Specing out and quoting a design job.

Formal design education provides a supportive learning environment that motivates and inspires all the while refining the art of effective use of type and image. Think about your design education for a moment. Do you recall discussing the business of design? Chances are you’re going to take on consulting/freelance design work at some point in your professional career. You’re an excellent designer and have the creativity side of design down. What good is being an effective visual communicator if you don’t have the skills to work with others, effectively promote your business or build your client/designer relationships? Is your design business savvy up to snuff? I’ve blogged about the importance of client relations before and this post is somewhat branching off from that discussion. For me, one of the most confusing aspects of design is the actual process of specing out and quoting a design job. Am I alone in this experience?

Below is a basic breakdown outlining how I quote a design job.

Project Orientation

The first step when beginning a new project is meeting with the client to gain a clear understanding of what the project entails. The purpose of this “brain dump” is to determine what the client needs and what you are being asked to do. (1)

Key issues addressed in the project orientation phase:

• A briefing on the project

• Project goals and objectives

• Client’s business goals

• Role of the project in the client’s broader plan

• Identification of the audience

• Competitive analysis

• Market research

• Budget

• Schedule and deadline

• Other parameters

The purpose of the initial brain dump is to gather as much insight as possible. You need to clearly understand parameters of the project so you can properly spec out the pay rate, time and amount of work that needs to be completed.

Use a Contract

Education.yahoo.com defines a contract as an agreement between two or more parties, especially one that is written and enforceable by law. The purpose of a contract is to clarify all aspects of the job and clearly set expectations for both parties. In this case, I’m talking specifically about the designer (you) and the client.

So what should go into a contract? Good question! Below are basics you should consider including in a design contract:

• Clear breakdown of the project details

• Pay rate

• Payment schedule

• Project timeline (concept presentation date, revision dates, final presentation date and printing time)

• Exact number of initial concepts to be presented

• Exact number of rounds of revisions after initial concept presentation

• Delivery date of final designs

Let’s go through some of the bullet points listed above in greater detail:

• Clear breakdown of the project details

This is a basic breakdown of what was discussed during the project orientation meeting. Including this section in the contract offers the client a chance to review what was discussed during the brain dump and affords them the opportunity to make edits/revisions to the project scope at the onset of the project as opposed to during the middle of it. You want to ensure a project doesn’t change course (scope) in the middle of development.

• Pay rate

Admittedly, this one is a tricky one to nail down. Before discussing pay rate have a clear understanding of two items:


1. Know your worth.

How much experience do you have? Have you been working in the field for ten years or are you right out of school? What do you bring to the creative table? Have a clear understanding of your abilities and experience. If you value what you do, your client will too. The client wants to get the best work at the best price. You want to do the best work at the best price. You both need to determine an agreeable amount.

Are there benefits to taking a lesser amount for the work? Concepting and developing an advertising campaign resulting in the campaign running nationally and winning design awards might be worth taking a pay cut for. The exposure and resulting additional work from the initial job might be a good payoff in the end. Perhaps you’re a new designer and gaining the experience is more important than higher pay. The more industry work you get, the more experience you gain and the more you can charge.


2. Know your market.

Understand the price range your geographic market will bear. You can charge more for a job in New York City than in Monroe, Louisiana. The cost of living in New York City warrants the extra payment for the job. A designer earning $30,000 in Monroe, Louisiana would need to earn $70,000 to maintain the same standard of living in New York, New York. Housing will cost 366% more (Yes, 366% more, that was not a typo!), groceries will cost 61% more, utilities will cost 90% more, transportation will cost 23% more, healthcare will cost 36% more. (2) See my point?

Hourly rate or a one lump sum?

If going the route of hourly, try your best to estimate the total hours it’ll take to complete the job at the onset of the project. State this time amount in the contract for this will establish expectation on the client’s part. They’ll have a clear idea of how much the design services will cost at the beginning as opposed to falling on the floor after they receive a large bill at the end.

There is nothing more stressful than trying to determine how long your creative process is going to take prior to even doing any of it! Break down the different aspects of the job into subsections and calculate from there. How long will it take to do your research? How long for concepting and thumbnails? Final development? Don’t forget about prepping files for the printer. All of the different portions of the design process need to be factored in to give you an idea of how long (in hours) the job will take. Chances are you’ll be off the first few times you attempt to do this. In fact, I still haven’t worked out all of the kinks myself. The more you understand how you create and the time it takes to create the easier this will become. I often put a clause in my contracts that state if I'm getting close to the projected hourly amount I’ll notify the client so they are aware of this.

Sometimes the client is uncomfortable with an hourly rate and prefers a single dollar amount. This is calculated pretty much the same way as the hourly is above. The only difference is you determine the rate and project time and formulate a dollar amount.

• Payment schedule

I’ve learned my lesson on this one! Too many times I’ve done work, delivered as promised and payment is either delayed or never sent.

I state in my contracts: “One half of the total project cost is requested upon project start as a non-refundable down payment. The balance is required within 30 days of project completion.”

This works out to 50% up front and 50% upon delivery. You can feel confident going into the project that you’ll at least get paid for half of the job if the client flakes and doesn’t pay at the end.

• Project timeline

Provide actual dates for your concept presentation, revisions, final presentation and delivery to the printer in the contract. Listing dates keeps the project on schedule and sets up clear expectations for the client. Every day a part of the process is delayed, the final delivery date is delayed. This of course, forces you to be proactive about hitting those dates, but also forces the client to make decisions in a timely manner.

In a previous blog post, (http://dezignrogue.blogspot.com/2011/10/good-design-is-in-details.html) I wrote this industry is focused on deadlines and you’re expected to execute and present extremely high-level concepts/designs in a very short amount of time. When designing, I tell myself jobs are due the day before the agreed due date with the client. It’s a mental deadline trick I play on myself that not only ensures I won't miss a deadline but also makes me look like a design super star by delivering designs prior to the expected delivery date.

• List the exact number of initial concepts that will be presented

Clearly specify how many design versions/concepts will be presented to the client in the contract. If developing a logo, I state I’ll present three distinct versions for client review. That being said, I often walk into that presentation with no less than six distinct symbols. The client is clearly expecting to see three as per the contract and I offer six. This helps to exceed client expectations set by the contract making me look like a design superstar!

• List the exact number of rounds of revisions the client receives after the initial concept presentation

Expect and anticipate edits from your client. If you listened to their needs, did your research, developed solutions that fulfill their communication needs there won’t be too many edits and revisions. I include the exact number of revisions the client receives for the quoted price in all of my contracts. A client can nickel and dime you to death with constant revisions. The more edits you are asked to make, the more time you are working on the project and less amount you are paid in the end. Listing an exact number of revisions in the original quote forces the client to be more organized in compiling their edits and getting them to you. It also prevents them from making needless changes.

This is what I state in my contracts about revisions: “The final project estimate is strictly based on the scope of work outlined in the contract. Additional design edits/revisions beyond the two revisions outlined in the contract will be billed at an hourly rate of $XX.”

The client is free to make as many adjustments/edits as they wish with the understanding that the first two rounds are included in the quote and any additional revisions are added to the final price.

• Delivery date of final designs

You formulated a timeline at the onset of the project. If you and your client stick to the deadlines outlined in the contract hitting the delivery date should not be a problem. Clearly state any missed date in the original timeline will result in an extension of the deadline. This goes for both you and the client and should be enough to keep all involved parties on point throughout the project process.

If additional adjustments come from the client, hear them out and formulate a response that supports what the contract states. In a previous blog post (http://dezignrogue.blogspot.com/2011/09/things-ive-learned-about-visual.html), I mention no one likes being told “NO.” I often say I’m in the business of saying, “YES.” While I may have said yes, this positive response comes with consequences:

Yes, I can turn the design around in one day, but another aspect of your project will be pushed back.

Yes, I can add the additional content, however the design was created around the original copy you supplied. The design must be reformatted to accommodate the additional text and this will push the delivery date back.

Saying yes offers a sense that you’re a team player but it also forces the client to think twice about making unnecessary requests. By saying yes with consequences, you come off looking like a team player and the person making the request has to make some tough prioritizing decisions to ensure their request is accommodated:

Perhaps the other parts of the project can’t be pushed back and hitting those deadlines is more important than the requested one-day turnaround time.

Perhaps the additional content isn’t worth the delivery date being pushed back.

Let’s wrap this one up!

I’m a firm believer three over arching criteria factor into every design solution: time, cost and quality. The first criterion is time, which you measure by tracking estimated time at the beginning of the project with final, completion dates. The second is cost, which you measure by calculating the amount of effort applied and money expended. The third is quality, which you measure by developing high-level design solutions and fulfilling the goals outlined at the onset of the project. (3)

You can achieve high quality work, but doing so will cost time and money. You can turn a design around quickly but it’ll sacrifice high quality and cost money to do so. The client needs to determine which of the three is most important.

We’re here because we love what we do. We’re artists who create with purpose. There is no limit to our creativity but why is it soon as we add math and numbers into the equation we get all confused and flustered?! In visual communication, creativity often partners with business and the business of design often means working with people. No one likes feeling uncertain or unclear. As far as I know, there is no official rulebook explaining how you should work with clients. Set clear expectations at the onset of the project. Doing so ensures you and your client clearly understand the parameters of the project. Trust me on this; the business of design will run much smoother enabling you to focus on the creative, fun side of things.

Blog Resources:

(1) http://www.robinlanda.com/Books_Advertising_By_Design__Content.htm

(2) http://cgi.money.cnn.com/tools/costofliving/costofliving.html

(3) http://office.microsoft.com/en-us/project-help/define-your-project-goals-and-success-criteria-HA001211137.aspx

Good design is in the details.

Let’s start this conversation with a bold statement: I don’t condone a lackadaisical approach to design! Effective visual communication relies on being extremely focused and organized, being able to think quickly on your feet and producing high-level designs that secure an emotional connection with the client/viewer. This is a huge weight to carry on our little, creative shoulders.

Anyone who knows me personally can attest I’m a fly by the seat of my pants kind of guy. Some would even say I am a bit aloof. I’m willing to admit to both statements really. One facet of my life where this doesn’t apply is my strategic approach to visual communication. Through my almost twenty years working as a visual communicator, I’ve trained myself to be a bit obsessive and detail oriented when it comes to practicing design. There are simply too many factors throughout the design process that need to be taken into account in order for a design to make it from concept to fruition. Admittedly, there are times when I feel as though I’ve got one hundred different creative plates spinning at the same time. The only way to ensure I keep them from crashing to the floor is to focus on the details. Oh, the many, many details!

There are numerous aspects of the design process we can discuss here. I’m highlighting a few: a strong concept, effective use of type and image, establishing visual hierarchy, client relations, file preparation for print and digital mediums, and design execution/presentation are this blog entry’s subjects of focus.

A Strong Concept

Practice safe design. Use a concept. — Petrula Vrontikis

The concept in a design is the common thread that’s woven into every piece found within a design series. While we may vary the visuals and copy in each piece to hold the viewers’ interest, the concept (the underlying message you’re trying to communicate) needs to remain constant throughout the entire series. The concept connects each of the design pieces together through a single, common message.

One of the tricks I use when developing a design series is to ask myself “what’s the big idea?”. This question ensures visuals and copy support the concept. For more detailed insight into concepts please refer to my previous blog post: http://dezignrogue.blogspot.com/2011/09/what-is-ad-concept.html

Effective Use of Type and Image

Our job as visual communicators is to concept unique, stand out, attention worthy ideas and bring them to life through effective use of type and image. Did you ever hear the phrase: the sum is greater than the separate parts? Each of the separate elements must work together as a team to support the message being communicated. Most creatives agree that when one — the line or the visual — is the “star” of a design, the other should take a supporting role. If both command attention, it can cause confusion. (1)

Below are some ways to get a complimentary visual/verbal relationship:

• The words determine the visual form.

• The words fight the visual form, creating contrast or irony.

• The words are straightforward and the visual is unusual (that is, humorous, odd, curious, shocking).

• The visuals are straightforward and the words are unusual.

When using type and imagery which one should dominate your design? Below are a few questions you can ask yourself when designing:

• Does my target audience prefer to read or look at pictures?

• Are the words interesting enough for people to read them?

• Is the visual going to stop people and grab their attention?

• If the design is intended for an international audience, should the design be more visual than verbal?

Establish Visual Hierarchy

I kind of feel like a broken record when talking about this point for I seem to bring it up all of the time! It just goes to show how important it is to achieve effective visual communication. Establishing hierarchy in design is organizing objects (type, imagery, etc) into different levels of relative significance and prioritizes the elements in your design to convey valuable information to the viewer. It stresses how important they are in relation to each other. Visual hierarchy helps us comprehend, reinforces the message and guides us through your story. (1.1)

Try asking yourself this simple question: what do I want the viewer to see first, second, third etc.? Placing the elements in the composition according to your predetermined numbered list is a simple but effective way to start establishing visual hierarchy. For more detailed insight into establishing visual hierarchy please refer to my previous blog post: http://dezignrogue.blogspot.com/2011/08/importance-of-visual-hierarchy.html

Client Relations

In one of my previous design posts (http://dezignrogue.blogspot.com/2011/09/things-ive-learned-about-visual.html) I stated presenting design concepts to a client is much like convincing them to walk to the edge of an active volcano. The client must trust you enough to allow you to take them beyond their comfort zone. If you work to instill confidence, you both can go to that edge and they trust you won’t push them in. If there isn’t trust, you’re not getting them anywhere near that edge!

So how can you instill confidence? Here are some of my tried and true practices:

• Not only meet deadlines, beat them!

This is an extremely deadline focused industry and you’re expected to execute and present extremely high-level concepts/designs in a very short amount of time. When designing, I tell myself jobs are due the day before the agreed due date with the client. It’s a mental deadline trick I play on myself that not only ensures I won't miss a deadline but also makes me look like a design super star by delivering designs prior to the expected delivery date.

• Exceed expectations

When specking out a job, I clearly specify how many design versions/concepts I’ll present to the client. For example, if developing a logo, I state I’ll present three distinct versions for client review. I often walk into that presentation with no less than six distinct symbols for them to review. The client is clearly expecting to see three and I offer six. This is an example of how you can go above and beyond your client’s expectations.

• Kill ‘em with kindness

Also included in the “things I’ve learned about visual communication during my lifetime” post listed above is the practice of killing ‘em with kindness. In that post I ask if you’ve ever heard the phrase "you catch more flies with honey than vinegar"? This basically means it’s easier to get what you want by being polite than by being demanding and resistant. No one wants to work with someone who has a bad attitude. You’ll accomplish more of your communication goals by being supportive throughout the process than you ever will being combative. This idea connects directly back to my statement at the onset of this section. The client must trust in you and trust what you’re proposing. In many cases you’re asking them to go into unchartered creative territory. What a scary and daunting experience it must be for them. Do your best to put their mind at ease. Doing so will help get your design accepted and approved.

File Preparation: Print

So, your client gives final approval on your design and you’re onto prepping your files for print. You clearly write detailed instructions to the printer, you package your CD carefully and you send the file off to the printer. Then comes the dreaded phone call… the printer doesn't have the fonts, the files are corrupt, you forgot to add bleeds in your files and your freaking out because this means you can't possibly make your deadline. (2)

It’s important to prepare your file using graphic arts industry standard practices. (3) Some elements to look out for when prepping a file for print:

• The software application is appropriate for the product to be printed.

• The file was created in the appropriate color space (Web: 72 DPI, RGB and Print: 300 DPI, CMYK).

• The document’s page size was built to final trim size.

• The fonts are all of one kind (preferably Postscript) and haven’t been stylized.

• All scans are 300 dpi resolution at 100% of the final image size.

• The graphic images are linked, not embedded in the file.

• The standards for indicating trapping, bleeds, and rule widths have been followed.

• The trim, score and fold marks are indicated and outside live print area.

Aspects of your print job to double check:
Accuracy
• Spelling: run spell check for spelling, grammar and punctuation errors.

• Proof reading: check names, numbers and other things that can’t be caught by spell check.

• Correct version: send the most recent version of the file.

Typography
• Punctuation marks: convert quotation marks, apostrophes, inch and foot marks, dashes and similar punctuation marks to their proper typographic symbol.

• Hyphenation: check automatic hyphenation for errors, “rivers” of white space or hyphenation that creates a widow or orphan.

• Widows and orphans: eliminate single words on a line or at the top of a column or a page.

Color
• Unused colors: delete any colors from the color palette that haven’t been used in the document.

• Color definitions: for spot color printing, define colors by using PMS numbers; for four color process, define all colors (including PMS match colors) as CMYK percentages.

• Color names: name each spot color, whether in the document or in linked graphics, with the same PMS number; similarly, define all CMYK colors, whether in the document or in linked graphics, with the same CMYK percentages.

• Color separations: test for proper color definitions by printing color separations. You should have one sheet for each PMS color (for spot color printing) or four sheets (for process color printing). And remember - if you can’t print color separations, neither can the printer.

Images (photographs, graphics)
• Resolution: 300 dpi when the image is at 100% of the size it is used in the document. Lower resolution compromises image quality and may result in pixilation.

• Fonts: convert fonts contained in images to paths or outlines. Layout programs do not collect any fonts from imported images.

• FPO: if you have placed low resolution images for position only during file construction, replace them with their high resolution counterparts.

• Color: match color definitions (i.e., spot or CMYK) and color names in linked images to what you have used in the main document. 

• File format: use TIFF (tagged image file format) or EPS (encapsulated Postscript). No PSD, JPG, PDF files!

Traps, bleeds, rules

• Traps: set chokes or spreads as appropriate.
• Bleeds: extend image to 1/8 inch beyond trim mark.
• Rules:  define rules numerically (i.e., .25 pt).

Fonts
• Unused fonts: delete any fonts not used in the document from the font listing.

• Stylized fonts: replace stylized fonts with the actual font.

Print the project out yourself, check and then submit it to the printer
Once everything has checked out, it is time for the real test – will it print? Prior to submitting the file to the printer, print it out. If you can’t print it, chances are the printer can’t, either. Also include a hard copy of the file so the printer can compare your output to theirs.

File Preparation: Digital

Large image files are the biggest offenders when it comes to slow loading web pages. Digital images are made up of small dots called pixels. Image quality is described in “dots per inch” (DPI). This refers to the number of pixels that make up each square inch of image. The higher the DPI, the better the quality of the photo. Imagery for online viewing should be 72DPI. A photo destined for the screen only needs to be 72DPI – any higher than this is a waste of file size and download time. (4)

Webdevfoundations.net offers a detailed listing of some web design to-do’s to consider when designing in this medium: (5)

Page Layout

• Appeals to the target audience.

• Use a consistent site header/logo.

• Use a consistent navigation area.

• Use an informative page title that includes the company/organization/site name.

• Page footer area could include: copyright, last update, contact e-mail address.

• Good use of basic design principles: repetition, contrast, proximity, and alignment.

• Page displays without horizontal scrolling at 1024x768 and higher resolutions.

• Find a balance of text/graphics/white space on page.

• Good contrast between text and background.

• Repetitive information (header/logo and navigation) takes up no more than one-quarter to one-third of the top portion of the browser window at 1024x768 resolution.

• Home page has compelling, interesting information above the fold (before scrolling down) at 1024x768.

• Home page downloads within 10 seconds on dial-up connection.

Navigation

• Main navigation links are clearly and consistently labeled.

• Navigation is easy to use for target audience.

• If images, Flash, or DHTML is the main navigation, clear text links are in the footer section of the page (accessibility).

• Navigation aids, such as site map, skip navigation link, or breadcrumbs are used (accessibility).

• All navigation hyperlinks "work" — are not broken.

Color and Graphics

• Use of different colors in page backgrounds/text is limited to a maximum of three or four colors plus neutrals.

• Color is used consistently.

• Color has good contrast with associated text.

• Use of color and graphics enhances rather than distracts from the site.

• Graphics are optimized and do not significantly slow download.

• Each graphic used serves a clear purpose.

• Image tags use the alt attribute to configure alternate text to display if the browser or user agent does not support images (accessibility).

• Animated images do not distract from the site and either do not repeat or only repeat a few times.

Content Presentation

• Common fonts such as Arial or Times New Roman are used.

• Techniques of writing for the Web are used: headings, bullet points, short sentences in short paragraphs, use of white space, etc.

• Fonts, font sizes, and font colors are consistently used.

• Content provides meaningful, useful information.

• Content is organized in a consistent manner.

• Information is easy to find using minimal clicks.

• Timeliness: The date of the last revision and/or copyright date is accurate.

• Content does not include outdated material.

• Content is free of typographical and grammatical errors.

• Content provides links to other useful sites.

• Avoid the use of "Click here" when writing text for hyperlinks.

• If standard link colors are not used, hyperlinks use a consistent set of colors to indicate visited/nonvisited status.

• If graphics and/or media is used to convey meaning, the alternate text equivalent of the content is provided (accessibility).

Design Execution and Presentation

Don’t let a great idea get lost in poor design execution and presentation. You must be as effective at presenting the idea as you are coming up with the concept. It doesn’t matter how much time you’ve spent concepting and developing a design. If it isn’t executed and presented at the highest quality and level, you run the risk of the client getting lost in the presentation glitches as opposed to focusing on the great concept!

• I know I stressed this one above but it’s worth a repeat: Are you using low res (72DPI), RGB imagery on a print piece? If it’s a print piece use 300DPI, CMYK imagery. Working as a creative director nothing makes a designer lose credibility more than using a low res, RGB image in a print piece. It’s your responsibility to know what file format and size to use in what medium.

• Pay attention to your craftsmanship when mounting the work onto the presentation boards. Are there pencil marks or glue splotches on the boards? You don’t want the board to look like it was created by Pig-Pen from the Peanuts. A crisp, clean presentation is a must!

• Focus on the detail and quality of your final printouts. In many cases, what the client sees is taken as a literal interpretation of what the final piece will look like. If your colors are muted on the print out this could negatively reflect on the final design presentation. Make sure what you present is exactly what you intend the final design to look like.

• For goodness sake SPELL CHECK! I know I said this like three times throughout this post?!

> InDesign the key command is Apple > I

> Photoshop it is Edit > Check Spelling

> Illustrator the key command is Apple > I

• Practice talking about your work in preparation for the final one on one presentation with the client.

• Do your research so you can speak to your client in their language! Use terminology that relates to their industry.

• Who is your client? Are they creative people that can talk the language of visual communication or are they design novices? You surely won’t present concepts to a sales manager the same way you would to a creative director! You have to alter the presentation depending on the background of the client.

• Know your client’s competition. What are they doing right? What are they doing wrong?

• Identify your target audience.

> Geographic: Where do you propose to place your designs? In a market that the company currently reaches or do you propose a totally new geographic target market?

> Demographic: The same holds true for demographics. Who do you hope to reach with your message? Is this new territory, or are you trying to strengthen an existing market?

> Psychographic: What are things the consumer is interested in? What are their interests? Likes? Dislikes? What presses their emotive buttons?

• What are your design objectives? What do you intend to accomplish with this design solution?

• What is your big idea?

• What is your main message/idea/creative strategy? How does your creative concept — the “big idea” — help to reach the target audience?

• What are your media choices?

• Relax, smile, be confident! You’ve done the work, now let the design do its job!

In Conclusion

Good design truly is in the details. Design is much more than getting a message across through the use of visuals and words. The best practice to adopt is one of checking and rechecking everything! In many cases, you’re the last person to review the design before it “goes out the door.” You better make sure all work is completed correctly or run the risk of damaging your reputation. You’re only as good as your last project. Any client will attest to that! ;)

Blog Resources:

(1) http://www.robinlanda.com/Books_Advertising_By_Design__Content.htm

(1.1) http://www.vanseodesign.com/web-design/visual-hierarchy/

(2) http://www.photoshopcafe.com/tutorials/printing/printing.htm

(3) http://www.printlocal.com/Prepress-Checklist.asp

(4) http://alumnae.mtholyoke.edu/dokuwiki/doku.php/websites/how_to_prepare_images_for_the_web

(5) http://terrymorris.net/bestpractices/

Understand the media you are designing for.

We comprehend information differently depending on the format we experience it in. You don’t engage with a billboard the same way you do a website. Working as a visual communicator, it’s important to understand how the viewer interacts with the design and how they gather and process information. Can you identify the environmental factors that might prevent the message from getting through? How about the amount of time the consumer has to see the message and comprehend what its saying? If you understand how the consumer interacts with each type of design format, you can target your message to suit and create more effective messages.

No matter what the media, there is a process you'll follow from idea through to finished design. Mastering the process is what makes a successful designer. Below is a basic breakdown of some of our industry’s most established design formats and points to consider when designing for each.

Logo and Visual Identity

A logo visually identifies a company or product via the use of a mark, flag, symbol or signature. A logo does not sell the company directly nor rarely does it describe a business. A logo derives meaning from the quality of the thing it symbolizes, and does not explain. (1)

For a moment, think of logos like people. We prefer to be called by our names – Tony, Sarah, Tim – rather than by some confusing and forgettable description such as “the blonde guy who wears pink”. In this same way, a logo should not literally describe what the business does but rather, identify the business in a way that is recognizable and memorable to the viewer. From a consumer’s perspective, it’s important to note that only after a logo becomes familiar does it function the way it is intended much alike how we much must learn people’s names to identify them.

The logo identifies a business or product in its simplest form. (1.1) It is a symbol. Every aspect of the mark alludes to what the company is about, what the company does and what the company means to the intended audience. It isn’t a literal interpretation, but a suggestion. Each of these subtle suggestions ad up to equate to visual voice coming through loud and clear to the audience.

When it comes to the designing a logo and executing a visual identity system, keep in mind: consistency is key for you are building a personality. People can’t relate to a business, product or service, but they can relate to personalities and design elements (font, color, texture, voice, etc.) used to represent them. You can thank advertising executive Leo Burnett for this mindset. The consumer becomes familiar with the consistent use of elements, becomes comfortable and trusts the brand. If you choose to represent the company or product in a very sleek fashion in one design, then aggressive and punk in the next, your brand will present as though it has multiple personalities. The consumer won’t have a chance to get comfortable for they won’t know what personality is going to be present next.

Print Advertisement

Advertising design is taking a concept or idea and translating it into an advertisement. An advertisement or “ad” is a specific message constructed to inform, persuade, promote, provoke or motivate people on behalf of a brand or a group. (1.2)

Keep your message short, sweet and to the point. Contemporary ad design is more visually driven than copy driven. The visuals spark the initial interest and drive the message. Today, most consumers don’t like to read a ton of copy in ads. I’m willing to bet I can list on one hand the scenarios where consumers take the time to read through a lot of ad copy:

• They’re sitting in the waiting room of a doctor’s office.

• They’re waiting for the bus or train.

• They’re looking for a particular product, a new camera for example.

• They’re using the rest room.

The consumer/print ad relationship is a fickle, short-lived one. In most cases, the consumer flips through the magazine or newspaper, scans and stops at points that grab their attention, emotionally connects with the message (hopefully), comprehends the message and quickly moves onto the next ad. Print ads are found everywhere and we’re inundated with them at an overwhelming rate. Remember, if you can get a reaction (good or bad) from your audience, they are more likely to be persuaded to act.

Establish visual hierarchy. OK, this goes for every single one of design formats I’m discussing in this blog post. Wikipedia.org defines visual hierarchy as the order in which the human eye perceives what it sees. Visual hierarchy is a group of visual elements arranged according to emphasis. (2) How you organize and prioritize the elements in your design conveys valuable information to the viewer about how important they are. Visual hierarchy helps the viewer comprehend, reinforces your message, and guides your target audience through your story. Establishing hierarchy in design is simply organizing objects (type, imagery, etc) into different levels of relative significance. Visual hierarchy creates organization and prioritization through the use and placement of visual elements.

Properly established visual hierarchies create focal points in your design, communicate additional meaning through convention and repetition, highlight actions you want your visitors to take and establish patterns of movement and flow. (3) Try asking yourself this simple question: what do I want the viewer to see first, second, third etc.? Placing the elements in the composition according to the predetermined numbered list is a simple but effective way to start establishing visual hierarchy. 

Direct Mail and Newsletter

Dictionary.com defines direct mail as advertising sent directly to prospective customers via the mail.

Dictionary.com defines a newsletter as a written report, usually issued periodically, prepared by or for a group or institution, as a business firm, charitable organization, or government agency, to present information to employees, contributors, stockholders, or the like and often to the press and public.

The main benefit: you know exactly who your target audience is! Direct mail is alluring because in many cases its effectiveness can be measured directly. The message is addressed directly to the consumer and the consumer responds directly to the sender of that message. For example, if a marketer sends out one thousand solicitations by mail, and five hundred customers respond to the promotion, the marketer can say with confidence that the direct mail campaign led directly to the responses. Measurement of other media is often indirect, since there is no direct response from a consumer. When communicating indirectly, you put a message out into the universe and hope it gets through without really knowing if it did or not.

Some aspects of direct mail/newsletters consumers may like:

• You can address the message directly to them! Yes, use their actual name!

• The message is focused on a subject of interest to them.

• They get a chance to interact with the design in their own, personal space.

• Direct mail is not a quick view medium. They have an opportunity to read through the materials at their own pace, put the piece aside and come back to it later if they wish.

Some downsides to this design format:

• Direct mail is only as good as your mailing list. If a person is on your list that has no interest in the subject, chances are the message will be immediately dismissed.

• People typically dislike it. It is unwanted and mistrusted.

• Creating an economical and effective direct mail piece that doesn’t look like “junk mail” is a challenge.

Brochure

Dictionary.com defines a brochure as a pamphlet or booklet, especially one containing summarized or introductory information or advertising.

The consumer picks up a brochure because they’re interested in learning something about your business, product or service. In most cases, you’re working with an exorbitant amount of body copy when it comes to brochure design. The consumer expects this delving into the brochure and is open to reading through more content as opposed to a print ad. That being said, it’s your responsibility to format the layout to ensure it doesn’t present as such. 

Some brochure design pointers to engage the consumer: (4)

• Ask yourself: What's the purpose of the brochure? Determine why the consumer should choose your business, product or service over your competition and continually promote this throughout the brochure. Keep the message focused on what you want to achieve and on what the consumer picked up the brochure for in the first place.

• The cover design works like a print ad. Does it get the reader's attention? Sorry, a simple logo isn't even going to come close to accomplishing this goal. So what should go there? How about effective use of type and image? A beckoning question or statement, an appeal to the consumer’s emotions, needs or wants is a good start!

• Avoid over-used typefaces.

• Avoid using decorative typefaces too many times throughout the design.

• Keep body copy point size to 8-10 points or below (nothing below 8 points or the text will present like legal text often found at the bottom of ads). This font size should be larger if your target audience skews more mature.

• Don’t use more than three type faces in the design.

• Generally don’t use more than one text alignment.

• Use headlines that command attention.

• Use Upper and lower case. We rely on ascenders and descenders to identify letterforms when reading copy. ALL CAPS does not work well in large amounts of text.

• Use boldface type sparingly to emphasize key points.

• Reverse text can be challenging to read in large amounts.

• Increase the leading (space between text lines) and character spacing to improve readability.

• Leave adequate margins on all four sides of your piece.

Transit

Businessdictionary.com defines transit advertising design as advertising that appears on the inside and outside of public transport vehicles, in waiting areas, and at stations and terminals.

Where do you place promotion materials when you want to reach everybody? Transit advertising is an excellent medium for reaching an audience of all ages, backgrounds and incomes. You are not just addressing riders with these “moving billboards.” You’re reaching families and professionals in their vehicles, students shopping or on campus and tourists finding their way around town. (5) Many design media reach only specific market segments. Transit advertising reaches the entire market (up to 90% of the adult population). (6) Transit advertisements are visible at all hours of the day equating to your message being seen by more people, more often than with any other type of design promotion. It reaches people all day... every day.

You have a captive audience for your consumer can’t escape! The consumer waits for the bus, rides on the subway or waits for their plane. There isn’t too much to do except view the designs strategically placed in front of them. Indoor transit designs don’t necessarily need the immediate communicative visual punch of a print ad. The viewer has an extended amount of time to view the message, ponder it and view it again. These inside signs are different than billboards in that they can contain much more information, can be filled with large amounts of copy and can be extremely layered and ornate in their visual presentation. Again, this is because the viewer has the time to figure out the message. This scenario doesn’t necessarily hold true for exterior transit designs affixed to the sides of cars or busses, these would suit more of an outdoor design approach which we will discuss next.

Outdoor and Poster

Formetco.com defines outdoor advertising as any form of media that carries advertising messages to consumer audiences outside the home.

Dictionary.com defines the poster as a placard or bill posted or intended for posting in a public place.

Exclamation NOT Explanation! Outdoor and Poster designs are glance mediums. What can you communicate to the viewer when they’ve got 3 seconds to see and comprehend? Not a lot, let me tell you! Designing for both mediums is a challenging communication task that requires the expression of a concept with clarity and focus. When well designed, it will entertain and intrigue consumers with arresting impact. (7)

The outdoor viewing audience is mostly mobile. People travel quickly in vehicles or walk at a brisk pace while they go through the activities of daily life. Mobility limits the potential viewing time of an outdoor or poster message to only a few seconds. Because of limited exposure time, these designs require a succinct creative approach. Both mediums work on the principle of frequency. Since messages stay in the same place for an extended period of time, people who drive by or walk past see the same message several times. Repeated exposures ensure a message is absorbed and retained over time.

Some outdoor and poster design pointers to help your message reach your consumer: (7)(8)

• Less is more, much more. Keep it brief: less than 7 words and less than 3 elements. Too many elements may confuse a viewer or make them work too hard to understand the message.

• The most effective designs focus on a single idea. Determine the most important benefit to communicate and express that to consumers.

• The design should be a quick burst of essential information. Additional messages dilute the primary benefit and reduce the impact of the message.

• Vital elements to include: a call to action, internet address, telephone number, special offer and pop-outs.

• Use Upper and lower case. Words comprised of both upper and lower characters are generally easier to read than words constructed solely of capital letters.

• Overcrowding compressed type or too many words reduces the clarity of a message.

• Excessive extreme variations between ascending/descending letter segments and serifs greatly reduces legibility.

• Ornate and sans serif typefaces can be difficult to read.

Package

Blackcoffee.com defines a package design as the structural and graphic development of a container in which product is packed, transported, presented, used and serves to support the intended brand position.

Your goal is to create a dimensional design that stimulates the consumer to make a purchase. The package is the first thing they see when walking into a store so make sure it stands out from the rest of the products on the shelf. (9)(10) The psychology behind purchase decisions is far more instinctive than rational. People only spend a few seconds in front of a store shelf and they’re faced with countless packages, images and claims. It’s impossible to process everything logically. In most cases, purchases are based on emotions not logic. (11)

A big plus about package design is its ability to break out of the expected two-dimensional world into a more dynamic three-dimensional one. Think of packaging as hands on design, literally. Your consumer isn’t only going to look at the front, they’re going to pick it up and hold the form, see it from different points of view, interact with it, be moved by how it feels and functions.

Package design is more than just glorified wrapping paper, right? Explore innovative ways to draw your consumers into your packaging solutions. Consider alternative papers (organic, synthetic, varying stocks), alternative casings (folds, shapes, varying functionality/different closures) and alternative printing techniques (inks, paints, dies, finishes) for all will help differentiate your package design from the others sitting right next to it on the shelf. (12)

Ambient

Worldwidewords.org defines ambient as almost any kind of advertising that occurs in some non-standard medium outside the home. It refers to intrusive ads in public places. The phrase was presumably coined during the peak of popularity of ambient music, a genre with electronic textures that create a mood or atmosphere.

The element of surprise! With the cost of traditional media skyrocketing and fighting for consumers’ attention, designers are seeking out new forms of promotion. When we pick up a magazine or newspaper, watch TV or a movie, we expect to see advertising. You could argue your consumers’ defenses are already up knowing promotional messages will be there. Ambient gives a message a chance to break through simply by its unexpected nature. It allows the consumer to engage one on one with the message before they’ve had the chance to tune it out. Ambient messages appear on store floors, at gas pumps, in elevators, on park benches and even pressed into the sand on beaches.

You’ve got the unexpected and the surrounding environment working for you in this type of promotion. Use our senses (sight, taste, touch, smell, hear) to draw the consumer into the event and engulf them with the message before they have a chance to dismiss it.

Website

Wikipedia.com defines website, also written Web site, web site, or simply site, as a collection of related web pages containing images, videos or other digital assets. A website is hosted on at least one web server, accessible via a network such as the Internet or a private local area network through an Internet address known as a Uniform Resource Locator (URL). All publicly accessible websites collectively constitute the World Wide Web.

Usability and the utility, not the visual design, determine the success or failure of a web site. Since the visitor of the page is the only person who clicks the mouse and decides everything, user-centric design has become a standard approach for web design. (13) Users’ habits on the Internet aren’t that different from customers’ habits in a store. Visitors glance at each new page, scan through text, and click on the first link that catches their interest. There are large parts of the page they don’t even look at. Most users search for something interesting (or useful) and clickable; as soon as a promising candidate is found, users click. If the new page doesn’t meet users’ expectations, they’re onto the next visual stimuli and the search process continues.

Some pointers to get you thinking like a consumer visiting a web site:

• Consumers appreciate quality and credibility. If a page provides high-quality content, they’re willing to compromise the content with advertisements and the design of the site. This is the reason why poorly designed web sites with high-quality content have a lot of traffic. Content is more important than the design which supports it.

• Users don’t care to read, they prefer to scan. Analyzing a web page, users search for some fixed points that guide them through the content of the page.

• Consumers on the Web are impatient and insist on instant gratification.

• The more you ask the consumer to think about the user interface, the less intuitive the site is and the better chance they are going to leave it.

• Users don’t search for the quickest way to find the information they’re looking for, nor do they scan the site in a linear fashion, going sequentially from one site section to another one. Instead users choose the first reasonable option. As soon as they find a link that seems like it might lead to the goal, there is a very good chance it will be immediately clicked.

Some rules of web page design and layout to help your site communicate more effectively: (14)

• Your web site should be easy to read. Choose your text and background colors very carefully. You don't want to use backgrounds that obscure your text or use colors that are hard to read. Dark-colored text on a light-colored background is easier to read than light-colored text on a dark-colored background.

• Your web site should be easy to navigate. All of your hyperlinks should be clear to your visitors. Graphic images, such as buttons or tabs, should be clearly labeled and easy to read. Select the colors, backgrounds, textures, and special effects on your web graphics very carefully. It is more important that your navigational buttons and tabs be easy to read and understand than to have "flashy" effects.

• Your web page layout and design should be consistent throughout the site. In the same way any brochure, newsletter or newspaper is formatted, all graphic images and elements, typefaces, headings, and footers should remain consistent throughout your web site.

• Your web site should be quick to download. Studies have indicated that visitors quickly lose interest in a web site if the majority of a page does not download within 15 seconds. Even web sites that are marketed to high-end users need to consider download times.

eBlast

Urbandictionary.com defines eBlast as a ridiculous non-word made up by marketing people who think the term "e-mail" is inadequate to describe the explosive excitement of their mass e-mails. An eBlast is an electronic version of direct mail marketing. Promotional messages are designed and sent via email to predetermined contact lists.

Some eBlast design pointers for you:

• Consumers interact with online content differently than print and they have the power to delete your message quickly.

• Don’t inundate them with too much information.

• There’s nothing more crucial to a good eBlast than a descriptive headline. This approach not only grabs the consumers’ attention, it also helps get your eBlast past spam filters. If you use a generic title such as “Just Reduced!” it may never make it into their inbox.

• Keep a simple header image, body copy, footer, unsubscribe link format from top to bottom, this is fairly standard.

• Use a clear call to action.

• Don't use a gradient background, it just makes it much easier to cut the HTML up.

• Don't use background images in your HTML, they won't display.

• Make your eBlast more text than imagery. When you receive an HTML email in your inbox by default it won't display the images, so the user should be able to see as much of the email content without having to show the images.

• Bigger isn’t always better. When designing an eBlast it is a good idea to know what most users have their screen resolution set to.

• Design your eBlast in HTML: Since Outlook and webmail interfaces are built around HTML why use just an image? It is not only more functional but your eBlast will load faster. If you integrate HTML you have much more control over what the eBlast looks like on your recipients screen. This has become most useful since outlook and even some webmail interfaces now block images until the user chooses to see them. By using HTML your recipient will see more than just a blocked out image (which is often displayed as an X) This also helps to separate your email from spam, as many top spam filters flag emails with one large image and very little text. If you do use an image with image maps, make sure that your eBlast is centered on the page. (15)

Social Media

Socialmediadefined.com defines social media as the future of communication, a countless array of Internet based tools and platforms that increase and enhance the sharing of information. This new form of media makes the transfer of text, photos, audio, video and information in general increasingly fluid among Internet users. The result is an enormous amount of information that can be easily shared, searched, promoted, disputed and created.

Don’t forget word of mouth. Yes, you are developing messages that work to get the word out, but nothing speaks louder than a trusted friend. You are more likely to try a product or service because a friend suggests it than through any other type of graphic communication. If your best friend “likes” a website on Facebook chances are you’re more inclined to check it out yourself than if you simply see a banner ad promoting it. Your best friend becomes what I like to call a “brand ambassador.” Brand ambassadors are consumers who belong to the target audience that willingly spread the word about your brand.

Use social media to establish your brand and raise awareness in the consumers’ eyes. (16)

• You can pitch products in a more human, interactive way. Since people visit social media sites to get personal rather than be bombarded with ads, discuss your business in a fun way and engage your customers. Ask their opinions and entice them to respond back. You’ll be making a valuable connection that will help grow your number of return customers.

• Bring attention to your products. Featuring a product on a social media site is one of the fastest ways to bring attention to it. Offer a promotion along with it for your online community members and watch your sales skyrocket.

• Increase your customers’ loyalty and trust. Speaking to your customers in a personal way makes them feel like they are talking to a friend, not a company. This will build their trust in you, which will make them want to do business with you rather than your competition. It will also improve the chances of customer recommendations.

• Listen to your customer’s opinion. Social media sites are an awesome way to see what your target audience is saying about your company or your products. Take their constructive criticism and use it to enhance your product to better meet their needs.

• Strengthen customer service. Social media networks allow your company to answer your customers’ questions and concerns directly in a timely manner. This will improve customer satisfaction and also save you money on long distance customer service phone calls.

• Build your personal reputation. Social networks allow you to get your name out to the world and talk about things that matter to you. This will help you build a good online reputation.

• Showcase your talents and establish yourself as an expert. If you’re passionate about a certain subject, whether it’s work-related or a hobby, the Internet is a great place to show off your knowledge. Soon people will be coming to you for the breaking information on that topic and talking about you to friends.

• Enhance business contacts and enhance personal relationships. Through professional sites like LinkedIn, you can build your number of business contacts and enhance your reputation as an expert in your industry. You can also connect with those long-lost high school and college classmates, old colleagues and out-of-town family members.

• Share information with like-minded people. Connect with other professionals in your field to share information. Where else would you be able to connect with industry professionals across the globe to swap stories and advice?

Integrating social media (using web-based and mobile technologies) into your design solutions helps turn one-way communication into an interactive dialogue. A print ad is an example of one-way communication. Your client promotes something in the ad hoping the consumer sees it and takes action. Social media allows consumers to instantly talk back and close the conversation loop.

Let’s sum it up

I’d like to restate my initial comment at the beginning of this post: We comprehend information differently depending on the format we experience it in. When researching and developing concepts, continually look at the intended message through your consumers’ eyes. Can you anticipate how they’ll interact with your design? How will they gather and process information in the design format you’re using? What outside factors might prevent the message from getting through? I hope the above pointers will get you headed in the right direction.

I didn’t realize post was going to be this long at the onset of writing it. There was much that needed to be covered in this topic. I’m certain I didn’t call attention to all of our industry’s design formats. Forgive me if a few have fallen off the radar. It gives you a chance to add your thoughts into the mix. What other established design formats are utilized and what points should we consider when designing for them?

Blog Resources:

(1) http://www.lifeclever.com/paul-rand-thoughts-and-despair-on-logo-design/

(1.1) http://justcreativedesign.com/2010/04/06/branding-identity-logo-design-explained/

(1.2) http://www.robinlanda.com/Books_Advertising_By_Design__Content.htm

(2) http://kellysevernscurtis.com/art140/art140_visual.htm

(3) http://www.vanseodesign.com/web-design/visual-hierarchy/

(4) http://www.mcgpaper.com/howtomakbroc.html

(5) 2004 Entrepreneur.com, Inc., Publication: Entrepreneur.com

(6) http://www.gohrt.com/media/transit-advertising/

(7) http://www.sba.gov/

(8) http://www.oaaa.org/

(9) http://freeadcandy.com/2010/12/17/the-basics-of-package-design/

(10) http://abduzeedo.com/packaging-design-tips-and-inspiration

(11) http://popsop.com/42094

(12) http://www.gomediazine.com/tutorials/inspiration-tutorials/beauty-packaging-design/

(13) http://uxdesign.smashingmagazine.com/2008/01/31/10-principles-of-effective-web-design/

(14) http://www.grantasticdesigns.com/5rules.html

(15) http://answers.yahoo.com/question/index?qid=20090420145810AAL5PpF

(16) http://www.sitepronews.com/2011/02/13/top-14-benefits-of-social-media-marketing/