Are You a Designer?

Interviews by Design is a collection of interviews conducted with designers from around the world. Each designer is asked the same 5 questions. They are posted on there website.

The Questions:

The 5 questions asked by means of the submission form are as follows:

1. Besides the usual online blogs and galleries, from what or where do you draw  inspiration?

2. Design-related or not, can you list up to 3 books that you've found beneficial to your growth as a designer?

3. If you could name one tool/application/software/hardware that you can't live without (from a design perspective), what would it be, and why?

4. What would be your design "dream job"?

5. What changes would you like to see in the design community in the next 5 years?

Interviews accepted to be published will be those submitted by quality designers. By submitting answers to the 5 questions, you agree to allow Interviews by Design to publish your answers on this website for public viewing, and you acknowledge that your words, as published by Interviews by Design, may be quoted or referred to in other external resources. The site guidelines also require that you use your real name and tell us your location. We won't be publishing anonymous interviews.

If you're any kind of designer...Submit your interview

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One of my favorites....

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An homage 2 the Neutra typeface inspired by the song Poker Face by LadyGaGa.

So I LOVE this typeface, and with a sarcastic sense of humor, who doesn't like parody's? I don't necessarily love Lady Gaga, but that's why this is so great!  The lyrics and link to download are included. Epic!

'NEUTRA' is actually pronounced 'NOY-trah', but that escaped our knowledge in the fits of fun we were having doing this project. Word.
download song here:
http://jarkandmason.blogspot.com/2009...
lyrics (vocals may differ slightly): 

I lay it out like they do in magazines
check out this typeface it's like smoking nicotine (I love it)
using Adobe's not the same without a Mac
if it was lead it would be lined up on a track

oh,oh,oh,oh, ohhhh, ohh-oh-e-ohh-oh-oh
I'll mock it up, show you what I got
oh,oh,oh,oh, ohhhh, ohh-oh-e-ohh-oh-oh
I'll mock it up, show you what I got

You'll read my, You'll read my,
You can read my Neutra Face
(Even if it's bold italic)
You'll read my, You'll read my,
You can read my Neutra Face
(Even if it's bold italic)

N-n-n-neutra face, n-n-n-neutra face
nah nah nah nah
N-n-n-neutra face, n-n-n-neutra face
nah nah nah nah

Thought about Futura but the em space was to wide
not even when condensed, believe me I've already tried
Gill sans the G is wack when it's in lowercase
Avante Garde you make me hard but like Helvetica you've been played

oh,oh,oh,oh, ohhhh, ohh-oh-e-ohh-oh-oh
I'll mock it up, show you what I got
oh,oh,oh,oh, ohhhh, ohh-oh-e-ohh-oh-oh
I'll mock it up, show you what I got

You'll read my, You'll read my,
You can read my Neutra Face
(Even if it's bold italic)
You'll read my, You'll read my,
You can read my Neutra Face
(Even if it's bold italic)

N-n-n-neutra face, n-n-n-neutra face
nah nah nah nah
N-n-n-neutra face, n-n-n-neutra face
nah nah nah nah

I won't tell you that you're modern
post- or nouveau
cause I'm hype'n with my type'n
I'm not freehandin', letterpressin', texting or skywriting
like a finger on a keyboard
break a nail before I cross you
see my references, reference this
check this font cause it's sans serif

You'll read my, You'll read my,
You can read my Neutra Face
(Even if it's bold italic)
You'll read my, You'll read my,
You can read my Neutra Face
(Even if it's bold italic) 

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Of course with Last week's launch of the IPad....this might all seem silly. I personally have the Wacom BAMBOO tablet. Which I must admit, I have not been on enough. But need to now that all of this has surpassed me specially when illustration is my bag baby. Regardless, the rest of the world is on to other things.....

 I saw this in the recent December issue of "How" magazine. Please excuse my laziness, but I just quickly scanned it and am just putting it up here. Thought it's neat, wonder how good it is? It's no Ipad, but it does seem different=interesting.

 

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 How to design headlines... or Fred Showker's tried and proven tips for designing good visual headlines... 

(originally posted on the DTG site)

Graphic designs with dynamic images and effective typography, married harmoniously with compelling, well written body text can be the advertising or editorial department's dream come true. The three go together to help each other grab the reader's attention, pull them into the message, and then compel them to act. If any one of these three ingredients is somehow lacking, you're still running a pretty good chance your client will enjoy some measurable degree of success. So, most designers feel pretty comfortable with themselves, relying on chance to make them a success. The difference between the amateurs and the real pros however, is making all three elements so good that any one could stand on its own.

I'm not going to spoon-feed you to the realities of designing good visual communications. I know that at least some of you can already design good visuals, and that many others are doing perfectly okay designing mediocre visuals. But if mediocre or good is really not good enough for you, keep reading.

When there is type present in the "window of approach¹" of any graphic design, then the display type becomes the most important part of the communication. There are studies galore, but most authorities will agree that as many as 75% to 80% of all who read your visual will read only the headline. That's rather disturbing news to most designers. You work your butt off to get a good photo or illustration but a poorly crafted headline kills it. Leaf through any popular magazine and 25% of the ads will have poor headlines, and you'll skip them. Newspapers are worse yet -- in fact, they're professionals at mediocre headlines. No matter what the vehicle is, be it brochure, billboard, poster, magazine ad, book cover or what ever, the display type, title or headline is of paramount importance.

Focusing audience attention

Three things come into play in crafting effective display type: 

1. What it says: This is what the actual words are, how they speak the message, and how rapidly they are read and easily interpreted into understanding by the reader. This includes selection of words, punctuation (or implied punctuation) line breaks and voice. Another 33% bonus or penalty.

2. Relative Position: This is where it appears in the window of approach, and how it affects the other elements. This also relates to where it begins, and where it ends, as well as its posture. You can have a simply dynamite headline, with absolutely killer type, but if you put it in the wrong place -- another 33% penalty.

3. Relative Size: This is how big the type is in relation to the other elements on the page. Don't believe for a moment that mere size makes a difference -- it doesn't. It has to do with how big the type is and how the sizing affects the window of approach. You can have a simply dynamite headline, with absolutely killer type, but if it is too big or too small, deduct 30% of its effectiveness.

I could fill a page on each of the above, telling you what to do and what not to do. You would retain it for about ten minutes. To see these three elements working harmoniously together, lets take a look at some display type in advertisements that have proven highly effective. And, perhaps some that have not.

Thinking Small

It is a matter of fact that visual images -- graphics -- communicate ideas and concepts far more quickly and far more effectively than words. However it is their relationship to the message that drives home the point and makes memorable, communications. Remember the famous Volkswagen ad "Think Small". It took a very small image of the VW Beetle, and floated it in a sea of white space in magazine ads. The wizard of Madison Avenue, Bill Bernbach² and his highly skilled team of designers broke new ground in the ad business and set benchmarks that graphic designers live by to this very day -- whether they know it or not. This ad was brilliant because it didn't have to shout. The undeniable point was made instantly through the crafty use of the headline, its position, and its relationship to the other three elements of the ad.

The huge expanse of white space effectively forced the readers to immediately be drawn to the headline like a moth to a flame. It was Mark Twain who once said: "If you want people to listen, speak softly." So it's true in this ad. Setting the image apart from anything else drew monumental attention to the photo of the VW, and the sea of white made the headline as important as if it were 72 point. By centering it, Bill knew his readers would associate the idea of thinking small with the VW logo -- even for those who don't read the body copy. (Remember that 70%!)

Now draw a line and connect the three visual elements in the ad... the car, the headline and the logo -- and you'll understand why he put the logo LEFT in the column of text rather than right. Where will your eye go immediately upon hitting the period in the headline? He inherently knew that "skimmers", or those who don't read body copy would jump --- bam, bam, bam -- through the ad, arriving at the logo. He also knew through studies that this would happen in the first moment or two upon arrival at the window of approach.

Within months of that famous ad campaign hundreds of thousands of VW Beetles began appearing on streets all over the world. Soon after it became one of the most popular automobiles of all times.

In her important book "Information Graphics and Visual Clues," Ronnie Lipton quotes the slogan of Tim Kenney Marketing Partners* in metro Washington DC:

"Be seen, be heard, be noticed, be remembered," calling it
"...the goal of every graphic designer approaching every project:
      not just to send a message, but to have it received, absorbed, recalled."

The "Think Small" ad raised the bar in the advertising business at that time. All the other design firms and ad agencies began to zero-in on giving the relationships between layout elements real purpose. If they put it there -- it had to be for a darn good reason, beyond looking good or the designer's self-indulgence.

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What is Poster Clash?
Poster Clash is a new breed of poster competition. Not only will a select panel of judges moderate the entries, but the final decisions are in your hands with head-to-head voting online and at the Poster Clash Main Event, March 18th 2010.

A national panel of judges will judges all the entries and narrow down the field to 64 posters to contend in the Clash. The judging will be based on the individual style and taste of the judge, as well as completion of the requirements.

Those 64 contestants will enter an online competition where the public will be able to cast their votes in a head-to-head match up system drawn at from the results of the judging process.

Two rounds of online voting (blue and green) will narrow the selections down to 16 finalists. The final rounds of voting (orange) will continue at the Main Event on March 18th in Frederick, MD. Only one will poster will be named champion!

Two rounds of online voting (blue and green) will narrow the selections down to 16 finalists. The final rounds of voting (orange) will continue at the Main Event on March 18th in Frederick, MD. Only one will poster will be named champion!

Prizes: http://clash.aigablueridge.org/prizes.php

Concept: Change One Thing

The concept for this year's Poster Clash is the line:

 "Change one thing" 

From the simplest action of changing to compact florescent bulbs, to more in-depth changes such as political parties and life habits, motivating change in visual communication is one of the most basic and fulfilling aspects of the communication profession.

Use this poster platform to engage, educate and drive change in your viewer's world through the use of type and imagery.

Guidelines and Entry form: http://clash.aigablueridge.org/enter.php  

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Karl Denson's Tiny Universe celebrated Thanksgiving weekend in San Francisco this past year with 2 shows at The Independent on Friday November 27th and Saturday November 28th. I went 2 the 2nd Saturday night, which was the last of the 2009 dates for them (I think) who have been touring nonstop in support of their latest record Brother's Keeper. I did see him jam out with some stellar peeps, I later read that Tiny Universe was joined by fellow Greyboy Allstars member Robert Walter and Chris Stillwell and Aaron Redfield, also Chuck Prada from the Black Eyed Peas. I personally like his funky stuff more than his jazzier stuff which I thought he played more of. That being said, I had a great time at the show even thou I had gotten a pretty big tattoo on my arm earlier in the day and kept getteing it bumped into everything, cause I was shakin' my groove thang. He rocked the Independent.

Coolest part? Well when I got tix, they said 2 retweet the shows 4 something (can't remember what), so I did. Later I won a signed Cd...ok I don't really use CD's as much but who cares right, pop that shit right into your Ipod and......still way kewl!

So I was stoked and put my excitement on a shelf for a second. Then recently, I got my promised signed Cd (by the whole band) and put it on my IPod. Aside from it being cool to have them send me their album. It is Dope! "Just got paid" is stuck in my head.

Thanx guys.....

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By Eric Miller, About.com Guide

It is often the case that designers are competing for projects, and the client is selecting who to work with based on experience, rates and other factors. At the same time, designers should be deciding if the client is a good fit for them. While there are many ways to determine this, there are some classic red flags to look for... things a client might say that are a sign of only more trouble once the project is yours. If you hear any of these red flags, it certainly doesn't mean you should automatically end the relationship. Use your judgement and the look at the situation as a whole before making decision.

1. Everything is "Easy" or "Quick"

We've all heard it before... "I just want a simple website" or "Can you design a quick poster?" In some cases, the client actually thinks something is easy because they don't have experience with design. In other cases, the client may be trying to downplay what they need in order to keep your costs low. Either way, it is a red flag that can first be handled with an explanation of why the project or task is time consuming. While we don't need clients to completely understand every technical aspect of the design process, or that we may stay up until 4 A.M. obsessed with their project, we also don't want them thinking we're just throwing this stuff together. See how the client reacts to your explanation to determine how to proceed.

2. Promise of Future Work

Potential clients will often try to obtain your services at a lower rate by promising to hire you for projects in the future. While it is up to your judgement to determine whether or not the offer is genuine, remember the only guarantee (or close to one) is the initial project. Even if a client is sincere about their intentions of working with you on an ongoing basis, it will ultimately be the work you do for them and how your relationship progresses that decides if you continue to work together. If you feel the client has good business sense and that there really is potential to gain a long-term client, giving them a break on the first job may be worth the risk. Just remember there is always a chance you never hear from them again.

3. Unrealistic Deadlines

Be wary of clients that want everything ASAP. Sometimes turning down such work is easy, because what they want in the time they want it just can't be done. Other times, it is possible to pull it off but only if you sacrifice your current work (and existing clients) to get it done. Keep in mind that a client that wants their first project done right away will probably want their next one finished just as quickly, always leaving you scrambling to finish work. If you really want or need such a project, consider charging rush fees and explain that you have to put other work aside. You may also want to find out why the work needs to be completed so quickly to determine if this is a trend or a one-time rush job.

4. Questioning Your Rates

Look out for clients who question your rates, as that is an early sign of distrust. There is a nothing wrong with a client telling you they can't afford what you have quoted, but that is different from them telling you it shouldn't cost so much. Clients should understand you are quoting fairly and accurately (assuming you are) based on the scope of the project. While they will most likely get a wide variety of quotes from other designers, your costs coming in higher doesn't mean you are cheating them. Finalizing a rate for a project is one of the trickiest aspects of landing a deal, but it is also a good test of how effectively you and your client can communicate.

5. They Fired their Last Designer

This is a tricky one, because you will probably only hear one side of the story, and it will be about how bad their last designer was. This may be 100% true and you might be just the designer to step in and save the day. Remember to also question what happened with the last designer... was the client too difficult to satisfy? You probably shouldn't just walk away from a job if you hear this, but take a look at the full story. Does the client also have unrealistic expectations or confusing requests? Is it difficult to agree on the terms of the contract? Find out what went wrong so you're not next.

6. You Don't "Get It"

You've done many projects in the past. You're great at listening to your client's requests and coming up with a plan. Then how come you have no idea what this new client wants after several discussions? A client who can't clearly convey his or her goals and expectations will probably be difficult to communicate with throughout the project.

7. The Disappearing Client

Many designers have experienced projects that drag on and on, with little or no communication for weeks or even months at a time. Often, an early warning sign of this is the same behavior during the early stages. Does the client respond promptly when you call or email with questions, or do you wait too long and have to follow up before getting answers? Sometimes this is a sign that they are speaking with several designers and shopping for the best price, or perhaps they are too busy to be committed to the job at this time. If you see this problem developing but want the work, consider putting a project schedule in your contract that includes deadlines for the client, with cancellation clauses.

8. Spec Work

One of the easiest red flags to spot is the request for "spec work." This means a client asks to see designs for their project before having to make the decision to hire you. Since they don't intend to pay a fee for such work, you may invest time and resources without getting anything in return. You should be selected based on your portfolio and experience, and come to an agreement regarding payment before starting on design. It is also likely that a client has asked several designers to come up with concepts, while spending little time with each of them to explain what they are looking for. In the end, both parties benefit by choosing to work together from the start.

9. Disorganized from the Start

Watch out for clients who appear disorganized from day one. In order to finish a project on time and on budget, both designer and client need to be organized and able to communicate. If a project outline from a client is unclear, or if they cannot provide content on time, it may be a sign that the entire project will be frustrating.

10. Trust Your Gut

The last red flag is that "gut feeling" that a client is trouble. Trust your instinct, especially if you have already worked with a variety of clients. This may be more difficult when starting out, but as you take on more projects, especially those you wish you had walked away from, you will learn when to turn down a job based on any of the factors above and your own experience.

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Kinda subtle.....huh?

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I love these guys.
House Industries are always were the bar (4 me) sits, for becoming successful without selling out 1 oz of your creativity!
They crack me up while always inspiring me.
These kix are not new but ...

 

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Saw some of these examples on a website & just had 2 repost some. I think all of these pieces give an impression of NOT being created primarily onscreen.

~Enjoy 

 

 

 

 

 

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3 Ways to Commit Freelance Suicide

 

If you’re a freelance designer, then you’re a one-man business, responsible for attaining clients and servicing them to the best of your ability. Because you’re a business, there are certain actions, however, if undertaken that could jeopardize your source of income, and destroy your freelancing career. It’s vital that you keep away from these factors.

1. Do not charge too much 
Freelance designers sometimes develop this idea in their head that if they charge ridiculous prices for their work, they can just service a few clients every month, and still earn the same amount. Let me tell you, without the proper connections and image, there’s no chance you’ll be able to charge sky-high prices for your services. The only scenario in which this works is if you’re an extremely established freelancer, with years of experience and an outstanding brand image.

2. Develop adequate skill
Your skill as a designer is your most important asset, so don’t let it dwindle. If you can barely render an acceptable logo or design template you shouldn’t be freelancing until you feel you’re good enough to design to the masses. This means having average work (in comparison to your peers). However, if you want a fruitful freelancing career, it’s best to develop your skills further, until you can render really beautiful work. Not only will you see a much more dramatic influx in clients, but they’ll be much happier and in turn you will be too. Not only that, but the better your work, the more you can charge for it, so good outcomes all round.

3. Don’t take on too many clients
Too many times freelancers make the mistake of biting off more than they can chew. Freelancing is more about the individual client and catering for his/her needs rather than mass producing work for the masses, so take the less amount of work for the larger reward per project. You are not a design firm, keep this in mind, so you can’t accept 100% of the work that comes your way, as this can lead to becoming swamped which isn’t a good thing if you can’t deal with it. It’s extremely difficult to deal with having too much work on your plate, so take it easy, and only accept a few projects at a time (unless you’re superhuman and have elite efficiency and productivity).

Conclusion
Be wary of the points mentioned in this article, and you’ll be well on your way to becoming a successful and prosperous freelancer. Remember that freelancers get work mostly on referrals and recommendations, so aim to make each and every one of your clients as happy as they possibly can be with the work you produce for them.

Posted on 03. Oct, 2009 by Taiyab in Tips and Tricks

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Are you self-employed? Freelancing? Consulting? Perhaps you’re looking for a designer and want to know how they set their rates?

How much to charge a client is one of the most talked about topics in self-employment, and here I offer points to consider for designers setting their graphic design pricing.
First things first, remember you have a skill

You’re offering clients a service. You have a talent that they don’t, and they’re willing to pay good money for it. You’re not in competition with the client’s neighbour’s son, who has a copy of Adobe Photoshop, and if you ever think you are, please read carefully. Far too many designers are undervaluing the wealth of knowledge and experience they’ve amassed because they’re trying to compete with amateurs. Don’t devalue your profession. People expect to pay top dollar for a quality service.

Remember, “You get what you pay for.”
Your range of graphic design services

Let’s take a look at what services a typical self-employed graphic designer will offer. There are two main categories:

* Online
* Offline

Online projects range from full blown corporate websites and strategies to image preparation and blog headers. Traditionally, this would be the realm of the web designer / developer, but more and more we’re seeing an overlap where the majority of print-based designers are broadening their horizons and learning web code. There’s still a huge print industry, and many designers specialise successfully, but there is a shift.

Offline projects include corporate identity (logos, business cards, letterheads) and all printed promotions (annual reports, magazines, billboards). Here’s where your knowledge of the printing industry comes into play. Not for the faint-hearted, commercial printing is a fast-paced environment where just one typo can cost you thousands of pounds in an instant. Here are 12 money-saving questions to ask on commercial printing (and some excellent comments added by readers). Offline projects are also usually formatted for online use, because a corporate logo is seen across the board, and annual reports / newsletters / leaflets can be made available for download from the company website.

It’s not unusual for a client to expect all of the above from just one graphic designer. Now that’s a lot of expertise, and you deserve to be compensated for it. Traditionally, the role of the graphic designer was incredibly specialized, but today, a designer must wear many hats.

Let’s take a look at a few individual projects:
Logo design

Forget those DIY logo design websites, where you can collect your pre-made generic identity for $100. There’s a lot of work that goes into a logo design, and it’s your job to let your client know just how much. If you don’t, they’ll think you just jump in front of a computer, type their company name and add a little swirl or squiggle, for ‘visual interest’.

Competition, differentiation, market-positioning, audience profiles… these are just a few of the topics that must be researched in order to design an effective logo.
Website design

The planning that goes into a website is very often under-estimated by a client. With websites, as opposed to logos, the client is more aware of exactly what they’re spending their money on. A cowboy designer could produce a logo design on the fly, without asking any questions. It’s much harder for them to do the same with the development of a website.

You might’ve noticed that not once have I mentioned any monetary value. There’s a good reason for this too. Very few days go by when I don’t receive a quote request similar to this:

“We need a website for our restaurant, and a logo design too. We’re behind schedule so would appreciate a quote ASAP. Please let us know how much this costs and how long it will take to complete.”

That’s when I direct people to my design questionnaire, letting them know that it’s impossible to give an accurate design quote without more information about the project. Graphic design briefs are useful too.

posted by: David Airey

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