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Scalability of Graphic Design

Graphic Design involves the organization, prioritization, and presentation of ideas, concepts, and information at the service of a defined purpose. If the ideas are many, the concepts are complex, the information is vast, and the purpose is multi-phased—then the scope of the Graphic Design services could be enormous. The cost would be commensurate with the demand.

But, what if the scope was small, limited, and specific? Then the need and application of Graphic Design services would also be small, limited and specific ... and the cost would follow suit.

Graphic Design is scalable. First it is tailored to the size and complexity of the problem it is trying to solve and the timeframe in which it needs to effect solutions. But, it is also scalable in that a small, limited, specific design solution can be applied on an enormous scale. Branding is a perfect example of limited graphic design solutions applied on enormous scales. A simple logo can spread a company brand message/identity worldwide if it appears on millions of soda cans, or burger wrappers, phone screens, trash bags, etc.

Companies need to realize that they can engage Graphic Design services in such a way that they capitalize on the advantages of scalability. The key is to see Graphic Design as problem solving. Graphic Design creates solutions that can have wide ranging applications. In future blog posts we will explore the two main phases of engaging and applying Graphic Design solutions ... exploiting their unique scalable potential.

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A Concept Rendering is Worth a Thousand Words ... at least Ford thinks so.

"... We will get a huge circus tent , with open sides on both ends to usher in and out the hundreds of guests that will attend. We will put our highest performance vehicles on display so visitors can touch and feel the quality. We will have mounted engines, chassis, cut-a-way models, accessories, performance charts and graphics, racing vehicles, performance tests, resource libraries, driving video games, give-a-ways, and live entertainment as well as high powered presentations and music."

Can you picture all of this?

Most people cannot ... without some help.

Jackson-Dawson Marketing turned to Trinity's Art Director, Chris Pelicano to help bring this complex concept to life. He created detailed concept renderings to replace the thousand words that would otherwise be needed to show and sell Ford on the promotional event. Below is one of the renderings and some larger detail views.

Concept renderings are invaluable selling tools for projects of any size. Trinity Consulting knows this and is prepared to help you and your clients to visualize creative solutions in a variety of formats ... from napkin drawings to full-color renderings. Let us help you show your clients what they cannot yet imagine.

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Branding Multiple Personalities (Part II)

Also see: Branding Multiple Personalities

Below are 3 additional sets of preliminary designs created for CONFLUENCE Watersports. These trade show and retail displays explore optional approaches that allow the client to showcase their branded kayaks and kayak accessories.

Each display is designed to hold 6 kayaks and varying accessories. Each display allows ample space for branding and product informational graphics. Each display design can be customized for all 5 kayak brands. This approach to product display offers the client flexibility, variety, and economy ... since they can build 1 display configuration or 4 configurations depending on their engineering budget ... and each configuration is able to be customized according to brand. Most of the brand graphics are printed on cloth or paper substrates and applied to the display framework ... allowing the client to economically change/update the brand graphics as needed.

The display designs are aesthetically pleasing, functionally effective, and economically efficient. The result is a degree of innovative design and elegant engineering that compliments the nature of the products they display.

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Branding Multiple Personalities

Mergers, acquisitions, and expanding product lines can create unique challenges when it comes to designing and producing trade show and retail product displays.

CONFLUENCE Watersports, for example, produces kayaks under 5 unique brand names. Each brand has its own personality and history, appeals to its own water sport audience, and has its own competitors. It is challenging enough to create a product display that securely holds 6 kayaks ... let alone a display that also effectively communicates brand differentiation, energy, and personality in a commpetitive and discriminating marketplace. (I am not even going to mention that kayak displays need to take up as small a footprint as possible in an already overcrowded retail environment .... oops, I mentioned it.)

I worked closely with South Carolina fabricators (local to the Confluence home office) to create 4 preliminary display solutions for the Confluence brands. The first of those designs appears below.

This WAVE design is built on a simple curved shape and webbed strap arrangement that is dressed up with permanent and semi-permanent brand specific graphics.

Each display is branded with the product logo and associated “brand personality” specific graphics, colors, and surface textures. The result is a unique, eye-catching display that can be customized to display 5 different products. The design is suitable for either trade show or retail environments.

See the other preliminary designs created for Confluence in subsequent blog posts.

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A Double-Duty Holiday Card

Staging Directions, a corporate and theatrical production services company, wanted to send its clients a holiday greeting card that would also serve as a change of address notice. They enlisted Trinity Consulting Art Director, Chris Pelicano, who created a custom solution which utilized the company's equipment truck to serve both purposes. A small rough sketch presented to the client conveyed the essential idea and whimsical approach suggested to the client.

Once approved, a finished illustration of a company truck carrying a Christmas tree along a snowy landscape was created for the front panel of the card.

The interior of the card completed the holiday sentiment, the brand identification, and the new address.

This forward thinking client, commissioned two additional custom holiday cards which would be mailed in subsequent years but printed at the same time as the card above. Producing all three cards at the same time allowed the client to achieve design consistency and save printing costs.

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Perpetuating a Versatile Corporate Mascot

Brand equity is built through the faithful delivery of the brand promise accompanied by the consistent application of well-designed brand graphics. Well established brands can take advantage of their notoriety and apply their brand graphics with more variety. This is especially true with longstanding brand mascots ... such as the Michelin Tire Man.

"Bibendum" or "Bib the Michelin Man" is one of the world's oldest and most well-known trademarks, introduced by the Michelin brothers in 1894. BIB has changed with the times and has undergone many makeovers in the last one-hundred years. Today, he is a very busy mascot, wearing many hats in his job as chief company spokesman.

BIB recently donned a hard hat and safety vest to promote their line of mining tires and tire sensor equipment. For this assignment, he started as an art director's rough thumbnail sketch in which he is shown sitting in front of a computer monitor.

From this starting point, he Trinity Consulting Graphic Design department created a full-color illustration of BIB ... confidently giving the viewer his "thumbs-up" in approval of Michelin's superior equipment. This illustration was incorporated into a larger layout which demonstrated the advantages of the Michelin MEMS System.

 This post is offered as an example of how Trinity Consulting Graphic Design services can work in support of a well-established corporate brand

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All design has to work for the user

In the rush to the Web over the last dozen years, much attention has been given to the website "user experience". To a certain degree, this extensive dialogue has been reapplied to print marketing pieces as graphic designers strive to combine traditional print design with visual elements familiar to web users.

The bottom line is that both mediums share these identical functional demands: the piece/website must handle well and must draw the eye to important information.

At the end of the day, every marketing piece has to work for you and your constituency. At times, this means pulling back on the artistic reigns for the sake of effectiveness; restraint is an artistic virtue. Sometimes the focus of the design needs to be white space and convenient access to information rather than a lavish design theme. A "sparse", high-contrast design that focuses on function has a high chance of attaining success.

Whether designing print pieces or designing for the web, the user's experience is the most important element in building a successful brand. Make sure that you consider all of your marketing pieces, not just your website, from the perspective of the user.

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Remember

Some symbols (or logos) are created by history. When the tragic attacks occurred on September 11, 2001 a new brand was born.

For many, "9-11" is emblazoned in our minds as THE historic moment. Not "where you were when the bomb was dropped", or "where were you when you heard that JFK was shot", but "where were you when the planes hit?"

Graphic artists have created versions of this powerful brand to help us remember, and rally around, this powerful event that shaped our lives.

Today's blog post features a poster design created after the shock of 9-11 had lessened--and unfortunately, so had the wave of unity that followed it. 'Remember' is the main message of this poster.

Remember not just the bad that happened to the victims, but the good as well. Remember the heroes that were only ordinary citizens the day before. Remember how small our petty differences were when we were forced to focus on a greater good ... a common good. Remember how we grieved as a nation and how we cherished the everyday things in a new way.

Remember?

Today is not the anniversary of 9-11. But we can still remember that day ... The symbol which history created is still before us.

The graphic appearing in this blog post was created by Christopher Pelicano, Trinity's Art Director.

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Color Memory

In a previous post I mentioned "color memory" as a quality that many experienced graphic designers and artists possess. I would like to elaborate on what I mean by that.

Color memory is essentially the ability to do with colors what a police line-up asks you to do with faces ... to distinguish one shade of red, for instance, from among many shades of red, using only your memory of having seen that specific red before. Many artists have this ability because they routinely work with standardized color wheel values, standardized paint and ink colors, and even standardized video display colors. Such standards are reference points from which experienced designers can distinguish specific color variations. That is why artists can "match" specific colors by sight.

The graphic design process involves the representation of particular colors across a variety of color systems. Video screens display colors use a 3-color light-emitting system (RGB). Desktop printers create colors using 4 toner colors. Commercial printers create specific colors by the juxtaposition of 4 semi-transparent inks (cmyk) arranged in screen patterns composed of tiny overlapping dots. It is part of the graphic designer's training to understand these color systems, their limitations, and the best ways to achieve color consistency when translating specific colors from one system to another.

As a design piece moves through the print-production-cycle from concept to the finished printed piece it is reproduced, at different times, in different color systems. It is created on computer display screens, reviewed as desktop print-outs, reviewed again on computer screens as printer's PDF files or as high-end photo-print proofs, and then finally as 4-color process offset printed pieces.

The graphic designer's color memory, and cross-system color translating ability are of great benefit to clients who need to predict what the finished product will look like while it is under development. Color memory also allows the designer to direct a printer's press operator to make subtle global adjustments when the job is on press ... the last stage of quality control in the print-production-cycle.

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Benefits of Having the Designer at the Press Check - Example

Also see: The Designer and the Pressman

Here is an example of how the designer can help at a press check. I recently attended the press run of 25,000 4-Color books, which I had designed. After the job was set up on the press, I was called to look at the initial review sheets, and noticed that the registration (the 4 layers of overlapping process colors) was slightly off.

I knew that the pressman was working on a high speed web press that is capable of exact color registration and that correct registration is the first step in evaluating or requesting any color adjustments.  This is because registration effects color—so registration has to be corrected first. The registration was corrected, and we resolved subsequent color issues in short order.

An additional benefit of stressing exact registration at the first press sheet review is that it heightens the pressman's awareness to such issues on subsequent reviews; as a result, the back side of the first sheet was registered correctly without asking.

It was also helpful to discuss with the pressman that the printed piece was designed to avoid certain effects that are difficult to achieve on press. This conversation was appreciated by the pressman because he saw that the design was forward-thinking enough to avoid on-press problems.

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The designer and the pressman

It can be a great benefit to have your veteran graphic designer attend the "press check"—the last phase of production for print communications. By doing so, the designer accompanies the project from initial concept to ink-on-paper, thereby completing the print design production cycle. The press check is, in a sense, the most critical phase of production—and the last chance to make small detail or global design adjustments prior to the actual print run. The presence of the designer "on press" can ensure that the client's interests are being heard—because even a good commercial printer will be a bit more attentive to its own priorities (work flow, press time, paper consumption, etc.) than to the client's aesthetic concerns.

In this digital age, a print design may never appear on paper until it gets to the printer. Digital Proofs (mostly PDF documents) are often circulated via email because of the benefits in efficiency. However, because the same document can look very different on the wide variety of display screens, a predictable standard is needed.

Therefore, the designer sets the standard for accurately evaluating digital layouts and proofs.

I work on a color-calibrated screen in a room with controlled, balanced lighting. This calibrated digital work station allows me to accurately anticipate the difference between on-screen color and ink-on-paper color. Moreover, an experienced designer has what I like to call good "color memory". This means that throughout the entire print design cycle the artist knows what the key colors are and how best to achieve them on screen, on proofs, and on press. Familiarity with the entire design development process and the capabilities of modern press technology allow the designer to avoid potential problems and create a piece that is "printable".

Ultimately, when the job gets to press, the designer is the best interface with the resident pressman— whose own color sense may influence how he sees color on the printed page. The pressman's expertise is the operation of the press—not color interpretation. So it is doubly important that the designer be there to make sure that the client's interests are represented.

Conclusion

So, whenever necessary and possible, include the designer at the press check! It is a great way to ensure that you get what you intended out of your printed communication pieces, ensure smooth press checks and runs, and solidify the relationship with your printer.

Additional Note

While including the designer at the press check may not be practical for small projects, the designer should be included for large significant projects, or when the printed piece is highly complex.

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The Print-Design-Production Cycle

Commercial printing has not "gone away" as some cyber publishing enthusiasts predicted. Environmentally friendly inks, high efficiency paper recycling, and state of the art presses have allowed commercial printing to remain an invaluable business communications medium. So, how do you get an important communications piece designed and printed? You enlist a print-savvy graphic designer and engage the Print-Design-Production-Cycle.

Typically, the Print-Design-Production-Cycle incorporates five phases, with occasional variations depending on the scope and complexity of the project and priorities of the client. Likewise, the number of iterations within a particular phase, such as the number of concepts presented at the start of the project or the number of revisions to subsequent layouts, depends largely on budget and time constraints.

The first phase is concept development, which includes information gathering and the creation of one or more "roughs" which are presented either verbally or visually to the client for consideration. These "roughs" are created with expediency and presented thoroughly so the client can preview the merits of various design solutions. "Roughs" may be modified based on client feedback and re-presented for review or approved for refinement into working layouts.

Client approval of one or more "roughs" marks the beginning of phase two, which is layout design. In this phase, the designer incorporates elements of copywriting, photography, illustration, decorative graphic design, typography, etc, to create a digital layout that approximates the appearance of the finished printed piece (promotional poster, advertisement, brochure, etc.). This phase will include one or more layout review stages to reassure the project team that the work under development satisfies client expectations. Client feedback may lead to revisions and additional layout reviews and ultimately to client approval before the project moves into production.

The third phase is Production Art, during which the designer prepares the approved layout for print production. This phase requires the designer to ensure that the contents of the layout are in their final form and constructed according to the printer's technical specifications in order to ensure trouble-free printing. Final proofreading takes place during this phase and is generally the responsibility of the client, who then provides final production art approval prior to file transfer to the printer.

Once the production art has been approved by the client and transferred to the printer, the fourth and fifth phases begin: Printer Proofing and Printing & Delivery. Some clients prefer to handle these last two phases without the designer's involvement. Other clients want the designer to oversee the activity of the printer, or at least share oversight responsibilities. There are many advantages to keeping the designer involved in these last two phases of the Print-Design-Production-Cycle.

Printer Proofing involves the creation and review of either digital and/or hard copy pre-press proofs supplied by the printer. These digital proofs (usually Adobe Acrobat PDF files) allow the client to make certain that the designer's production files move successfully through the printer's internal press-ready process. Potential problems with complex graphics files will show up and can be corrected at this proofing stage. Hard copy proofs allow the client to hold a physical rendition of the communication piece in their hands (perhaps for the first time in the design cycle) and preview the finished size, folds, and approximate ink colors. The Printer Proofing phase is the last best time to scrutinize the communication piece for any errors before it goes to press. Approval of Printer Proofs usually gives the printer the official "O.K." to print the job.

Printing & Delivery entails coordination and verification of final print specifications (print quantity, paper stock, folding, trimming, binding, etc) as well as packaging and delivery details. This phase can often be handled via email and phone. However, some print jobs are of such high quantity and entail such expense that a client press check is warranted.

A press check allows the client and/or designer to attend the set-up of the job on the printing press immediately prior to the full press run. If a project warrants a press check it demands the presence of a print-savvy designer or client representative. The press check allows a client a final opportunity to view the actual printed piece in a limited quantity and potentially cancel the print run if needed. It is primarily a quality control check-point and disaster prevention release valve. Some slight global color corrections can be effected on press, but no real changes can be achieved. Instead, the press check allows a client to catch a potentially deal-breaking error, that somehow passed through all the earlier proofing stages, before thousands get printed.

There are other important benefits to a press check, which will be presented in future articles.

The Print-Design-Production-Cycle is a collaborative process involving the graphic designer, client, and printer. Central to the process is the print-savvy designer who can efficiently and effectively turn a client's message into deliverable print communication pieces.

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Graphic Design: Global vs. Detail Changes

The graphic design process is really a process of refinement from rough concepts to finished deliverables (printed pieces, logos, web sites, electronic documents, packaging, etc.). Refinement means change, revision, alteration. Large changes should be confined to early stages of the process which gradually give way to smaller revisions as the process reaches the finished deliverable form.

As with so many other industries and tasks, graphic designers utilize the computer as their primary service development tool. These days, layouts are created, presented, revised, and delivered entirely within a digital environment. The "point and click" and "cut and paste" computer environment is well-known in the business world and has indeed made certain kinds of revisions faster, easier, and more efficient than they used to be. However, not all revisions are created equal and it is important to understand how true this is in the graphic design process.

A graphic design layout is really a container that holds various content elements: type, photos, illustration, logos, etc. The placement of each of these elements effects the placement of the others. (That is what design is ... and good design arranges the elements in a prioritized, pleasing and effective manner.)

There is always a limited amount of visual display real estate (the size of a printed piece of paper, the effective amount of screen display width, the label on a product, etc.) within which the designer must "fit" the content. This interrelationship means that a small detail change to one element can, and often does, effect the placement of the other elements. Multiple small changes can have a dramatic effect on the design and appearance of the finished piece as well as the amount of time and energy expended to complete the work. For this reason, layout revisions should be considered, approved, and conducted carefully.

Global changes refer to revisions that effect repeatable elements within a layout, such as type fonts, background colors & textures, brand consistency, color schemes, and color display systems (RGB for web and video or CMYK for print).

For example, selecting and applying a new type font to all the text in a layout will change the appearance of the document as well as the amount of room the text occupies. In a 200 page book, such a global change would cause the entire text of the book to reflow, effecting all of the paragraph breaks and probably the page count of the book as well.

Changing the color of the text, a different global change, would change the appearance of the book but not cause the text to reflow.

Another example ... a small detail change to the appearance of a product will require a global change ... the need to update all of the communications pieces which feature the product. So, some global changes cause multiple detail changes while others do not, and some detail changes cause global changes which require multiple detail changes.

The reality of global versus detail changes is precisely what experienced graphic designers are best at managing. They are in a unique position to advise clients on the budget ramifications of graphic design changes, especially during the layout and production phases of any project.

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Graphic Design: Know Thy Audience!

If you are a company that utilizes graphic design in any way to speak to your customers, you need to know who they are so that you can produce design pieces that speak to that constituency, or the individual segments within that constituency, personally.

Knowledge of your audience is of particular importance if you are a small company with a tight budget, and can only use a single sign approach to your customer base.

Let me use a food analogy here. You run a restaurant, and you serve only one dish per evening – the same dish to the entire restaurant. Which dish do you choose? If 75% of the crowd is a “meat and potatoes” type of audience and you serve them a Thai dish -- spring vegetables with fried bean curd in a spicy black bean sauce, with seaweed and diced chicken soup on the side – you may have lost 75% of your constituency before the first bite.

In graphic design, you can’t please everyone – tastes differ radically. But if you have only one shot, you darn well better know what imagery, language, and design style will be appreciated by the majority of your audience. If you don’t provide that kind of information to your designer, you run the risk (but not the certain result—in fact, less so if you have a good designer) of getting mediocre results out of your design pieces.

Involve your designer as a strategic partner! A single designer may service many different industries, designing for a wide range of audiences. Good designers are tuned into the world of taste and the intangibles that attract attention and move behavior. Put their experience to work for you.

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Responsibilities of the Design Client/Employer

The graphic designer has his own set of responsibilities in pursuing your design work: see here for the relevant post.  Fair is fair!  Clients should read that post as well, just as the designer should read this post.

Commercial graphic design is a coordinated process of mutual responsibilities between the client/employer and the graphic designer.  This post is intended to be orienting, not comprehensive.  However, if the following general principles are observed within projects, you increase the likelihood of getting a superlative design solution in the final product.

As a client or employer of a graphic designer, it is important that you think carefully about the work that you will be requesting – above all, what the pieces are to accomplish.

Essential content and functionality of the communications pieces to be designed is primarily the job of the client.  Clients that concentrate on providing content are supplying the soil in which the designer can grow creative solutions.  Let your designer help you to qualify your content as you gather it…not everything on your wish list needs to go into the communication piece.  The first and last responsibility for determining whether the intent of the project is represented in the applied solution (or design) is the responsibility of the client.

The responsibility of the client (or employer) starts with the wise selection of a graphic designer and then the placement of their trust in that individual.  Indications of good a graphic designer are: portfolio, pricing, and whether or not he/she displays an insatiable desire to understand not just design concepts but also the need or intent behind a particular proposed project.

It is also the responsibility of the client, with the designer’s assistance, to understand what may and may not be able to be accomplished within the budget and timeframe designated for a particular project.

Many commercial graphic design projects belong to a certain genre (website, business card, print advertising, etc.) all have certain conventions that must be observed.  The lower the budget and the shorter the timeline, the greater the odds that you will get a piece that honors convention more than inspiration.  There isn’t necessarily anything wrong with that.

It is also the responsibility of the client/employer to know the intended audience for the design piece, and to tangibly communicate that information to the designer.

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Responsibilities of the Graphic Designer

Don’t worry, designers – there are rules for clients too!  Read this post to see what they are.

Beyond actually having the tools of the trade (or, the ability to produce excellent graphic design), being a good producer of graphic design solutions is about pursuing a true consultative approach.

This isn’t a comprehensive list of graphic designer responsibilities – just some of the highlights based on my experience in performing, managing, and requesting design work.

It is the responsibility of the graphic designer to thoroughly understand the function of each design piece and control client/employer expectations by clearly indicating what manner of solution might be applied to produce the desired effect within the budget and time frame.

It is also the responsibility of the graphic designer to understand the balance between form and function in producing a piece that is both aesthetically pleasing and conveys the necessary idea or information.

Moreover, the graphic designer needs to clearly inform the client if a truly unique solution will be able to be applied within the budget and time frame. It is very important for the client to understand that, though the ideal outcome of any project is a tailored solution, such may not be possible within the project’s set parameters. The best solutions are custom solutions, but the occasion may only allow for a customized, rather than completely custom, response.

Finally, it is the responsibility of the designer to clearly understand all intents for the finished piece (both the form of distribution and whether or not aspects of the piece will be segregated for separate uses) and present a digital file (or files) that is well composed and ready for those responsible for producing the finished piece (whether that be a printer, website manager, etc.).

To this extent the designer shares production responsibility across various media platforms. Please keep in mind that each media has its own technical demands that may dictate some time consuming file preparation variations. For example, it takes more than a couple of mouse clicks to re-purpose digital web files for commercial offset printing.

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The Agony and the Ecstasy

Movie buffs may be familiar with the 1965 classic The Agony and the Ecstasy, starring Charlton Heston as Michelangelo and Rex Harrison as Pope Julius II. If my memory serves me correctly, the movie portrays the painting of the Sistine Chapel, including the intellectual relationship between the two lead characters.

One of its oft-quoted movie lines is from Pope Julius II, who (desiring a more snappy completion of the project) incessantly questions Michelangelo, “When will you make an end?” To which the latter replies, “When I am finished!”

Great artwork often requires both time and space in which to make the accomplishment. If you are working on a commissioned piece, such as Michelangelo was, naturally you will have pressure to bring the project to a timely conclusion (particularly if you are charging time plus materials).

However, Michelangelo’s ability to create a great and godly work was due to his reluctance to be pressured into completing the work more rapidly than the occasion called for. In other words, he appreciated what his own skills, combined with the magnitude of the project, required for success.

Conversely, commercial graphic design is almost invariably performed on a budget and a schedule. Were you to walk into your graphic designer’s office and ask, “When are you going to be done?” and receive the answer “When I am finished!” you would not be a happy camper.

UPDATE: There are certain mutual responsibilities between the graphic designer and the client/employer, addressed in these posts:

Responsibilities of the Graphic Designer

Responsibilities of the Design Client/Employer

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