Pen and Brush Communications Blog

I've Migrated!

2011-11-17T11:39:00.003-06:00

I haven't posted any new articles lately, mostly because I've been working on building a completely revised website over the summer and fall in my "spare" time. Today I launched that revised website. It's nearly three times as big as the old one, with more information about my process and a much bigger portfolio section. It is located at the same URL web address I've always had.

I've also migrated my blog to that site, so this Blogspot location will no longer be added to going forward -- new content will be posted at the new location from now on.

Here's my site: http://www.penandbrushcommunications.com/, and my blog is now located at http://www.penandbrushcommunications.com/blog/.

Is there a difference between Art and Design?

2011-06-30T16:27:00.001-05:00

Absolutely. The trick is in the definition. A number of artists and designers and bloggers have piped up over the course of many years to offer their opinions, and especially recently over the internet, so it’s easy to find what the prevailing thoughts are. And it’s been quite a debate.

Let me distill the high points for you.

The Artist

Some of the characteristics of the Artist are that they are working with a personal vision with no or few rules; the work is subjective and they create their own formula or symbols. There is often an emotional component or an attempt to connect with the observer. Sometimes no client is necessary, as they often produce the work for its own sake.

The Designer

By contrast, the Designer is working with what is often called “Applied Art.” The vision comes from the client, who sets up the parameters for the work. There is a problem to be solved, and a calculated process to meet an objective, using established formulas or symbols. It often carries a purpose or function, such as communicating a message or helping a customer take action. It is more commercial, and it is most likely the type of work seen in advertising.

Many artists are designers and many designers are artists. The line between the two can become blurred, however. I use to paint watercolor renderings of dramatic characters in stage costumes. I considered my renderings, although done as a “costume designer” with certain restrictions in mind as I painted, to be art pieces. Today I concentrate on client-directed projects involving layout of marketing materials that connect with customers. There are elements of both art and design in both examples, but today my work is more in the realm of Design than in the realm of Art.

Two phrases from two different bloggers said it best for me: A woman named Rebecca said, “Design is art made to specifications, on time, and within budget.” And writer Rishi says, “Art cannot exist without design. Design cannot evolve without art.” How true.

If you’re looking for a designer who approaches design as art made to client specifications and you have a project that needs that approach, give me a call. Close collaboration with clients is the hallmark of a good designer, and I’ve been doing that since 1981. Let me do the same for you.

The Left-Brained Designer

2011-05-28T11:01:00.001-05:00

I’m sure you’ve heard about “Right-Brain” vs. “Left-Brain” thinking and learning. Most folks are dominant with one side or the other, but no one is totally left-brain or totally right-brained. Those who are right-brain dominant tend to focus on images and patterns, are intuitive, and are more likely to free-associate to make connections or lists. Those who are left-brain dominant tend to focus on words, are analytical, detailed and are likely to make logical deductions to accumulate information.

In tackling projects, right-brainers can visualize the whole project completed in their minds before they begin choosing the elements to build it, processing many ideas simultaneously. Left-brainers, on the other hand, process ideas sequentially, step by step, focusing on the details with a high degree of organization.

So, Am I Right-Brained, or Left-Brained?

Artists and creatives are commonly assumed to belong to the right-brain group, and probably most are. But not me. I tend to be left-brain dominant. I come from a family of scientists and engineers, and it rubbed off. Although I hold a graduate degree in design, and spent several years teaching design, I was always highly organized and sequential. Then I earned a computer programming certificate, and the logic of programming made perfect sense to me.

These days, when I work on graphic design projects, I can provide my clients with much more than a pretty final product. I can operate within deadlines that match their corporate schedules. I care about functionalities and processes, and I plan ahead for them. And, as I have a technical background, my most ideal clients are those in high-tech industries, because I think much like them.

How about you? If you’ve been skittish about hiring an “artistic type” because that doesn’t match your own style, look harder. Not all designers are right-brain dominant, and they do great work. Give me a call and let’s talk. You may be surprised at how creative a left-brainer can be!

Web Design: Graphic Designers or Web Developers?

2011-04-30T12:06:00.002-05:00

What does the job title “Graphic Designer” mean to you? Does it mean an artist who designs the layout, images, colors, and typography in an advertisement or other business collateral? Yes, but are we referring to print pieces only, or do we include electronically viewed pieces?

Before the emergence of the internet, the definition of “Graphic Designer” was a lot easier to pin down. Graphic designers might work on advertising pieces, promotional pieces, branding pieces, product packaging, signage, book covers, newsletters, and more, but it was always for print—tangible pieces you could touch.

With the explosion of the World Wide Web, many graphic designers have expanded their capabilities and services to include electronic media as well. So they may also design component pieces to web sites, blogs, landing pages, and e-mails, such as header graphics, banners, attention bursts, or “Buy Now” buttons.

Visual vs. Production Skills

But here’s where the definition can get murky. Just as there’s a difference between the visual design skills and the print production skills in the print world, there’s also a difference between the visual design skills and the web production skills in the web world. Not all graphic designers who design for the web also have computer programming skills to code web pages—so they may provide only the visual components, handing off their work to a programmer from the IT department to complete the job. And that programmer may have a title such as “Web Designer” or “Web Developer.”

Web Designer vs. Web Developer

I see those two titles all the time, and it turns out they are not applied consistently. I’ve seen the same definition applied to both, but I’ve also seen them under completely different categorizations. I’ve seen arguments in online forums over which is which. Sometimes one or the other is applied to the Graphic Designer, too, or even to the Web Copywriter. Which is right? Some say the Web Designer is the one who has the “big picture” of design and functionality (the way it should look and the way it should work), while the “Web Developer” is the one who does the complex computer coding. And some Graphic Designers do indeed include one or more of these skills in their arsenals, but that’s not universal, at least not yet. Many do not.

Clarifying the Meaning of Graphic Designer Titles

The bottom line is that “Graphic Designer”, “Web Designer” or “Web Developer” often have a lot of overlap in their definitions, but since the scope of the definition of each may vary, it’s important to clarify. Those seeking talent, as well as those offering talent, should be very clear about the skills they seek or offer. In other words, don’t judge by title alone—look at the full description. In my case, I am a Freelance Graphic Designer who also has a Computer Programming Certificate and I worked in IT departments for over 15 years, after a career of 8 years teaching design. I design for print and for web, and I’m also responsible for the coding and functionality of the web sites I design.

As the World Wide Web continues to grow and develop, so will the demands for related skills. In the future, “Graphic Designer” may encompass ALL the skills of design and coding, but until then, pin down any definitions you see, and make sure you are clear about what is offered and what you need. Doing so will avoid misunderstandings down the road, and contribute to a favorable outcome.

Attention-Getting Folding Patterns for Business Collateral

2011-03-31T20:34:00.000-05:00

Standing out from the crowd is a great way to get noticed. I often work with small businesses, many of whom start out their marketing efforts by producing traditional tri-fold brochures. Those who are game to try something different have an advantage, for if they offer a different style, they may create a “user experience” that is memorable enough for the recipient to be more likely to become a prospect.

Sometimes all that’s needed to be different is to use a different size, weight, texture, or finish for the paper you use.

Sometimes simply changing the orientation from vertical to horizontal can be a good step in a new direction.

One of the more popular folding alternatives is the “accordion” fold with folds on alternating sides, zigzagging first forward, then backward. Another alternative is the “gatefold” where two side panels are folded in toward the center before a final vertical fold is made. A “roll” or “barrel” fold opens one edge again and again in the same directional sequence. Each of these three examples can all use the same size paper; they just take different planning for using the panels.

The most interesting folds are those that fold in more than one direction in the same piece, or that make use of “die cuts” that cut an edge into a particular shape or angle, rather than the traditional 90-degree corner angles. The die-cut edges may have an interesting look about them when used with a folding pattern, even a traditional folding pattern, so that the piece looks much different—and therefore more interesting.

As enthusiastic as I am about alternate folding patterns, I must mention that it’s very important to have a chat early on in the design process with your printer about what you’re planning. If your piece uses custom paper sizes, or folds must be scored, or there are die-cuts, or it requires hand assembly instead of machine automation, there can be increases in cost. Your printer will know how to guide you or make suggestions to help you keep costs down. But if the piece does indeed get more attention because of inspired design—and therefore brings you or your client more business—the investment can certainly be worth it. And you’ll be a hero!

Graphic Designer or Decorator?

2011-02-28T12:42:00.001-06:00

I have a friend who is an Interior Designer. She has mentioned her frustration with people who call her an Interior Decorator. Many people don’t know the difference. After all, don’t both labels have to do with such things as paint, lighting, furniture and the like?

Well, yes. But there IS a difference.

A decorator is someone who decorates. And the definition of decorate is to bedeck, trim, garnish, festoon, furnish, adorn or embellish with something ornamental or becoming.

A designer is someone who designs. The definition of design (as a verb) is to make plans, drawings, or preliminary sketches to fashion the form and structure of an object, artistically or skillfully. The execution of the design is part of the definition.

In my friend’s profession, her skills include moving walls, installing plumbing and electrical wiring, and understanding the underlying architectural structure. She may add decoration as the final step in her design, but if she were only a decorator, she’d only be adding those final bits of trim and adornment.

Other designers make a related distinction. Graphic designers are sometimes seen as people who add the color, photography, and fancy fonts to the layout of an advertisement. The usual intent of those is “brand identity” or “brand awareness”—to make the brand of the item being offered more identifiable and memorable to the consumer.

But graphic designers are so much more than just people who decorate or embellish a print piece. We deal knowledgably with images and layout, yes, but we also understand much more. We learn about our client’s business and their intent or underlying purpose with the piece. When we design, we use our understanding about how a reader’s eye must flow across pages, and ways to make text more readable, and how to project the overall psychological “tone” behind the piece.

This understanding is even more important in designing Direct Mail lead generations and product promotions, since the graphic designer works closely with the copywriter to make the piece as persuasive as possible, so that the “call to action” is not lost, and the client gets the highest possible response with the piece. I’ve said it in a previous blog post that the design in this case “supports the copy” and is not the main event. It should not call attention to itself—it is not design for design’s sake.

All this is done using complex software that gives us far greater control over every tiny variable in the “look” of the piece. That’s worlds apart from only knowing how to make a colored border or insert a photo in Word or Publisher. Good graphic designers use Quark XPress, Adobe InDesign, Photoshop, and Illustrator. And their output is not just for print anymore; these days, it is also for the web.

So think beyond pretty pictures to the “next level” of talent for completing a promotional piece. I’d be happy to discuss your next project with you, whether for print or for the web.

File Properties Data is Important

2011-01-31T11:36:00.003-06:00

Today’s article is more of a tip than an opinion piece or a product review.

I often create documents in Word, Publisher, InDesign, Photoshop, etc. But I also use a feature of those programs that many folks don’t think much about. I make sure to identify myself as the creator of that document.

That’s important, because many of these documents are either passed along to others “as is”, or they are exported as PDF files first before passing to other folks. And I want my own “intellectual property” to be identified as such.

When you sit down at the computer to create a document in these programs, some documents will automatically pick up some of this data. For example, a new document in Word picks up my name “Nancy Pickering” as the author. That information lives elsewhere on my computer, but Word finds it and includes it for me.

But here’s a situation that’s even more important: what if I’m working on the layout of a document for a client? They created a draft document and sent it to me for adding design elements. Let’s say I create a new blank document with all the design elements in place, and then pour in the text from the draft. That new version will show my name as the author – but the client doesn’t want to have my name as the author, they want to have their own name as the author. And if I finish the file with those properties unedited, and it’s exported as a PDF and sent to the client, they will not be able to edit that information themselves after the fact.

Therefore, it’s important you know where and how to declare or edit the information that should be saved with the file. In Microsoft products, depending on which version you have and assuming your file is open, go to the File menu and click the Properties item. Or go to the Office button and click Prepare, and then Properties. In Adobe products, go to the File Menu and click on the File Info item. In either case, you’ll be presented with a dialog box where you can enter such information as Title, Subject, Author, Company, Keywords, Comments, Category, and Status. Fill in as much as is appropriate, at the very least the first three. Then save the file. Now when you export the file as a PDF, that data will be picked up and included with that file. And your client will properly get the credit they deserve as the author of the piece. Ditto if the author really is you and you want to ensure the credit goes to you.

One more hint. If you plan on distributing your PDF as a downloaded eBook from your web site, don’t forget to fill in the “keywords” field in the Properties area. Doing so just may boost your search engine rankings for your web site for that topic.

SMART Goals vs. Dream Big

2010-12-31T23:22:00.001-06:00

This is the time of year when many people are asked to set New Year’s Resolutions for the coming year. Many more do a more specific job by setting Goals for the year. I’m no different, but I use a system that I first learned about when I was a member of Toastmasters International several years ago. This system has actually been around for over 20 years, in the context of project management and more recently, personal development.

The system I’m referring to is “S.M.A.R.T. Goals.” The letters in “SMART” help you remember the attributes of goals that have a higher likelihood of being met. And that’s important, because everyone knows someone who has failed to meet their goals, or New Year’s Resolutions, because those goals were unrealistic or not planned well.

The letters (usually) stand for the following: S=Specific, M=Measurable, A=Attainable, R=Realistic, and T=Tangible.

A Specific goal has a much greater chance of being accomplished than a general goal. A general goal would be, “Get in shape.” But a specific goal would say, “Join a health club and work out 3 days a week.”

A Measurable goal is one where you ask such questions as “How much? How many? How will I know when it is accomplished?” And when you measure your progress, you stay on track, reach your target dates, and experience the exhilaration of achievement.

An Attainable goal is one where you can put yourself in the right place at the right time to develop the attitudes, abilities, skills, and financial capacity to reach them. You see opportunities to bring yourself closer to achievement, where once you might have overlooked those opportunities.

A Realistic goal is one that is set at a level at which you are both willing and able to work toward. The surprise is that a high goal is frequently easier to reach than a low one because a low goal exerts low motivational force. If you truly believe your goal is realistic, it probably is.

A Tangible goal is one you can experience with one of the five senses: that is, taste, touch, smell, sight or hearing. (Intangible goals are your goals for the internal changes required to reach more tangible goals.) When your goal is tangible, or when you tie a tangible goal to an intangible goal, you have a better chance of making it specific and measurable and thus attainable.

There are articles about this system that go into more detail, but I’m sure you get the idea. There is one more concept I want to bring up, though, and that is the now-popular advice to “Dream Big”. How can you do this if you’re trying to pay attention to “Realistic” and “Attainable”—Don’t they contradict one another? Well, I’m not saying you can’t do both, but at this point I should mention another bit of advice regarding goal-setting: Breaking down larger goals into smaller goals. You can indeed Dream Big if you’re willing to do the thinking and the work toward breaking down that goal into its component steps. Then make each step a SMART goal!

So, what are your goals for 2011? I’ll divulge one of mine: I’m planning on doing a massive update to my web site this year. More on that in another post...

The Ethics of Using Pictures Off the Web

2010-11-29T14:53:00.001-06:00

When I was growing up, I did a lot of research using the family set of encyclopedias on the bookshelf. These days we are just as likely to do our research online. It’s not hard at all to find written information about your topic, but what if you also want to see a picture?

For that, many folks go to Google Images and conduct another search. That often yields good results. But have you ever noticed more than one instance of the same picture from different web sites? Why is that?

It could be because more than one person purchased or licensed the same image from a stock photography service’s web site for their own use. That’s fine. It’s just as likely, however, that the picture was copied off the web—that is, pirated.

Are You Guilty?
When Google indexes web content, it doesn’t check whether that content is copyrighted. There is a disclaimer when you click an image on the search results page that “This image may be subject to copyright,” but that’s as far as it goes. If you save an image from another web site to your own computer and then use it for your own purposes without permission, you may very well be violating copyright restrictions. Unless you’re invited for a “free download,” the images are likely protected by some sort of intellectual property rights. Just because an image turns up on a search results page doesn’t mean it’s available for anyone else to copy and use freely as they please. The images are not necessarily in the “public domain”—so copying and using them for your own purposes is unethical and probably illegal.

Unless you want to encourage people to use and distribute your own work for free, it’s wise to be careful about posting original images on your web sites or blogs, as you never know where they’ll end up. Many folks embed a watermark or a copyright tagline right on their images, so that if they do show up in search results, potential pirates can see that the work is protected.

Licensing Terms
So you really have only a few choices. You could create your own original images and protect them, or gain permission from the owners, or purchase usage rights for images from a stock image provider. Licensed images are usually reasonably priced, and they are available in various sizes and resolutions for print or web—something you can’t count on with pirated images, which may lead to substandard visuals (for example, in the case of using a pirated image off the web for a print piece, where the resolution is too low to look professional in a print publication).

What do I mean by “usage rights”? Stock image providers provide their images under various licensing options, all of which start with a basic purchase price. You’re purchasing a license to use, not a license to own; the image is still not “yours.” Additionally, some images are “rights managed,” where you’re allowed a one-time use or “royalty per use,” and an additional use requires an additional license. Other images are “royalty free”, with either standard licenses, where you have the right for limited usage with few restrictions (for example, up to 500,000 impressions), or higher-priced “extended” licenses for unlimited usage with virtually no restrictions.

The point I’m making is that images on the web are not free for the taking, just because you know how to “save image as.” Viewing them online may help your research, but unless you’ve purchased them or have the owner’s permission, best to view them and then leave them alone. Remember, the person who produced those images may depend on the income their work produces—please support them by appropriate purchases, and avoid pirating.

The Value of Mastermind Groups

2010-10-28T13:14:00.002-05:00

I belong to a “Mastermind Group.” What is that, you ask? A Mastermind Group is basically an informal association of several persons who commit to helping or supporting each other in reaching their goals. Some groups are quite large and quite formal; mine consists of two other freelance graphic designers besides myself who otherwise tend to work alone. But size doesn’t matter – purpose does.

So what is our purpose? Each of us creates lists of monthly goals and we are kept accountable by sharing and reporting our progress to the other two. We give advice and information when solicited, from feedback regarding each other’s work, to sharing knowledge of techniques and software, to handling clients, vendors, and contracts, to congratulations when a project goes well.

And how do we do this? Well, we do send e-mails sharing pertinent articles we’ve read or asking for feedback on something we’ve just designed. But we also have regularly-scheduled 3-way sessions with an agenda. Since the three of us live in 3 widely separated states (we met at a conference several years ago), we come together by telephone conference call for about 90 minutes every other week. And if we need to, we can log on via the web to a computer-sharing program and see what is on each other’s computer desktops, too.

I think you can guess some of the benefits of a Mastermind Group. We’re more than just a support group for each other; we’re all helping each other succeed. We get the benefit of other points of view, we have a chance to share our background and learning in the context of a project or goal, we get inspired by other approaches, and we do this freely and unconditionally – there are no jealousies or hidden agendas. We value and respect each other’s strengths and differences. And the contributions we give are as fulfilling to the giver as they are helpful to the receiver.

And the grand result of all this is that we are able to move ahead with our goals and stay focused on them. I’d say we all consider this activity to be an essential part of our “success plan,” and I say that because we’ve often commented to each other that we’re getting real value out of our sessions. Far from wasting time every other week, we all feel we’ve invested our time wisely.

If you’re a freelancer or know someone who is, I think you’ll find value in a Mastermind Group. They come in all types and sizes, so shop around to find the best fit, or start your own. And start reaping the benefits!

Business Card Readability

2010-09-30T15:45:00.000-05:00

Remember the days when a business card was just black letters on white cardstock? It carried contact information that consisted of a person’s name, title, company name, address, and phone number. And that was it.

Over time, additional information was added, such as a logo and a fax number. As time went on and we entered the Technology Age, we added mobile phone numbers, e-mail addresses, and web site addresses. Cards are printed on both sides now. My own card lists my services on the back. Others list a company motto or tagline. Many cards also include the links to a LinkedIn profile or social media addresses such as Facebook or Twitter.

And the card itself is rarely a plain white card anymore. We went from white to colors. First we saw a band of ink in the corporate color along one edge. Then we went from a plain or solid background to including a headshot, and then to creating a full background from a photograph. Some have “foil” or embossed finishes. Some are even no longer in the rectangular shape but die cut into interesting shapes, or folded, both for impact and to create more surface area for information.

I’ve watched these changes take place over the last couple of decades. Most of the new designs are creative and eye-catching. But more than a few suffer from one glaring difficulty: they are difficult to read.

A truly talented designer takes readability into consideration. But so many designers ignore “best practices.” Their first priority is to make the card either pretty or attention-grabbing. In so doing they may make the following mistakes: they choose a font that has too many thin strokes that don’t show up well, particularly at small sizes. Or they are so concerned about cramming lots of text into that standard 3.5” x 2” space, that the size of the fonts are reduced to a size too small to read on the fly. Or they want a jazzy photo behind the text that is either too busy for the text on top of it to be read easily, or similarly, they choose a font color with insufficient contrast against the background image or photo. My own pet peeve is white lettering at 8 points or less against a busy photograph that isn’t dark enough for good contrast. Except for a tagline, I believe no text should be set at less than 10 points, even on a plain card.

When I taught design in another field, one of the models I used to teach my students was the concept of “Simplify and Exaggerate.” At high speed or great distance (both of which are characteristic of today’s society), it’s important to distill the most important aspects of a design to its simplest elements and then play up those elements so they get noticed and the message is transmitted clearly. Business cards should observe the same concept if they are to properly serve their purpose well.

I’m not saying some of the creativity I mentioned shouldn’t be used at all. But the point is not to over-design a business card. Let it speak for itself. Let it “breathe.” Most of all, make it readable.

Hiding Your Light Under a Bushel

2010-08-27T14:22:00.002-05:00

What's the title mean? I first heard that phrase in Sunday School. It means don’t be bashful about your skills and talents, but display them to the world.

How does that apply to my message today?

Many professionals have more than one particular business skill or service they offer their customers, often several. But the main ones are the ones they emphasize and advertise the most. They are the ones their customers think of first. And after a while, the emphasis on those special skills overshadows other skills and services the business may offer, to the point they may be either hidden or forgotten. Perhaps the business sees certain skills as their strengths, or the ones most in demand, or their biggest money-makers. After all, a business’ Unique Selling Proposition (USP) is what sets them apart from their competition and they want to highlight those differences, to put themselves ahead of their competitors in their prospect’s minds.

After a while, a pattern of using or offering or spotlighting certain skills—to the exclusion of other skills—may emerge. It’s easy to forget those other skills, and after all, why mess with success?

I believe that from time to time, you should remind your customers and prospects of the other skills you can provide. You don’t have to hit them over the head with this, but casual conversation sometimes opens opportunities to mention other services. For example, my contacts know I specialize in design for direct mail, web sites, and newsletters. The other day at a networking meeting I mentioned I can also do the designs for catalogs, and within minutes I had a referral from a friend who had a side business with her family that could use my expertise. I had planted a seed, and she responded.

So, don’t hide your light under a bushel—let it out and let it be seen. It can lead you in new directions!

Why Hire a Professional Graphic Designer?

2010-07-29T19:23:00.003-05:00

Believe it or not, it’s more cost-effective in the long run. Professionals work more skillfully and generally faster than do-it-yourselfers. They make far fewer mistakes, saving you time and money. They use high-end feature-rich professional software packages and resources, and are trained in their use, rather than cheaper or low-end resources. The results always look better, and in the case of printed materials, are also much easier for a print house to handle the resulting graphics files for the project. In the case of web design, professionals don’t allow what we call “garbage code” to creep in and slow down your system, or make the code hard to read for other developers. Their code is “validated” to make sure it meets minimum standards for use on the web or in emails.

Put another way, here’s what you get with a professional: You will get more efficiencies. Efficiencies in asking the right questions. Efficiencies in proper training. Efficiencies in using more proven marketing tools and techniques. In the end, you will pay to do it right, instead of paying more to do it over.

On the list below are the elements to analyze when making your choice for a designer. Analyze these elements in light of the specific project, budget, and timeline you have in mind.

Experience (not just years, but industries, teams, roles, and ability to ask the right questions) Paula Scher, principal at Pentagram Design was quoted once as putting it this way, “It took me a few seconds to draw it, but it took me 34 years to learn how to draw it in a few seconds.

Design Style (impressionistic, web vs. print, bold vs. delicate)

Disciplines (print, packaging, promotions, trade show collateral, logo design, illustration)

Marketing (strategic vs. tactical, knowledge of target market, ability to suggest alternatives)

Good Communication (follow-up, status re: timeline and budget progress, relationships)

Professionalism (from the contract to handling problems to final product)

Portfolio (what does it demonstrate/why included, and is there more to the story of each piece? Range of work presented? Consistent in quality?

Price (don’t choose on price alone. Yes, you will likely pay more for an experienced designer, but what are you really paying for?)

So, do yourself a favor and hire a professional. You won't be sorry.

Top Eight Ways To Get The Most From Your Designer

2010-06-28T15:26:00.001-05:00

Are you giving your graphic designer the background information they need for projects? At the first meeting with your graphic designer, you should come prepared to answer some basic questions. When you come prepared, you streamline the process for the designer, and get better (and faster) results because there is a fuller understanding of you, your company, your product, and your audience. Have answers ready for these top eight questions:
*1. What is the purpose of this project? What is the message?
*2. Let me know as much as you can about your “target audience,” be they clients, customers, prospects, colleagues, or employees.
*3. Clarify the project scope. Is the project for print or the web?
--If in print, does it require 2-color or 4-color printing, or does it use “spot” (PMS) colors? How about the format, size, or assembly of the new piece(s)? What quantity do you need? Do you have a paper preference? Do you have a favorite printer you’ve worked with before, or shall I recommend one?
--If it’s for the web, how many pages do you need, for what purpose, and how do they function?
* 4. What is your timeline? When do you need it completed?
* 5. What is your budget? Printing methods, paper selection and sizes, even cutting and folding can have an impact on the final project cost. There are many ways to approach a project, some of which you may not have thought of before, and I’m here to make helpful suggestions.
* 6. At our first meeting, please bring previous “business collateral” — for example, brochures, flyers, newsletters or business cards you’ve done in the past, especially if there are elements you want to re-use. Is there copy to re-use, or shall I write new copy for you? Do you have original electronic files?
* 7. Also bring any photos, illustrations and/or logos you’ve used before and want to re-use. They are best in electronic format at high resolution (300 dpi or “dots per inch”). If you have original AI or EPS vector files, that’s best, otherwise PSD format is the next best. (Other formats are TIF, JPG, GIF, and PNG). If you need photography, will you supply it or do I need to find stock photography for you? If you need a logo used, will you supply it or do you want me to design a new one for you?
*8. It’s great if you have information or collateral about your competition. What makes them similar or different? What makes your business unique or sets you apart?

Many clients have a file they keep with this type of information, and it’s easy to just pull it out for the meeting. But if your company hasn’t assembled such a file, be prepared to spend some upfront time talking over these points. Ensuring full understanding at the beginning goes a long way to ensuring a pleasing result at project completion!

Simplicity in Design

2009-10-04T13:42:00.001-05:00

Recently I took a vacation trip abroad. While I was sitting on a tour bus, I noticed the street signs and the advertising around me on billboards and the sides of trucks. And I was struck by the logos I saw. They weren't much different from the logos I see everyday in the U.S. -- they were colorful and creative. But because they were for unfamiliar products (and in a foreign language), I noticed them more. That made me realize just how familiar my favorite U.S. logos are, and how much I take them for granted. And also that creativity is a universal thing -- we don't have a corner on it here in the U.S.

While logos have never been my number one choice for design work, I did come home with new inspiration for trying new things. And I also realized again something I've long believed -- that the best design is simple design. By that I mean good design is not over-designed, and is not design for design's sake. It supports a marketing message, but it is most effective when it does not call attention to itself. Nice to get that reminder while I was halfway around the world. Food for thought...

Making Color Work for You

2008-12-19T15:29:00.004-06:00

What’s your favorite color? If you’re like the majority of responders to a recent color survey, you probably answered “blue.”

For some, that means your clothing, car, room décor, and all sorts of everyday items are chosen because they are blue, or whatever you said was your favorite color.

How about your advertising? Web site? Other marketing materials? Those things demand choosing color beyond personal preference.

For starters, we all have psychological reactions to color, heavily influenced by our culture. Some colors have taken on symbolic meanings. For example, the “good guy” wears white and the “bad guy” wears black. Red can mean passion, or it can mean danger. Green conjures visions of grass and nature, or of money.

And I’m talking about Western culture here. In Western culture, for example, it’s traditional for a bride to wear white. But in many parts of Asia, white is a funerary color. Brides there wear red, the color of good fortune. Western brides generally avoid red, because of negative associations (at least in the old days) with “poor morality.”

But maybe you knew this already, so time to move on to my point.

Designers for businesses pay attention to the positive and negative connotations of color when designing something seen by customers. For example, if your product is a financial investment service, it’s better to use a color theme of green (for money) or blue (for trust) then it is to use red (“in the red” or losing money). Seems obvious, right?

Then there’s the way colors make us feel. Some colors keep us calm and relaxed, others make us restless or alert. Some make us happy, others make us angry. At least symbolically they do. Green and blue are both restful colors. Yellows and oranges have more energy. Did you know those two colors are often deliberately used by fast food restaurant chains to give a subliminal message to “hurry up and eat”? The idea is to get customers to eat and leave to make room for more customers!

So as a designer for business, it’s important to understand what a typical customer feels about the product, and support that emotion with the wise choice of color in all marketing materials. You’ll make more sales that way.

Yes, the best marketing does keep a prospect’s attention. It does so with good copy and good design. If done well, it doesn’t need a lot of bells and whistles. Color is just one of the tools a designer uses. But ignore the impact of color at your peril. That fuchsia color you love so well in your favorite sweater won’t work for a company making uniforms for security guards. Have you ever seen advertising on a web site for security guards with a fuchsia color theme? Probably not.

In choosing colors for business, keep a balance between the symbolism (obvious or not) of the color choices and the need to attract attention to your company, brand, or product. Choose colors that “play nice together” and aren’t jarring. And choose colors that support the message of the copy rather than detract from it. Never choose an aspect of design for its own sake, whether it be color, line, balance, contrast, or any other element of design.

Oh, and my favorite color? Blue, of course. Just like you, I’ll bet.

“Spheres of Influence” at BNI

2008-08-14T18:06:00.001-05:00

Graphic Designers, even freelance ones, rarely work in isolation. They collaborate with other professionals to complete a project. Whereas designers provide concept and design, others on the team may guide production or distribution, for example.

I belong to a chapter of Business Network International (BNI), billed as the largest referral organization in the world. Members pass along referrals to other members, and this reciprocity builds businesses -- many members say their company’s annual retail sales are as much as 30% attributable to the word-of-mouth referrals they get through their BNI memberships. The BNI motto “Givers Gain” certainly is illustrated in those numbers!

My membership is a wonderful marketing tool, since fellow members are all marketing for each other. And I get to share my passion for my work every week in “60-second commercials,” and periodically in a 10-minute presentation to highlight my business.

One of the happy potentials of any chapter is the chance to build “spheres of influence.” Many businesses have a natural “fit” to work together -- such as florists, caterers, and photographers for weddings, or realtors and mortgage brokers to complete real estate transactions. These combinations are particularly likely to refer business to each other.

The most logical “sphere” I belong to within my chapter includes a printer and a sign maker. We’re looking for a representative of a promotional products company, and I’d like to see a web services provider, too. But beyond my sphere, I can also be of service to the realtor, who’s thinking of starting a newsletter, or perhaps the caterer, who wants a new web site home page, to cite two examples. And they are just the “inner ring” of potential customers – they have friends and business contacts who they can point in my direction. Remember the old hair care commercial where “they told two friends, and they told two friends, and so on and so on and so on…”? Similar concept.

If you are a business owner, I highly recommend membership in BNI. You’ll likely get more out of it than what you put into it!

Marketing Budgets and Templates

2008-04-14T14:28:00.001-05:00

In these days of economic squeeze, companies are looking for ways to cut costs. Marketing budgets might seem like a target for budget-cutting, but if they are cut too much, a company’s message – and the bottom line – may weaken, precisely at a time when it’s imperative to keep strong.

Desktop publishing and presentational software packages have come a long way in recent years, and many of these programs come with a variety of pre-made templates. More templates are available on the internet, and others can be purchased on a CD. Templates for layout, templates for business forms, templates for web sites. Seems like a great idea – use a template and save the marketing budget. This is especially attractive to small businesses.

But how many times have you endured another boring PowerPoint presentation and recognized the template they used? Or seen a web site and recognized a home page from a FrontPage template? Or looked at a newsletter and recognized a Publisher template? The templates were originally designed by professionals and do prevent you from making obvious gaffes. But then, what makes the presentation or web site or newsletter you saw different, if it looks like someone else’s? And what does it say about your company when the templates you use are so recognizable?

To position your company as unique, the marketing materials you use should also be unique. Hire a professional graphic designer to create custom designs. One who understands your business and your audience. One that will help you stand out from your competitors. One that can work collaboratively with you or your writers to craft a message that is irresistible to your clients and prospects. And keep your bottom line strong. One other thing: professionals can guide you with creative ways to save money that you may never have thought of.

Templates aren’t all bad, by the way. There’s no reason a good professional designer can’t design a set of custom templates just for you, so you present a consistent look with your marketing materials, whatever the format. That’s a win-win: you can reuse your own custom templates again and again, differentiating yourself from everyone else, and you can do so without breaking your budget. That should be music to the ears.

Finding (and Sharing) My Passion

2008-03-31T12:13:00.002-05:00

One of the newsletters I subscribe to had an article the other day about finding your passion. It was part of a larger topic often discussed among freelancers regarding finding your own unique niche, setting yourself apart from the competition. Freelance Graphic Designers distinguish themselves by specializing according to format, industry, or business demographics. Some court small business owners, while others prefer large corporations. Some provide only print designs, and others design for the web.

So, where does Pen and Brush Communications fit? I offer many services, as my web site at www.penandbrushcommunications.com illustrates. The “passion” article I mentioned earlier reminded me that I’m particularly energized by designing Direct Marketing materials. Sales letters, postcards, brochures, newsletters, and eBooks are the projects I enjoy the most. I’ve also done brochure-style web sites and flyers. Passion is contagious, and is easy to share. I’ll share my passion for my work with every one of my clients. You can count on it.

PC or Mac?

2008-02-21T13:59:00.002-06:00

Which is better? That's a question that has been bandied about ever since the early desktop personal computers became available.

The wisdom back then was that for "computing tasks" a PC was best, but for graphic design, an Apple Mac was best. The Theatre department where I taught had Apples. In the time since each platform was presented to the marketplace, they have gone through many changes. The answers to the "which should I buy" question have changed, too. The "depends on what you use it for" answer is still probably the best guide, and the runner-up answer is "depends on which software you want to run."

I've used both over the years. Sometimes for work, and sometimes for play. Sometimes the company for which you work requires one or the other, so you don't get to choose for yourself.

Most of the time, I've worked on a PC. That's largely because of my background in computer programming, and because most of the companies I worked with were PC-based. So the computers I've owned mimicked what was most often used at the client site. Working on a PC has many headaches, to be sure, but lack of graphics software is no longer one of them. Luckily for me, the best graphics software is largely available on both platforms now.

When I went freelance, I had to decide whether to continue with PCs or move to the Mac. And I decided to protect my earlier investment in software by continuing with PCs for the time being. Both my desktop and laptop computers are PCs. My Time Management and Financial Management software runs on PCs. I have the entire Adobe Creative Suite loaded and I just upgraded to Quark XPress version 7.0. I can continue to submit work via PDF files, which can be read by anyone on any machine.

However, my next big purchase may very well be the Apple MacBook. I've seen the latest Apples in action, and I'm rather envious. I'm leaning strongly toward investing in the Apple side of things, partly to keep up my "Mac skills" and partly to provide more services to more clients.

So you see, even after two decades of comparing personal computers, it's still "Apples" and oranges. :).

Good Design Transcends Formats

2008-02-17T15:23:00.006-06:00

I used to teach design. At the University level. I taught about the principles and elements of design, such as Line, Shape, Size, Color, Texture, and also Balance, Symmetry, Contrast, and Harmony. But here's the thing: my design work was in the discipline of theatrical costumes. Yes, that's right, I was a theatrical costume designer before I went into graphic design.

How does that apply today to my freelance graphic design career?

The cool thing about the switch in career is that I didn't have to "re-learn" from scratch. I already had the foundations down pat. The basics of color theory didn't change. There was a similarity in balancing the various design elements of a costume with balancing the various design elements on a page of a newsletter, a sales letter, or a brochure.

Clean design, in both formats, is design which telegraphs its subtle message without overpowering the main event. It supports the main event, but doesn't overpower it. In costumes, clean design isn't cluttered, and if it's done well, you notice the actor, but not what he's wearing -- the costume usually doesn't draw attention to itself. The same is true of clean design in marketing materials. Good designs make the message easier to read, or to respond to. But they aren't "design for design's sake" -- that is, the design itself should not be more important than the message.

Which brings me to another point. Good theatrical designers learn early on that a theatrical production is a collaborative effort. The director, set designer, costume designer, lighting designer, and actors must work together for a successful production. The same is true when a freelance graphic designer works with an art director or creative staff to produce marketing materials. It's especially critical that the graphic designer work closely with the copywriter.

And if the designer is good at articulating the vision behind the design choices, that collaboration can sizzle. Regardless of format.

Today my formats are brochures, web sites, presentational materials, newsletters, posters, flyers, and sales letters. I still have deadlines, budget constraints, and priorities to meet. I still must ensure project quality and integrity while meeting project goals and objectives.

But I also still care about good design!