expand Your Skills Critique the Professionals
Find a business video on YouTube or another online source. This can be a product demonstration, a tutorial, a company pro�ile, or most any other type of video other than an overt promotional video such as a TV commercial. Analyze its effectiveness in terms of lighting, sound, narration, camera placement, and the use of B-roll elements. How would you assess its overall effectiveness as a business message? Summarize your conclusions in a post on your class blog or an email message to your instructor. Be sure to include a link to the video.
Sharpening Your Career Skills Online
Bovée and Thill’s Business Communication Web Search, at websearch.businesscommunicationnetwork.com (http://websearch.businesscommunicationnetwork.com) , is a unique research tool designed speci�ically for business communication research. Use the Web Search function to �ind a website, video, article, podcast, or presentation that offers advice on creating effective visuals for documents and presentations. Write a brief email message to your instructor, describing the item that you found and summarizing the career skills information you learned from it.
MyBCommLab Go to mybcommlab.com (http://mybcommlab.com) for Auto-graded writing questions as well as the following Assisted-graded writing questions:
9-29. Why might you use a simpli�ied line illustration instead of a full-color digital photograph in a particular application? [LO-4] (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003a57#P7001012451000000000000000003A5A)
9-30. You’ve been assigned the project of videotaping a new-employee welcome message by your company’s vice president of human resources. You have top-notch equipment, attractive locations, and a solid script. There’s just one problem: This executive is uncomfortable speaking on camera, and your �irst few shots are full of awkward gestures and nervous vocal tics. Assuming there isn’t time for the executive to see a public speaking coach, how might you rethink your approach to the project in order to produce the most compelling video? [LO-6] (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003a57#P7001012451000000000000000003A5A)
/
Endnotes 1 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003806#rP7001012451000000000000000003DA4) . GoPro website, accessed 5 April 2016, www.gopro.com (http://www.gopro.com) ; Hilary Kramer, “GoPro Inc: Will Karma Be the Catalyst GPRO Stock Needs?” InvestorPlace, 4 April 2016, investorplace.com (http://investorplace.com) ; Akin Oyedele, “Wall Street Analysts Say GoPro Isn’t Going Mainstream and Now the Stock Is Falling,” Business Insider, 20 June 2015, www.businessinsider.com (http://www.businessinsider.com) ; Nathan Ingraham, “GoPro Will Release a Quadcopter in the First Half of Next Year, The Verge, 27 May 2015, www.theverge.com (http://www.theverge.com) ; Ben Popper, “Here’s Why GoPro Wants to Make Its Own Drones,” The Verge, 26 November 2014, www.theverge.com (http://www.theverge.com) ; Garett Sloan, “The 10 Best Brand Channels on YouTube,” Adweek, 2 April 2014, www.adweek.com (http://www.adweek.com) ; Christopher Ratcliff, “A Look Inside GoPro’s Dazzling YouTube Strategy,” Econsultancy website, 20 February 2014, econsultancy.com (http://econsultancy.com) ; GoPro channel on YouTube, accessed 5 April 2016, www.youtube.com/user/GoProCamera (http://www.youtube.com/user/GoProCamera) ; “YouTube Brand Channel Leaderboard January–March 2014,” Google Think Insights, 31 March 2014, www.thinkwithgoogle.com (http://www.thinkwithgoogle.com) ; Saya Weissman, “GoPro Might Have the Best Brand Content Around,” Digiday, 6 February 2014, digiday.com (http://digiday.com) ; Shorty Industry Awards website, accessed 26 April 2014, industry.shortyawards.com (http://industry.shortyawards.com) ; Anderson Cooper, “GoPro’s Video Revolution,” 60 Minutes, 10 November 2013, www.cbsnews.com (http://www.cbsnews.com) .
2 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003830#rP7001012451000000000000000003DA6) . Alexis Gerard and Bob Goldstein, Going Visual (Hoboken, N.J.: Wiley, 2005), 18.
3 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003830#rP7001012451000000000000000003DA8) . Charles Kostelnick and Michael Hassett, Shaping Information: The Rhetoric of Visual Conventions (Carbondale, Ill.: Southern Illinois University Press, 2003), 177.
4 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003830#rP7001012451000000000000000003DAA) . Gerard and Goldstein, Going Visual, 25–27.
5 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003830#rP7001012451000000000000000003DAC) . “PIAAC 2012/2014 Results,” U.S. National Center for Education Statistics, accessed 5 April 2016, nces.ed.gov (http://nces.ed.gov) ; “Fact Sheet Overview,” 2003 National Assessment of Adult Literacy, National Institute for Literacy, accessed 22 November 2006, www.ni�l.gov (http://www.ni�l.gov) .
6 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003830#rP7001012451000000000000000003DAE) . Gerard and Goldstein, Going Visual, 103–106.
7 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003830#rP7001012451000000000000000003DB0) . Edward R. Tufte, Visual Explanations: Images and Quantities, Evidence and Narrative (Cheshire, Conn.: Graphics Press, 1997), 82.
8 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003830#rP7001012451000000000000000003DB2) . Joshua David McClurg-Genevese, “The Principles of Design,” Digital Web Magazine, 13 June 2005, www.digital-web.com (http://www.digital-web.com) .
9 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003830#rP7001012451000000000000000003DB4) . Kostelnick and Hassett, Shaping Information, 17.
/
10 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003830#rP7001012451000000000000000003DB6) . Kostelnick and Hassett, Shaping Information, 216.
11 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003830#rP7001012451000000000000000003DB8) . Edward R. Tufte, The Visual Display of Quantitative Information (Cheshire, Conn.: Graphic Press, 1983), 113.
12 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003830#rP7001012451000000000000000003DBA) . Based in part on Tufte, Visual Explanations, 29–37, 53; Paul Martin Lester, Visual Communication: Images with Messages, 4th ed. (Belmont, Calif.: Thomson Wadsworth, 2006), 95–105, 194–196.
13 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p70010124510000000000000000038eb#rP7001012451000000000000000003DBC) . Data from Hoover’s Online, accessed 3 December 2008, www.hoovers.com (http://www.hoovers.com) .
14 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p70010124510000000000000000038eb#rP7001012451000000000000000003DBE) . Robert L. Harris, Information Graphics: A Comprehensive Illustrated Reference (New York: Oxford University Press, 1999), 14.
15 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p70010124510000000000000000038eb#rP7001012451000000000000000003DC0) . Stephen Few, “Save the Pies for Dessert,” Visual Business Intelligence Newsletter, August 2007, www.perceptualedge.com (http://www.perceptualedge.com) .
16 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p70010124510000000000000000038eb#rP7001012451000000000000000003DC2) . Maria Popova, “Data Visualization: Stories for the Information Age,” BusinessWeek, 12 August 2009, www.businessweek.com (http://www.businessweek.com) .
17 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p70010124510000000000000000038eb#rP7001012451000000000000000003DC4) . “Big Data: What It Is and Why It Matters,” SAS website, accessed 25 April 2014, www.sas.com (http://www.sas.com) .
18 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p70010124510000000000000000038eb#rP7001012451000000000000000003DC6) . “Data Visualization: Modern Approaches,” Smashing Magazine website, 2 August 2007, www.smashingmagazine.com (http://www.smashingmagazine.com) ; “7 Things You Should Know About Data Visualization,” Educause Learning Initiative, accessed 15 March 2008, www.educause.edu (http://www.educause.edu) ; TagCrowd website, accessed 15 March 2008, www.tagcrowd.com (http://www.tagcrowd.com) .
19 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003ab4#rP7001012451000000000000000003DC8) . “Making Data Visualization Work: 4 Tips to Read Before You Start,” Roambi blog, 13 August 2013, ww.roambi.com (http://ww.roambi.com) .
20 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003b3d#rP7001012451000000000000000003DCA) . Steve Stockman, How to Shoot Video That Doesn’t Suck (New York: Workman Publishing, 2011), Kindle edition.
21 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003b3d#rP7001012451000000000000000003DCC) . Jefferson Graham, Video Nation: A DIY Guide to Planning, Shooting, and Sharing Great Video from USA Today’s Talking Tech Host (Berkeley, Calif.: Peachpit Press, 2013), Kindle edition.
22 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003b3d#rP7001012451000000000000000003DCE) . Graham, Video Nation.
/
23 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003b3d#rP7001012451000000000000000003DD0) . Graham, Video Nation.
24 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003b3d#rP7001012451000000000000000003DD2) . Graham, Video Nation.
25 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003b3d#rP7001012451000000000000000003DD4) . Stockman, How to Shoot Video That Doesn’t Suck.
26 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003b3d#rP7001012451000000000000000003DD6) . Stockman, How to Shoot Video That Doesn’t Suck.
27 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003b3d#rP7001012451000000000000000003DD8) . Graham, Video Nation.
28 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003b3d#rP7001012451000000000000000003DDA) . Graham, Video Nation.
29 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003b3d#rP7001012451000000000000000003DDC) . Graham, Video Nation.
30 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003b3d#rP7001012451000000000000000003DDE) . Stockman, How to Shoot Video That Doesn’t Suck.
31 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003b3d#rP7001012451000000000000000003DE0) . Stockman, How to Shoot Video That Doesn’t Suck.
32 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003b3d#rP7001012451000000000000000003DE2) . Based in part on Stockman, How to Shoot Video That Doesn’t Suck; Graham, Video Nation.
33 (http://content.thuzelearning.com/books/Bovee.7626.18.1/sections/p7001012451000000000000000003c01#rP7001012451000000000000000003DE4) . “Interactive Web Sites Draw Minds, Shape Public Perception,” ScienceDaily, 27 May 2008, www.sciencedaily.com (http://www.sciencedaily.com) .