Making Good PowerPoint Presentations

Carl Shank • February 11, 2023

How do you make good, eye-catching, informative and interesting PowerPoint™ presentations? Busy office people generally use either too much of a good thing (like templates) or too little and bore their audiences. Or, they see PowerPoint as the sum of all things and fail to give enough information for an accurate study or diagnosis of a project. The image below is an example of good information, but arranged in a boring and unattractive and clunky manner.

The slide on the left has problems. First, it gives too much data for one slide. The very first rule of PowerPoint (PP) is to make each slide clean and simple and uncluttered. There is too much here for one slide. Then, the font used (office Helvetica) is too bland and uninteresting. There is no differentiation between the title font and the content. There is not enough "white space" on the slide since everything is crowded in on it. And the size of the text is too small to read at a distance.

Note in the redone PP slides above, there is sufficient interest, clarity and an uncluttered feel. There is a distinction between the header font (here Formata Bold) and the text font (here ITC Stone Serif). They are large enough to read at a convenient distance. Indeed, this slide does not contain everything the original had, but then you use multiple slides. I like the black-on-white slide better than the white-on-black, but the point is clarity, simplicity and directness in a black and white format. Note also we dodge the standard bullet (•) in favor of what is called a "dingbat" (from Zaph Dingbat font). This adds interest. In addition, the company logo is on each slide, reminding the viewer of the source of the presentation. But what about colors?

Here we use a convenient colorful Microsoft PP Template. But note the washed out yellow on red background, which is never a good choice.  And the small and insignificant same type used for the subtitle.  Also, the alignment is off with "Making A Good Presentation" too close to the white line at the top. A better choice recommended by the template itself is below.

The choice of fonts used is better and the template is more interesting. I still think the subtitle is still too small for distance viewers. Here let me point out that there are a multitude of templates on Microsoft PowerPoint™ that are available, but most users have no idea how to use them and what to use of them in a presentation. Consequently, a too gaudy template choice is often used for a simple presentation and can be distracting to the audience. People pay attention to the bells and whistles of the template choice rather than the information being presented. What about motion graphics and animations on a slide?

This is the opening slide to an orientation for new staff to an architectural firm. In a day of animations and video snaps, this might be seen as an acceptable and "cute" way to begin the new staff orientation. However, it also may seem rather childish and unprofessional. The key here in PP is to use those animation elements and video snapshots carefully and professionally, not detracting from the business. This might be more appropriate to a children's classroom presentation or a fun get-together.

The free Lottie Animation is from Thomas Kiguru.

USING GRAPHICS & VISUALS

Using abstract concepts, like flow charts or complex ideas and data, custom illustrations can help create consistency and communication value with your audience. Make sure the graphics fit the image of the company. Do not use grainy, pixelated, low-resolution images or clip art in your presentations. (From Camille del Rosario, Design Pickle, "How To Improve PowerPoint Presentations: 15 Proven Tips)

CHARTS & GRAPHS. The key here in providing a compelling PP presentation is to lead the way. Point your audience to where you want them to be and to get your message across to them. Make the headline big and bold and set off the categories so that they are clear and readable. Then, make sure that what's important to you gets across to them. In the chart and graphic below, part of a PP church health presentation, the dull Excel stats are made into a viewable and attractive bar chart or graphic. The eight qualities tested through surveys are listed on the left of the bar chart. The lines are given to the church to indicate where they fall within universal health guidelines, the "red" line being the minimum health line, the "yellow" line the median health line, and the "green" line the best health mark for a growing and healthy church or congregation. The "purple"line is this church's average health for August 2021, with the dotted "black" line the average church health in the Northeast part of America in this time period. At a glance, this church can see where they fall on universal church health markers. The green bar indicates their healthiest factor, while the red bar, called the "minimum factor" in church health terms, indicates where work is needed. Note the background graphic used on the slide to indicate the source of the information analyzed (NCDAmerica).

Successful Layout & Design

By Carl Shank February 12, 2026
Free Fonts: A Deal or Trouble? The latest Google estimate of available fonts is over 300,000 and counting. Other estimates have catalogued over 550,000 fonts. There are over 36,000 font families, over 4,000 type designers and over 2,700 professional font foundries, not counting smaller font entrepreneurs like CARE Typography, which provides restored fonts from yesteryear. (Quora source https://www.quora.com/How-many-fonts-are-there-in-existence-Does-any-group-attempt-to-keep-a-record-of-all-the-fonts-that-exist ) There are commercial fonts from sources like Adobe and MyFonts (Monotype) which require payment for their use in various platforms. Both provide a subscription service, which usually requires a substantial monthly or yearly fee to download and use their fonts. When I began using Apple Macintoshes in the 1980s, font manufacturers like Adobe and Monotype would “sell” the right to use a number of their fonts for thousands of dollars. And, by the way, you never really “own” the font. You have paid only for the use of the font for a specific purpose or machine. Moreover, the price varies for print use, or web use, or a digital ad use. Even today, the font Trinité Titling by Bram de Does, used in a number of Bibles and biblical studies, costs over $4,000 for the use on a single computer and much more for a number of computer users. Individual users of such fonts are mostly priced out of their budget. Why the seemingly extravagant cost? We had a valve on one of our household plumbing lines go bad. I called the plumber, and he replaced the valve — at a cost of several hundred dollars, while the valve itself cost only a few dollars. Was that fair? Yes, because I was paying for the time and training and effort going into replacing that valve in my house. The same holds true for professional font designers. They spend hundreds, sometimes thousands, of hours in font development. We are paying for their livelihood. Font licenses cover four basic parameters around font usage — “The What: The weight and style of the typeface; The Where: Literally where you’ll use the font – a website, digital ad, or in print; The Who: The number times a font can be installed on a computer (aka the number of people who can use it); The How many: For example, web font licenses describe the number of allotted page views, and app and digital marketing licenses set similar parameters.” (Monotype Report) Companies like Monotype are rarely concerning with an individual using a font for a home, individualized project, but rather an entire design company or printer using that font for commercial gain and advertising dollars. There are fonts available “for personal use only,” prohibiting their use for commercial or money-making projects. There are what have been called “shareware” fonts, fonts with a minimal cost which require attribution of the type designer or provider on projects. Most fonts provide a EULA, or font license, which outlines and determines the legal restrictions and ramifications for their use. What about free fonts? Monotype warns against using unlicensed or what are called “free” fonts for several valid reasons, but, in my opinion, this is an obvious ploy to get the user to buy or subscribe to their font services. One Monotype report cites six issues associated with what are deemed “free” fonts. Free fonts may pop up in similar ads or designs to industry competition, perhaps prompting a lawsuit or cease-and-desist actions. Free fonts often have the inability to scale, add special characters, or even different alphabets. Free fonts have limited creative scope. They may be saddled with malware or software viruses. Poor font design can be a problem with such fonts. A sixth problem with so-called free fonts is that they can be actually “pirated” fonts, copied from legitimately designed fonts. “Aside from branding issues, free fonts also suffer from a whole host of performance issues. Fonts are software files that interact with applications and the operating system on which it’s installed; without the guidance of a skilled font engineer, rendering issues may arise from crashing glyphs, or a lack of proper kerning (the space between glyphs) text in certain scenarios. A free font downloaded from a random website might not support a broad range of languages and or complex scripts (e.g., Japanese or Arabic), or basic diatrics to cover commonly used Latin languages.” (Monotype Report) Monotype maintains that free fonts won’t give a company the individual style it deserves to help it stand out in the marketplace. They also point to the legal ramifications involved with font licensing, not a glamorous subject but one in which company attorneys are hired to examine for possible litigation. Types of Free Fonts There are four sources of free fonts — Open Source fonts with an SIL Open Font License (SEE https://openfontlicense.org ); OS fonts, fonts that come with your operating system and hardware; Subscription add-on fonts that come as an add-on to a subscription service; and, advertised free fonts by independent font designers, such as CARE Typography. Many or most of such free fonts come from freeware, shareware, public domain or demo fonts downloaded or reconstructed from an archive or library, like Internet Archive. Companies such as Website Planet offer free “commercial” fonts, fonts that can be used in business and corporate applications. See https://www.websiteplanet.com/blog/best-free-fonts/. Several cautions, however, are still in order here. First, a font that “looks like” a standard, business font is not the same thing as its “older brother.” An example is Website Planet’s Playfair Display font, both a variable and static font designed by Claus Eggers Sørensen licensed under the SIL Open Font License agreement. Yet, this font looks a lot like the standard Bodoni font, created by Giambattista Bodoni in 1767 and revived by Morris Fuller Benton in 1911 under Linotype’s commercial license.
By Carl Shank December 23, 2025
More on the Greek font. In a previous post ( It's Greek To Me! March 18, 2023) we noted that Cursive Greek type appeared as a chancery script by Francesco Griffo in 1502 and lasted two hundred years. Robert Bringhurst notes that "chancery Greeks were cut by many artists from Garamond to Cason, but Neoclassical and Romantic designers . . . all returned to simpler cursive forms . . . in the English speaking world the cursive Greek most often seen is the one designed in 1806 by Richard Porson." This face has been the "standard Greek face for the Oxford Classical Texts for over a century." ( Robert Bringhurst, The Elements of Typographic Style, Hartley & Marks, Version 3.1, 2005 , pp. 274, 278) In fact, asking Google for the best Greek face to use, it points us to Porson Greek. Porson is a beautiful Unicode Font for Greek. It's not stiff, like many of the cleaner fonts, which are usually san serif. It is bold and easy to read and seems to more closely match the orthography in newer textbooks. (Jan 8, 2004) 
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