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noreply@blogger.com (Guy Arceneaux) — Fri, 25 Feb 2011 19:38:00 +0000

The All-Important Creative Brief

At a first meeting with a client, cover all the bases with these essential questions

Suppose you're going to meet with a new client and the project description was not very meaty. You plan to get the information at the "fact-finding" meeting, right?

Here is a document to add to your account management file. It should end the "what a dummy" moment when you've neglected to ask for key information. Don't wait until the meeting to answer these questions, do your homework!

This document, once completed, can be the basis of the follow-up e-mail you send the client. It's also the basis for your creative strategy document. See Sharky's Circle blog post 9.19.09:

http://sharkyscircle.blogspot.com/2009/09/10-easy-steps-to-build-freelance.html ).

The Essential Questions:

What is the budget?

Notice, the first question starts with the hairiest topic. Discussing the budget up-front prevents you from wasting your time and the client's time.

• What are their accounting practices?

• Do they need to provide information to get on their vendor roll?

What are the project objectives?

What is the purpose of the project, the primary objective, the secondary objective?

Examples:

• Raise market awareness by 25%

• Educate existing customers

• Enthuse potential donors

• Reposition the organization's image

• Meet a legal requirement

• Build company loyalty

What creative approach fits the market positioning?

Let me explain what is meant by "creative approach". We are not talking about a blue brochure or a specific type treatment. That is your baileywick, you determine design approach. A creative approach covers whether this is a hard sell, a soft sell, an informational appeal. Sophisticated, basic, operational, hip are creative approaches. Blue is not a creative approach, unless you are selling music.

Who is the target audience, the readers/viewers/customers?

Determine gender, age, socio-economic strata, occupation and geographic concentration.

• Are they knowledgeable about the service or product?

• What motivates them to act?

What is the product or service and what are its features?
Make a list of specifications, components, & other details.
• How is it delivered and how does the prospect pay for the service?
• How has it been marketed before?
• How is it used in everyday application?

• What sets it apart in the marketplace?

What are the benefits to the customer?
Make a list of the tangible and intangible benefits.
• How will the target be better off for using this product?
• Does it save time or money? If so, how much?

• Are there metrics to back this up?

• What trade-offs might be in play?

example: higher quality usually means higher price

What are the two strongest benefits?
Rank them—concentrate on the two strongest. This is your platform, the audience will walk away with one main idea. Be as objective and specific as possible.
• What should the main take-away be?

What support is there for the benefits?
Get test data, focus group reports, user testimonials—proof of benefit claims. Accept only facts, not opinions; only specifics, not generalizations.
• Is there a customer-satisfaction initiative, online help chat, a money-back guarantee?

What similar products/services are available and how good are they?

The competitive market—get names, specifications, prices, good and bad features.
• Did a key competitor launch a new service for a similar product?

What creative considerations, limitations or mandates do you face?
Examples: budget, schedule, size paper, use of color, number of photographs/illustrations, corporate standards, personal likes/dislikes (tread carefully here).

Who will take care of the components of the creative product?
Discuss these and identify areas to expand your involvement.
• Copy? Photography? Illustration? Printing? Back-end coding?

What are the methods of distribution?
• Where will the ad run, the brochure be used, the mailer be sent the banner be placed?

Who is in the approval loop?
Don't assume anything. Find out how many people must review the project during the creative process. Ask them to be present for the creative presentation. A word of advice, junior people should not be relied upon for an official stamp of approval. Don't be dismissive of them, they someday may be the person who signs off on your creative.

What is the timeframe?
Do not, I repeat, do not be pressured into an accelerated timeline in a client meeting. You will regret it and you will lose money. Tell the the client a detailed schedule will be a part of the forthcoming creative strategy. Need you say more?

Your follow-up is all-important
1. Take the time to type a report based on this information.
2. Keep it in the folder with the job.
3. Send a follow-up e-mail no later than 24-hours after the meeting.
4. Get to work on that forthcoming creative strategy and timeline.

Yes, my creative friends, it takes a bit of hustle to follow-up. Believe me, it will pay off in the long run for you and your client relationship. You will have set yourself miles ahead of other designers.

g.a.

© Copyright 2009 Guy Arceneaux All rights reserved

What independent Designers Ought to Know About Creative Reviews Part 2

noreply@blogger.com (Guy Arceneaux) — Wed, 23 Sep 2009 01:11:00 +0000

In my first post on creative reviews I discussed the what, when and who of this customer building exercise now I will give you the how for the brainstorming segment of your creative review. Following is what worked for me and a large health nonprofit.

Before you engage your client ask yourself—
What do we want to get out of this meeting with (your client's name here)?

Here was my list that I shared with my team members

• To identify initiatives and themes that might be highlighted for the coming year.

• To identify new branding initiatives and how they might be incorporated into forthcoming creative and testing,

• Get honest feedback from the client on the communication stream—both the tone and

manner of the copy and design

• To have this creative review seen as a fun, engaging, relaxed and productive session.

• To create an environment that is visually stimulating, with samples of work mounted on boards for review, the big ideas drawn for all to see, and collaboration the keyword.

The brainstorming part of the creative review:
Several interactive brainstorming techniques were used to keep the session from becoming too dry—the aim to generate as many new ideas as possible within a set time limit. For some of the clients this is the first time they have ever had any insight into the mind of the creatives that produce their work.

Ground rules: Every idea has validity and should not be discarded or shot down.
Follow-up: After the workshop is over the ideas can be catalogued and turned into a resource document for future brainstorming with the client.

Here was my checklist for the big day:
• A review document that illustrates the reviewed creative samples
• Illustration Board
• Stop Watch
• Mount samples on presentation boards

• Plastic sleeves for multi-page creative pieces

In a gift bag were the following along with the review document

• Toys (stress relievers),

• Candy (for energy)

• Multi-colored sticky notes,

• Pens and unruled pads for each participant

The Agenda

1. Ice-breaker exercise: Use a Mad Libs exercise and restrict it to words from the client's business, marketing terms, and creative areas.

2. Present a snapshot: Discuss the data metrics for each campaign, if you have them

3. Present the creative: Cover your design approach and how it integrates with the

copy. Discuss how each piece contributes to a strategic objective that is near and dear to a

client's heart—customer-centric thinking, edgy product offerings, easy-to-use product

features, etc.

4. Take a much deserved lunch break: Get to know you client informally, ask about

them, if business comes up fine. But try to keep it low key. You might want to bring out the

competetive samples at the end of lunch to segue back into working mode.

5. Brainstorming at the speed of light: No editing, just quick thoughts: This exercise is

meant to generate as many ideas as possible. Break into two groups and write down as

many ideas as you can 10 minutes. Then allow 5 minutes to prepare a mini-presentation to the entire group.

Materials
• Large pads of paper
• Multi-colored felt tip pens
• Stop Watch

If there is time, here is one more exercise:

6. Thematic Brainstorming: In this exercise a variety of topics having to do with a package’s attributes are addressed. This could be a team-oriented exercise where the group is broken up into smaller groups to tackle a theme—for instance:

• The Package
• The Format
• The Copy
• The Theme
• The Visual Apeal

Everyone generates as many ideas around that theme as possible on a sticky note pad, one to a page. Then they get stuck to a board that has the theme emblazoned on it, and the idea is announced with no discussion. Once all the themes have been dealt with, discuss the possibilities.

Follow-up: After the workshop is over the ideas can be catalogued and turned in a resource document for future brainstorming with the client.

Use snail mail: Send a handwritten note to your client and thank them for their time!

g.a.

What Designers Ought to Know About Creative Reviews Part 1

noreply@blogger.com (Guy Arceneaux) — Sun, 20 Sep 2009 03:19:00 +0000

How a creative review strengthens client rapport

Another important tool in your client management bag of tricks is a creative review.

Every client relationship has its ups and downs but managing the relationship is important. The creative review is an event that you should host on your own turf.

Not comfortable inviting several clients to your place of business? Rent a meeting room, check with local libraries and universities about meeting rooms available for rent. It should be a place that is well lit, temperature controlled and has internet access.

Prime opportunity to showcase your talent

This is your opportunity to discuss the body of work you have been creating for your client. It is a major undertaking and it should be done with as much professional panache as you can muster. This should not be knee-jerk reaction to a flurry of negative comments or a recent bungled project.

You want this to be a proactive and relationship building exercise. The goal is walk out with a client impressed with your grasp of their business goals, an insight into what the client's pain points are in the creative process and a chance to get more business.

Who should attend?

It would be advisable to invite the highest level persons on the account as you possibly can. But a mix of your contacts at that client would be advisable, in order to solicit a variety of ideas during the brainstorming session.

What should be covered?
Cover all of the work that you have created for a business cycle—last two quarters, for instance. Break it down into audience segments, or products depending on how your client see their market.

Cover your design approach and how it integrates with the copy. If you work with a writer, invite them along. If the copy is supplied by the client, ask their writer to give an overview of the copy tone and manner.

The presentation and the points to stress
I prefer mounting color print outs of work on black presentation boards as a way to lend tangibility to the work. Work mounted this way can be passed around and discussed—not something possible if a projector is used.

Discuss how each piece contributes to a strategic objective that is near and dear to a client's heart—customer-centric thinking, edgy product offerings, easy to use product features, etc.

Response Rate Metrics Are Important
You may not offer analytics as part of your scope of work, but if you are not showing an interest in them you are missing a great opportunity. If your client is willing to share their metrics as reports on campaigns you work on, take advantage, show an interest and find out what they mean.

Don't get into areas you don't understand, try to incorporate analytics that apply to your work. The client will sense that you think about other things besides colors, fonts and CSS, in short, you see the big picture.

Connect with the client.
Connect your thought processes with their business strategy, this reminds them that they are as much responsible for the creative product as you have been.

This should not be a situation where you are talking at the client while they sit and listen. Engage them, give them a chance to talk and elaborate, you may find they share valuable nuggets of information that can open new doors to further collaboration.

Finally, brainstorm for new ideas.
After a review of the work you and the client have created together is completed it is important to discuss next steps. Take the time to list on large sheets of paper what did and did not work from the body of reviewed work.

Before launching into a brainstorming session, take a snack break and review other current competitive creative samples. You should provide these and ask the client to bring some along as well. One of the things clients expect is your awareness of competetive trends and tactics. You should make it clear to them that you have a special insight to bring to the table and demonstrate that in the review. But don't give away the store!

The brainstorm format, that's another post
There are many ways to structure a brainstorming session, and I will be posting a second installment of this to walk you through one process that I used for large nonprofit client. It was a success for many reasons, but chiefly because the client spoke about some of their frustrations.

Listen for clues of internal office politics
All clients have internal politics that affect their decisions. That's a huge insight and a potentially new dynamic you can leverage, with subtlety. At one creative review session it was revealed that there was an internal struggle of two camps,
one camp wanted edgier creative and the other was not sold on direct mail as a fundraising venue at all. That is something I may never have found out through phone contact or the in-person presentations I regularly had with one representative.

g.a.

© Copyright 2009 Guy Arceneaux All rights reserved.

10 Easy Points to Build a Creative Strategy

noreply@blogger.com (Guy Arceneaux) — Sat, 19 Sep 2009 15:26:00 +0000

One document guides a project's scope and goals

A creative strategy is the basis for any successful creative project. This simple document should be your guidepost to a scope of work and project goals that both you and your client can refer to throughout the project cycle.

Often a large client's marketing staff will develop a project brief, but sometimes a smaller client or a junior contact may have no clue about the need for such a document.

A creative strategy is more than a professional courtesy. Provide one after the first fact-finding meeting and you'll demonstrate to the client your ability to think as a strategic partner and your grasp of their initiative.

Plus, a well-crafted creative strategy protects you from "scope creep". Changes to a project are sometimes inevitable but having documentation of the original assignment may be an aid to contract re-negotiation should it come to that. The document, comprehensive enough to spell out your deliverables, deadline, and scope of work should be signed by your client. It is not a contract, it is an understanding that they should nonetheless sign.

I have listed ten things that absolutely should be included to get you started. If any of these insufficient to cover an upcoming project feel free to add to the document. This is just to get you started, and help you polish up your client contact tools.

Here is what should be included by topic:

1. Overview—The essence of the current state of the product or service. Describe the product or service and what the major benefit or feature of interest is to the donor/customer.

2. Audience—A brief description of the target audience

3. Offer—What will the prospect get and how can they act on the offer?

4. Benefits and Support—What are the main benefits? Support points are features that reinforce the main benefit and offer.

5. Brand Essence—Describe the "brand truth"—how is it perceived in the marketplace?

6. Customer Promise—Describe what the product or service promises to the customer

7. Creative Assignment—

• Communication objective

• To create a web site that motivates audience to click to buy

• Approaches to consider/recommendations

• Initial deliverables (sketches, wireframes, comprehensive layouts)

• Ultimate deliverable (illustration, web site design, brochure, etc.)

8. Budget—Don't leave this out! Any extra costs you foresee, (photography, printing, etc.) are spelled out.

9. Mandatories—

• Budget

• Logo usage

• Format and production considerations

• Client preferences

• Graphic Standards or guidelines

10. Timeline—

• Set dates for preliminary the creative review

• Set a date for when you expect comments for this first round

• Do this for every step of the project

• Remember to state that client delays affect the ultimate date

This is a bare-bones approach and you may need to add some items applicable to your clients and your business approach. Clients will appreciate this strategic approach, they want a strategic partner, and you can be that partner growing your business as they grow theirs.

g.a.

MYOWs and My Sweet Lord

noreply@blogger.com (Guy Arceneaux) — Wed, 05 Aug 2009 01:27:00 +0000

The Importance of Becoming Savvy—Copyright and You

Before I launch into this posting let me explain that I am not an expert on the ins and outs of copyright law. But I have read enough and been in the business of design long enough (please don't ask how long) to know that if you value your creations, they are worth copyrighting.

The most fundamental points of law in copyright, are establishing the uniqueness and point of time of a creation. Very often the first point may come down to a court decision.

Chances are slim that two people will come up with the exact same design. Music is another thing, then it comes down to who came up with the unique combination of chord progressions that make up “My Sweet Lord” by George Harrison first.

In the famous lawsuit George Harrison was found to have unintentionally copied the tune “He’s So Fine” by The Chiffons, he later bought the rights. George had lawyers, and other business acumen to draw from to navigate these choppy legal waters. The Chiffons simply made hay while the sun shined down upon them by recording “My Sweet Lord” and made some money.

What would you do if you had to go to court over something you created and claimed ownership to but was now in dispute?

A guy in South Africa, Max Guedy, has come up with a simple way to register a creative piece online, for free. He calls this service MYOWs (My Own Works). Intellectual property, once registered there on your account is “time-stamped” to identify the latter point of law named, the time of creation.

According to an interview Max Guedy gave to the Frisk Design blog the new service should be up and running this month—August 2009. He says in the interview:

“So MYOWs guides its users, step by step, to have copies of their work removed according to the DMCA and Berne convention guidelines.While doing that, MYOWs builds a case history so that in the event that your case goes to court, you are fully prepared to win.”

That seems like a great deal to offer to the creative community for free. If this takes off and becomes a service that is scaleable in the entertainment industry, Max Guedy may just have something here. I have gone to his website and logged in to be kept abreast of developments as they happen.

With my experience with startups I know things can take longer than expected, but this is one idea, is not only new, but a bright spot in my recent coverage of the business of design. Keep Max Guedy and MYOWs on your radar, you may need a service like this someday soon.

My thanks to Matt Hill of Frisk Design, cheers mate!

Sharky's Pick-N-Click Rating

noreply@blogger.com (Guy Arceneaux) — Fri, 15 May 2009 04:29:00 +0000

O.K. I was maybe a little hard on the Zimmerman Agency’s “Pick-N-Click” Agency model. Like the Automat, you see and use what you want in terms of a campaign and it’s that simple.

I like to assume the creatives at Zimmerman/Pick-N-Click get paid a decent wage. Heck maybe even a living wage. Some one has to create the variety needed to keep the car dealer clients happy. At least the creatives have a chance to say what they expect to be paid at the interview when they first start out at Zimmerman, right?

But I am going to stick with my 3 Golem Rating for

Zimmerman's Pick-N-Click

crowdSPRING: WHOPPING 4 GOLEMS!!

noreply@blogger.com (Guy Arceneaux) — Fri, 15 May 2009 02:58:00 +0000

crowdSPRING is different.

Very different.

Well, when I posted a virtual agencies discussion online at one of my LinkedIn groups I kept seeing references to crowdSPRING pop up.

I must be very out of the loop, because I had never heard of crowdSPRING. But according to their website they have only been up and running for about a year.

They were also apologizing for the bad behavior of their servers, and their own shortsightedness (is that really a word?). They obviously are experiencing growing pains.

The crowdSPRING Model— “We’re the marketplace for creative services.”

A) Post a creative brief, (a good thing)

B) Then a budget amount, (again, a good thing ostensibly)

C) Then a completion date is posted

This feels familiar to anyone with an agency background. But the budget amounts are astoundingly low. As a “CREATIVE” participating in a project, you submit your numerous iterations to the site and anyone can see them! There are tons of them. Some are really nice some are awful and still your chance of getting picked is on average 1 out of 68, a whopping 68 responses for every project submitted!

Here is what they promise to the “CLIENTS” who they call “BUYERS”:

Name your price
Launch your project on your budget, not someone else's.

So if you just want to pay $200 for a logo (corporate identity) you can do that, you are the buyer. That seems very low to me.

Name your deadline

See entries within hours and be done in just days.

Wow! I, as a client love the idea of a designer, nay, many designers jumping when I say jump. Not only when I say jump but how high! The ultimate in modern day net slavery. Think desktop publishing sweatshops.

Ridiculous choice

The average project gets a whopping 68 entries.

This is a great selling point for me as a designer, work my caffeine addled brain into a frenzy to complete with 68 or more other professionals for a measly sum. As Oliver Twist might say, "More, sir"

Money back guarantee

25 entries or your money back.

This kills me, no agency ever promises that, they hard sell a client until they submit. Just kidding, but you do sell the variations you present, you stand behind them. To say that you have presented something unworthy of their startegic need is a self-defeating stance.

15,000+ creatives

Your virtual creative team in over 140 countries.

This is just astounding, I really don’t have anything to say about it except, bye, bye, job security.

We’re here to help

Seven days a week. (although we occasionally sleep).

So are your servers lately, it seems.

Exceptional quality

Never sacrifice quality for budget or deadline.

Well that sign on my wall which says pick two: quality, budget or deadline.
It is evidently very old school and does not apply in this model.

Free contract

So you know you have full ownership of your final design.

This flies in the face of everything the Graphic Artist Guild Handbook says about ownership of design.

Here is what they promise to the talent who they call “CREATIVES”:

It's easy find the projects you like, submit your ideas and get paid when yours is the best

It’s true the variety of projects were interesting and at least they had a coherent brief to accompany them. But I feel time spent on a job should be compensated.

Payment escrow

We hold the buyer's money— so no abandoned projects.

I usually ask for a third of the payment up front.

IP protection

No stealing ideas. No concept copying. No way.

So how does that happen when everyone can see the submissions?

No bidding

Stop trying to be the lowest bidder— start designing.

At $200 a pop I don’t think I could start designing for very long before I would have to stop.

You're in charge

Work on the projects that you want, when you want.

I do that anyway, don’t you?

Top projects

Some of the biggest brands in the world post projects.

Hmmmm. I am so swayed by this one. I did a $200 brand identity for Timberland!
How does that sound? It makes me sound like a fool for giving my creative capital away.

Awesome community

22,000+ creatives all working together, learning and growing.

This is just so compelling, if I get involved with anymore online communities I will just go mad! Mad I tell you!!

Sharpen your skills

Build your portfolio, win clients and perfect your craft.

This is one good selling point, but I think that part of your professionalism dies when you do work for spec.

We're here to help

Seven days a week (although we occasionally sleep).

Again, I think they were asleep when they worked up this business model.

Virtual Ad Agencies Next for Golem Culture?

noreply@blogger.com (Guy Arceneaux) — Thu, 07 May 2009 06:49:00 +0000

The Prague Golem figure—symbol for soul-less online agencies. Zimmerman gets a three-golem rating in my book. SOUL-less X 3.

Zimmerman President Pat Patregnani and Michael Gelfano, VP of retail technologies, demonstrate how Pick-N-Click works.

The virtual agency! It was a term that was floated often when I worked at Euro RSCG 4D, but it mainly described our partnering with multiple talent sources and sister agencies (is this term sexist?). The idea of an actual agency with no bricks and mortar office space but run online solely is an interesting idea.

There is one agency, Zimmerman and Partners Advertising, that I found. They have set up a virtual extension of themselves aimed at serving a big part of their clientele and vertical market—car dealers. They call it Pick-N-Click, and it apparently enables auto dealers to create whatever they need online.

From a South Florida Business Journal article:

"It took 66 software code writers, $3 million up front and input from a number of talented people to perfect the virtual agency," said Michael Gelfano, Zimmerman's VP of retail technologies.
Pick-N-Click enables a business owner or manager to create ads for print, radio and TV from pull-down menus with 40,000 selections. Licensing costs to use Pick-N-Click range from $799 to $1,999 a month, depending on how many medias a company uses.
"We did $2 billion in billings last year, with about 860 employees and with a pragmatic focus on performance for our clients, so Pick-N-Click fits right in with our strategy," said Michael Goldberg, chief marketing officer for the Fort Lauderdale-based agency.
The agency specializes in automotive accounts, so its officials said they chose to introduce the virtual agency to that niche first.

The website seems to cover it all in the navigation buttons, Strategy, Creative and Inventory. Wow, what more could you want? Passion? Intelligence? Brilliance?

While I think this is all very creative and forward thinking, I have always wondered why auto ads are so god-awful, and now I know why. They really aren't about high concept, breakthrough creative at least on the dealer level.

The reason I got into advertising was to participate in that high concept, breakneck pace, intellectually stimulating environment. Although I did work on the Saab Auto account for a while (and it was a pleasant experience). I regret now that I gave most of my creative energies to sell freaking credit cards for all those years. It all seems so, unfulilling, so golem like, soul-less and lucrative.

But I digress my friends—so this is just one virtual business model, Zimmerman is a large agency or rather part of the large conglomerate Omnicom. The upfront costs of this were, I am sure, a result of detailed study by many marketing wonks (i.e. account types). The creatives were most likely only brought in to execute the cosmetics, and I am sure they never were consulted on the actual planning of the user interface. Excuse me, am I sounding a bit arch?

The dream of setting up templates into which content can be placed has been trotted out repeatedly. In fact by every single general manager I have had the pleasure to work with over the years. The idea too, that you can "save" unused creative concepts has been around from the days when I kept a flat file full of them—beautifully realized tissue comps to be saved for the next time.

Yeah right! How many times did the perfect storm of product, strategy and client taste ever present itself again.

Anyway, I will be doing more investigation into this virtual agency concept because I think you can do it with out it seeming like a Golem-like creation from the soul-less inanimate material from which all Golem are wrought. As I do this investigation I will be assigning online agencies a Golem rating.

Zimmerman gets Sharky's 3 Golem rating,

4 Golems is the worst!

Stay tuned, leave a comment! G.

© Copyright 2009 Guy Arceneaux All rights reserved

Layoffs in the Ad World Force Many Back to School

noreply@blogger.com (Guy Arceneaux) — Sun, 03 May 2009 17:35:00 +0000

I won't name names and certainly won't name agencies, but there have been many layoffs in the past year. The number of my colleagues out of work right now is rather alarming. These people are what I would have considered indispensable. Not only are many designers and writers once again freelancing, but the people that they reported to are also looking or have been forced to accept positions at a different level.

Going back to school is a step many have chosen to upgrade their skills. Print designers are confronting Dreamweaver, when InDesign was their forte in the past. Many are not ready for the rude awakening of the need to understand the basics of HTML. Many just never thought they would be put in a position to learn coding of any sort.

The Web is Your Tutor

Before you go out and spend mucho dinero on books, check out some of the resources available for free online. Try this one for a basic HTML tutorial:

http://www.w3schools.com/html/default.asp

This site appears to be free and also also offers a comprehensive set of tutorials to bring the avid learner

up to speed on HTML, CSS, XML and my favorite Javascript.

This is just one of many sites available, I am not accepting payment from this site, I just found them with a simple Google search using the phrase, "Learning basic HTML".

Dreamweaver is HTML and WYSIWYG Combined

When I first taught myself Dreamweaver (I am still learning), I had already taught myself HTML (I am still learning). The ability to view the visual layout and the HTML coding simultaneously was a real productivity booster.

Using some online tutorials and a Quick Start book, I was able to get enough skills to work on some projects at the agency where I worked. I actually value books because of their accessibility. Its all a matter of your personal learning style.

Set a Personal Project as a Goal

It is important to have a real project in mind. When you are learning a web-based skill set choose a personal project that you can manage, with all that entails. When I taught myself HTML, it was for a nonprofit client's project to be presented at a meeting, this put pressure on me at the time, but that's how I work best. No one had ever suggested a web site to any of our clients, and it caused a great deal of discussion. (1996)
Set aside a special time to dive into the new area you are trying to learn. Even an hour spent three times a week is good enough, I think of this approach as planting redwood seedlings.
Visit online forums and professional gatherings. You will be surprised at how much you can pick up from casual contact with others in the new area you are learning.
Use your new skills as often as possible. Try to keep up with new developments in techniques that last suggestion might prove to be a career-long effort. Don't be daunted by what I call the learning spiral.
Keep learning. Many things you learn today, will one day be outmoded. Sigh!

Too much print..not enough web?

noreply@blogger.com (Guy Arceneaux) — Thu, 23 Apr 2009 10:13:00 +0000

Last night in downtown Baltimore at an artist's club/bar called The Windup Space I particpated as a presenter, along with Alissa Jones of Six Red Marbles, in a roundtable discussion hosted by the Baltimore Aquent office. It was the first in a new monthly series they have started, last night being the innaugural trial run. The idea is to broach emerging topics of interest to the design community.

The theme was meant to bring to light in a discussion what steps other designers have made in making the transition from print design to web as demand has grown. The following are the slides from my presentation. I looked at it from the designers viewpoint and the future of the industry as a whole. Forgive the clunky long slide by slide posting, but the upload of a .mov file was not working at 6:30 this morning!

I chose not to detail what I have done to make the transition. I have done what many in the field have done, run as fast as I could up a steep learning curve since graphic design was inexorably bound to the use of the computer. Alissa took an entirely different, yet fascinating look at graphic design evolution through the lens of the historical development of the web.

Please leave your comments! I'd like to hear from you.

Comment Callout: Peter Kaizer, Director of Catholic Relief Services Web Unit left a great comment that had a link to a downloadable PDF. Peter said designers might be well informed by the following—"Jeffrey Zeldman got his start as a well known author with his first book, Taking Your Talent to the Web ."

This PDF definitely looks like a worthy addition to the substance of this discussion. Thanks, Peter! Your balanced and informed comments are much appreciated.

My mentor, Marc Arceneaux

noreply@blogger.com (Guy Arceneaux) — Mon, 23 Mar 2009 00:40:00 +0000

As a young artist still in high school, I had the good fortune to have an older brother, six years my senior. He was a creative person naturally, and words were often paired with his witty drawings.

When I was ready to decide what I wanted to study I followed in his footsteps and traveled to San Francisco to study at The San Francisco Art Institute. San Francisco in 1971 was still a wild and wooly place but much of the aura of the Summer of Love had degenerated into a much funkier harder edged scene.

But it was still a very good place to be, as a designer and as a curious art student. My brother was always encouraging during my art school years and introduced me to many of the founding schools of thought that built modern day design. He was an enthusiast of Bauhaus design, and always shared books he had found.

When he landed a contract to author two books on design history; Streamline: The Art and Design of the Forties and Atomic Age: The Art and Design of the Fifties, I was fortunate to work alongside him. We did fascinating research into these design eras. It was also my first exposure to publishing and having my art published. That foundation in Streamline and Atomic design has stayed with me always. Thanks, Marc.

10 Things I Learned From My Brother

1) Preliminary sketches are important.

2) Good design is inherent in a beautiful life plan.

3) Typography is important and historically grounded

in our psyche.

4) Raymond Lowie is a god.

5) Things will work out.

6) Treat everyone with respect, everyone is

an artist in their own way.

7) Borrowing from art history to create something new

is perfectly acceptable.

8) Use excellent art supplies and care for them.

9) Never let anyone borrow your personal Rapidograph.

10) Learn as much as you can about computer design.

(His advice in 1976)

Neo-Nouveau Artist in California

noreply@blogger.com (Guy Arceneaux) — Sun, 22 Mar 2009 18:06:00 +0000

The logo for Sylvandale Gardens, in California, takes its distinctive look from hand-lettered typography. It shows the elegant curvilinear balance of a well-trained eye coordinated with controlled pen strokes. It is simply superior to an artist using Illustrator or Photoshop.

Sharky's Artist Profile, My Brother:
Marc Jahn Arceneaux
Marc Jahn Arceneaux is a native of New Orleans and evacuated before Huricane Katrina. He took with him only a few of his favorite artworks. Today he shares his story with us and a few of the saved pieces. His career as an artist and author spans over 40 years and a variety of artistic endeavors. He has maintained successful studios in New York, San Francisco, Los Angeles, and New Orleans. He is a graduate of the Maryland Institute College of Art. Marc Arceneaux published 14 books, including his art history books "Streamline Art & Design of the Forties" and "Atomic Age Art & Design of the Fifties." The New York Art Directors Club awarded Marc The Gold Award in 1975 for his contributions to National Lampoon's million seller book release, "Kaleidoscope: The 1964 Yearbook Parody" on which the movie Animal House was based. He was also part of the 60s and 70s San Francisco golden era of album cover design, creating hand lettered logos for Canned Heat, Bobby Gentry, Danny O'Keefe, and Herbie Hancock, among others. More recently, Marc's 1997 Budweiser Mardi Gras poster became an instant classic. In 2000, he completed two large murals for the lobby of the Royal St. Charles Hotel.

© Copyright 2009 Guy Arceneaux All rights reserved

Hand Drawn Bible Infuses the Word with Spirit

noreply@blogger.com (Guy Arceneaux) — Sun, 22 Mar 2009 00:39:00 +0000

The Walters Museum in Baltimore is hosting an exhibit that

gives every graphic designer a reason to take heart.

Baltimore—This winter the Walters Art Museum will offer many programs in conjunction with the exhibition of The Saint John’s Bible: A Modern Vision through Medieval Methods. On view Feb. 15 through May 24, 2009, this exhibition will feature 44 pages from a contemporary, illuminated Bible set alongside approximately 49 manuscripts and rare books from the Walters’ permanent collection.

Sharky says...
The divine hand of man is made manifest in this modern illuminated version of the Catholic Bible. Luddites may now revel in this visual celebration of handwritten sacred verse. Coupled with post-modern reinvention of the visual iconography, the effort is as invigorating and soothing as a balm.

The exhibition is a lovingly documented view into the rigorous process followed in the the bible's assemblage. Commissioned in 2000 by The Saint John's University, Minnesota. The project was conceived as a bible for the new millennium. The accompanying film presentation is the best way to begin the journey into the world of liturgical manuscript illumination. The exacting details are spelled out and one realizes that this was high tech in the Middle Ages.

Besides being a presentation of the work from the new bible; it is an examination of the culture and tradition that surrounds illumination of sacred texts.

There is a fascinating description accompanying one spectacularly utilitarian ancient torah, explaining that the name of God could not be written but was respresented by a single dot of ink on the parchment.

That single dot could not be placed until the scribe had been immersed in a ritual cleansing bath. Once that lone dot was positioned a second ritual ablution was required.

A unique typeface was designed and the film details thought processes that went into the arrival of the visually crisp graceful expression of modern day type engineering.

The variety of sacred tests on display are engrossing and project the respect for awe of the the written word. Humanism is strongly projected through the diverse spiritual illuminations. The very tenacity of spirit needed on this arduous project is an affirmation of the potential value and goodness of human beings.

Go see this exhibit! It allows The Bible to be seen as the rich trove of poetic literature and beautiful imagery we all knew it was meant to be. Calling all designers, print or web to
revere the tradition that is the root of modern day publishing design.

g.

© Copyright 2009 Guy Arceneaux All rights reserved

Tools from another time...

noreply@blogger.com (Guy Arceneaux) — Sat, 21 Mar 2009 20:53:00 +0000

Recently, while discussing the topic-- Are there too many print designers and not enough web designers? some people left comments about "the old analog days".

I miss the lost craft of what we do, the handwork and tactile connection to our brain's processes. I do not miss pulling all-night paste up sessions. There were the frantic searches for a missing phrase that you X-acto cut from a waxed galley (picked up from the typesetter vendor). After searching high and low you would discover it pasted to your shoe.

I have a wealth of fond memories of how we used to work but also a marked decrease in the anxiety about meeting deadlines. If you are of a certain level of seniority you remember something from before the computer layout switch don't you? Share your comments here, I'd love to hear them. and so would others.

Good Old Days at an Agency in Baltimore

I will never forget the time my boss, in a hurry to visit the client, wanted to take the paste up board on which I was working furiously. After firmly telling him, with all due respect,

"It is not ready to be seen by the client."

He said, "It looks fine!"

He pulled the board off my green Borco-covered drafting table, and proceeded to shove the board (overlays and everything) through the hot wax machine!

As he bent down to guide the board through the waxer, his expensive Harve Bernard tie traveled with it and got caught. The hot waxy roller wheel kept moving until he was being pulled into the machine and he had a look of panic in his eyes.

Luckily in the old days we always had a beautifully sharp pair of shears around which I used to clip him free. The $150 tie was in shreds, covered with wax, and frankly was a sartorial disaster.

How he got the idea we put an entire board through a waxer—I'll never figure that out. I chuckled at him as he made his way out the studio door on his way to the meeting the still gooey waxed board in hand.

I also wondered how would he would explain the lack of corporate logos. That was the graphic element I always added last.

Well, account executives have to learn to dance around the tough questions. Probably the toughest would be what happened to your tie?

Are there too many print designers and not enough web designers?

noreply@blogger.com (Guy Arceneaux) — Tue, 17 Mar 2009 16:18:00 +0000

I have had a tsunami of comments about this when I posted this on the Linked In AIGA discussion board. Feel free to post a comment here too!

http://www.linkedin.com/groupAnswers?viewQuestionAndAnswers=&gid=95409&discussionID=1993507&goback=%2Eanh_95409

Designer Stagflation

noreply@blogger.com (Guy Arceneaux) — Sun, 15 Mar 2009 00:17:00 +0000

At a recent graphic design organization seminar about pricing I asked the question—“Why haven’t costs for graphic design changed over the last 15 years?”

It was a rhetorical question, it was open-ended, there were bound to be many different takes on the question’s implications. I was astounded at the answer the successful design studio proprietor provided. I just didn’t think it would come from one of us.

He said, “Starting up a business is so much less expensive now, you’re overhead is lower because of that and you don’t need as much stuff to get your work done.”

That is what clients have said to me when trying to bargain a lowering of a reasonable cost estimate. I was really astounded to hear this illogic spouted by a fellow designer, disappointed that they had bought into this line of reasoning. Almost like visiting a designer’s studio and seeing a time clock and steam powered break whistle in use.

So because you invest in a computer and printer and they help you work efficiently, you should lower your costs? Lawyers and accountants and the medical profession—they see it differently, it is increased productivity increased profit margin.

Position yourself in regards to the value you bring to the table. Your worth as a designer is more than the cost of your time alone. Knowing what your time is worth—that break even number—is simply good business sense. Now determine your value added, what you bring to a project and what that is worth.

Graphic design and illustration is a good value today and part of our mission is to educate people and clients about what we do for society and communication. We know it’s not all about making things look pretty. There is a larger purpose we serve.

Act like you are somebody and lead the way for other designer comrades. The next 15 years will see a rise in the respect and paychecks we deserve if we act united.

Your Audience: Starting at the very beginning.

noreply@blogger.com (Guy Arceneaux) — Sat, 14 Mar 2009 23:48:00 +0000

Ask yourself this when developing any communication—to whom am I communicating?

The answer will inform you as you plan, develop, design and edit. Don’t trick yourself—keep asking yourself that question—become objective enough to become one with your audience.

At one time your audience may have been a thesis review committee but you’ve graduated and are in a new arena. The audience for a brochure about food security needs a much more direct approach, content relevant to their experience and understanding.

Center yourself in the task of communicating with someone, not to someone. Success lies in the subtle difference of those two simple words, it all comes down to relevance.

Who is your audience? What is relevant to them? How much time will they spend with this communication?

Often organizational communications get trapped in a syndrome that alienates their audience right away. This can best be described as the talking to yourself—again.

Everything you know about your topic does not have to be conveyed in this communication. Don’t unload all of the technical terms you use in your workplace on your unsuspecting audience. While willing to listen to your logic, your audience may be very unwilling to become fully indoctrinated at this first exposure.

Next ask yourself another question—what do we want the audience to do? Do we want them to write to their congressman? Ask them to do that. Do we want them to give generously? Ask them to do that. Do we want them to attend an event and bring a friend?

You don’t ask you don’t get! Don’t count on your readers to do the right thing—it may be obvious to you what needs to be done, but then—you work for an organization that makes doing the right thing part of its daily duties.

You have to help them do the right thing and that means making it simple to act. A clear choice, with a benefit that is comprehensible and means something now not in the distant future.

Audience focus, content relevance, clear call to action. Three simple guideposts for making your organization’s communications work as hard as you do.

Freelancer’s Dilemma

noreply@blogger.com (Guy Arceneaux) — Thu, 08 Jan 2009 01:57:00 +0000

Payscale still a mystery.

New freelancer’s have so many questions about the business of design and long for straight answers. Many join professional organizations for answers and guidance or shell out good bucks for seminars.

A few nights ago, here in Baltimore, I attended one such a seminar held by a prestigious graphic designer’s organization. The theme was centered on developing a client base and pricing appropriately. It should be pointed out that the event was free of charge.

A fellow (who I’ll keep anonymous) discussed his 13 year entrepreneurial stint as the sole proprietor of a design studio boasting phenomenal award winning success. After a slide show of his illustrations and other design work he discussed how he connected with some of those name-brand clients—Rolling Stone, Utne Reader, Playboy, Forbes, and Business Week among others.

While many of the younger members in the audience were obviously impressed and probably a bit jealous of his success they seemed less than satisfied with the answers to questions about pricing.

I think what many people wanted to hear was a simple formula to calculate a price. As if illustrations and graphic design were carpet or paint and could be cast in terms of square footage. As if!

In defense of the guy, he did mention The Graphic Artist’s Guild’s Handbook for Ethical Pricing Guidelines, although it was said quickly as though everyone were aware of the book. I wouldn’t know what to ask for at the bookstore from his reference. It is a great book for getting an idea of the going rate for all kinds of design services and can introduce a new designer to a wealth of resources for their business’ administration.

But many of the questions regarding pricing were side-stepped and assertions were made that you should really only charge a bundle if you have real talent. Huh? Who is deciding that—the Talent Regulatory Commission?

Finally, after listening to many questions about pricing that didn’t seem to satisfy audience members, I asked the question that opened up a can of worms for me.

Why haven’t costs for graphic design changed over the last 15 years?