Htw wa god-ebook (4.48MB)

A GUIDE FOR MERE MORTALS...

...and SAVE money for themore essential things in life!

Graphic Design • Cartoons & Illustration • Packaging Design

How to work with a

Cr e a t i n g B u s i n e s s B y D e s i g n

[email protected] www.angcreativedesign.co.uk www.thedesignangel.co.uk

C r e a t i v e D e s i g nC r e a t i vC r e a t i v e D e s i g nC r e a t i v e D e s i g ne D e s i g n

C r e a t i n g B u s i n e s s B y D e s i g n www.angcreativedesign.co.uk

C r e a t i v e D e s i g nC r e a t i vC r e a t i v e D e s i g nC r e a t i v e D e s i g ne D e s i g n

1

Graphic Design • Cartoons & Infographics • Packaging Design & Development

How to work

with a

A fundamental guide for creating a fantastic workingrelationship with your Graphic Designer and savingunnecessary frustration and especially costs!

If you have the good luck to find a psychic Graphic Designerwho has delusions of grandeur and believes themselves to bea God this guide will be completely unnecessary, however forother mere mortals this may be invaluable!

Recently I have been working on a series of projects thatwasted a lot of time and incurred further costs than originallybudgeted for. These situations could have been avoided if theclient had understood the design procedures a little better.

The following tips and information will help to reduce costsand save additional costs when engaging a GraphicDesigner.

...and SAVE money for themore essential things in life!

2

How to work with a


...and SAVE money for the more essential things in life!

Before even considering meetingany particular Designer, formulate

your ideas and objectives.

WHAT DO YOU WANT TO ACHIEVE?For example, are you launching a new company orproduct and want to publicise and inform?Or have you a special offer or incentive?Or gathering a marketing database or just trying toget feedback?

WHO ARE YOU TARGETING?Who is your target market, location, gender, or age?Your ‘target’ will determine style and content.

HOW ARE YOU GOING TO DO IT?Online or printed literature? Will you need to mail it or arrange delivery options?

WHEN DO YOU WANT TO DO IT BY?Have you a launch or target date to aim for? Is it realistic?

HAVE YOU GOT A BUDGET TO WORK TO?Do a bit of research, look at online prices, butremember you get what you pay for.

C r e a t i n g B u s i n e s s B y D e s i g nGraph i c De s i gn • Ca r t oon s & In f o g r aph i c s • Pa cka g in g De s i gn & Deve l opmen t

www.angcreativedesign.co.uk

33

C r e a t i v e D e s i g n i g n

CHOOSING A GRAPHIC DESIGNER...

• Ask friends for recommendations of people they know or have used, check out any testimonials they have, look uptheir profiles and experience on Linkedin etc.

• Have you seen and do you like their work? • Do they listen to you and what you want?• Do they offer advice?• Are they excited and interested? • Do they seem to know what they are talking about?• Did they offer you quotes based on what you asked for, were the details correct, did they give you any options?

• Were they punctual?• How do you feel about them?

WARNING SIGNS...• Lateness - will they get your work done on time?• Incommunicado - can you talk to them when you need to?

• Do they return your calls or emails quickly?• What is their spelling like - are there mistakes in their emails?

• Getting your name wrong?• Are they colour blind?

QUESTIONS TOASK• Do they know a good printer?• What format will they supply the design in?• Do they give copyright?• Are there likely to be any extra costs?• Can they make the deadline if there is one?

4

How to work with a



DECISION MAKING

MEDIA Decide what media is appropriate andsuitable for the purpose you require. Discuss this with thedesigner to get the best advice for what you want, what

you want to achieve and what you can afford.The size andformat is important for costing and the content you will need.

PAGES Booklets and brochures can only be compiledin sets of 4 pages. Knowing how many pages you require,whether limited for cost or layout is essential. Not only the

cost of setting up the booklet for the designer but higher printingcosts for more paper and more ink are incurred.

Knowing how many pages you want andneed, enables accurate print costs andconcise design time. Adding pages duringthe design process may be a necessity attimes but can seriously affect design costsfor reformatting and layout.

Allowing too few pages forces the designer to squash and reducethe size of the text and make, often attractive and poignantpictures smaller, this can take a lot longer for a good designer toachieve this as it incurs so much time for re-arranging and jigglingthe text to fit.

Having too many pages causes problems too! Either leaving blankspaces or empty pages can look unfinished, pictures may not belarge enough to fill the space needed.Text can be larger and morespaced out but it will scream wastage if not properly laid out.

1

2



55


TEXT & COPYWRITING

A COPYWRITER is a very usefuladdition to the team, if you are trying toachieve the best result. Not only will your text

be informative and to the point, it will flow and keepthe reader interested. Although it is an extra expense thebenefit is well written, concise text of the exact length andword count required to fit nicely into the pages you havebudgeted for. For a designer it is a joy to be able to design thejob knowing how much space is required or to give thecopywriter the exact space she needs to fill.

SUPPLYING TEXT in a format that can beeasily cut and pasted. This means the designer just copiesthe whole text into the desk top publishing document

and formats it as desired.

Supplying text like this avoids the cost of literally retyping yourcopy, most designers are not typists! It eradicates unfortunateerrors caused by poor typing skills that have to be proof readand checked then amended which in turn creates more workthat will have to be charged for at extra cost. It is very unusual

for text not to be supplied by email ortext document but even small amountsof information are better deliveredelectronically. By doing this you have arecord of exactly what text you sent.When important contact details are tobe included in a design it enables you tocheck and verify that they all work andare current.

3

4

6

How to work with a



TEXT & COPYWRITING

APPROVED TEXT Your designer will fall overthemselves if you can supply this. When the textsupplied is already proof read and approved, the

designer is able to fit the final text to the exact spaceavailable. The designer can format the text to the correct andoptimum size and widths. With no changes having to beallowed for the formatting takes a lot less time as it is onlydone once and not fiddled and reformatted each time acorrection is made. By having to add or remove largequantities of text part way through the design process meansthe carefully formatted layout has to be totally changedeach time and reformatted often including re-tabbing insome cases and re-hyphenating orphaned words. It can alsomean that page breaks alter considerably and left and rightpage layouts may have to change. The design and layout ofa ‘spread’ means the left and right pages often reflect eachother or follow different layouts through out the brochure. Insome cases a page can be reshuffled but normally they areset out as facing pages and cant be easily moved around.

Another problem caused by adding or subtracting largequantities of text is image placement. Text often refers toimages or pictures within the layout, when the text moves theimages have to be moved and it does not happenautomatically. If a layout has a lot of text that has to be fittedaround the images and pictures the designer will more thanusually end up bald or mentally scarred when these sort ofrequests happen.

Minimal corrections mean minimal authors correctioncharges.

5



77


IMAGES & PICTURES

IMAGES Planning whichimages are required, planning whichimages need to go with relevant textor sections. Giving a designer 30

photos for a brochure is like trying to matchodd pairs of the same colour socks!Supplying captions with the images is greatif the correct caption is with the correctphoto but even then it is unlikely to be completely clear whichpicture goes with which piece of text.

By putting pictures/images in folders named with therelevant section or chapters and references, you saveinvaluable time for you and the designer. Checking andmoving photos around will be as annoying for you as forthe poor confused person who has to reformat all the

pages to fit different sized images and swap captionsaround. Frequently layouts are ruined by a change in image

and text and titles don't fit where they were supposed to andpages or whole sections have to be moved orredone. Many mistakes and confusion occur insituations like this that could be very easilyprevented. For the client to produce a quick simpleword document which includes all the photos,captions and instructions would be an excellentreference tool for both parties!

Be definite on image choices - Changing the size ofphotos at the final design stage incurs the sameproblems as changing large quantities of text.

6

8

How to work with a



IMAGE FORMAT

IMAGE FORMAT Eachphotograph or image has toformatted in a certain way for

printing, this may cause extra charges ifcontinually requested. Each image mustbe saved as 300dpi at 100% or therequired size and in the correct colourmode. Meaning that every photographsupplied as a jpeg at 72dpi in RGB has to be converted to a300 dpi CMYK file to be used.

Ideally all images should be supplied to thedesigner like this but it is very rare. Thereforetime has to be spent converting eachphotograph, if not in the correct formatprinting results can be very unexpected!

Very often images are supplied from the internet or webdesigner, this often means they are too small to use on aprinted project. For web usethe pictures only have to be72 dpi which means they aredisplayed at a differentscreen size to the requireddimensions for printing, hencethe above conversions. Whenconverted the picturedisplays at a far smaller sizeand may not be able to beused as large as originallyintended. If used at more

7



99


IMAGE FORMAT

than 100% (150%) it will becomepixelated and will look very blurred and'squarey'. An image at 72 dpi will bemore than one third the size it wouldappear on the screen.

Time is eaten up when eachphotograph has to be reformatted andchanged when the original photograph

is far to small to use and has to be replaced.

COLOURS Specifying special colour requests. Ifyour logo or company colours have to be acertain colour it is important to specify thisto the designer, especially if it needs to be in

the correct colour for consistency of a house style.It may have to be printed as a special 5th colourin the 4 colour process (CMYK) on the print run therefore it willincrease the cost.

Other important bits of info would be a colour you hate orcolour that is special to a competitor, this is useful to knowbefore the design process begins. Producing a brilliant piece ofdesign in the wrong colour does not go down well on eitherside!

Cyan Magenta Yellow (K) Black Violet C

7

10

How to work with a



TYPEFACES

SPECIFYING TYPEFACES As before withcolours, if there is a certain typeface and font that isused as a house style or branding

the designer needs to know. If theyhave to search their range of typefacesor trawl the internet to find the exactmatch this will take time and moremoney! A good designer that wants tomake sure everything is as good as itcan be can and will spend hours ofchargeable time trying to find the rightcorrect font.

Ideally using a style guide that is supplied with a companybranding or logo is worth paying extra for if necessary. Itdetails a list of colours used and their breakdownspecifications for print and web, these colours can be differentand will look different between screens and on printedmaterial so have to be adjusted to match as best they can.Typefaces are specified, sometimes with sizes relating to the

logo and itsconstraints of use.Many large brandshave strictregulations as to howa logo may be usedor how the exactcolour must appear.

8

M : 0

P a c k a g i n g I l l u s t r a t i o n

M : 0

P a c k a g i n g I l l u s t r a t i o n

�

�

�



1111


LOGO RESOLUTION

LOGOS When commissioning a logo it should besupplied in 'high resolution' in several file formats andsizes. When this isn't done and supplied to a designer or

printer for use very frequently it is too small to use and can notbe enlarged to the required size. The only option in thisinstance is to pay for it to berecreated. many logos aresupplied as 'raster' file, whichmeans they are made up of dotlike a photograph - these filescannot be enlarged more than100% as specifiedabove. A logo shouldbe supplied in a 'vector'file which means it canbe scaled up and down to whatever size is required.

If a logo has to berecreated rest assuredthat it will be well worththe cost to have ausable logo to create aconsistent company

branding whereever neededin the future.

9

Thisis aVectorgraphic

A vector Graphic can bescaled up to any size buta Raster can only be enlarged up to 100% before becoming pixelated!

Thisis aVectorgraphic

12

How to work with a



DECISIONS & APPROVAL

DECISION MAKING Sounds silly butdecide who is qualified to make decisions andapprove each part of the job. Too many opinions

can cause a great deal of time wasted trying toaccommodate every bodies view or changing the criteriaeach time. Clearly discuss what you want to achieve, agreeon the images, text and colours and make sure all therequired information iscorrect. It is often thoughtthat text changes are just aclick on the keyboard buteven small changes can alterhuge sections of the textlayout. Make sure everyoneunderstands that makingchanges will incur furthercosts after a certain stage.

When approving the finaldocument make sureeveryone sees it, makes anyfinal amendments andapproval is unanimous.

10



1313


FINALLY Supplying as much information and ideas helpsthe designer, the more information they have the easier it is tosupply what you want and successfully achieve yourobjective. Supplying new information half way through the jobis very frustrating. Mistakes happen and circumstanceschange, not all eventualities can be foreseen.

QUICK CHECK LIST

1 - What media, What size, How many?

2 - Supply ‘approved’ word counted text in easy to copyformat

3 - Supply chosen images and clear instructions for eachsection and placing with attached captions if required

4 - Make sure the images are in correct format if possible forsize and colour mode

5 - Supply logos and specifications

6 - Specify typefaces and colours

FINAL WORD...Microsoft Word or Powerpoint, do notsupply anything other than the text to be used in a worddocument. If supplying images and instructions make sure theimages are supplied in a separate files as well.

14

How to work with a



THANK YOU FOR READING...IF YOU HAVE FOUND THIS GUIDE

USEFUL AND WOULD LIKE TO KNOW MORE

ABOUT ME AND HOW TO CONNECT...All Contact information can be found on www.angiephillips.tel

Email: [email protected]

Web: http://www.angcreativedesign.co.uk

Blog: http://www.thedesignangel.co.uk

Facebook: https://www.facebook.com/angcreativedesign

https://www.facebook.com/angcreativepackaging

Twitter: @angieandco

Linkedin: http://www.linkedin.com/in/angieaphillips

Google+: AngiePhillips, A.N.G Creative Design

Pearltrees: http://pearltrees.com/angiephillips

Pinterest: https://pinterest.com/thedesignangel/

Rebelmouse: https://www.rebelmouse.com/AngiePhillips

ISSUU: http://issuu.com/angiephillips9

Behance: http://www.behance.net/angiephillips

Paper.li: http://paper.li/~/publisher/c33ad290-82e7-012f-25ad-12313d16b843

I am a Freelance Graphic and Packaging Designer in Woodford Green, Essex, who hasbeen working in the industry for over 20 years. Working with established companies andindividuals who understand the value of Good Design.

Implementing Social Media to build and promote myself and my business.

Creating design that will get your message across to your customers to sell moreproducts or services. Developing your branding on line and off to create a strongeridentity inspiring confidence in your USP and your quality of service. More leads andmore customers will evolve from the good foundations generated and set in place byyour brand.

Developing consistent design & branding from business cards to banners, letterheads toleaflets and posters to packaging.

©Copyright Angie Phillips 2013

Htw wa god-ebook (4.48MB)

Design

Transcript of Htw wa god-ebook (4.48MB)