Your journey of self reflection begins with two simple steps

Self reflection offers you an opportunity for personal and professional growth. Growth that often occurs through reflecting on experiences and expanding your perspective. In the spirit of self reflection and growth in a graphic design context, I ask you, have you identified the skills you bring to the creative table? What about areas you need to improve? Your journey begins by answering two simple questions. What are your strengths? What are your weaknesses?

The practice of turning your focus inward and being brutally honest with yourself can be challenging:

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All joking aside, your journey of self reflection is worth the inner struggle for it results in clarity, establishes direction and starts you on the path to achieving your next personal and/or professional goal.

What are your strengths? 
Identifying your strengths enables you to pin point qualities that perhaps only you posses empowering you to shout these unique, stand out qualities from the rooftop! OK, not the rooftop but in your communication with clients, creative directors and potential employers. The rationale behind my last blog entry building a better ladder doesn’t only apply when you’re concepting for clients. It directly applies to how you promote yourself and how your intended audience perceives you. Having a strengths list at the ready is an excellent resource as you edit your résumé, write cover letters, update your portfolio, interview, promote your brand and build your ladder.

What are your weaknesses? 
Additional benefits present themselves when referencing that dreaded list of weaknesses too. Is this not an excellent starting point of “to-dos” encouraging you to become a more effective visual communicator? You’ve basically self-identified action steps to make you more marketable in an extremely competitive field.

In another previous blog post, things I’ve learned about visual communication during my lifetime, I cite the contrast between a design school environment where inspiration abounds (other designers’ work, examples the professors show, etc.) to the environment of working in the industry where those vital inspirations are sometimes more difficult to discover. Keeping that weaknesses list on hand ensures you always have areas to improve, keeps you inspired and ultimately enhances your strengths list.

In conclusion
I hope working as a visual communicator you’re always thinking, questioning, finding more effective ways to emotionally connect with consumers, and yes, enhancing your own skill sets. Your journey of self-reflection truly begins with asking those two questions. What are your strengths? What are your weaknesses? Use your chosen strengths for stability and support and your weaknesses as a personal mission of growth, self-motivation and inspiration.

I challenge you to build a better ladder

When tasked with the creative challenge of promoting a brand, product or service, consider how you want to position that brand, product or service in your target audience’s mind. What do you want the consumer to think about when they come in contact with your message? What emotions do you want to conjure up? What do you want the consumer to associate with your brand, product or service? As the creative strategist, it’s your goal to fulfill your target audience’s need, develop a solution to their immediate problem and make your brand, product or service relevant in their mind.

So what is positioning? 
Businessdictionary.com defines positioning as a marketing strategy that aims to make a brand occupy a distinct position, relative to competing brands, in the mind of the customer.

We are creatures of habit. 
Take a moment to reflect on your own purchasing habits. What deodorant, shampoo and laundry detergent do you use? Chances are when it comes to choosing brands, products and services you’ve got a few personal favorites. I’ll be so bold as to state you probably stick with the same brands in each category. You might try a new one every so often, but chances are you go right back to your tried and true favorites.

It’s a jungle out there!
To cope with the explosion of brands, products and services vying for our attention daily, we’ve conditioned ourselves to mentally rank them. This process can be visualized by imagining a series of ladders in the mind. Each ladder represents a completely different brand, product or service category (ladder 1: deodorant, ladder 2: shampoo, ladder 3: laundry detergent…). Upon each rung of a ladder sits a different brand within the ladder’s brand, product or service category. (1) The ultimate goal for any brand, product or service is to occupy the top rung of their category. Once a brand, product or service is sitting on that top rung, it’s extremely difficult for any other brand to knock the holder of that top rung off. The best they can hope for is to settle for the second, third rung or worse!

This visualization is crucial to remember when positioning a brand, product or service. If the chances of knocking one of those top three competitors off the rungs of your chosen ladder are so slim what other options do you have?

The answer is quite simple… build your own ladder! While there isn’t much room on the ladders currently found in your target audience’s mind, there is more than enough room to build a new one and place your brand, product or service on that highly coveted top rung.
 
So you’ve decided you want to build a new ladder. Where do you go from there? My suggestion: do a S.W.O.T. analysis to determine your brand, product or service’s (and the competitions’) Strengths, Weaknesses, Opportunities and Threats. What are you and the competition doing right? What are you doing wrong? What unique attributes does your brand, product or service bring to the consumer? Remember, the consumer always asks him/herself “What’s in it for me?” Fulfill a need, be the solution to their immediate problem and make your brand, product or service relevant in the consumer’s mind. Look at the market landscape and identity areas that currently aren’t being utilized. If you find such an area, start building that ladder and get your brand, product or service firmly planted onto that top rung!

What is your brand, product or service’s unique selling proposition? 
I alluded to this in the previous paragraph by asking you to determine what unique attributes your brand, product or service brings to the consumer.

Entrepreneur.com defines the unique selling proposition (USP) as the factor presented by a seller as the reason that one product or service is different from and better than that of the competition. Unless you can pinpoint what makes your business unique in a world of similar competitors, you cannot target your promotion efforts successfully. (2) You can thank ad guru and marketing master Rosser Reeves for coming up with the concept of developing a USP. In 1961, Reeves outlined the promotion technique in his book “Reality of Advertising.”

He defines a USP has having three parts:
> Each ad must make a proposition: "Buy this product and you get these benefits".

> The proposition must be unique: something that your competitors do not, cannot or will not offer.

> The proposition must sell: it must be something consumers really want; it pulls them over to your product.

In essence, a USP briefly and clearly explains a single quality about your product that lets it stand out against the competition. (3)

In conclusion
There are many “me too” companies in the market today touting similar messages about similar products or services, and yet there’s still plenty of unchartered real estate in the consumer’s mind for our brands, products and services to stake claim and begin building a better ladder. Working as creative thinkers we must figure out ways to connect with the consumer helping them see the value in what is being communicated. There is concept and strategy built into every mark we make. Design is so much more about psychology (what makes us tick) than it ever is about just making stuff look “cool.”


Blog Resources:
(1) http://teamaltman.com/2010/05/understanding-the-ladders-in-your-head/
(2) http://www.entrepreneur.com/encyclopedia/term/82480.html
(3) http://www.hardtofindseminars.com/Rosser_Reeves.htm

Words to design by

While working with my creative teams, I often catch myself repeating tried and true design mantras. This got me to thinking; do I have a list of personal musings I rely on to get my design point across? We all know the answer to that question or there’d be no point to this blog post! Here’s a sampling of what I compiled. Given more time and thought on the subject, I’ll add more. Let’s just keep this as a running list of “words of wisdom” or better yet, “words to design by” and leave it at that. Here goes nothing:

“Do not follow where the path may lead. Go, instead, where there is no path and leave a trail.” Ralph Waldo Emerson
A quote I absolutely live by! If you’re on a path, it is someone else’s path. Chart your own path for this is the best way to ensure you’re unique. Unique and one-of-a-kind means your work has a platform to stand out from the endless parade of other designs that consumers come in contact with.

If graphic communication is expected, it is boring. If it is boring, no one pays attention to it. If no one pays attention, you have not communicated anything
Make connections to disparate objects and build an unexpected bridge between them. Only when the consumer is able to walk across that bridge will they understand the connection. The key here is finding unique, unexpected connections. If the concept (the bridge) is expected, it is boring. If it is boring, no one will pay attention to it. If no one pays attention to it, you have not communicated anything. If 9 out of 10 designers come up with the same solution, it’s too obvious. Always push your solution beyond the typical and expected.

We’re all egocentric when it comes to design
Most graphic communication is created on a mass scale; meant to be read by numerous viewers and yet we all engage with it as if the design is speaking directly to us. Successful messages are those that you can relate to, you can laugh along with or touches you on some level. I firmly hope your work invites the viewer to become involved, gets them to act for a cause, educates, and informs. In the simplest of terms, inspires and motivates the viewer to do something!

Ying when others yang
We as visual communicators design in response to what is happening around us. Keep an ear to the ground, educate yourself about what’s current in visual communication and then run in the opposite direction as fast as you can! Ying when others yang for it’s the best way to stand out from the crowd. If you use design elements (colors, typefaces, etc) that everyone else is using how can your message possibly stand out?

Is anything original?
Don’t have the audacity to think your idea is original. It doesn’t matter how out of the box you think your concept is; chances are it’s been done before. It’s your responsibility to research and determine if your “original” idea has been executed before and develop ways to modify it and make it your own.

You’re the captain of your own creative ship
Follow your gut instinct when designing. Doing so helps you find your own visual voice. We’re creative thinkers and interjecting our own point of view into designs is what helps bring unique solutions to the table. The goal is to develop a stand out message, right? Since you have your own perspective, your own point of view, you offer what no one else can.

You make the final decision as to how you want to present your work. In the end, you’re the one who must defend it to your creative director, client, professor, etc.!

One visual and one word can affect the lives of many
There is power in our visual voice and with this power comes great responsibility. What you put out into the world influences others. Don’t take this responsibility lightly. Rely on your morals and integrity. If what your promoting doesn’t feel right, do something about it.

Designers must be transparent
I want you to develop your own visual voice and fully expect to see common threads connecting your individual designs together when looking at the breadth of your work. That being said, ensure your clients’ voice comes through loud and clear. Your design “style” needs to overlay on top of your client’s brand elements allowing their brand voice to resonate. You’re communicating their message to their audience after all!

Establish visual hierarchy
Ask yourself this simple question every time you design: what do I want the viewer to see first, second, third? Placing the elements in the composition according to the predetermined numbered list is a simple but effective way to start establishing visual hierarchy. Using basic design principles allows you to emphasize one element over another so more important content looks and presents as more important. Placing the elements so they are on the same level of visual hierarchy can create a sense of visual tension, a visual tug of war of sorts. This visual struggle can result in the design feeling cluttered and disorganized leaving the viewer confused. Don’t get me wrong; some visual tension is a good thing to have for it offers a sense of energy and movement. The issue occurs when everything in the composition is screaming, “look at me!”

In conclusion
That’s all I can think of at the moment… mentally exhausting, but a little journey of self-reflection does a designer good!

If we’ve had the chance to work together on a creative team previously, any additional comments, phrases or words to design by you’d like to add to the list?! Give a shout out if I’ve missed something.

Inspiration abounds!

Designers are social commentators of their time. We design in response to things that are happening around us. There is much inspiration to be found… all you need to do is look! I wanted to put this theory to the test. My best friend and I decided to walk from our place in the East Village, NYC to Soho and back. Camera in hand, I grabbed shots of images, signs, ads, illustrations, (anything really) that piqued my interest. Here is what I found along the way. 

I believe each of the elements included in this image were placed individually but are working together to create a striking, layered effect. The vintage 50s flare illustration married with the red, abstract paint and the blue dahlia flowers creates an alluring composition. 

Talk about brand recognition! More than half of the letterforms in Google are missing or covered and I am still able to make out the brand elements. It must be one recognizable mark! 

Store signage made of industrial steel. I love the exploration of materials and how the color and texture of the sign will continue to change as it is exposed to the elements. I have a HUGE issue with the bad kerning though. Look at the amount of space between the O and C in café. A rule of thumb I use for kerning is place a lower case l between words to determine if there is too much room between them. In this example, “OlCAFE” remove the "l" and you achieve better kerning. 

Here is a digital mock up of what the sign should look like! ;)

The image was printed on individual pieces of 8.5 x 11 copy paper and mounted to the wall with tape. Exposed to the elements, the ink has begun to run, the paper is warped and peeling. Now the visual has some emotive power! So much more engaging in this state than the original and intended one I am certain. 

I have no idea what this is communicating, but the bold color and union of bazaar imagery caught by attention. I’m not much of a fan of vertically placed type. We read left to right and are used to seeing letterforms placed in that fashion. When letterforms are placed on top of each other in a vertical format, the space between the letters becomes more important than the letters themselves. That being said, adding dimension to the letterforms helps them connect visually. 

The similar size of the Beast and Hombre text visually competes for attention. One or the other should take a more dominant role in the communication to avoid causing a visual tug of war. 

Laser cut metal letterforms with the counters removed. The sign offers a subtle sense of dimension throughout the day. The shadow on each letterform moves as the light changes. In the evening, the sign is lit from within causing the shadow to disappear.

Outdoor sign stating Studio Salt is looking for a Junior Architect and an Interior Designer. Upon closer inspection, this sign is loaded with typos. I’m embarrassed for the designer who created this. All I have to say to you is have some respect for our craft and learn to spell check! I hope this helps you:

> InDesign the key command is Apple > I

> Photoshop the key command is Edit > Check Spelling

> Illustrator the key command is Apple >

Utilizing non-traditional medium for store signage. Stencil letterforms are cut into a huge piece of plywood. The plywood is varnished to protect it from the elements. The design is simple, bold, modern and industrial.

Bold color and imagery. Take notice of the man talking on the phone to give you a better idea of scale. 

If you are ever walking around NYC, take notice of the traffic light poles, well any pole really. There are tons of tiny ads and stickers posted on them. In this example, create your fate is typeset backwards. 

A QR (quick response) code used in ambient fashion: spray-painted on the sidewalk. Smart placement for there is no other competing messaging anywhere near it. 

Mixed media collage of one angry George Washington. Repetition of form and a very aggressive scribble leave an impression. Talk about emotive!  

A poster promoting A.S.V.P., an online independent street art and graffiti photo community that grades street art that has been posted to their site.

How do you create an effective brand identity and design portfolio?

Your portfolio features carefully selected design examples demonstrating your ability to concept and apply your knowledge and skills to solving visual communication challenges. When developing any type of self-promotion, there are different components to your brand identity and portfolio you need to consider. You will utilize numerous points of contact and each serves a distinct function and purpose. This post is packed full of advice, arming you with the tools needed to create a first-rate brand identity and portfolio presentation.

Consistency of visual voice

I must start this conversation highlighting what I talked about in my previous post “Develop a personal branding experience” (http://dezignrogue.blogspot.com/2011/11/develop-personal-branding-experience.html) A consistent use of your brand elements allows others to get to know your brand and personally relate to it. If you're not consistent when promoting yourself, how can your clients or potential employers trust you to be able to do it for them? As you send out your marketing materials, keep in mind hiring managers and clients don't know you personally. They rely on your effective use of design elements to get a sense of who you are. All points of contact: your cover letter, resume, business card, website, promotional materials, etc. should visually relate and project a strong and steady message. If one piece of communication is conservative, another aggressive and yet another demure and soft-spoken, your visual voice can present as splintered or having multiple personalities. This will confuse anyone who doesn’t know you personally and is relying on your use of design elements to become familiar and comfortable with your brand. The end result: a consumer or client who doesn’t know what to expect each time they see a message from you, leaving them feeling uncomfortable and uneasy.

Different components to your brand identity and portfolio

As stated above, when developing any type of self-promotion, there are different components to your brand identity and portfolio you need to consider. You will utilize numerous points of contact and each serves a distinct function and purpose.

Traditional book portfolio

Whether you opt for a flipbook or a box portfolio, the traditional book portfolio consists of your work being printed out and bound or mounted onto boards. In most cases, this version of your portfolio comes into play after you’ve made some sort of initial contact and have been invited to meet with the company/client.

Attention to detail in design is a must in all aspect of design really, but extremely so when constructing this version of your portfolio. Make sure you aren’t using low-res imagery. Working as a creative director, I can tell you this is one surefire way to lose creditability. Using low-res imagery in a traditional book portfolio tells me you don’t know the difference between high-res (300pdi) and low-res (72dpi) equating to your portfolio being skipped and me moving onto the next potential candidate.

If you choose a box portfolio, I strongly suggest purchasing all of your boards at the same time. The colors of the boards can vary slightly depending on when they were produced and purchasing them from the same die-lot ensures they’re the same shade. Think beyond your immediate need and order extra boards too. You’ll be adding additional work at some point and you want to ensure the board shades remain consistent throughout the entire book. Also, the boards vary in color from front to back so take note what side you’re mounting the work on.

Watch those corners! You don’t want any dinged corners on any of the boards. It looks sloppy. When presenting using boards, I try my best to handle the boards myself to prevent any dinging. I find most creatives are respectful of what goes into creating a portfolio and do their best to be careful when handling them.

Absolutely no pencil marks on your boards. I know what you’re thinking, “Why not? I can erase them.” The eraser leaves smudges on the boards and alters the color of the board. Here’s a trick I use when mounting work onto boards: use a stickpin to mark where you want to position the paper. The tiny dot left from the pin is easy enough to see when you’re mounting the work, but also nicely disappears once the work is mounted to the board.

More and more I find the traditional book portfolio taking a less active role in design. Time and time again, I find myself showing work on screen as opposed to using my traditional book portfolio. In fact, it hasn’t been taken off the shelf in about 4 years?!

You need a web presence

Every designer needs to have a web presence. Did you catch that? Here’s a repeat: every designer needs to have a web presence. This can be as simple as uploading examples of your work to professional websites (I cover this below) or building a website for yourself.

While I hope you design your web presence (it’s another opportunity to showcase your design abilities) you can go the route of a website builder that uses a drag and drop platform as opposed to designing and coding the site yourself. These types of portfolio building sites allow you some sort of web-based portfolio without the coding issues.

Some drag and drop platform sites you can reference:

• www.wix.com

• www.editor.circlepad.com

• www.carbonmade.com

• www.webs.com

• www.homestead.com

• www.weebly.com

The point is to get your work out there and viewed by potential employers/clients. Even if your design focus isn’t interactive, your web presence helps get the conversation started. Creative directors are busy and in most cases don’t have the time to call you in to talk to you without seeing your work first.

A low-res pdf version of your portfolio

There’ll be times when you’re requested to send a pdf version of your portfolio via email or upload a pdf to a potential employer/client’s server. Please don’t email a 60MB file! You’ll certainly cause your intended recipient frustration and run the risk of taking yourself out of contention. Again, from a creative director perspective, I’d think to myself “this designer doesn’t even know what type of file is appropriate to send via email” and quickly put them into the “no thank you” pile. Creating a 72dpi document is more than adequate for on screen viewing. When sending out a low-res pdf, I include 72dpi in the name of the document so the recipient knows I know it’s low res. I also state in my written communication it’s a low-res file. A naming convention example for you: “DeanJamesBallas_INDUSTRY_WORK_72DPI.pdf”

Include a rationale for each featured project

These suggested guidelines should be applied to your traditional book, web-based and pdf portfolios.

We interact with designs differently depending on the medium. You surely don’t engage with a direct mail piece the same way you do a billboard. In direct mail, the viewer has a chance to sit and relax in the comfort of his/her own home and read through the materials at their leisure. An outdoor advertisement however, has to communicate its message in about 3 seconds. It’s all about exclamation not explanation. Don’t you think it would benefit the viewer of your portfolio to understand the context of the design?

Including headers and short, to the point descriptive texts for each portfolio piece serves to help the viewer better understand details about your design. They also act as reminder points for you when you’re presenting the work. What is the design medium? What is the concept? What is the goal of the design? Answering these types of questions for the viewer in your rationale helps cement why your design solution is a valid one in the viewer’s mind.

Formatting your header/descriptive text in the look and feel of your cover letter, resume, business card, website, promotional materials, etc. is a great way to allow these different pieces of graphic communication to connect. Remember, you’re branding yourself here with every piece of communication. Do not splinter your voice!

These helpful points should take a secondary role to the design piece being featured. Let the individual portfolio design piece take prominence and allow the headlines and copy to be there for clarification if it’s needed. Also, keep this header and descriptive text the same size and in the same position on each portfolio page. The viewer will begin to understand this is the area to refer to if clarification is needed.

Number of pieces

There is no set standard for how many pieces you need to include in your portfolio. Speaking generally, any number between 10-15 pieces is more than adequate to get a sense of your concepting, digital manipulation, effective use of type and image skills. I consider multiple-part projects (identity system for example) as one project. You’re showcasing your best of the best here. I’d much rather see ten exceptional pieces of visual communication than twenty safe, average, expected pieces.

Choosing an order: start strong and end strong

You know the saying: you only get one chance to make a first impression. You better make it count! Choose your strongest pieces to go first and last in your portfolio in a bookend type fashion. Doing so enables you to make a great first impression, drawing them into your portfolio. This also allows you to leave them with a great last impression.

Showcase your knowledge of designing for different mediums

The current trend in our industry places emphasis on the "jack of all trades" approach to design as opposed to a "master of one." A designer is required and expected to be proficient and competent in many skills not necessarily outstanding in any particular one. Your portfolio and use of different marketing platforms need to showcase this mindset. Featuring a variety of design media and showing how a concept is executed across different communication platforms is crucial to a successful portfolio. You may not be that confident in back end coding, but you can certainly highlight you understand user interface and how the end user interacts with online content. Featuring interactive design examples such as websites, eblasts, kiosks and iPad screens can accomplish this goal.

Include at least one set of thumbnails

A creative director is interested in learning how you create. Including the entire creative process, from concept through fruition, for one project is strongly advised. Feature research, initial concepts, thumbnails, roughs, marker comps… all development really. Simply scan them in, write a rationale for each stage of the process and place them in the back of your book.

Create an identity package

Your cover letter, resume, envelope, business card etc. need to visually relate and connect to your portfolio presentation. This statement reaffirms what I was talking about in the consistency of visual voice section above.

A Microsoft Word version of your resume and cover letter

There’ll be occasions when a potential employer asks you to submit a .doc version of your resume and cover letter. I’m a firm believer designers should “design” everything they come in contact with. While Microsoft Word limits what can be done in regards to design, you still have opportunities to work with layout and formatting to capture a streamlined version of your established brand. Perhaps you’re using a san serif font in your other marketing materials. Why not choose one for the .doc versions of your resume and cover letter? How about formatting each section header using the same color you use in your other materials’ headers? Catch my drift?!

Design a self-promotion piece

This is another way to get your creative foot in the door and stand out from the crowd. It could be a booklet featuring what you can contribute to the creative team, a cool pop up card or any type of communication that showcases who you are as a visual thinker and why you’re the best designer for the job. It’s that little something extra that keeps you on the potential employer/client’s mind. A friend of mine would bake cookies, package them in a design that connected to his brand and have them delivered to the office where he interviewed. Now who doesn’t like cookies or the guy who sent them?

Stock imagery

I’m a huge proponent of integrating your own photography and illustration into your visual solutions. This is especially true when it comes to the work featured in your portfolio. My suggestion: showcase as many of your abilities as you can. Stating in a presentation you not only concepted and executed a high-level design, but also took the photographs or illustrated the imagery is bound to get the creative director’s attention. This demonstrates you bring more to the creative table than just effective type and image. This added skill set can place you ahead of the other candidates. The purpose of effective design is to develop unique, stand out ideas right? How unique can you really be if you use stock imagery, imagery that everyone else has access to?

If you’ve used stock imagery and haven’t purchased the rights to the image, you can’t use it on the web. If you’ve paid for it then you’re OK.

Spell Check

Do I REALLY need to state this?!

Network, network, network!

There are many different design related websites you can join, post your work and interact with other designers. Below are some I use quite often:

• www.commarts.com

• www.www.aiga.org

• www.coroflot.com

• www.creativehotlist.com

• www.behance.net

• www.dribbble.com/session/new

In conclusion

Your portfolio and all of your marketing materials are representations of you. I’m certain as you work your way through school or work with clients; you receive numerous opinions about your work. Remember, you’re the captain of your own ship. When designing, follow your gut instinct. Doing so will help you find your own voice! You make the final decision as to how you want to present yourself and your work. You’re the one who must defend it after all!

I’ll leave you with a quote from graphic designer and writer Adrian Shaughnessy “You should never consider your portfolio finished, and you should always be dissatisfied with it. The day you sit back and say, “My portfolio is great,” is the day you are dead in the water. Your portfolio requires endless work and few things are more important than it. This never changes no matter how successful you have become. That’s really the only thing I’ve learned about portfolios.”

Some helpful resources as you develop your portfolio:

Preparing and Talking About Your Graphic Design Portfolio

http://psd.tutsplus.com/articles/techniques/preparing-and-talking-about-your-graphic-design-portfolio/

7 Tips For Creating a Print-Based Design Portfolio

http://nubbytwiglet.com/blog/2009/07/27/7-tips-for-creating-a-print-based-design-portfolio/

10 Steps to the Perfect Portfolio Website

http://www.smashingmagazine.com/2009/02/26/10-steps-to-the-perfect-portfolio-website/

Develop a personal branding experience.

To understand branding, it’s important to know what brands are. A brand is the idea or image of a specific product or service that consumers connect with, by identifying the name, logo, slogan or design of the company who owns the idea or image.

Branding is when that idea or image is marketed so that it is recognizable by more and more people and identified with a certain service or product when there are many other companies offering the same service or product. Designers work on branding not only to build brand recognition, but also to build good reputations and a set of standards to which the company should strive to maintain or surpass. (1)

You can brand yourself!

You can establish a strong brand for yourself as an individual. This is especially important if you want to stand out from other candidates. Branding yourself enables you to be distinctive.

Who are you? Who cares?

With proper personal branding, not only will you find out who you are, you will make the right people care, opening up many opportunities specifically tailored for you. (2)

Personal branding

Personal branding is a strong personal identity based on a clear perception about:

• what you stand for

• what sets you apart from others

• the added value you bring to a job or situation

Your personal brand is the sum total of:

• other people's feelings about your attributes and capabilities

• how you perform

• their perceptions about what you are worth

Aspects of a successful personal brand

Consistency

Can we expect the same quality in everything you say/touch/do?

Below is a photo of my best friend, Antonio. Think of his hairstyle, eye color, smile and mannerisms as his personal brand. Every time I see him, engage in conversation with him, it’s a consistent connection. I’m familiar with his hair color, eye color, smile, mannerisms, what he sounds like, his likes/dislikes, etc. Every time, it’s a clear, consistent message.

Now, take a look at him without a consistent use of his personal attributes. I don’t even recognize him! A splintered effect occurs. This makes me uncertain, uncomfortable, hesitant and not very happy to see him.

Now, directly connect this mindset to your own marketing materials. A consistent use of your brand elements allows others to get to know your brand and personally relate to it. If you're not consistent when promoting yourself, how can your clients or potential employers trust you to be able to do it for them? As you send out your marketing materials, keep in mind hiring managers and clients don't know you personally. They rely on your effective use of design elements to get a sense of who you are.

Understand your target audience

• Who are you talking to?

• Research your audience!

• Talk to them in their language.

We are all rather egocentric when it comes to design. Most graphic communication is created on a mass scale; meant to be read by numerous viewers and yet we all engage with it as if the design is speaking directly to us. When viewing graphic messages, everyone asks “what’s in it for me?” Get a mental picture of the person you want to communicate to and talk directly to them. It’s important to keep in mind: you can’t be all things to all people.

Creative design | personal brand identity

It may seem superficial. It may be unfair. We may not like it. After all, why should you be judged by your looks? Self-presentation – your visual identity – is important because of the link people make between what something looks like on the outside and what’s on the inside. We do this today despite all the familiar admonitions, such as, “Don’t judge a book by its cover.” (3) The way you look, carry yourself, the clothes you chose, the way you decorate your home, how you present your brand have a profound influence on other people’s judgment of you. (4)

Do your visuals reflect what you are saying? People attribute personality to your identity. All points of contact: your cover letter, resume, business card, website, promotional materials, etc. should visually relate and project a strong and steady message. I like to think of it as visually connecting the dots. If one piece of communication is conservative, another aggressive and yet another demure and soft-spoken, your visual voice can present as splintered or having multiple personalities. This will surely confuse anyone who doesn’t know you personally and is relying on your use of design elements to become familiar and comfortable with your brand. The end result: a consumer or client who doesn’t know what to expect each time they see a message from you, leaving them feeling uncomfortable and uneasy.

You’re creating a branding element that identities you:

• McDonald’s has the golden arches.

• Bono has his tinted, wraparound sunglasses.

• Larry King has suspenders.

• Now I must ask: what do YOU have?

Relevance

Is what you’re communicating making sense to the potential employer or consumer? What are their needs? How can you fulfill them? Remember, you’re marketing, PR, advertising and branding yourself!

7 Steps to establish your own personal brand (5)

Step 1, identify what you value

Your personal brand is ultimately a reflection of everything you value. For example, if you value knowledge, then your brand will likely incorporate the way you acquire, use and communicate information.

Step 2, identify what makes you unique

With your values as your foundation, determine your specific uniqueness. Everyone is unique and special in some way. How are you different as an individual? How are your skills different? Incorporate this uniqueness into your personal brand. A good way to start this line of questioning is to conduct a S.W.O.T. Analysis and list your Strengths, Weaknesses, Opportunities and Threats.

Step 3, identify how you want to be perceived

As discussed above, branding is about other people’s perceptions of you. You have the power to control most of these perceptions with your actions and presentation. Consider how you want to be perceived in your potential employer or client’s mind. Whether you like it or not, you already have a reputation with the people you know. Maybe you’re branded as the funny one in the group, or the big mouth; whatever it is, you have a brand.

Step 4, identify your specialty

Consider what specialty you want to be known for and take action to achieve it. When you’re consistent with your specialty, everyone will know you for it.

Step 5, identify your target market

The personal branding goal is to build employer/client loyalty. Determine your target market and speak directly to them. You want your target audience to feel they need your expertise. You don’t want them to say, “He/She’s good.” You want them to say, “We’ve got to have him/her on our team!”

Step 6, write your brand

A brand is a phrase that jumps out at you from the page and grabs your emotions. Write a statement. Start by incorporating at least one action verb. Then keep it short and simple. Make it unique, memorable and repeatable. You want to ring an emotional bell that causes potential employers and clients to focus on you, and you alone when they need your type of service.

Step 7, visualize, walk and talk your brand

Once you have created your personal brand, publicize it. Talk about it and ask others to spread the word. Establish a group of advocates who understand you and can publicize your personal brand to all the people they know. This will create a word of mouth buzz.

Conclusion

Effective personal branding enables a potential employer or client to get to know you through your choice and consistent use of type, imagery and messaging. Every piece of communication coming form you should establish a comfort level and instill confidence in your capabilities proving you’re the right person for the job. Not only do your concepting skills and designs need to be top notch, your personal branding needs to be too. No pressure there!

Blog Resources:

(1) http://www.brickmarketing.com/define-branding.htm

(2) http://artofselfbranding.com/

(3) http://www.imakenews.com/worldwit/e_article000588446.cfm?x=b11,0,w

(4) http://www.selfbrand.com/art10strategies.shtml

(5) http://www.myarticlearchive.com/articles/5/078.htm