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Hey, welcome back.
This time, we're doing something different. We're going deep on pitch decks.
Because the way you present your business changes how people value it. In 4 hours, we change how yours looks.
And now, Tcharles, our Creative Director, is here to show you exactly how. |
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| Hey, most clients think they're hiring a design service.
What they're actually getting is an editorial process with design at the end. When a project lands with me, the material can arrive in any format.
A Word document with each slide already separated, a deck built on ChatGPT or NotebookLM, or even an old PowerPoint. The format doesn't matter, because the process always starts the same way. |
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Before the first slide: identity. |
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| The first thing we look for is visual identity. A brand guide, a brand book, anything.
If there isn't one, we build it in Figma before touching a single slide.
Fonts, colors, image style, and logo variations.
This is the foundation everything else sits on. Without it, the deck has no direction. |
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| Extracting what already exists. |
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| When the material comes from an old PowerPoint or PDF, we open it in Illustrator or Affinity —software that can actually extract the internal elements properly.
Taking a screenshot isn't enough. The images inside those files often have quality worth preserving, and Figma can't open PDFs or extract images from them.
We pull everything into a folder and use it during production. If any image comes in low resolution, it goes through Flow for upscaling to 4K or 2K before it touches a slide. |
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| | References before creation.
Before building anything, we look for high-quality visual references for the client's niche.
Just because it's a deck doesn't mean we pull a generic template and work on top of it.
Pinterest is the main tool here — with its current search engine, finding exactly what we need is fast.
Everything gets saved in a dedicated page inside the Figma file called "References."
When a visual identity is already defined and we've built decks for that client before, we skip this step and follow what's already established. |
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| The cover is a decision, not a template.
We read the entire deck before designing it. Because the cover isn't just a title — it's the reason someone keeps looking.
We find the core message, the right visual, the phrase that makes the content undeniable at first glance. |
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| Every page follows a structure.
Tagline first — a summary of what the page is about, something that captures attention before the person even reads the content.
Then the title, a subtitle when necessary, the content itself, image, if it fits, and footer at the bottom.
Tagline and title are non-negotiable on every slide. They tell the reader where to look and what to expect before they've started reading. |
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| Content arrives long. It leaves clear.
Most decks have the same problem: too much text, no hierarchy.
We take the liberty — always with the client's approval — of restructuring the copy.
What matters most sits larger and higher. What supports it sits smaller. The slide has to be beautiful and functional. It's 50/50.
In every deck I've produced, revised copy was sent back only once.
Every other time, the client approved — because restructured content makes more sense than what originally came in. |
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| Typography obeys rules.
Tagline, title, and footer have fixed sizes. They don't change. The body text can be adjusted depending on how much content the slide carries — but only down to a limit.
If it goes below that limit, the content gets split into two slides instead of getting smaller.
Side margins run a little narrower than standard to give the content more room to breathe without losing balance. |
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| The footer is a component.
Defined once, applied everywhere.
In 99% of cases it has the client's small logo on the left and the page number on the right. Sometimes a copyright line or the client's website.
Fixed size, reduced opacity — present but never competing for attention. |
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| Whitespace is design.
Like silence in music, whitespace isn't empty. It's structure.
We use a lot of it. Intentionally. The person looking at the slide shouldn't feel the weight of information.
They should know exactly where to look, in what order, and leave without tired eyes.
Clean isn't about having less. It's about having the right space around what's there. |
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| Everything has to align.
Nothing can exceed the margin. Spacing between elements has to be consistent even when font sizes differ.
The person looking at the deck has to feel harmony in the overall composition.
Design rules and copy rules, applied together in the same place. |
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| The final slide gets the same care as the cover.
It's where the client decides if the work is what they envisioned. So it gets the same attention as the opening — sometimes more. |
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| And when it needs to be in Google Slides, we build for that from the start.
Figma gives me full creative freedom, but when the brief asks for Google Slides, every decision we make during production accounts for that transfer.
Google fonts only, no negative kerning or auto layout.
Every constraint considered before the first frame is built — so the transfer is clean and the client can actually use what we receive. |
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| That's the process. From the first file the client sends to the final slide delivered.
Every step intentional. Every decision documented.
4 hours, a full deck. |
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| | Wow, that was a class!
This is the first of a series. Every edition, we'll go deep on one service — the process, the decisions, the details most people never see.
If you would like to request a deck, get in touch. |
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