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Matters
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Matters
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Design
Matters
an essential PriMer
maura keller
mICHelle TauTe
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contents
i ntR o D u cti o n . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
p lAn n i n G . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Brochures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Logos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Packaging. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Portfolios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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c R eAti n G . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
108
Brochures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Logos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Packaging. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
Portfolios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
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i M p le M e nti n G . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
230
Brochures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232
Logos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Packaging. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278
Portfolios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302
cAs e stu D i e s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
330
Brochures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332
Logos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354
Packaging. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378
Portfolios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404
F i Fty i n s p i R i n G i D eAs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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c o ntR i b uto R s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Ab o ut th e Auth o R s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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D E S I G N M AT T E R S / /
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What is a logo?
Just as ancient ancestors communicated through visual icons, modern graphics
speak to customers through imagery and text to impress values, functions, and
hierarchies on millions of people. You have the responsibility and opportunity to
make a lasting global impression.
Visual icons communicate basically and directlywhich is perfect for branding,
when the goal is to convey a message with minimum time or strain on the
audience. This is not to say words arent important, especially for more-evolved
forms of communication, such as, say, novels or inauguration speeches. These
benefit greatly from well-bred vocabularies.
This book aspires to inform anyone who has joined or wants to join the great
tradition of long-gone cave men and Egyptians. Its for designers hoping to
make a unique mark on the canvas of time, presenting theories, process, examples, and methods from design professionals around the world. Its structured
to guide readers through the defined stages of process: planning, creating, and
implementing. Design Matters delves into the abstract, emotional, and instinctual
elements that are so critical to creativity of any kind.
D E S I G N M AT T E R S / /
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si nce th e
DAWn o F
DesiGn
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plannin
Brochures
logos
packaging
D E S I G N M AT T E R S / /
portfolios
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ing
sTanDPoInT of BEIng an aDVoCaTE anD
a ParTnErnoT an auThorITY. You DonT
EVEr wanT To TaLk Down To Your CLIEnT.
ChrIsTIan hELMs, a ParTnEr aT ThE
DECoDEr rIng
D E S I G N M AT T E R S / /
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PLANNING
D E S I G N BAS I C S
B U D G E T C O N S I D E R AT I O N S
P R A C T I C A L M AT T E R S
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1. The client: do you know who the company really is and what challenges
it faces?
2. The target audience: whom does your client want to reach and what will
this group find compelling?
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These three knowledge points provide the foundation for working on any
project, and if you want to truly understand each one, youll need to spend
some quality time getting to know your client. When Tim Hartford, president of
Hartford Design in Chicago works with a new company, his team sits down with
the key players and goes through a list of important questions. Theyll ask about
the business, target audience, and competition. Most clients can provide fairly
detailed information about all three. Also, asking for samples of the companys
existing materials offers further insight.
P R A C T I C A L M AT T E R S
B U D G E T C O N S I D E R AT I O N S
The visual part is fun, says Thomas Hull, a principal at Rigsby Hull in Houston.
You want to cut right to the chase quickly. Taking the time to plan, however,
is one of the most crucial stages of any successful project. Without knowing
exactly what youre trying to achieve, its nearly impossible to come up with an
appropriate solution. So, where do you start if its not at the keyboard? Ben
Graham, a principal at Turnstyle in Seattle, believes there are three things you
need to understand right away:
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Building a Foundation
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39) Title:
Job:06-25637
Title:RP-Design
Matters
Job no:
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RP: Design
Matters: Brochures
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P R A C T I C A L M AT T E R S
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Understanding
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PLANNING
D E S I G N BAS I C S
B U D G E T C O N S I D E R AT I O N S
P R A C T I C A L M AT T E R S
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Title:RP-Design
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P R A C T I C A L M AT T E R S
D E S I G N BAS I C S
B U D G E T C O N S I D E R AT I O N S
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PLANNING
D E S I G N BAS I C S
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P R A C T I C A L M AT T E R S
The
T team at Hahn Smith Design in Toronto approaches these early stages as an opportunity to build relationships and
truly
partner with clients. To foster better communication, they sometimes use visual cues. Words like bold, or beautiful,
t
or
o elegant, or moderneveryone has a very different interpretation of what they mean, says Nigel Smith, a principal at
the
t firm. In order to get everyone on the same page, they might ask clients to bring actual objects they like or dislike
to
t a meeting.
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Communicating
C
with Visual Cues
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Though talking with clients typically unearths a wealth of information, theres also something to be said for hands-on
research. When Hahn Smith started working with the flatware company Gourmet Settings, for example, they did a lot of
deliberate exploration into the context in which the product was sold. The team organized what they refer to as a Happy
Tour, renting a van and driving to Buffalo, New York, with the president of Gourmet Settings. The group spent the day
visiting retailers and taking a look at how silverware is sold on store shelves.
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Hands-on Research
Hahn
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high standards for care and meticulous attention to detail. Laser eye
surgery is very competitive, she says.
We really needed to communicate
the commitment and quality. Other
information-gathering efforts are less
time intensive. For example, the firm
had the office administrator send a
letter from home requesting a catalog
from a clients competitor.
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insight
guided the team to work with
in
Gourmet
Settings to create a distincG
tive
t brand voiceone that extends
from
packaging to brochures. If you
f
take
your own retail tour, be sure to
t
watch
how consumers interact with
w
the
t products on the shelf and snap
a few pictures of the environment.
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Title:RP-Design
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P R A C T I C A L M AT T E R S
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As
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Content
is king, Hull says. Before his firm sits down to work out a design, they decide what they want to say. For a
brochure
for a rug dealer, for example, the firm met in the clients shop and listened to her stories about the background
b
and
a origin of different rugs. Then the team came across a picture of Sigmund Freuds couch with a rug draped across it
and
a discovered that the famous psychologist had written about rugs.
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T Right Message
The
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Job:06-25637
Title:RP-Design
Matters
Job no:
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RP: Design
Matters: Brochures
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This
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P
Page planning is another powerful tool in your brochure-design arsenal. Create a table of contents. Figure out the best
w
way to unfold the story page by page. Think about pacing. Take a hard look at the text. Dont tell the whole story on the
ccover, Hartford says. Evolve the story over a series of pages.
Look for ways to break up the copy. Partner with the client or a
copywriter to insert some catchy subheads where its appropriate.
Are there paragraphs that can be pulled out into sidebars or made
into bullet points?
Mix things up with color. You might try making the body type, or perhaps
just the subheads, a different shade. Sometimes even a colored paper
can help brighten up a brochure with lots of text.
There are a lot of bases to cover before you start designing, but careful planning
is the only way to make sure youre getting the right message across. As Hahn
says, It can be the most beautiful piece in the world, but if it doesnt communicate, its a failure.
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Try varying the shape and size of the text block. It helps make the piece
more approachable if there isnt the same square of copy staring out at
readers from every page.
B U D G E T C O N S I D E R AT I O N S
D E S I G N BAS I C S
A
As you decide what to include in a brochure, you may need to educate your client about the value of being concise. They
tthink of the printed page as real estate, Hartford says. They want to build a high-rise when maybe they should be leaving a
lilittle bit of grass. Work with your client to edit down information to the essential points and talk with them about the value of
making
the piece more inviting to read. Focus on the most important information rather than trying to cram more on the page.
m
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D
Design Specifics
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Job:06-25637
Title:RP-Design
Matters
Job no:
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RP: Design
Matters: Brochures
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P R A C T I C A L M AT T E R S
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It can seem like there are a hundred things to worry about before a photo shoot, but when youre coordinating one in
another
a
country, it becomes even more critical to pay attention to every detail. This was the situation facing Jason & Jason,
a design firm based in Israel, after they were tapped to produce a high-end brochure to promote a commercial property in
Amsterdam.
A
Since the images needed to convey exclusivity, the design team decided to direct the shoot in person rather
than
rely on an unsupervised photographer. Jonathan Jason, executive creative director, walks us through the process he
t
used
to make the shoot successfulone that might work just as well for a photo session across town.
u
H I R E AN D B R I E F TH E
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C H E C K T H E W E AT H E R
P R A C T I C A L M AT T E R S
B U D G E T C O N S I D E R AT I O N S
S U B M I T S K E TC H E S TO
B R I N G T H E C L I E N T TO
D E S I G N BAS I C S
S C O U T TH E LO CATI O N . On
Jasons first trip to Amsterdam,
he checked out the building
that would be featured in the
brochure. We use a simple pocket
digital camera and shoot as many
images as we can, he says.
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Matters: Brochures
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P R A C T I C A L M AT T E R S
The identity book also covers everything from how to use the logo on promotional items, such as T-shirts, hats, and mugs, to the hospitals photography style.
Each section includes clear takeaway points for any designer working on the
brand. Photos used for the hospitals materials, for example, should be editorial
in style and shot with natural light when possible. In addition, the photography
guidelines include benchmarks for composition, models, and model direction.
This creates a cohesive look across a wide range of projects.
B U D G E T C O N S I D E R AT I O N S
D E S I G N BAS I C S
At Cincinnati Childrens Hospital, a 43-page book helps make sure every project
that passes through the hospitals marketing and communications department
accurately reflects the brand. These guidelines set the stage, says Andrea
McCorkle, senior art director. Theyre the foundation of any communication we
do. The hospitals identity guidelines have evolved over time, but the current set
emerged from a brand refresh.
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B U D G E T C O N S I D E R AT I O N S
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D E S I G N BAS I C S
A
All this upfront planning has also
h
helped strengthen communication
w
with the hospitals internal staff.
Sometimes a client will come in with
a predetermined idea of what the
piece will look like, she says. We
p
ccan use the ID guidelines to talk with
tthem. In essence, the book provides
aan easy way to educate other departments about the hospitals brand. And
m
tthough you might not find McCorkle
flipping through the book at her
ccomputershe knows the guidelines
by heartits content informs design
b
decisions in all her work.
d
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Matters
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#175 Dtp:221 Page:27
P R A C T I C A L M AT T E R S
B U D G E T C O N S I D E R AT I O N S
D E S I G N BAS I C S
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PLANNING
D E S I G N BAS I C S
B U D G E T C O N S I D E R AT I O N S
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Job:06-25637
Title:RP-Design
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P R A C T I C A L M AT T E R S
The client liked the idea of a poster that recipients could hang on the wall, but
designers decided to take things one step further and think of other ways this
piece could work around the office. After a little brainstorming, they came up
with a host of functional items to feature on the back of the poster, ranging
from an air freshener and capabilities sheet to a DVD sleeve. These are things
people might actually tear out and use, giving more promotional mileage to
Outfit Media.
B U D G E T C O N S I D E R AT I O N S
This insight led to the idea for the logo, a one-eyed octopus with many legs.
It represents a company with multiple capabilities (the legs) and a singular
creative identity (the eye). Designers also decided a brochure wasn't the best
way to promote Outfit Media to potential clients. These one sheets either get
thrown out or the best-case scenario is they get put into a file folder, says
Christian Helms, a partner at The Decoder Ring. We made it our goal to defy
the file folder and the trash can.
D E S I G N BAS I C S
The design team took the time to understand the companys goals before
they jumped into producing a brochure. What was Outfit Media Group trying to
achieve? How is it different from the competition? It quickly became clear that
a one-sheeta simple brochure commonly used in this industrywasnt going
to grab attention. Designers also learned a key selling point for Outfit Media
Group: the relatively small company could handle projects from start to finish.
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Think past the physical object. Work harder and dont accept what
youre told, Helms says. Dont be a service bureau. If they say they
want a logo, ask them why they want a logo. Ask what the goal is.
Listen and ask questions. Start with your initial contact, then move on
to key decision-makers and even the secretary. You never know where
that insight is going to come from, Helms says. Rank and file employees often have a uniqueand sometimes more realisticperspective
compared to their superiors.
Explain your process. We show examples of other projects and talk
about how they evolved, Helms says. You cant count on every client
to know what designers do, so make the extra effort to illustrate your
working methods and capabilities.
Work hard to build trust and strong relationships. Come at these
projects from the standpoint of being an advocate and a partnernot an
authority, Helms says. You dont ever want to talk down to your client.
Nor should you approach a client as an adversary.
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D E S I G N BAS I C S
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P R A C T I C A L M AT T E R S
Think your clients would never go for such an offbeat solution? Try Helms tips
for working collaboratively and championing big ideas:
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PLANNING
D E S I G N BAS I C S
B U D G E T C O N S I D E R AT I O N S
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IMPLEMENTING
C R E AT I N G
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Setting Strategy
Setting strategy is all about understanding what you have to say and to whom
you have to say it. If a company wants to base strategy on price, it should say
it is the best value, and it should say it to people for whom value is the most
important selling point. Storewide sales can be a profitable selling tool for these
companies, especially in generic product categories.
C R E AT I N G
IMPLEMENTING
PLANNING
Logos are an important part of this equation. Logos help consumers make
decisions by embodying the meaning of the brand, spreading the most
desirable attributes in front of the consumer and making the decision identifiable and easy.
Brand strategy is all about finding the path to earning customer loyalty, increasing margins, and keeping customers coming back day after day. The following
section explores ways to set strategy.
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S K ETC H I N G
TH E M AP AN D TO E I N G
TH E LI N E
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Which came first: the answer or the question? Unlike that vexatious chicken and egg, the answer to this riddle is fairly
straightforward. QuestionsWhats the meaning of life? Is there a heaven? Wheres the other sock?can and do exist
without clear-cut answers. However, answershappiness, maybe, and in the dryercannot be uncovered without
first asking a question. This applies to planning strategy. The more questions, the more answers. The more answers, the
stronger and more relevant the consequent design.
Sometimes designers must set their
own business strategy, as is the case
for many freelancers. Sometimes they
just need to be able to communicate
with account people. What exactly do
you know about business?
To learn a little more, gather and organize your questions. Then take the
list and go to the nearest sphere of
business thinking, be it the business
section of the library, the bookstore,
or the Internet. Dont waste time with
reheated strategy. Get answers from
the leaders of the pack.
POTE NTIAL
E NTR ANTS
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I N D U STRY
C O M PETITO R S
S U B STITUTE S
B UYE R S
Porters Five Forces model, a simple tool that frames industry power dynamics, is just one of
countless business tools that can help focus design toward the clients business objectives.
The Porters Five Forces model identifies market forces that impact the clients business.
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C R E AT I N G
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Purpose of Planning
I do my best work under pressure.
Ever heard that? Ever said that? Its the
credo of procrastinators everywhere.
Wed all like to think that great work
is the product of ingenious, Eureka!
moments, when lightning strikes and
creations miraculously spring forth.
This is risky. Even if procrastination
has worked in the past, a happy fluke
does not a modus operandi make.
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D O N T T I C K O F F T H E C LO C K
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A K A C R E AT I V E .
PLANNING
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T H E O U TS E T B R A N D : RA R E D E S I G N, D O N E W E LL
Foodies are a growing force in the marketplace. They are mostly baby boomers
who view the creation and enjoyment of cuisine as a refined hobby. Grill
w
masters are a particularly passionate subset within this category. Seasoned
m
grill masters are concerned with three things: the quality of the grill, the meat,
g
aand the tools.
The Outset brand increases the impact of its mark by making it a primary focus
T
of the product design. In traditional execution, the logo is part of the packaging,
o
which is discarded soon after purchase. Or it is a small mark on a corner of the
w
product, to be seen or ignored at the users discretion. Outset made the logo a
p
primary focal point of its products, so users are reminded of exactly what brand
p
tthey are using every time they grill, wash, or put away their grilling utensils.
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PLANNING
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K E E P YO U R E Y E S O N T H E R OAD
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Why do you need a logo? Or, why are you changing the
existing logo design?
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T H I N G S TO K N OW
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PLANNING
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Modern improvements to the classic globe dont detract from existing brand history. They
M
e
expound
upon original visual assets to better reflect internal brand development. The ultimate
p
purpose
is to show consumers that significant change is occurringsomething has improved.
INTERBRAND
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IMPLEMENTING
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PLANNING
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Conducting Research
IMPLEMENTING
When researching, consider two things. One: know your source. Where does the
data come from, and how does the source impact the data received? If you have
a research company conducting research, it is part of the source. If you dont
trust it, dont use it. Two: conduct enough research to be confident in the results
and your opinion of the results. However, also keep in mind that 100 percent
confidence doesnt exist.
C R E AT I N G
PLANNING
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GAT H E R
R O U N D,
E V E RYO N E
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WOLFF OLINS
Wolff Olins started by gathering common language and beliefs from among
Smith & Nephews various business units around the world. Findings suggested
that they were united in one goal: helping patients by giving them their lives
back. This became the simple, elegant, and highly emotional core of Smith &
Nephews brand, from logo design to videos and packing boxes.
C R E AT I N G
S M I T H & N E P H E W: T E AC H AN O LD B R AN D N E W T R I C KS
Research was essential to Wolff Olins redesign of Smith & Nephew. When the
150-year-old firm took on several big acquisitions, it required a logo and brand
image to reflect its new direction.
PLANNING
IMPLEMENTING
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Logos
The
T burst of energy symbolizes Smith &
Nephews
N
ongoing passion. The bright,
sunny
s
orange sways contrary to most
medical
m
product brands, setting the brand
apart
a
and conveying warmth and energy. The
casual
c
typeface radiates casual friendliness.
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PLANNING
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IMPLEMENTING
P E O P LE
In simplified terms, the iPod phenomenon involves two sets of people. One group
p
is made up of the individuals who listen to music. The other is made up of the
people at Apple who created the iPod.
O BJ E CTS
The iPod is one of several objects within the history of mobile music: before
it came the boom box, Walkman, and Discman. Understanding the iPod as an
object entails looking at it within a historical context.
C U LT U R E
Culture includes the belief systems, history, and past patterns of behavior that
are the glue holding objects and people together. The iPod blends into behaviorss
and history surrounding music, commuting, sports, and many other aspects of
regional and global culture.
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objects
C R E AT I N G
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IMPLEMENTING
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people
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U R B A N L E G E N D O R S U B U R B AN M YT H ?
Pirates no longer sport eye patches. They look like average citizens, looting digital music right from the family computer.
Because of this, performers are returning to the road in droves, increasingly relying on live-performance income to supplement shrinking record sales. Leading up to this trend, demand for road venues had been waning for a solid decade, and
during that time, not enough locations grew to support current industry needs.
PLANNING
C R E AT I N G
IMPLEMENTING
The boards accomplished two essential goals: they brought the client directly into the process by setting style,
e,
color, and tone, and, most important,
they provoked and guided dialogue
to answer objectives for the brand.
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PLANNING
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De
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PLANNING
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CAP S U LE
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PLANNING
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001-055_C4
4. Believe in the bell curve. When conducting research with large sample
sizes and situations in which youre
predicting future behavior, confidence levels and margins of error
are important. In most situations,
you will only have to understand
that large confidence numbers are
good and small are bad. And for
margin of error, the opposite is true.
PLANNING
4. Transcribe findings
5. Analyze results
6. Draw out recommendations
8. Present it to the client
02
2nd PERSPECTIVE
IMPLEMENTING
C R E AT I N G
01
1st PERSPECTIVE
Mother
03
3rd PERSPECTIVE
Coworker
Research
should consider the subject from
R
multiple
perspectives. One research method
m
equals
one perspective. Three methods
e
equal
three perspectives. To her children,
e
this
th woman is a mother; to judges, shes a
strong
competitor, etc. No one perspective
s
completely
represents the whole woman.
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H O U STO N , W E H AV E A H I N D E N B U R G
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A
Anything can be tested and proven
tto have bad attributes, given a large
enough sample. Focus on the
e
ffollowing four domains of testing, to
aavoid the individual who tests well
ffrom damaging every other comment
on the logo design.
o
Emotional responses:
E
The first emotional word an audience
T
aassociates with the logo. Then, the
ssecond.
Competition:
C
How does the logo fit in with, remind
H
tthem of, or stand out from the
ccompetitive set?
Brand attributes:
B
Which brand attributes does it comW
municate? Which ones does it miss?
m
Cultural connotations:
C
What cultural messages are
W
being communicated by a logo like
b
tthis? Of what other images does it
rremind the audiences?
The
T obvious might not be so. Testing reveals
that
th this preliminary concept for the Gear6
logo
lo has a negative visual connection. Its
too
to easy to misconstrue it as offensive, so its
removed
from the options. C A P S U L E
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Logos
D O MAI N S O F TE ST I N G :
B O U N DA R I E S P R OV I D E
A S AF E T E STI N G A R E A
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PLANNING
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Fundamentals of Planning
The beauty is in the process. Planning before pencil meets paper or palm meets
mouse is essential to any logo design, small or large. The old adage is true and
easy enough to prove: Fail to plan and youre planning to fail.
C R E AT I N G
IMPLEMENTING
Why doesnt everyone plan? Most do but dont plan enough, because its considered boring. But planning doesnt have to be tedious and long-winded. It just
needs to be thorough, mindful, and well thought out. And remember, work done
in planning strengthens the brand story, inspires better design, and engages the
client in your process. All of these impact the P on your P&L. Provide a healthy
habitat for your design by spending time understanding four important groups:
company, collaborators, competitors, and customers.
PLANNING
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Logos
E F F O R T,
P LAN, AN D
S I M P LE
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Company
LAY I N G T H E B R A N D A R C H I TE CT U R E S F O U N DAT I O N
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Brand architecture is a loaded term. But what does it mean, really? For the purpose of explanation, imagine a brand as
an office building. Brand architecture is the congress of vents, boilers, and copper guts supplying power to the buildings
occupants day after day, keeping everything running. The logo is the lobby of the building, the gleaming, sleek, leatherbound wrapping. Before fussing over the lobbys light fixtures, worry about the state of the buildings wiring. Because all
light fixtures look the same in the dark.
A brands architecture has four basic
components: features, benefits,
emotional rewards, and archetypes.
Features, benefits, and emotional
rewards explicitly express brand offerings, outlining exactly what the
brand does for individuals. The brand
archetype is a metaphor that communicates the same offerings on an
abstract level. Rather than say what
the brand stands for, the archetype
shows what it stands for.
To understand the difference between
the four components, lets dissect
the messaging on a tube of toothpaste. Features describe the product
or brand itself, often in single words
such as minty and whitening.
Benefits are tangible advantages
individual consumers enjoy, such as
fresh breath or whiter smile. Theyre
mainly rational. Emotional rewards
are the psychological advantages
that consumers take away, such as
confidence and attractiveness. These
often are not stated explicitly on the
packaging but, rather, are implied.
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BEHAVIORS +
UNMET NEED
A R C H E T YP E + P O S ITI O N
E M OTI O N A L R E W A R D S
PLANNING
F E ATU R E S + B E N E F ITS + K E Y M E S S A G E S
C R E AT I N G
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PROMISE
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Customers
T H E C U STO M E R I S A Q U I Z Z I CAL C R E AT U R E
Clients like to know that the designer is educated about the customer. When you can speak authoritatively about target
markets and key demographics, it reflects well on your design. This doesnt mean the design needs to be explicitly driven
by the clients customer. A logo needs simply to reflect the brand attributes and audience. That said, a little business savvy
goes a long way with the suits and ties.
PLANNING
C R E AT I N G
IMPLEMENTING
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PLANNING
C R E AT I N G
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IMPLEMENTING
C R E AT I N G
As the ultimate end users, students needed to relate to the logo. Because the
school spans K12, it had to appeal to kids who are just being kids, as well as
to kids having kids. For parents, the logo can reinforce their trust in the school.
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Starshines founder, Tricia Adams, and its governing and corporate boards were
also key audiences. These supporters comprise a whos who in architecture,
music, technology, social causes, business, education, and other fields. Because
of this, it was imperative that the brand strategy and new logo not only meet
their high standards but properly express their ideals, as well.
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IMPLEMENTING
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IMPLEMENTING
Whats next? The new identity is just one part of the effort to spread Starshine
Academy. New schools are being planned, and a training center is under development. The effort is in full swing to rally the support needed to bring Starshine
Academy to every child who needs it. Starshine Academys world-class logo
helps gain credibility in the eyes of its target audience of potential supporters:
sophisticated international organizations.
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PLANNING
C R E AT I N G
The symbol allows children to imagine themselves as sowers. Careful consideration ensures that it appears youthful and gender-neutral. By making stars
the seeds, the sower image acts as a bridge between the sowing metaphor and
Starshines name. The thirteen stars are symbolic. They represent Starshines
K12 grades, generations, and stages of knowledge. The new illustrations
color carries over from the previous logo. Its a bright, optimistic, and familiar
yellow-orange that kids and adults alike associate with bright school buses.
The logotype was created to act as a pathway for the sower. A supporting
mechanism, the capitalized Trade Gothic Light type provides the sower with
a simple, strong patch of ground, capable of fostering growth.
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PLANNING
C R E AT I N G
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(Ray) (Text)
Collaborators
If you want a brand to be popular,
it needs to look presentable. Logo
design is the most obvious example
of this. The logo is a brands haircut.
Haircuts are surface treatments, but
they speak volumes about the person
they top off. Where would Elvis be had
he opted for a bland, blond crew cut? If
a brand bucks trends, the logo should
allude to that. If its buttoned-down
and hard-nosed, the logo should look
buttoned-down and hard-nosed. Look
the part. Pretty straightforward, no?
Mother was right. Its whats on the
inside that counts. Of course, shes
the one who was always fussing
over your shirts and smoothing your
cowlicks. Appearances arent everything, but they arent nothing, either.
How you look is an external reflection
of internal values. When a disheveled
logo squats in the corner of an
advertisement or sprawls out lazily on
a piece of signage, its sure to turn
off a lot of people from the get-go.
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IMPLEMENTING
D O E S YO U R B R A N D H AV E STU F F O N I TS FAC E ?
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C O M PETITO R S
PLANNING
S U PPLI E R S
IMPLEMENTING
C O M PA NY
C R E AT I N G
C U STO M E R S
N O N-PR O FITS
M E D IA
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ASS O C IATI O N S
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Competitors
B E ATI N G T H E B R A N D
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IMPLEMENTING
See it out of the corner of your eye? Feel the hairs on your neck stand up? Thats them. The competition. Why, at this very
moment, theyre undoubtedly hatching a plan to sneak away a piece of your clients market pie. If you want to beat them,
heed that old saying: Keep friends close; keep your enemies closer. Good advice. But before you invite them over, you
should know their names: primary, secondary, and tertiary.
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001-055_C3
Ask each person to identify and mark similarities and differences in both the language and visual presentations of
each brand. Have participants look at everything, from size of
the business card to type, images, and common colors. The
color-coded flags will form patterns where the commonalities
exist from the perspective of each group. Have each group
articulate the similarities found.
D e s i g n M at t e r s / / p l a n n i n g
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T H I N G S TO K N OW
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T H E G E A R6 B RA N D : H OW D O YO U M AK E I N N OVAT I O N STAN D O UT ?
The word innovation suffers from the same problem as do the words strategy and creative. Like so many linguistic
laser pointers, the business community has overused them to the point where theyve lost their original brilliance.
Silicon Valley is a tough place in which to stand out as innovative. Gear6 knows.
It keeps offices in Menlo Park, Californiapossibly the most competitive stretch
of land in the world for technology brands. The technology hardware systems
category has plenty of large competitors, including EMC, IBM, Intel, NEC, HP,
and Sun Microsystems. However, Gear6 found an area in Silicon Valley in which
it could lead in innovationits logo design.
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In a world where the word innovative is anything but, how do you communicate
the genuine article without sounding insincere? Well, it seems the best way to
appear innovative is to act innovative. The logo is the perfect tool for this end.
Gear6s logo matches its technology products in terms of innovation and design
excellence. And it communicates this in the most convincing mannerthrough
silent, visible reality.
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PLANNING
C R E AT I N G
IMPLEMENTING
PA U L R A N D
B
Blue
happens to be the most inoffensive color globally, but it is
a the most common technology brand color. It doesnt work
also
h
hard
to set one brand apart from the competitive set.
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IMPLEMENTING
C R E AT I N G
PLANNING
De
lan
i nI N
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(Ray) (Text)
001-051_0184
With a budget in hand, as well as clear objectives and the right catalyst, your
process has begun. Well work out the details as we go.
K AG
N Gi n0g
1
D e s i g n M atDtE
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pAT
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n g/ / PACpac
kIag
The cadre of individuals who explore new territory is always better when
equipped with diverse skills and perspectives. Following the river metaphor, no
one would rationally choose to be accompanied by rocket scientists on a whitewater rafting trip, right? Nothing against rocket scientists, but can they swim,
handle a paddle, or fight back the wildlife? Having them around might be fun,
but what you really want is a bona fide guide. You need someone with muscle,
a map reader, and even a happy observer who can simply watch for rocks to
avoidmultidisciplined, multiskilled, and multitalented.
IMPLEMENTING
Now, start to narrow the river of knowledge. Get to the essential items that
will help define what this product and package will mean to consumers. Seek
specific answers to specific questions and the river of knowledge will start to
narrow itself. Pieces will fall away and others will become much more important. The creative energy around certain aspects will start to move aside the
mental boulders, and ideas will start to surface. The idea is continually refined
until it becomes a gem floating atop the river. This gem of an idea inspires
many other ideas that flow directly out of this intense ideation process. Ideas
are engineered, tested, and further refined until they reach a point of execution
and delivery, all of which are dependent upon the talented people involved.
C R E AT I N G
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8 6:30:19 PM
RAP I D S E V E N
A R IVE R G U I DE
WO U LD E NJ OY
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Research
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IMPLEMENTING
M E T H O D S FO R M A D N E S S O R B R I LLI AN C E
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C R E AT I N G
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4) What methods will have the least amount of bias, or where can bias be managed?
5) What level of confidence can you expect from the research?
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R E S E A R C H P L A N N I N G : C H E C K E D T W I C E , T R I AN G U LAT E D O N C E
Conducting research has many facets, opportunities, and painful realities. Using research to gain
understanding is smart; using research simply to prove your point is dangerous. Start with a checklist
and confirm your findings with triangulation.
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T H I N G S TO K N OW
RESEARCH PLANNING
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Strategy
R AT I O N A L I Z E ST RAT E GY, E M OTI O NALI Z E D E S I G N
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Business strategy, brand strategy, experience strategy, channel strategy, creative strategy, retail strategyinsert a word
in front of strategy and youve gained fifteen IQ points and a masters in business. Translating what you just said when
a weathered and experienced entrepreneur says, Son, what did you just say? is when street IQ shows up. Strategy is
just another word for applied knowledge: in other words, IQ points that have been earned, not purchased from business
school. If we learn from experience, we should be able to set a better strategic course for the future.
Packaging is one of the essential
places where a strategy comes to
life and forms meaning with consumers. Packaging is often the result of
many strategic paths to achieve set
objectives. In other words, the longer
a package has been on the shelf, the
more likely it has traversed many strategic paths. Managed well, this can
translate into a package connected to
consumer culture and reflective of the
brand strategy set forth by a capable
management team. Managed poorly,
the results are either obvious or become obvious when the nearest competitor takes advantage and translates
the results into increased distribution,
sales, and/or brand loyalty.
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C R E AT I N G
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p R ivAt e l Ab e l b RA n D s
with advancements in packaging
technology and the cost of creating
a package falling, the old black-andwhite version of private labels is long
gone. Today, many private label brands
are not using the store brand name
and have come close to equaling or
surpassing the manufacturers brand.
aCnielsen recently studied private
label brands globally and found that
69 percent of consumers believe
private label goods are an extremely
good value, and 62 percent think
private labels offer quality that is equal
to or greater than the big brands. This
finding, along with the fact that 30
percent of aholds (a European-based
grocery conglomerate) overall sales
D e s i g n M at t e r s / / p l a n n i n g
pac k ag i n g
country
1. switzerland
2. Germany
3. Great britain
4. spain
5. belgium
6. France
7. the netherlands
8. canada
9. Denmark
10. united states
region
private
label share
retailer
concentration
europe
europe
europe
europe
europe
europe
europe
north America
europe
north America
45%
30%
28%
26%
25%
24%
22%
19%
17%
16%
86%
65%
65%
60%
80%
81%
64%
62%
89%
36%
S o u r c e : A c N i e l S e N S T h e P o w e r o f P r i v AT e l A b e l r e P o r T
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Waitrose private label packaging is designed in the most honestly beautiful manner. Simply
showing the beauty of the individual products using a consistent design approach is a great
example of the power of private label brands.
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constraints
W h i s p e R sW e e t D e s i G n s to M e , bA by
D e s i g n M at t e r s / / p l a n n i n g
pac k ag i n g
once you know that limits exist, the next step is identifying and articulating
them. as a brand owner pontificates the vision for the brand and how the
package must be the opening page of the brand story, design thinkers must
interpret this message. global, visionary speeches often sound like they dont
have constraints, but listen harder and youll hear key words that bring ideas into
focus. what is the brand story? Does it have all the elements of a good novel or
does it read like Cliffsnotes? who are the characters (sub-brands, partnerships,
parent brand, etc)? asking paired comparison questions can further define the
constraints. Questions like, Do you expect to see this package on the shelves
in seoul, south korea, or Detroit, Michigan? This type of question helps to form
conceptual boxes for the design process. generally, the more questions, the
smaller the box becomes. and as my stepmother always said, The smaller the
box, the more valuable the contents.
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Planning your portfolio, namely what form it will take, the contents within, and to
whom it will be distributed, is the first step in portfolio development. This stage
of the process will allow you to step back and see the big picture in terms of
how you want your portfolio to impact you and your company. Do you want your
portfolio to be a permanent symbol of who you are and what your company
does, or do you want it to be customizable to each recipient? Should your portfolio content include visual as well as verbal components, such as case studies,
that will clearly define your creative vision? or perhaps the visual components of
your portfolio should simple speak for themselves. as with all things design, take
your time to get it right and remember the adage, Planning makes perfect.
c r e at i n G
remember when you were a kid and your mother used to say, If you cant say
anything nice, dont say anything at all? These days, many people espouse an
updated version of that philosophy: If you cant build a portfolio right, dont build
it at all. Portfolios are core marketing tools, and the statement they make by
their appearance and functionality is critical to the business they represent.
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a C r e at i v e aP P r oaC h
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Choosing
B - o n c r e at i v e ( S o u t h k o r e a )
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a litt l e b l i n g g o e s a lo n g Way
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In the past, designers and creative firms commonly approached marketing and self-promotion in an uncoordinated fashion,
with portfolio development relegated to the lowly status of being addressed only after the garbage was taken outif then.
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Increase sales
Increase your customer base
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The
lo c k S t o f f d e S i G n
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t h i n g s to k n oW
e i g ht taCt i C s f o r P o r t f o l i o D e s i g n
P i Ctu r e i s Wo r t h a t h o u s a n D
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i s e v e ry t h i n g. Timing a
promotional campaign is an art. marketing
is 99 percent good timing. Synchronize your
portfolio design to back up a direct-mail or
email campaign. Promotions that appear out
of nowhere, with nothing else to support them,
usually do not generate the desired results.
t i M i n g
i t s
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h e r e We CoM e.
Pa r t n e r s
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Defined Design
Carefully
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Better yet, maybe simple, straightforward e-blasts will get your message
across. The medium that you choose
to display your work needs to reflect
who you are as a creative professional. In declaring the medium is
the message, mcluhan goes one
step further to propose that the
media itself, not the content it carries,
should receive the most attention.
however, in the creative world of
design, the content of your portfolio
is a vital component of showcasing
who you are and what you do. The
medium should grab their attention
and usher them insideeager to
find out more.
The medium in which your portfolio
or self-promotion piece is housed can
be the most memorable component.
whimsical, fun, knock-your-socksoff-creativethats what will get
you noticed.
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Brand enGine
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remember back to the good old days of kindergarten when you couldnt wait to grab the attention of your fellow comrades with the beloved show-and-tell? at the ripe old age of five, you knew that it is far more powerful to show and tell
than to just tell.
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ideas at Work
D o n t f o r g e t to l e av e th e li g h t o n
So what are some portfolio techniques that really work? Some people say tangible portfolios (versus the virtual ones) and
self-promotions are a waste of moneyits word of mouth that sells you. others feel that it is the total communications
mixand the appeal of your creative know-howthat really sells. one thing is for sure: By putting your portfolios in front
of your target audience, across a variety of communication channels, the message begins to strike home.
takes is also paramount. whether you
choose to create traditional portfolios
housed in the standard sleek black
case or nontraditional portfolios, such
as magazines or PDfs, you need to
make sure form and function meet.
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o u t o f t h e M o ut h s o f t h o s e o n t h e f r o nt li n e s o f D e s i g n
for many creative professionals, how you format your portfolio is dependent on how long youve been in the creative
business and what you see as the best way to showcase who you are and what you do. andrea cutler, professor of design
at Parsons School of Design, asked a variety of colleagues and students, some of whom have been in the design industry
for decades and others who are wet behind the ears, how they format their portfolios. heres what they had to say:
PLANNING
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I am just taking my first baby steps in graphic design, and since I already
want to apply for different jobs, I decided to use a blog temporarily to show my
humble portfolio pieces.
as with any portfolio, if youre going to show your work, your blog needs to
look first class. just like a website, dont present it until the medium itself is a
portfolio piece.
I have an online portfolio. If requested, I send a PDf, which I also have on my
website. I have a book that I show when I get invited for an interview so that I
am able to speak about my body of work in person.
Ive been a designer for five years, and I still have an 11 17-inch [28
43 cm] book, but I also have my website, and other online profiles that allow
for a portfolio gallery.
my initial contact is always my website. Sometimes its email, sometimes phone,
and sometimes a self-promo, but always the website.
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I am still using the same formula I have used since I graduated from art school
ten years ago: a traditional book on the smallish side [11 17 inches; 28 43
cm] and a PDf for emailing and online samples. I send the PDf most often. I
have never been asked for a leave-behind book nor have I mailed one to a client,
agency, or studio. I have gotten most jobs networking.
I have been in business for twelve years now (in-house and freelance), and the
way I refer to my work is via PDf, on my website, and with a custom book. when
I first started out, I had the standard black leather book with samples attached.
I have been a graphic designer for over twenty-three years. I originally used a
traditional book with vinyl pages, but now use a hard case with individual boards
and mounted images and a few hard copies of brochures, etc.
Ive been practicing for over twenty-eight years. I used to drop off a physical
portfolio. now I use only my website with downloads and direct mail support.
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implementinG
c r e at i n G
c a r m i t d e S i G n ( B e l m o n t, c a l i f o r n i a )
Oli
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many a provider of goods and services would like to do for their business what Starbucks has done for the coffee shop
get the consumer or client to spend about three times what they used to spend. It is not that their coffee is so superior,
although it is very good. rather, its their innovative marketing. Starbucks has transformed the ordinary task of getting
something to drink into a delightful experience. and it resonates throughout their brand.
experts define brand as every
prospect or customer interaction with
your company that creates an impression. But a corporate or product brand
is clearly more than just a logo or an
advertisementits the personality and
soul of a company. when it comes
to branding your portfolio, there are
some common mistakes to avoid:
inconsistent messages. a good
self-promotional campaign is dependent upon consistency to build
trust and strength in a message.
for example, lets say your portfolio features an award-winning
website followed by an outdated
logo design for a company thats
no longer in business. having
such inconsistent design elements
featured in your portfolio can send
a wrong message about who you
are and where youre taking your
company.
failure to differentiate. creativity
is the key to differentiation.
and creating a unique position
for yourself and your company
provides a solid foundation for
your brand.
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inconsistent, ineffective
identity. a brand is everything
from how your phone is
answered to the quality of your
customer service to the content
of your blog, not to mention your
company logo, office interior, and
marketing materialsits critical
that each of these elements
appropriately represent your
companys identity. If one or more
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creaTin
Brochures
logos
packaging
D E S I G N M AT T E R S / /
portfolios
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ing
of Two waYs. IT Can MakE You a
PrIMa Donna, or IT Can sMooTh ThE
EDgEs, TakE awaY ThE InsECurITIEs,
LET ThE nICE ThIngs CoME ouT.
BarBara waLTErs
D E S I G N M AT T E R S / /
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PLANNING
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39) Title:
Job:06-25637
Title:RP-Design
Matters
Job no:
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RP: Design
Matters: Brochures
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Dowd believes that planning out how a brochures story will unfold is a bit like directing a movie. After all, youre in control
D
o the images, order and pacingand you probably hold some sway over the copy, too. Shes a big advocate of taking the
of
time
to rough out a storyboard before moving to the computer. This process gives you the chance to think about pacing
t
and
a creates a structured outline of all the elements that a particular brochure requires. You wont find yourself missing a
crucial
image or message halfway through the final layout.
c
P R A C T I C A L M AT T E R S
B U D G E T C O N S I D E R AT I O N S
DESIGN BASICS
So
S grab a stack of 3 x 5inch (7.6 x 12.7cm) cardsthey make it easy to play with orderor draw squares on a sheet of
paper
to represent each spread. Then start making simple notes about what goes where. At HZDG, for example, Dowd and
p
the
t design team often tackle real estate brochures, which present a special set of challenges. How do you make people
fall
f in love with a building that isnt built yet? You create a piece with personality, emotion, and a strong concept. The design
team
at HZDG, for instance, might debate whether to tell the story of the community or building first. Which one is the
t
better
hook? Or they might flag a particularly striking image to run across the center spread. Once theres a rough map,
b
they
ask another critical question. This all makes sense, but what part of the story arent we telling? Dowd says.
t
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T Directors Chair
The
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Job:06-25637
Title:RP-Design
Matters
Job no:
08-97814
RP: Design
Matters: Brochures
#175 Dtp:221 Page:113
In an ideal world, your target audience would spend half an hour pouring over every detail of your brochure. In reality,
however, theyre more likely to spend a few seconds making a snap decision as they sort mail over the trash can. Or if
youre really lucky, youll garner a minute or two as they wait for a delayed flight at the airport. Whats the chance of getting them to sit down and focus on it with a glass of wine? says Kenn Fine, founder and creative director at FINE Design
Group in San Francisco. You need to appeal to people who only have 15 seconds to determine if they have more time to
spend with the piece.
What is his antidote to this time
crunch? Figure out the most important thing a brochure needs to say
and make sure that message comes
across in five seconds. Then identify
the second and third most crucial
PLANNING
DESIGN BASICS
B U D G E T C O N S I D E R AT I O N S
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B U D G E T C O N S I D E R AT I O N S
DESIGN BASICS
PLANNING
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Job:06-25637
Title:RP-Design
Matters
Job no:
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RP: Design
Matters: Brochures
#175 Dtp:221 Page:115
With to-do lists growing like weeds, sometimes it takes a slightly different approach to get someone to pick up a brochure
at all. We really push hard on formats, says Dowd, about her work at HZDG. The firm does a lot of pieces to promote
upcoming condosa competitive market in the D.C. area. One way they help clients stand out is with format ideas that are
original but still appropriate.
A brochure for a mixed-use development called Rockville Town Square,
for example, comes in an interesting
package. Early on we thought, This
needs to be in a shopping bag,
she says. Its a live, work, shop, play
concept. We really wanted to call
attention to the fact that youre going
to be living above everything youll
ever need. The piece comes inside
an elegant brown shopping bag with
ribbon handlesone that fits right in
with the bags used by high-end retailers. For another development, the
firm created a cover for a brochure
that slides off to reveal a friendly
neighborhood map. I had a professor
in college who would call it the kiss,
Dowd says. Its one little thing beyond
whats expected, and its always in
service of the product.
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PLANNING
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B U D G E T C O N S I D E R AT I O N S
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Title:RP-Design
Matters
Job no:
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RP: Design
Matters: Brochures
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De
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PLANNING
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As details evolve, its also essential to approach the design process organically.
On View14, for example, everyone from the architects to the developers was
just as detail-oriented as the graphic-design team. These collaborators might
request that a sink or cabinet be moved an inch or two within a particular
renderingsmall adjustments that more accurately reflect the final product. I
think its important in design not to be married to anything, Liu says. Beginning
designers, once they get things perfect, are afraid to change it. Fine suggests
another important strategy: if time permits, step away from the design for a
day or two and come back to it with fresh eyes. Its an easy way to check your
own work.
B U D G E T C O N S I D E R AT I O N S
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Finishing Touches
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Job:06-25637
Title:RP-Design
Matters
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These
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If this elegant fundraising brochure somehow morphed into a mystery novel, its title just might be The Hunt for Blue
Matches.
M
Hornall Anderson Design Works designed this piecelargely as a pro bono effortto help aishSeattle solicit
funds
from prominent donors. The Jewish educational and outreach organization needed something to leave behind when
f
calling
on potential supporters.
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C O M M IT T I N G TO T H E D ETAI LS
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Matters
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T H I N G S TO K N OW
E I G H T TACT I C S F O R S MA R T E R T Y P O G R A P H Y
given project, but your best bet is often restraint. Thinking about using
more than two fonts? Take a few minutes to consider whether those extra
typefaces are really enhancing the project. Put yourself in the readers shoes
and reect on the pieces overall readability.
Pay attention to letter spacingespecially between upper and lowercase lettersand be on the lookout for widows and orphans. Also take a close look
at the rag to make sure it isnt inadvertently attracting a viewers attention by
forming odd shapes.
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true typefaces, make an effort to keep up on the latest offerings in the type
world. Not every project calls for a trendy new font, but its good to know
whats available. Other ideas: Try using an ampersand instead of the word
and in display copy. Or experiment with old-style numbers; since they
dont sit on the baseline like more typical numbers, they blend in better
with body copy.
P R A C T I C A L M AT T E R S
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Matters
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IMPLEMENTING
C R E AT I N G
PLANNING
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Essential Criteria
Set standards for your logo design work. Beyond that, know your clients
and your creative communitys standards. Your work will be more grounded, and
youll project confidence in the design philosophy to the client. Standards are
necessary, reaffirming, and reassuring. Its not so much what the specific standards are but simply their existence and consistent presence that is important.
C R E AT I N G
IMPLEMENTING
There are three main design criteria by which to build standards: simplicity,
uniqueness, and metaphoric symbolism. Simplicity equals strength. The less
convoluted and the more direct a concept, the more memorable and effective
it is. Uniqueness establishes visual separationhelpful when your brand is vying
for attention in a crowded marketplace. Use of metaphor is a core element of
brand storytelling. The stronger the metaphor, the stronger the story. And the
stronger the story, the more memorable the logo.
PLANNING
In the end, all the standards you set will take aim at memorability. Simple is
memorable, metaphors are essentially memory aids, and uniqueness is noticeable and then memorable. The higher and more resolute your standards for
these three, the more the audience should remember your clients brand.
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Logos
STAN DAR D
BY YO U R
LO G O
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Criteria 1: Simplicity
E I N STE I N WAS A M A J O R S I M P LE TO N
E L L I OT T YO U N G
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PLANNING
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Criteria 2: Uniqueness
For some, school was a party in a
box, neatly prepackaged with autumn
football games and wrist corsages.
For others, high school was as
uninspiring as cafeteria food. Many
of these others eventually grew up
to be creative professionals, a role
in which uniqueness is in the job description and clients applaud creativity.
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R E B E L W I T H A CAU S E
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PLANNING
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Criteria 3: Metaphor
ALL T H E WO R L D S A LO G O
Christian roots. Together, the butterfly and cross represent the most
important values of the senior
care facilities.
The story starts with a simile: The
organization is like a butterfly floating
over a field of prairie grasspeaceful
and tranquil. Then, it should move to a
more subtle approach, which is where
the metaphor comes into play. The
tranquility of a floating butterfly is the
e
phrase that inspires the senior care
facilitys logo design.
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CAP S U LE
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b
brand
promise, archetypes, attributes, personality, and other brand
f
fundamentals.
Brand values serve as the foundation for consequent metaphor
d
development
and should be used as a barometer throughout the process.
PLANNING
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During
the briefing, establish the brand values. This is made up of the
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Inspiration Sources
D O N T B E L I K E A F I S H O U T O F I D E AS
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IMPLEMENTING
Give a man a fish and youve fed him, for today. Teach a man to fish and youve fed him for a lifetime. Or at least until he
gets sick of seafood. Fishing for ideas is an art form. Seasoned art directors know which bait nabs which prey. They know
ideal times and the special, secret spots that greenhorns blindly trample past. And when they sense a real tug, they reel
in their tethers with nimble, deft pacing. Catching ideas takes time, dedication, and patience.
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PLANNING
C R E AT I N G
IMPLEMENTING
Immerse yourself in another world. While designing the logo for the childrens clothing retailer
Goodnight Moon, the designer spent time reading childrens books and hanging around kids
and in the retailers environment. C A P S U L E
Pick simple ideas. The shape and color of grapes growing in rows play into a visually
memorable logo design for Mornington Estates Winery. O C TAV O
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Seek objects with literal and aesthetic value. The inspiration for the logo of this design house,
Root Idea, comes from nature. Branches represent designs two spheres of necessity: logic and
aesthetics. The hand symbolizes growing ideas. R O O T I D E A
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I D EATI O N E X E R C I S E S
One popular metaphor exploration process is called visual ideation, which includes searching magazines, newspapers, websites, video podcasts, and blogs
for inspiration. While searching, pick and pull inspirational, relevant images. Once
e
a solid collection has been gathered, hold a team ideation session. Present all
the information together and share thoughts. Consider why certain images were
intriguing and how this visual charisma can be translated into the project.
PLANNING
C R E AT I N G
IMPLEMENTING
A single exercise can run ten minutes; several over a week can add up to
multiple hours. There is no need to be overly controlling at this point, but it is
important to prepare for a certain level of chaos, because random, unstructured,
non-linear thinking is a fundamental component of creative thinking. The only
way to find something new is to upset convention. By applying the right amount
of focused pressure and conflict, ideas start flowing at an amazing pace. If the
initial session does not seem to yield the results you are looking for, remember
that patterns can be found later upon closer observation, and when a session is
sluggish, move the team on to something completely unrelated.
Dont fall in love with a direction at this stage. Step back and
develop several ideas. You may have something genuinely
insightful. If you get too attached to one idea, youre shutting
De
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C R E AT I N G
Nature
Houses
Tools
Animals
IMPLEMENTING
People
PLANNING
Science
Speed
Simplicity
Performance
Care
Community
Love
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M E TAP H O R S : C R E AT I N G
I D E AS I N A B OX
Identifying metaphors neednt be a
Id
rrandom process. Just remember, the
sstructure should focus on ideas, not
tthe process. Try not to overly refine
one idea. As an idea develops, have
o
tthe discipline to put it aside once it
has enough structure for someone to
h
get it. Moving on quickly is essential
g
tto success.
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Surrounding Layout
Not long ago, plump ships glided
into the ports of majestic empires,
straining under vast cargoes of spices,
textiles, and adventures plucked from
faraway colonies. Today, logos act like
mighty vessels, transporting brand
messages wherever the brand roams,
from shopping carts and refrigerators
to the opposite ends of the Earth.
Effective logos are like ships, but bad
logos act more like anchors, fixing
brands tightly to one moment in time
and leaving little room for the brand
to move. They are often missing one
of three principal elements: simplicity,
metaphor, and uniqueness. Consider
how your designs embody each of
these, in what capacity and in what
applications. Also consider and
visualize how the design fits into both
the three-dimensional and the twodimensional world. Todays technology
makes this a fairly easy process. Show
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IMPLEMENTING
AR E YO U B U I L D I N G A N A N C H O R O R A S AI L?
Become part of the environment. The Union logo design is an integral part of the surrounding
layout. It contributes to the rest of the design, making it more memorable. C R U S H
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If your client wants to build an innova-tive brand, guide the color accordingly.
y.
Drop names of important brands that
have dared to color where no one hass
colored before. Cemstone is a great
example. The Midwest construction
cement company owns robins egg
blue. However, that specific shade
is also internationally associated
with Tiffanys jewelry house, a brand
perched a million debutantes away
from constructions rugged terrain.
Thats precisely why Cemstones
adoption of blue is so brilliant. The
vibrant hue busts the brand free from
the comfortable gray fog in which
industry competitors quietly drift off.
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One of the most important things to know about color is how to make a client think about it rationally. A lot of clients
burden colors with emotional associations. For no reason in particular, one mans burnt sienna is another mans nightmare.
When discussing color with clients, let your swatches do the talking.
Sometimes color is the brand. One of the worlds top brands, Pantone, defines the meaning
and standard of color. Its logo is flexible and clear. P E N TA G R A M
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Probably the most common mistake in logo design is creating a logo that
P
rrequires more than one color to retain the original concept. A successful logo
needs the ability to present the same concept in one color as it does in three.
n
If the logo requires three colors, your client will find it necessary always to use
more than two colors; in some media, that can be costly relative to the value
m
tthey will see.
C R E AT I N G
IMPLEMENTING
Once a primary color has been chosen, the next big step is finding a secondary
O
ccolor and the rest of the palette. The second color should obviously complement
tthe primary and should also work with any other color in the palette. The color is
not what should distinguish the logo in the marketplace.
n
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T
Think also about what colors have the potential to communicate a negative
aattribute. Understand the impact and stigmas of specific color, so when your
cclient brings in a swatch of electric grape juice purple, you can deftly quell
tthe situation.
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lo g o s
PLANNING
C R E AT I N G
IMPLEMENTING
WH AT S H I D I N G B E H I N D YO U R S H AD E S
C O L O R C O N S I D E R AT I O N P R O C E S S
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PLANNING
C R E AT I N G
IMPLEMENTING
WOLFF OLINS
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C R E AT I N G
IMPLEMENTING
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PLANNING
Connect the audience and the brand through the brand story, but dont necessarily give it all away. A nice way to make people remember is to pitch out an
unfinished sentence. Make them seek a resolution. Make them wonder why
the logo for a computer company is a piece of fruit. People will try to make the
connection, and when they do, it will have a good chance of sticking with them.
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PLANNING
C R E AT I N G
IMPLEMENTING
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Typography
ALL E Y E S A R E O N YO U R FAC E
PLANNING
C R E AT I N G
IMPLEMENTING
H OW TO FI N D A TYPE
F O R YO U R L O G O D E S I G N
1. Gather the largest library of
available typefaces that you
can access.
2. Consider what the brand needs
to communicate and identify the
brands fundamental attributes.
3. Browse typefaces and select a
few that communicate some of the
brands attributes.
4. Conduct type studies by examining
how the type works with the
letterforms of the brand name.
5. Consider creating a custom
typeface or adapting a particular
typeface to make it unique to
the client.
6. Find complementary typefaces
that work as a secondary typeface
with the primary one.
7. Review the typeface with other
designers and ask whether it is
communicating what you had
intended.
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PLANNING
C R E AT I N G
IMPLEMENTING
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Hierarchy
LO O K B E F O R E YO U C R O S S T H E U M B R E LLA
Gather the umbrella brand and all its sub-brands on the couch for a heartto-heart. Find out each of the sub-brands express roles. Whos the leader?
Whos the one with the good connections? Whos the rookie? Once you know
everyones place, youll see the place your sub-brand, and consequently your
logo, should occupy. Study how the sub-brands personalities and roles are
reflected in logos. The better you understand all the connected brands when
youre designing, the easier it is for the audience to associate the new logo
to the umbrella brand.
One sub-brands logo may lead on the website, in brochures, and business
cards. Another, however, may lead in other areas. Each logo has a unique
strength, something it can say better than any of the others. In given situations,
different ones jump to the front. Let the right brand lead when it should.
De
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IMPLEMENTING
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C R E AT I N G
EDEN DESIGN
PLANNING
IMPLEMENTING
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(Ray) (Text)
Protectable
During the California gold rush,
wagonloads of minors clamored to the
Pacific Coast armed with homemade
tin pan sifters and 24-karat dreams.
These days, wealth no longer glitters
from the shallow banks of sandy
streams. Modern prospectors pan for
wealth in the streams of their consciousness. Technology and service
industries rely almost completely
on ideas.
Its easy to overlook the legal side of
the logo design process. Most designers dont consider legalese their forte
or their responsibility. But it isat
least, to a point. You can determine
this when you sit down with the
client and explicitly talk through who
is in charge of legal considerations.
They may be completely new to the
process, so walk them through what
needs to be done. Talk to them about
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IMPLEMENTING
I M ITAT I O N I S T H E S I N C E R E ST F O R M O F T H I E V E RY
H O R NALL AN D E R S O N D E S I G N WO R KS
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D E S C R I PTI V E
N OT P R OTE CTE D
M AY B E P R OTE CTE D
SU G G E STI V E
AR B ITRARY
PLANNING
N OTI C E (, S M, TM) B E N E F I C I A L
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F U L LY P R OTE CTE D
C R E AT I N G
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GENERIC
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Technical Considerations
J u sT p uT yo u r z i p s To g eT h e r an d b lo g
D E S I G N M AT T E R S / / C R E AT I N G
LO G O S
O C Tav O D e s i g n
T h e pa r T n e r s
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PLANNING
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IMPLEMENTING
CAP S U LE
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IMPLEMENTING
C R E AT I N G
PLANNING
De
r eK
at
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(Ray) (Text)
001-051_0184
Keeping up with the Joneses can be exhausting, especially when the Joneses
continually redefine their style.
High jumpers set high bars. Low jumpers, well, low bars. What standards do you
set against your work to judge it before the world does? Criteria are essential
marks against your own expectations, those of the client, and most important,
the final consumer. Set your bar low and consumers will respond with the same
sad look given the lowest jumper at the end of an Olympic event.
IMPLEMENTING
The four criteria of a successful package are identification, functionality, personality, and navigation. Identification speaks to how well the consumer can identify
the product from the package when shopping the category. Functionality relates
to the usability of the product and increasing the products purpose and effi cacy.
Personality is how the brand comes to life on the package. And navigation refers
to how the consumer finds and uses the category and specifically, your selection of packages. All four criteria may not be amplified on one package, as some
criteria are set higher depending on the strategy agreed upon by the brand
management team.
C R E AT I N G
The result is a package that is in balance with the strategy and, if well executed,
has an increased chance to contribute to a successful product launch. Set your
own standards, communicate them clearly, and then design a package to exceed
those standards.
E Ri S
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Essential Criteria
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FO U R BAR S
S E T YO U R
OWN H E I G H T
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Criteria 1: Identification
T E LL M E W H AT YO U S E E , D R . R O R S C H AC H
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Seeing is believing, right? Wrong. Seeing, feeling, hearing, smelling, and touching are worth believing. What is the
first thing you see when you glance at a product on the shelf? What does the package say about the product inside?
Depending on the category, there are many elements that help identify the product within the category. These identifi ers
can be long-established conventions in a category or new revolutions in an ever-changing marketplace.
Conventions, like color or bottle
shape, are used to identify wine
bottles in the U.S. market but are not
required by law. The shape, along with
the color, tends to follow the grape
variety. These laws of the category
might as well come with a prison sentence when considering the career
implications if theyre disobeyed.
But whats with boxed wine? Old rules
need not apply. Put wine in a TetraPak
package, provide individual serving
sizes, offer it to a more youthful consumer, and youve broken away to create a new category. The good news:
With success you get to write the new
category rules. The bad news: First
you have to achieve success.
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Criteria 2: Fuctionality
H E L LO M R . F U N CT I O N C U R M U D G E O N
When does a package become an integral part of the product? When the functionality of the package reaches or exceeds that of the product it contains. The moment when the package adds emotional rewards or unexpected benefits to
buying the product is when the line between product and package is blurred.
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The functional package design contributes to how the package will be accepted
by essential audiences: the channeldistributor, buyer, and retailerand the
eventual product consumer. Because the function differs for the channel and
the consumer, these two interests often conflict. The channel desires ease
of transportation, restocking, efficient use of retail footprint, and many other
operational efficiencies vital to cost containment. The consumer has vastly
variedalmost too many to listinterests depending on the product category
and their lifestyle. Highly functional design for a consumer is typically not in
alignment with the interests of the channel participants. Intuitive designers
should be able to find the overlaps and create exceptional design functionality
for the essential audiences.
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Understanding function means seeing dysfunction and being able to confidently identify it as such. You know it the moment you try to pick up a package without handles or open a container that takes three hands and a sharp
tool. Thats called dysfunction. The next step in educating your eyes is gaining
the ability to identify exceptional function. Great functional design naturally
becomes part of our life, as if it were meant to be there all along.
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Having properly trained eyes and then a properly trained team to create
function requires multiple disciplines. Designers, engineers, anthropologists,
buyers, operations managers, and anyone who has passed the threshold
of recognizing dysfunction and entered the world of articulating an elegant
function should be included. Creating a new function or changing what exists
needs to be handled by the properly experienced groupapproaching it casually will likely result in casualties.
F O R M AT I O N D E S I G N
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F L E X / T H E I N N O V AT I O N L A B
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Integrating a tray into the paint container is both convenient and a simple
reduction in resources needed for that weekend paint job.
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E X E R C I S E : F O L LOW T H E
PAC K AG E
In order to find new functional design
possibilities, you need to see where
the current package is functioning.
So, follow it through its entire life
cycle. Follow each step, without exceptions and without skipping. Have
at least three people do this exercise
at different times and journal as they
go, taking note of what they see and
any ideas that may have popped up.
One roller
Open paint
Pour paint
One tray
Apply paint
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C R E AT I N G
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CONCEPT REFINEMENT:
IMPLEMENTAION:
Solutions generated
Ergonomics considered
Logistically sexy
Environmental challenges
Functionally elegant
addressed
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Criteria 3: Personality
P R I N C E S S C O N S I ST E N CY W I LL R U LE TH E K I N G D O M
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PERCEPTION
GAP
REALITY
PERCEPTION
REALITY
The more overlap between audience perceptions and the intended reality, the more
consistency and strength in your brand. Brand personalities created and managed in such
a way that creates distance from perception and reality will weaken the brand as audiences
discover the inconsistencies. Strong brands are true to who they are.
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COPY TONE
Copy tone is very important when designing
for a particular audience. For Yank, its the
antibranding Gen Yers.
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PACKAGING REQUIREMENTS
Personality does not need to be
restricted by packaging requirements.
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CAPSULE
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As the breakfast cereal industry matured in the 1950s, cereal brands created
characters like Tony the Tiger to infuse personality. In a world where impersonal
technology is often the center of attention, seeing a bullfrog named B. Shizzle on
the box cover for this DVD burner is an example of pushing personality.
IMPLEMENTING
fear of that color. Green can be associated with rotting food, making it
an uncommon color and a risk for the
Healthy Choice brand. Bending or
breaking with conventional wisdom is
a hallmark of break-out brands, those
brands that leave the others behind
with their mouths gaping open and
whispering, How did they do that?
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G E T YO U R S E L F A P E R S O N A L I TY, P LE AS E
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Criteria 4: Navigation
Walk into a retail environment and
look around. Now, start counting the
brands you can identify and those
you cannot. If you begin to feel like
youre counting stars in the sky, only
less romantic, then youre getting it.
Navigation in the age of pirates and
treasure chests involved the challenge of crossing vast oceans. Today,
consumers face the overwhelming
task of navigating vast megastores
stocked with brands and packages
from all over the world. So if you want
to help the pirates reach your treasure
trove, you have to consider the importance of navigation when packaging
a product and sending it out on the
open market.
What happens when a consumer
walks down the aisle? Exactly how
does your package happily end up in
his or her cart? By using design tools,
consumers are given navigation clues
to reach the destination you set out
for them. There are navigation ele-
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WH O M OV E D M Y P E A N U T B U TT E R , DAM N I T ?
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TURNSTYLE
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C O N S U M E R S M I S B E H AV I N G : NAV I G AT I N G T H E AI S LE
Consumers behave in apparently irrational and erratic ways. That is, until you spend time observing and analyzing why
they do what they do. It may be highly emotional and it may not be what you want to see and hear, but it is their behavior.
The package design can either contribute to navigation or just get in the way.
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Shopper B: Tweezers
TOUCH POINT 1
TOUCH POINT 1
Match my outfi t
Tweezers
Nail clipper
Trimmer
Emery board
TOUCH POINT 2
TOUCH POINT 2
What type?
Clear coat
Slant tip
Square tip
Point tip
TOUCH POINT 3
TOUCH POINT 3
30 seconds
3 minutes
2-in-1 tweezers
Mini tweezers
TOUCH POINT 4
TOUCH POINT 4
What price?
What price?
Medium
Minimal
Maximum
PURCHASE
Medium
PURCHASE
The tweezers are more of a task-driven purchase and therefore more focused on need
(rational) and making the right decision faster. In contrast, the nail enamel decision, which is
more driven by want (emotional), allows for exploration by the purchaser.
Scissor tweezers
Minimal
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Maximum
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Decision-making diagrams: consider them a framework but not the finite evidence of how consumers shop a category. The examples used are
for nail care items, enamels, and implements; each offers a different perspective on how a shopper navigates each category. For those of you,
49 percent of the population, who may never purchase these items, youll have to relate it to items you would buy.
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Design is a discipline that is developed much like any craft, over a period of
years under the right guidance, study, and tutelage. From materials to shapes
and forms, to graphics on packages to openings and handles, there are many
aspects of packaging design to understand. And just when everything seems
crystal clear, an innovative new material or closure comes along.
C R E AT I N G
This section covers how much the package contributes to the convenience and
accessibility of the product it contains. It covers the three levels of packages
primary, secondary, and tertiaryand their purpose and potential. Then shape
and structure come in to lend dimension and a unique form. Lastly, color, type,
and art are the essential utensils of the design practitioner.
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Designing Packages
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O PT I M I Z E , H U M AN I Z E ,
GALVAN I Z E , M AT E R I ALI Z E
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Although talking can get the ball rolling, the real action happens when the
rubber hits the road. Or rather, when
the bio-fiber, corn-based substance
that feels like rubber but biodegrades
in three hundred days hits the road.
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Made from materials that are healthy in all probable end-of-life scenarios
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T H I N G S TO K N OW
S U S TA I N A B L E P A C K A G I N G C O N S I D E R AT I O N S
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Austria
belgium
canada
czech Republic
Denmark
Finland
Germany
Greece
hungary
iceland
ireland
italy
Japan
korea
luxembourg
Mexico
the netherlands
norway
poland
portugal
spain
sweden
switzerland
turkey
uk
usA
Municipal Waste
per capita
percent
recycled
percent
incinerated
percent
land-filled
480k
470k
630k
230k
530k
410k
400k
310k
420k
560k
430k
470k
400k
390k
530k
330k
580k
620k
290k
350k
370k
440k
610k
590k
490k
720k
38
14
19
23
33
29
7
14
8
4
24
28
1
38
15
2
12
12
19
40
2
7
27
14
31
6
54
2
17
7
17
6
69
4
43
27
16
4
42
46
2
9
16
48
55
75
99
22
65
51
93
93
69
92
94
27
72
28
99
35
69
98
88
83
39
14
81
83
57
source: Municipal Waste in oecD countries, ARup Drivers of change, and AAAs Atlas
Figures based on available data
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The six-pack of bottles (primary) with a simple handled, collapsible package (secondary) and the insulated box that
keeps your product cool and fresh while in transport (tertiary). These three layers of packages all contribute something
important to the process of delivering a product from manufacturer to consumer.
Ever take a peek behind those
plastic flaps protecting the backroom
doorway at your local grocery store?
Or better yet, did you ever have a job
restocking shelves at a neighborhood
convenience store? Remember all the
boxes? Tertiary packages, also known
as transport packaging, offer protection, transport, and some navigation
for the participants in the channel.
Because consumers rarely see the
tertiary package, the logical result is a
box with little or no brand messaging.
But change is near as big box retailers have pallets of product displayed
above or below the primary merchandise. Tertiary packagings original and
chief role was defined mainly by efficiencies obtained through manufacturing, packing, palletizing, shipping,
storing, and unpacking. Today, tertiary
packaging needs to keep its eye on
function while looking toward a notso-distant future with an emphasis on
what it can do when it is sitting in bulk
on a pallet.
Try carrying six bottles of beer from
the liquor store shelf to your home, or
better yet twenty-four bottles of water.
Secondary packaging is the blending
point between the function-driven tertiary packaging and the more branddriven primary packaging. Secondary
packaging often serves an important
role in the display of a product on the
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T E R T I A RY
From the moment it leaves its home, this brand of vodka is packaged in a stylish custom
bottle (primary), which goes inside a tasteful paperboard box (secondary), and then gets
shipped inside an elegantly designed corrugated cardboard box (tertiary). All three pieces of a
premium vodka packaging experience done right.
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Packaging slips into our lives and often makes a quiet impact on how we perceive the
brand. The Carlo Giovani tea box packages entertain both adults and children and have
proven to be a great example of the packaging-as-toy idea.
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If you were blindfolded and someone put five similar products in front of you, could you pick out your brand of choice?
The next time youre consuming a product right from the package, close your eyes and ask, What do I feel? Do you feel
the shape, texture, and general structure of the package? Is it unique to this brand? Shape and structure can be made
simple; put the product in a box thats strong enough to handle moderate damage during transport and youre done.
Or, it can be more complex, innovative, and satisfying.
The shape of a package says something about a brand that graphics,
colors, and typography cannot. At
a minimum, it tells the consumer
that someone spent time considering the shape of the package to
make it unique and pleasing. Shape
combines the sense of touch and
sight to create a more lasting bond.
Touch is a powerful sense, and yet
it gets minimal consideration when
it comes to managing brands. So,
when a brand manager considers
touch in package shape or texture,
it earns an additional bit of attention
from consumers. Think about the feel
of a Coke bottle or the paper used
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A D A M T I H A N Y/ T I H A N Y D E S I G N
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T H R E E R OA D S C O N V E R G E I N T H E WO O D S
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H OY N E D ES I G N
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KINETIC SINGAPORE
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Package design is integral to the entire manufacturing process that starts with creating a product and ends with delivery
to the consumer. How the package fits into that manufacturing process is one part of the package engineering discipline.
The other parts include food safety, tamper-evident closures, chemical interactions, cushioning, regulations, RFID, distribution, and testing for each. Some of these disciplines are covered by the packaging engineer; while other aspects fall under
operations or quality control. Either way, they are essential to help your beautiful package become smarter. For you to
become smarter, we touch on a few of the subjects, leaving you with the desire to find more through other sources.
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experts agree that you need to structure your portfolios content so that it is the
most meaningful to those whom you have identified as your key audience. Strive
for brevity, while also telling a story. for viewers who want more details, provide
expansive case studies of your work.
planninG
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tak e a g o o D lo o k ar o u n D.
Wh at D o yo u s e e?
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when your audience looks at your portfolio or self-promotion piece, do they quickly find what they are looking for? are
they engaged with what they see? In general, most dont, and they back out faster than they would when they leave a
bad movie.
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Portfolio Must-haves
k n oW i n g W h e n to sto P a n D W h e n to g o
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Te sT yo u r k n ow l e d g e
The Creative Group surveyed 250 advertising and marketing executives about what they expect in a portfolio. See if
you know the answers.
1 What is the percentage of
executives polled who value
overall creativity most when
evaluating a portfolio?
Answer:
Answer:
5 What is the number of work
samples that executives expect to
see in an online portfolio?
Answer:
Answer:
C R E AT I N G
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An sw e r k ey: 1 69
2 11
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4 3 or more
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Portfolio expectations
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Content is king
lo n g l i v e th e M ot to : g a r bag e i n , g ar bag e o ut
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when creating your portfolio, you need to find your niche and highlight the design components that fit your business and
your experience. you know your product and you also hopefully know the people who need your product or service.
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make
make
it understandable.
There is no one standard
way to organize a portfolio,
but to be effective, it needs
to be understandable and
meaningful to your audience.
choose elements that provide
a complete picture of your
professional skills and abilities.
remember
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t h e D os o f P o rtfo l i o
C r e at i o n
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Design Parameters
S H OWCAS I N G YO U R C R E AT I VE CAP I TAL
Artists, advertising creatives, designers, architects, photographers, fashion designers, and writers have been using
portfolios as their primary promotional vehicle for centuries. Perhaps even Leonardo da Vinci had a portfolio of sorts when
he was commissioned to paint the Sistine Chapel. A well-thought-out portfolio can be a very effective marketing toolone
that is imperative when landing that ideal job or next client.
D E S I G N M AT T E R S / / C R E AT I N G
P O R T F O LI O S
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Two
S P u N k D e S i g N MAc h i N e
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t h e D o n ts o F p o R t Fo l i o c R eAti o n , by J e F F J o h n s o n
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PLANNING
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The
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Showcase Showdown
MAK E YO U R P O R TF O L I O R E A LLY S H I N E
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in a beautifully etched
metallic case, this promotional portfolio is
where technology and traditional portfolio
strategies meet. The metallic case contains
a personalized metallic covered notebook,
promotional CD, and a Velcro-enhanced
folder, which includes a series of portfolio
postcards.
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FA c T o r T r E S c o M u N I c A c I o N
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Keep file sizes small or use preloaders to ensure that your load times
are quick and people can focus more
on the work and less on how hard it
is to look at it. Average wait times are
just a few seconds, and then viewers
grow impatient and move on.
PLANNING
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A website must not only look attractive and function well, it must be easy
to find. The best website in the world
that nobody can find is like a magic
trick in the dark. Thats where all of
the latest online marketing techniques
such as search engine optimization,
email marketing, RSS feeds, blogs,
and podcasts come into play.
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If updating your website or creating high-end interactive PDF portfolio presentations seems too daunting, why not try your hand at enewsletterssimple email
blasts that are reminiscent of a press release, yet have the visuals and design
elements to capture your audiences attention.
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Nontraditional Portfolios
G IV E T H E M S O M E T H I N G TO LO O K AT a n d H O LD
S H OW YO U R TR U E C O LO R S
When you hand someone your
capabilities brochure or latest
self-promotion, do they say cool or
just nod their head? You can easily measure your success with your
portfolio by evaluating the response
of your audience. Do they quickly
flip the pages of your portfolio with
thoughtless glances, or do they react
with a wow, or thats impressivetell
me more. Be decidedly different.
Thats exactly the mentality that
Lawrence Everard, founder of Little
Yellow Duck, espouses in his firms
portfolio strategies.
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Are you the type of person who likes to go with the flow, or do you prefer to chart your own course in lifegoing against
the current of all things mainstream? Perhaps you were the kid who ate peanut butter and banana sandwiches out of
your dads old lunchbox rather than consuming cafeteria cuisine on plastic trays. Being nontraditional certainly has its
advantages. And in the creative world, nontraditional portfolios and self-promotions not only get you noticed, but they
add to the overall memorability of your creative genius in the minds of your audience.
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LITTLE YE LLOW
DUCK
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Worrell Design recently created New: For Lateral Thinkers to tell stories of design and innovation from around the world.
Our vision is to raise awareness of global concerns that affect the design of business and the new roles of designers,
says Kai Worrell. We want to be recognized as a thought leader. We want people to be able to gain from the valuable
insights we have uncovered as a company over the past three decades.
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Self-Promotions
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H O LI DAY MA I L E R S
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D e s i g n M at t e r s / / c r e at i n g
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Portfolio Components
H OW YO U S H OW I T
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Curb appeal isnt just for houses anymore. How you put your portfolio togethernamely the materials used to house your
portfoliois often as important as what goes inside. Historically speaking, portfolios have traditionally come in two formats:
books or binders. You know the onessleek black cases tucked under the arms or in the tight grip of creatives of all
shapes and sizes.
Sometimes referred to as show portfolios, these sophisticated renditions
have garnered work for individuals
and agencies alike. Remember,
potential clients and employers get an
immediate impression of you at first
glance, so your portfolio formatboth
the exterior and interiorneeds to be
an extension of you or the company
you represent.
Utilize a case that exudes professionalism and offers some distinction
while reflecting the contents within.
A custom case, albeit expensive, can
be a perfect option. Local art supply
stores also offer a wealth of innovative portfolio cases, binders, and
boxes that may perfectly meet your
specific portfolio needs.
Whether you mount your work or slide
it into acetate sleeves, ensure that everything is clean, square, and without
bent corners. The substrate should
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Be sure to make your portfolio portable so you can always carry it with
you. You can always supplement it
with a promo kitthose leave-behind
gems that are teeming with samples
of your work, testimonials, client list,
biographical information, and press
materials.
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M A K E I T P O RTA B L E
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Promoting Sustainability
Turn on the television or open
a newspaper, and you would be
hard-pressed not to find information
on living green. The sustainable
design movement has embraced the
global marketplace and captured the
attention of consumers like never
before. From sustainable building
design to alternative fuels to water
conservation, entire industries are
taking notice and changing the way
theyre doing business. Even creative
professionals looking for sustainable
options for their portfolio development
have reason to celebrate and can
make their portfolio more sustainable.
The sustainable movement is receiving a tremendous amount of attention,
so what goes into a portfolio is as
important as what goes on it. Soybased and low-solvent-based corn
inks and UV-cured ink technology are
very popular. Reclaimed materials
such as fabric and metalare also
being used.
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Impleme
Brochures
logos
packaging
D E S I G N M AT T E R S / /
portfolios
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Those who finish whaT They sTarT
and so on. roberT byrne
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In the end, a budget is just one of the parameters that come with any given
project. I never let small budgets hinder my creativity, says Noah Scalin, founder
of Another Limited Rebellion in Richmond, Virginia. The challenge of graphic
design for me is problem solving. He looks at budget as just one piece of a
puzzle that might include everything from the message to the size of the print
run. But Scalin does add one caveat: dont get too far into a project without
knowing the budget. Theres nothing worse than showing a client a great
solution that isnt financially viable.
B U D G E T C O N S I D E R AT I O N S
Not every pricey project hits the mark, and there are plenty of head-turning
efforts created on tight budgets. Strong ideas and conceptsrather than dollars
and centsare the true measures of success. In fact, the limitations of a budget
can help bring a project into focus. For a Steelcase annual report, for example,
Watson knew that the production constraints didnt make photography a viable
option. But this restriction actually led the Turnstyle design team to a bold,
graphic look that gave the companys report a distinctive quality. Silhouettes of
the companys office furniture set against a bright blue background make the
piece lively and engaging. It certainly doesnt look like a decision drivenat least
in partby cost constraints.
D E S I G N BAS I C S
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D E S I G N BAS I C S
B U D G E T C O N S I D E R AT I O N S
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This
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TA L K TO YO U R PA P E R R E P A B O UT W H AT C H O I C E S A R E
AVA I L A B L E . If you have a specific stock in mind, he or she might be
C O N S I D E R G O I N G W ITH A LOW E R G RAD E O F PAP E R. Depending on the project, a lower grade might work well and save money.
B UY PA P E R D I R E CT F R O M T H E PA P E R C O M PA N Y. Though your
printer may not be crazy about this choicebecause it reduces his profits
it can cut costs when youre really struggling to meet a clients budget.
E X P LO R E D I G I TA L P R I N TI N G . Depending on the design specifics
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B U D G E T C O N S I D E R AT I O N S
Noah Scalin, founder of ALR Design, sometimes heads straight to the printer
with his budget and print-run requirements, then he asks for advice about what
is possible. A small change in the size of a brochure, for instance, might make it
fit better on the press sheet and significantly reduce costs. Unfortunately, theres
no magic formula to spitting out the most cost-effective print strategy for every
job. One- or two-color printing, for instance, doesnt necessarily save money over
four-color. The cost of any print job depends on variables ranging from the size
of the print run to who provided the bid. But there are some general strategies
to help stretch those production dollars. Justin Ahrens, creative director of
Rule29 in Geneva, Illinois, offers these tips:
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P R A C T I C A L M AT T E R S
B U D G E T C O N S I D E R AT I O N S
D E S I G N BAS I C S
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PLANNING
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PLANNING
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Job:06-25637
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Matters
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RP: Design
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With a budget-conscious brochure, theres rarely enough money for original photography, but a little DIY elbow grease can
put you in control of the artwork without breaking the bank. Scalin, for example, might create an illustration for a brochure
hes designingbut only when his style meshes well with the client and project. Hell also shoot original photography for a
brochure when the image needs to fall within his skill set. This approach simply adds design hours to a project rather than
the high cost of an outside vendor.
Theres also a wealth of inexpensive
stock photography available when you
cant hire a photographer. Its fairly
quick and easy to search through any
number of royalty-free options online.
But the Web has also given birth to a
new copyright model called Creative
Commons (http://creativecommons.
org). It allows everyone from photographers to scientists to share their
work under a variety of alternative
copyrights. Some, for example, allow
use with attribution, while others
restrict sharing to noncommercial
purposes. On Flickr (www.flickr.com),
some users mark their image sets to
a Creative Commons copyright for
various levels of sharing.
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D E S I G N BAS I C S
B U D G E T C O N S I D E R AT I O N S
P R A C T I C A L M AT T E R S
Low-Cost Artwork
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get more mileage out of this musicevent brochure, the specific scheduling
detailslikely to changewere intentionally
left out. Instead, as event times and other
details were finalized, a black-and-white
photocopy was added. Noah Scalin, of
Another Limited Rebellion, also kept the
budget low by creating the cover photo
collage himself.
PLANNING
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P R A C T I C A L M AT T E R S
D E S I G N BAS I C S
B U D G E T C O N S I D E R AT I O N S
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B E YO U R OW N STO C K AG E N CY
PLANNING
Become your own stock agency. Or, put more simply, start taking your digital
camera with you wherever you go. Snap pictures of that funny sign at your
favorite Chinese restaurant. Capture the line of cars in front of you when
traffic is at a complete standstill. In fact, take a picture of anything that
catches your eyewithout giving too much thought to when or if youll use
the image.
P R A C T I C A L M AT T E R S
With a little diligence, you can create a photography habit that turns into an
image library that is thousands strong. Youll likely find yourself paying more
attention to the details of everyday life and bringing those varied inspirations
into your design work. Plus, your new image library will serve as a powerful
idea bank. Scan through it to help you find ideas for texture or mood. And
the next time theres a nonexistent photography budget, you may discover
the perfect image living right on your hard drive, one you know wont
unexpectedly show up on a billboard.
B U D G E T C O N S I D E R AT I O N S
Its a cringe-worthy moment: you spot the same royalty-free image you
used for a clients brochure two months later on a highway billboard. But
when theres no budget for original photography, it can feel like youre stuck
choosing from the same low-cost images as everyone else. So whats an
enterprising designer to do?
D E S I G N BAS I C S
D e s i g n M at t e r s / / i M p le M e n t i n g
B roch u r e s
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Matters
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I M P LE M E NTI NG
C R E AT I N G
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Logo Launch
Remember, launching a logo is like planning any wedding or event. Things will
go wrong. Dont panic, just stay focused.
I M P LE M E NTI NG
The ideas here offer a unique perspective, along with examples of logo launches,
to set you on the right course. Read on to learn more about the stages of launching a logo, specifically how to properly set expectations, identify clear objectives,
orchestrate everything, and then evaluate the outcomes.
C R E AT I N G
The digits now on the line are connected to profit margins, not hands. And the
person watching over your shoulder is the client, not Mom. So if something goes
wrong, you will be held accountable. As with most things in life, the best way to
avoid disaster is to read instructions carefully, follow them as best you can, then
hope for the best. To that end, this sections intent is to serve as an instruction
manual for brand launchers.
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W E H AV E
LO G O
L I F TO F F
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Potentials
T H E LO G O S W H O L AU N C H
There are plenty of ways to fail at a logo launchmore than can be covered
in one book. Just look over the past decade. Amusing failures run rampant.
Get your chuckle, but also try to empathize with the people behind these efforts.
Just imagine yourself sitting on the wrong side of the fan when the stuff hits.
If only they could have seen it coming.
I M P LE M E NTI NG
A successful logo launch is not that elusive. It just requires a serious effort to
build appropriate expectations, identify potential outcomes, and map out a clear
plan of action.
PLANNING
C R E AT I N G
Build expectations from the inside out. Get to the most vocal and powerful
individuals internally. Take some time to get them on board. If they accept the
change in an early preview, there is less chance theyll undermine it afterward.
Plus, these individuals can prove loyal allies if they get excited about its
potential. When launching a logo, the more allies, the better.
Potential outcomes can be varied and fairly unpredictable. Find someone who
has done it before. Ask that person to review your plans and give feedback on
possible outcomes.
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The plan of action includes a variety of contingencies. Offer a town hall forum
or an online discussion room, so employees can express their concerns or
feedback. Separately, offer the same idea to external audiences. If they dont
need it, cancel it. Plan for success, but dont ignore the potential for failure.
Potential outcomes can be varied and fairly unpredictable. Find someone who
has done it before. Ask that person to review your plans and give feedback on
possible outcomes.
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Fight the change happening in your industry, and then play catch up
with a logo design change and expect that to save your future.
C R E AT I N G
PLANNING
I M P LE M E NTI NG
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T H I N G S TO K N OW
T E N W AY S T O C R E AT E A L O G O L A U N C H B O M B
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3 W I R E : L E V E R AG I N G O P P O R TU N I T I E S TO E N E R G I Z E
IMI Cornelius is a manufacturer of parts and equipment used in commercial kitchens. BEVCORe was a division of IMI
Cornelius dedicated to beverage parts management. When BEVCORe acquired an outside food-service parts provider,
Northern Parts United, the two entities were fused under the new name 3Wire.
The name 3Wire was absorbed into
the logo design process, inspiring a
logo that connected the precision
metaphor back to the businesses
core focus. The 3 and W in the name
alluded to 3Wires parts capabilities.
The logo also communicated a hightech feel that is distinctive in an old
industry not used to visible innovation..
The 3Wire marketing team launched
the new brand internally, and then
externally, to customers a month later.
3Wire is an example of an umbrella
brand successfully tying two current
brands together efficiently. Existing
brands that may have had equity in
the marketplace are able to transition
to meet the new brand, while room is
made to welcome future acquisitions.
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I M P LE M E NTI NG
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Logos
T
The internal launch involved each and
e
every employee. While everyone knew
ssomething was in the works, they
w
were not all aware of the details, altthough the key individuals were made
aaware or were part of the original
tteam. The launch was well received
by Northern Parts employees and the
b
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PLANNING
C R E AT I N G
I M P LE M E NTI NG
Your action plan is like a steering wheel, directing you where you need to go.
Measurable goals and objectives are your mirrors. Use them periodically to
check where you are. Write your goals and objectives clearly and gain agreement among the important invested parties. If you do a careful job, your clients
logo will benefit later.
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I M P LE M E NTI NG
C R E AT I N G
PLANNING
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I M P LE M E NTI NG
Music and beer pair together naturally. The promotion of one often leads to
more consumption of the other. The Thirst contest flew from country to countryDenmark to Croatia to Indonesiaeach stop a chance to showcase
that citys unique talents.
C R E AT I N G
The incentive for the talent was exposure to large audiences. Audiences, in
turn, got to hear fresh sounds. Heineken, a popular brand of brewed hops, got
the benefit of global exposure as well as the good will of consumers and artists
enjoying themselves on its tab.
PLANNING
The Thirst logo is a modern, bold design, consisting of the word with a directional
al
arrow. It flexes to meet cultural circumstances, but the type and color remain
consistent. The surrounding layout is organic and fresh, exemplifying the brand
coming to life.
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Posters, passes, coasters, fans, and whistles were just a few implementation
pieces that came to live together in a visual landscape of illustrations, photographs, and type. The result is an electric, vivid brand that works across
many cultures.
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The brand lives in a variety of countries. The logo
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I M P LE M E NTI NG
C R E AT I N G
PLANNING
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Consistent Flexibility
Logos are an essential part of this effort because they are part of virtually
every interaction between the customer and the brand. And remember, a single
message communicated seven times is always more memorable than seven
messages communicated once. Beyond aesthetic and creative components,
the bottom line is that logo consistency is critical.
C R E AT I N G
I M P LE M E NTI NG
If the devil lives in the details, then he parties in consistency. The more you
explore what constitutes consistency, the more daunting consistent becomes.
The 3M logo is one example of consistency through color and placement. Its
always a red 3M placed in a specified area of the package. Nickelodeons logo
color remains consistent, but the shape varies. Pottery Barn Kids switches
out the logo shape within an icon system, but the colors (blue and gray) are
always consistent. None of these is wrong. None is right. They are variations
of consistency. Sounds funny, no? Nonetheless, its an important concept to
understand and consider throughout the logo design process.
PLANNING
If consistency equals details, flexibility equals the big picture. The amount
of flexibility that lives alongside consistency is determined by the company
culture. 3Ms buttoned-up culture dictates that the logo has little flexibility,
yet Nickelodeons whimsical nature is reflected in a highly flexible logo design.
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TO H AV E AN D TO H O LD,
U NT I L YO U E X P I R E O R
MALF U N CT I O N
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Flexibility
R U B B E R D O E S N T WR I N K L E
I M P LE M E NTI NG
No matter what you do, odd permutations occur and variations pop up, and
d
there is nothing a client or design can
do to prevent it completely. The toolkitt
is meant to provide options so this
behavior is managed to a reasonable
minimum. The options can cover
most scenarios and then offer other
options for the unknown, in the hope
of covering all foreseeable situations.
The key is composing a toolkit that
is direct, available, and user-friendly,
so designers will be more apt to use
it than to gallivant off on their own
short-sighted paths.
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PLANNING
C R E AT I N G
I M P LE M E NTI NG
M O R R OW M C K E N Z I E
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S E E D: S P R E AD I N G F LE X I B I LI T Y AN D C O N S I STE N CY
Communication, like science, is the process of organizing organic elements.
Seed Media Group, a publisher of scientific magazines, books, and films, sought
an identity that would be conceptually deep and functionally flexible. Conceptually, Sagmeister Inc. needed to make sure Seeds new logo alluded to science
and media, while, functionally, it had to adapt easily to new meanings and
various media.
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PLANNING
C R E AT I N G
I M P LE M E NTI NG
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Style Guide
There comes a time in every persons
life when it hits. For some, it comes
at work. For others, at a party. You
look around the room and realize you
are not the style maven youd always
taken yourself to be. With the pill
of a sweater and the fade of a cuff,
your style has taken a turn for the
worse. Who do you turn to? If your
style is dire but your pocketbook is
not, you hire a professional, a stylist
who knows the secrets of the cut,
the potential of the hem, and the
importance of the color.
As a designer, you are essentially a
logo stylist. You provide suggestions
that guide the client toward better
logo style. However, you wont always
be there. Thats when your clients
logo may go through some awkward
phases. Understand who will be
implementing your clients logo in the
future and create your style guide to
work for that person or team. Use the
style guide to ensure your clients logo
is always stylishly implemented. Thats
the goal.
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D O T H E S E M A K E M Y LO G O LO O K B I G ?
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PLANNING
C R E AT I N G
I M P LE M E NTI NG
CAP S U LE
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I M P LE M E NTI NG
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Managing Assets
C OV E R I N G AS S E TS I N A D I G I TAL WO R LD
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Youve spent months producing a highly memorable logo design. Now you need to let it go. Push it gently out of the design
n
studio and into the big, scary world. Its an intimidating time. All your work and attention can be destroyed with a simple
keystroke. Someone with a simple software package and good intentions can take your logo design and stretch it across
the opening page of a presentation. Or add a drop shadow. The very tools that were necessary to create your beautiful
design are the same tools that can bring it down.
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U
Users can browse the Reuters site by medium: print, interactive broadcast, or display.
E
Every time a user logs on, a brand-related message is displayed. R E U T E R S
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Also consider the ramifications
w
when a professional printer or other
ttechnologically savvy user needs to
get something fastthey have the
g
aability to recreate the logo if they cant
find what they need, making them
more dangerous than a novice.
m
The potential exists for these users
T
tto create a new logo design that
is not authentic or authorized but
becomes used in more contexts.
b
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Practical Considerations
For instance, be practical about the budget and timeline. Dont let things drag
on, but also dont push yourself too hard. Set reasonable expectations. Designers often overextend themselves in their efforts to impress a new client. This
often has the opposite effect, in the end.
I M P LE M E NTI NG
C R E AT I N G
Its also important for the designer to be practical, because often the client is not.
Many clients have never seen the brand go through either a revolutionary or
evolutionary change. You must steward clients though the design process by
letting them know what is reasonable to expect. Remember, clients will judge
the job you do by the expectations set forth at the beginning.
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YO U R
ST R AI G H T LAC E S
A R E U NT I E D
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DESIG N ON TH E MON EY
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P R E PA R ATI O N
Determine budget
Create project brief outlining goal
Interview design firm candidates
Request proposals
Review and approve proposal
PHASE ONE
Planning
Review project brief with design firm
Gather current identity materials
Confirm project components and deliverables
Create project schedule
C R E AT I N G
Conduct research
Implementing
Approve layouts for implementation items
Approve printing and manufacturing costs
Manage production schedules
Oversee printing and manufacturing
Create identity standards
Prepare for launch
Manage and assess identity (ongoing)
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PHASE TWO
Creating
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Logo Evolution
F R O M M O N K E YS TO LO G O S A P I E N S
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Evolution and revolution. Two terms for change. Evolution is a sedate form
of change. Like sap, it seeps along in thick, lazy stammers. Revolution bursts.
It whips down and detonates like a twister, tossing tradition, cows, and silos
high up into the storm clouds.
Evolutionary change can border on revolutionary. The change to the Wedgwood logo is
significant from most perspectives. The connection between the old and new type is minimal,
but the icon change is a major leap forward. T H E PA R T N E R S
There are smart logos, and there are streetsmart logos. The true test of any refinement
is when the package joins the real world. The
e
Wedgwood logo design hits High Street with
h
modern appeal. T H E PA R T N E R S
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N U R TU R I N G G R E AT N E S S : A R O LLI N G LO G O G AT H E R S N O M O S S
Every generation has its collection of bright starlets. Out of those, a handful of true legends emerge. They separate from
the pack, meeting changing times with a fresh look while staying true to their essential beings. Is your logo a great one?
Does it adapt with the times? As time passes, its inevitable that associations get pegged onto your logo, for better or
worse. And, as new mediums manifest, your logo design must not only deal with them but also must adjust to take full
advantage of ever-changing surroundings.
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R E F I N E M E N TS : S AC R I F I C E YO U R E G O AT T H E ALT E R
Refinements are not just a part of the business. They are what the business is all about. You are helping the client change
his or her business, by either defining or redefining the brand. When clients want refinementsoh, and they willdont take
e
it personally. Instead, see where the client is coming from and understand how the brand is changing.
There are five principal reasons
for a brand change. They include
merger and acquisition, name change,
revitalization, organizational change,
and functional malfunction. Often,
a brand goes through several or all
of these stages simultaneously. It is
good to differentiate between them,
because doing so will give you an
idea as to what truly is the clients
overall objective.
During a brand merger, two brands
fuse to create a larger, third brand.
The design is thus a graphic integration of the two former logos or the
design of a completely new logo to
embody the newly created entity. The
logo design takes center stage. Its
the symbol for the uniting brands.
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1912
1950
1936
1956
1937
1968
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1876
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O N E PA RT M AG I C , O N E PA R T S AU S AG E
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Ca
Can you add a drop shadow
or a cool bevel to the logo?
I like this logo, but let me take it home and
show my wife. She's the artist in the family.
I M P LE M E NTI NG
C R E AT I N G
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C R E AT I N G
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From stock types of packages such as clamshells, bottles, cans, flexible bags,
boxes, and tubes to an unimaginable number of unique types and hybrids, the
possibilities reach farther than most people can imagine. Types of packages
are constrained only by the current collective imagination of the global creative
community.
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TH R E E
E LE M E NTS , I N F I N I T E
P O S S I B I LI T I E S
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Package Types
P LE AS E D O N T TY P E CAST M Y PAC K AG E
Carton, box, tube, bottle, can, bag, clamshell, blister, label, and hybridswalk around a superstore and packaging types
start to categorize themselves. Walk a little further and you start to notice patterns in each aisle or category. And then
just a bit further until you start seeing the rogue products, those that are packaged in a manner entirely different than
the existing category patterns. And then there are those that combine types of packages to create new concepts of how
a package type should function.
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C R E AT I N G
I M P LE M E NTI NG
CAPSULE
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Material options
Y e s , M a d o n n a , w e d o l i v e i n a Mat e r i al wo r ld
D e s i g n M at t e r s / / i M p le M e n t i n g
pac k ag i n g
m e at a n D p o tat o e S , i n c .
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C R E AT I N G
I M P LE M E NTI NG
H A R R Y A L L E N & A S S O C I AT E S
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Keeping up on new materials can be done online (www.materialconnexion.com) or through other material sources in
industrial design circles. Get samples, keep them around the office, and buy things you find that incorporate creative
materials. Organize the materials by weight, feel, cost, and any other parameter that is important to your design process.
Youll be surprised how oftentimes just having a unusual material nearby will lead to its being used in a package design.
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M AT E R I A L O P TI O N S
Within each of the aforementioned categories (glass, plastic, etc) there are many permutations and variations. The variations offer details like textured or heat-sensitive plastics or nonslip rubber or extra sticky rubber. Each detail can offer
another element to build on the experience of the product and the package.
K U - G R E E N PAC K AG I N G
BAR K C LOT H
Molded fiber packaging that uses tapioca starch. This patented composition incorporates nominally 90 percent cassava
starch, 10 percent plant fibers, and a
small amount of food-grade additives. As
it is temporary in design, its a great option for single-use food packaging, home
delivery meals, outdoor food fairs, fast
food restaurants, or catering packages.
N ATU RA L P L AST I C BY
M E TA B O L I X
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D E G R A DA B L E P LAST I C S
BY D 2 W
G AR D E N G R E E T I N G S BY
B OTAN I CAL PAP E RWO R KS
Imaging a time delay on the degrading of the plastic bag designed for a
bread company. How about eighteen
months? The best part is that these
polyethylene and polypropylene plastics
dont need special conditions; just add
air. The range of possible applications
is endlesslimited only by our collective
imagination.
Looking to plant your package in consumers minds and their backyards? Botanical
Paperworks has paper products with
embedded seeds. A number of socially
responsible productsand certainly childrens productscould benefit from this
feel-good, earth-friendly feature.
B I O P D O BY P I O N E E R
A N D TATE & LY L E
I N N OV I A F I LM S
E A RT H S H E L L
Food-safe, biodegradable foam laminate
packaging materials. Created by combining potato starch, corn, limestone, and
a bit of recycled fiber, which is then
heat-pressed into shape. Immediate applications include disposable meals and
fast food; going forward, applications
expand to many food categories.
I M P LE M E NTI NG
C R E AT I N G
S H E E P P O O PAP E R BY
C R E AT I V E PAP E R WA L E S
Not to be confused with paper made from
elephant dung or reindeer droppings, this
is Sheep Poo Paper from Wales, where
they know their sheep. Forget your first
worry: the odor has been eliminated without using intense chemicals. Sheep Poo
Fiber from sheep with plenty of fiber is a
great material for anything with a sense of
humor and any clothing made from wool.
C E R E P L AST
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GROUP
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S I X FAC E S, O N E P E R S O N A L I TY
CAPSULE
TURNSTYLE
CAPSULE
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C R E AT I N G
I M P LE M E NTI NG
+ FINE: ART
MANDATORY ELEMENTS
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Locate something that requires standards and boundaries, and at a close distance youll find those who bend the rules.
Sure, bending is good, but knowing when youve broken them is better. The weights, measures, and barcodes required
on a package are there for a legitimate and valuable purpose. For one, we dont carry a scale with us to the grocery. We
also dont carry around measurement devices and its difficult to analyze ingredients at home. Hence we have ingredient
lists and other standards to guarantee a baseline of consistency by manufacturers for consumers.
Weights and measures (meant also
to cover ingredient lists), nutritional
facts, and all other highly functional
language on the package provide consistency for consumers to
compare their options. This means
keeping to minimum type sizes and
readability that favors grandmas eyes
over little Billys eyes. To the packaging world, this means regulation
and additional time for government
oversight. To the consumer world, this
is another piece of trust they deposit
in their bank account for that brand;
break the trust and it gets withdrawn
from the account. Do it too often and
youll find yourself with insufficient
trust funds in that consumers world.
Barcodes serve an obvious purpose at the checkout, but they also
have an important role in inventory
controls, just-in-time distribution, and
many other essential phases in the
product-to-market process. There,
its been said. Now how do we bend
these unruly rules? Just like anything,
bending without breaking is achieved
through experimentation or knowing precisely where the boundaries
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I M P LE M E NTI NG
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O R C H E ST RAT I N G TH E M A R K E T I N G M I X
Taking a product to market is one of the ultimate orchestrated events. There are reasons why some insist that the best
marketing minds should be familiar with The Art of War by Sun Tzu. Taking a product from the thought bubble in the air
to the final, successful product is akin to planning a war, hopefully without the death and destruction of real combat.
The package is one element in a mix of communications materials with a variety of secondary objectives and a single
primary objective: To get this product into the hands of people who will purchase it again and again. From an ad campaign (television, radio, or print) that hits on the key messages, emotional rewards, and key benefits, to a public relations
push to create buzz and have every
noteworthy person talking about this
new thingamajig, to a promotional
plan with coupons, trial offers, and a
variety of consumer and retailer incentives to push the product through
the channel, to finally, an interactive
presence so the brand can mingle
with the virtual social world of our
global online communitythese elements all contribute to the success
of the product.
Each of these elements requires a
vast amount of specific knowledge
and a director who can deftly pull
it all together. Gone are the days
when the integrated agency could
serve as director or integrator. Today
the management team on the client
side needs to manage the brand and
therefore has to serve as both director and integrator.
Once an orchestrated approach is
understood, then beware of medium bias by the professionals you
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BILLBOARD
AND PRINT AD
WEBSITE, MICRO SITE,
INTERACTIVE SITE
PACKING AND
POINT OF PURCHASE
PROMOTIONAL EVENT,
TRADESHOW
LESS EXPENSIVE
PER IMPRESSION
IMPERSONAL
MORE EXPENSIVE
PER IMPRESSION
PERSONAL
ARTICLE IN
MAGAZINE
ONE-ON-ONE
CONVERSATION
COUPON, LOYALTY
PROGRAM, OR CONTEST
I M P LE M E NTI NG
C R E AT I N G
HANDSHAKE
AND A SMILE
RADIO AD
E-MAIL BLAST
SMALLER
GROSS EXPENSE
The tools you choose to use should vary by both gross expense of use, cost per impression,
and effectiveness of the medium. Fully understand which mediums balance effectiveness
(based on how you define it) and efficiency. And if youre not sure, experiment and keep score
so you can repeat what works. All things being relative, this chart provides some perspective
on the relationship between mediums and expense.
SOURCE: CAPSULE
D e s i g n M at t e r sD/E/SiIM
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LARGER
GROSS EXPENSE
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Packaging Guidelines
T H E F E N C E A LO N G S I D E T H E R OAD TO S U C C E S S
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IT E M S T O C O N S I D E R:
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I M P LE M E NTI NG
CAPSULE
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When the Honeywell brand is put in front of retail buyers, they know the product inside can be
trusted to deliver on a promise. When consumers purchases a new product packaged under the
Honeywell brand, they expect to trust the product. Consistent delivery with Honeywell means
an innovative product and also means a package that delivers the same level of innovation and
trust. Guidelines like these set the standard for anyone using the Honeywell brand.
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What are your competitive advantages when it comes to getting a product from
producer to shelf? The fewest products in the channel at any given point, the
fewest human touches required, the least weight shipped, and finding your
competitive advantage by how efficiently you manage the channel. Todays costaccounting methods allow us to scrutinize every angle of the distribution channel and determine what parts are eating up margin. Then the ability to drill down
into data affords managers amazing access to real-time data. Data, alas, is only
a teaspoon in the recipe; creativity and leadership are two heaping cups each.
D e s i g n M at t e r sD/E/SiIM
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I M P LE M E NTI NG
Creativity is the business term for intuitive design thinking. The sign of a creative mind in business is being able to float above the issues and see how one
change in the channel affects any and all other aspects of your distribution. If
eighty percent of the profit is in twenty percent of your customers, why do you
still work with the other eighty percent? Because if you continue to apply the
formula, how many customers would you have? One? How smart is it to use
the eighty/twenty rule without considering other implications?
C R E AT I N G
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TH E
P E R F E CT
L AN D I N G
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Detailed Delivery
F R O M A L L I G ATO R TO Z E B R A
I M P LE M E NTI NG
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ST E P S O F T H E E X E C U T I O N P R O C E S S
Now youve done it. The brand strategy is defined. The name is identified and trademarked. The package concepts have
been viewed and approved, and refinements have been made. The final package has been tested with consumers and
theyre ready to buy. The question out of their mouths is loud: Where and when can I get it? You are nowhere near the
finish, but you are in the race. The appropriate phrase now is, Bring it home.
Thinking of taking a new product to market? Feeling a bit intimidated? The good news arrives when you discover how
many companies, firms, and individuals specialize in logistics/distribution.
The more you know as a designer about each step in the process, the better chance youll have to infl uence the execution and delivery of your package. Leave it all up to someone else and you may be disappointed when your package
shows up on the shelf. From the clients perspective, keeping the designer involved offers an eye for authenticity when
the package and product hit each point in the process. Designers are problem solvers and visual thinkers. Their passion
for quality will come through if they are intimately involved throughout the process.
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STE P 1
S TE P 2
STE P 3
STE P 4
Just-in-time inventory
Consolidating / Shipping
Pallets
Refrigeration / Climate controlled
Truck sizes
Locations
Ship time / Unloading
Display adjustments
Price adjustments
Extra inventory
Reporting
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C R E AT I N G
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I M P LE M E NTI NG
The modern definition of insanity is endlessly repeating the same behaviors and expecting a different outcome. That
said, change for the sake of change is not the answer either. The answer between these two options can be found on
the back of most shampoo bottlesthree simple steps.
factored in to determine what would
result from changes to the package.
Incremental change is the standard,
but it all depends on how many issues come out of your assessment.
If your channel partners are important to your success, involving them
in the process can build a stronger
relationship for future product distribution. It can also give the partner
more insight into how you do business. And, of course, you will likely
be able to learn from their experience to take a leap beyond where the
competitive set is lounging around at
club complacent.
If your design team needs help seeing the changes, bring them closer
to context so they can see how the
package is being used and abused.
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ASSESS
IDEAS
REPEAT
i n si g h t
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FUTURE
C R E AT I N G
i mp l emen tati o n
p ro to ty p es
NOW
d esi g n c o n c ep ts
REAL
c o n c ep tu al mo d el s
p attern s
Seeing the finish line and working with that in mind is one trick. Seeing the
next starting line gives an entirely new perspective on how iterative the process
needs to be. If youre finished, youre done. If youre building an exceptional
brand, youre never done.
SOURCE: CAPSULE
D e s i g n M at t e r sD/E/SiIM
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REVIEW
si tu ati o n s
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PR O C E SS M ETH O D
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RESOURCES
pac k ag i n g
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When was the last time you dug into your junk drawer? Spend some in time
there and you might find some surprising gems. Few of us go to our junk drawer
seeking inspiration but we dip in often. When you need to get something done
or youve lost something, this is usually the first place you look. Like the reference section of a library, it may not be beautiful or exciting, but it is brimming
with helpful information. For our part, we have created this section to provide
you with important reference points when youre deep into a packaging project.
This is where you find the disciplines, professions, and requirements surrounding smart package design, including language translation, intellectual property,
government agencies, and a few other parties interested in the safety and
security of the person on the final receiving end of your package design.
Government regulations on the package of products touch on everything from
fraudulent products to trademark infringements to the words required on a
package entering another country. Languages can have governmental requirements but often the translation of meaning is more important to the success or
failure of a package design. It is essential to understand, translate, and adapt to
the meaning of language.
Intellectual property laws protect the soft goods like trademarks, copyrights, and
patents in the same way that an outer box protects a package during delivery.
Created, expanded, and refined over time, this is the junk drawer that offers
important artifacts of knowledge for that occasion when its most needed.
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RESOURCES
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R E M NANT
PIECES
O F LI F E
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I M P LE M E NTI NG
c r E AT I N G
Look for the most cost-effective avenue for your portfolio development. List all
of the methods and materials you would like to use within your portfolio. Break
down the costs of each in terms of creating and implementing these materials.
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C R EATIVE WAYS TO U N LO C K
YO U R P O RTFO LI OS P OTE NTIAL
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And while you certainly dont want to bombard your designated audience with
all-too-frequent promotions, you want to make sure you avoid the adage, Out of
sight, out of mind. Blogs, eblasts, and newsletters can ensure that you remain
front and center. Determine what your clients and prospects positively respond
to. For some, it may be graphic-filled eblasts, for others it may be a high-end
portfolio brochure, mailed in a contemporary, costly vellum envelope. Whatever
the method, choose an appropriate timetable for distribution.
PLANNING
c r E AT I N G
I M P LE M E NTI NG
TYPE
FREQUENCY
Weekly
Twice a Month
Montly
Annually
Eblast
Postcard
Newsletter
Portfolio/brochure
Holiday promotion
Website update
Interactive portfolio CD
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Blog
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PLANNING
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The
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C R E AT I N G
I M P LE M E NTI NG
Bring your personality but check your attitude with the doorman. This is the time to show your confidence, but keep far
from arrogance if you want to find a receptive audience. Theres nothing more humbling than walking into a situation,
thinking you know everything and finding out you know nothing. Start from a state of knowing nothing and let your
portfolio speak to how much you know. Gain knowledge from each situation and either apply it right away or investigate
further and add new tidbits of knowledge in the next presentation.
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WH AT TO I N C l u D E
When presenting your portfolio,
be sure to include the who, what,
how, and why:
Who
What
Why
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How
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WH AT S YO u R ST Y l E ?
As Michael Eckersley, principal at Human Centered, a U.S.-based team of affiliated designers, social scientists, and
planners, explains, most design today involves plenty of teamwork; the portfolio presentation must be descriptive of that
process and credit others on the project. He believes that portfolios today are most useful and accessible online. Imagery
must be contextualized as to project profile, role descriptions, and project outcomes, Eckersley says. Effective portfolios
I deal with today involve video and storytelling, not simply static imagery.
I M P LE M E NTI NG
C R E AT I N G
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Brett Lovelady, chief instigator at Astro Studios in San Francisco, sees his fair share of designers portfolios cross his
desk. So how do todays portfolios need to function to help land that oh-so-perfect job?
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Distribution Dynamics
TH E KNOCK ON TH E DOOR
p o r t f o li o s
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Making Connections
Marketing executives use it as a
key tool for their success. Financial
consultants use it to obtain new
clients and often make it a key part
of their overall business strategies.
Brand management consultants see it
as a necessary effort to expand their
business. What is it? Its networking,
and in the world of business, people
network to help smooth out the
potholes on the road to success.
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ChANGzhI LEE
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N E T WO R K I N G STR ATE G I E S
and trust. They wont regularly refer someone just because theyre
listed on a websitethats called
advertising, not networking.
Dont oversell. Bring business
cards only. Dont come with
brochures, pamphlets, and
gimmicks. People dont want to
carry these materials around with
them. They will most likely throw
them away or just set them down
and forget to pick them back up.
learn how to work meetings.
Its not called net-sit or net-eat,
its called network. Learn networking systems and techniques
De
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PLANNING
C R E AT I N G
I M P LE M E NTI NG
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I M P LE M E NTI NG
D e s i g n M at t e r sD/E/SiIM
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PLANNING
C R E AT I N G
I M P LE M E NTI NG
The phone rings, your email blingsall with messages from prospective clients asking to meet with you to learn more
about your core competencies. Perhaps they are interested in rebranding their corporate communications system, or
maybe they are simply looking for an updated website. Whatever the reason, when a potential client walks across your
companys threshold, whats the likelihood their browsing will result in a sale? For many businesses, improving their close
ratio is key to a successful future.
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TAR G ET Au d I E N C E.
PLANNING
4
s u bTRACT o N E f R o m Th E
oTh E R To P R o d u C E AN
vALu E OF P ORTFOLI O
c R EATI ON AN D
DI STR I b uTI ON I S
FA I R Ly S I M P LE.
Th E k E y I S DATA.
2
I d E NTI fy Th E C o sTs o f
P R o d u C I N G AN d d I sTR I b u TI N G
yo u R P o RT f o LI o To A s P E C I f I C
G R o u P o f TAR G ETE d P R o s P E CTs.
I N C Lu d E C o sTs o f P o RTf o LI o
P R E s E NTATI o N by sTAf f.
I M P LE M E NTI NG
AP P R ox I mATE vALu E
cALc u LATI NG Th E
C R E AT I N G
3
d ETE R m I N E Th E P R o f IT
C o NTR I b uTI o N f R o m
P R oj E CTs AwAR d E d f R o m
N Ew C LI E NTs As A R E s u LT
o f yo u R P o RT f o LI o.
D e s i g n M at t e r sD/E/SiIM
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C R E AT I N G
I M P LE M E NTI NG
YO u G OT E M R I G H T W H E R E YO u WANT E M
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I M P LE M E NTI NG
C R E AT I N G
w I L Lo u G h b y d E s I G N
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p o r t f o li o s
PLANNING
C R E AT I N G
I M P LE M E NTI NG
Creative professionals are largely in charge of their own destiny. Youve found the perfect niche within the industry, honed
your creative skills, trained your employees, made your portfolio look perfect, invested in advertising, and are now ready
for some serious sales. But sales mistakes can dramatically affect your bottom line. Here are some key mistakes to avoid
during the portfolio presentation and sales process:
Not listening to a customers
needs. Selling is more about
listening than it is about talking.
One of the inherent mistakes
many creative professionals
make is not listening to a
clients request. Listening to
and pinpointing exactly what
the customer wants will help
streamline the sales process and
enhance your referral business.
Overselling. We think the more
a potential customer knows
about a particular product or
service, the more likely she
will buy the product. In reality,
though, information overload has
the opposite effect: Instead of
leading to a sale, it may lead to
an exitespecially if a customer
is overwhelmed with information.
Improper employee training.
Your best clients have formed an
image in their minds of what you
are, what you do, and how well
you do it. But all of that can be
quickly undone by a misguided
employee. Your employees are
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our jobs well and some will not, but we all will
I M P LE M E NTI NG
Listen to prospective
clients needs.
C R E AT I N G
Introduce yourself.
PLANNING
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cAse st
Brochures
packaging
portfolios
De
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logos
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studIes
iTs a sCary plaCe To be. you geT
run over. puM lefebure, CreaTive
direCTor aT design arMy
So/s/
D e s i g n M at t e r s / / i M p le M e n t i D
nE
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/ / / C A S E S T U DY
DESIGN FIRM:
G o W e ls h (U sA)
DE
Os
Re
T FsOtLI
eS
s Ii G
gN
n M AT
at T
tE
eR
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s // P
ca
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i e0s1
p o r t f o li o s
P lAN N I N G
Go Welshs main goal for their portfolio was to approach the design in a way
that would allow them to cost-effectively create a series of themed promotional
pieces. We had talked about four-color offset printing but felt wed be limited by
production costs in terms of the final size (dimensions) and length (number of
pages), says Go Welsh founder Craig Welsh. We really liked the idea of being
able to work at a larger scale across many more pages than wed realistically be
able to afford on an ongoing basis with offset printing. We had also produced
some newsprint-based pieces for a client and found that the tactile, low-grade
quality of the paper and inks was a nice change from the slickened world of
hi-def, screen-based media. It has an authenticity thats hard to find in other
materials. Its the medium from which the masses used to get their news.
C R e AT I N G
According to Welsh, the most difficult task was to come up with a title for the
publication. We had many, many concepts we reviewed over the course of
several weeks. However, every title we considered brought its own unique set
of emotional and implicit messaging, Welsh says. We didnt want the first issue
to set a mood that would be challenging to address with future issues. So we
finally started to seriously consider Title as the title with the ability to clearly
theme each issue.
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cAS E STu DI E S
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Title won, and the theme for the first issue was The Thanks issue. Title 02 was
The giving issue. The flexibility of theming is paramount, and the future issues
in the works will include The alphabet issue and The Contributor issue.
D e s i g n M at t e r s / / ca s e s t u D i e s
p o r t f o li o s
go welsh also wanted to highlight the firms writing capabilities in these promotions. were a design studio, which tends to make people think we only work
with visual elements, welsh says. we expect our designers to also have solid
writing skills, and Title has provided an outlet for writing. each issue includes
contributions from all of our staff, regardless of their role within the studio. The
issues are truly expressions of everyone here. in fact, we had a high school
intern contribute several elements to Title 02.
i M P le M e nt i n G
The goal of these newspaper-style portfolio pieces is to get people to stop and
take notice. To help aid in that, we do a few things beyond simply designing
and printing each issue of Title, welsh says. first, we write all the addresses by
hand. we have a total of about 900 addressesour staff loves to do this. we
like that it has a more personal feeling when it hits someones desk, as so few
pieces of mail are addressed by hand these days. second, we create a rubber
stamp that is applied to the outside of the envelope that is unique to each issue.
The stamp for Title 01 read, you Might want to open This in private, and Title
02 included, give it up for [arrow] above the recipients name.
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go welsh has had two people call to talk about projects simply based on their
reactions to the give it up for stamp. one has since turned into a new client,
he says. we also have a current client that has pinned the envelope to her office
wall because she likes the give it up for... stamp above her name so much.
They also included a full-page puzzle in the last spread. There were 192
triangular shapes mixed up on the left side of the spread with a numbered grid
on the right side of spread.
we got this idea based on work from norman ives we had seen in an exhibit,
welsh says. we like curious people and try to be curious about things when
we work. we wanted to see if anyone would take the time to complete the
puzzle. we thought it would only be fitting that The giving issue of Title would
include a prize for the first person to complete the puzzle. we set up a unique
email address and waited. and waited. and waited. and around the thirtieth day
we finally received an email from someone who had completed the puzzle. The
reward for such curiosity was a brand new ipod.
The studio then posted an image of the completed puzzle on their website and
began getting calls from other people who were frustrated that they hadnt taken
the time to put the puzzle together. however, they also expressed similar reactions along the lines of i should have known you would do something like that!
D e s i g n M at t e r s / / ca s e s t u D i e s
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go welsh sends Title about once a year, each issue costing about 25 cents to
print. wed like to send them more frequently, but weve been busy with client
work and were so particular and picky with how we design Title that it usually
takes a long period of time to complete, welsh says. The firm sends issues to
family, friends, clients, prospects, and pretty much anyone who asks for copies.
after posting an image on their website of Title 02, they had people emailing
from all over the united states and someone in london also requested to be on
the mailing list. weve also distributed several hundred copies at presentations
weve given. They usually get grabbed up pretty quicklyfunny how excited
people get about newsprint.
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cAS E STu DI E S
p o r t f o li o s
DE
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We had a client tell us a funny story about his teenagers arguing about who
gets to sit in the front seat of the car, Welsh said. Turns out his daughter had
hopped in the front passenger seat, buckled in, and thought she had outwitted
her brother. However, her brother had read through Title 02 and cut out the
Calling Shotgun coupon. He proceeded to knock on the front passenger
window and held up the coupon to show his sister that he was now claiming
shotgun. The dad had also read through Title 02 and knew what the coupon was
declaring. Holding back laughter, he then honored the coupon and made the
daughter get in the backseat so the son could have shotgun. The coupons have
been much more fun than we anticipated.
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cAS E STu DI E S
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/ / / C A S E S T U DY
THE CLIENT:
T H E W A LT E R S A R T M U S E U M
DESIGN FIRM:
PRINCIPLE
CAS E STU DI E S
Sometimes the best way to kick off a project is by taking a hard look at its previ-ous incarnation. When Principle started working with the Walters Art Museum
on a brochure for its school programs, Allyson Lack, a partner at the design firm,,
studied the existing pieces primary colors and glossy paper. It was very much
what comes to mind when you think of young children, she says.
But for school programs, its the teachers, not the students, who sign their
classes up for outings at the Baltimore museuma fact that meant the projects
target audience consisted primarily of 25- to 40-year-old women. So Lack
pitched an entirely different approach: Lets make it more sophisticated. The
resulting brochure feels more like a program handed out at the symphony than
something found at a grade school.
eS
s Ii G
gN
n M AT
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s // B
ca
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p o r t f o li o s
The pieces white, uncoated paper gives it a refined feel, while the brown text
and illustrations keep it soft. Interior pages pair copy about planning a visit with
the gorgeous artwork that teachers and students might see at the museum.
To make sure these rich, colorful paintings reproduced well, Principle chose a
stochastic printing methodits randomized dot pattern results in a tighter image..
The brochure also features stock line art, which Lack found to represent items in
n
one of the museums exhibits.
This brochure highlights school programs
at the Walters Art Museum in Baltimore,
Maryland. Since teachers make up the
target audience, designers at Principle
created a sophisticatedrather than kidcentricdesign. Brown type gives this piece
a warm feel without detracting from the
gorgeous paintings.
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39) Title:
Job:06-25637
Title:RP-Design
Matters
Job no:
08-97814
RP: Design
Matters:
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ers: Brochures
#175 Dtp:221
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To
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sign Matters
Brochures
Brochures
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CAS E STU DI E S
7 5:51:14 PM
In the middle of the brochure, there is something just for students: a full-sized
poster is folded and bound into the piece. Teachers can pull it out and hang it
up in their classrooms for their students to enjoy. The poster is covered with line
art that corresponds to objects at the Walters Art Museum, so it gives students
something to get excited about before they step in the door.
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Job:06-25637
Title:RP-Design
Matters
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eS
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B roch u r e s
CAS E STU DI E S
This piece went so well that Principle was also tapped to create a family guide
for the museum. The new project needed to be equally fun and engaging for
parents and their kids. After some brainstorming, the design team and museum
staff settled on the idea of a deck of cards. This format makes a visit to the
museum feel like a game designed for the whole family. A mom can hand a card
or two to each of her kidsno fighting over a single brochure.
To keep things kid-friendly, Principle made the cards fairly large8 7/8 x 5 5/8inches (22.5 x 14.3 cm)and printed them on sturdy 80 lb. stock. Each card
features a different item for families to find in the museum and the entire set
slips easily into a sleeve. Theres also an introductory card in large type that
explains how to use the deck, making the copy more accessible for young
readers. Much like a deck of standard playing cards, rounded corners also give
the set a friendly feel.
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Title:RP-Design
Matters
Job no:
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RP: Design
Matters:
ers: Brochures
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#175 Dtp:221 Page:334
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For the cards themselves, Principle kept things bright and fun, choosing a
different color for each one. These highlight a picture of an artifact on the front
side along with a brief description of the item. The back includes additional
details about the art along with questions for a family to discuss together. This
approach allows different age groups to enjoy the piece together. Small children
can simply look for the object in the picture, while older kids can read the copy
and initiate discussions with their parents.
G Ns e
M AT
HU
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D e s i g n M at t e r sD E/ /S Ica
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e s/ / B R O
BC
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CAS E STU DI E S
The outer sleeve was created from a lighter weight paper, so Lack needed
to make sure the glue used to hold it together wouldnt seep through. It also
features a thumb notch at the top for ease of use, which also serves as a subtle
branding element with the Walters logo showing through from the top card. The
front features a magnifying glass, which hints at the scavenger hunt nature of
the cards inside.
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THE CLIENT:
KNOLL
DESIGN FIRM:
GIAMPIETRO+SMITH
Knoll Space
CAS E STU DI E S
Though its relatively small in scale, this brochure needed to make a lasting
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impression: It kicked off a new brand called Knoll Space. The legendary furniture
company wanted to make select pieces from its studio line normally sold
through architects and interior designers available directly to the public. So the
company turned to New York design firm Giampietro+Smith to help launch
this venture.
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The firm worked on everything from the name and attributes of the new brand to
the look and feel of the introductory print piece. One name considered was Knollll
Home, but ultimately, it didnt make sense to associate the line with a name that
would limit the base of potential customers. Apartment dwellers might be just
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The firm had recently finished another project with an accordion fold, so after
some brainstorming, the design team decided to use the same technique for
this piece. The accordion fold gives the piece a sculptural feel, one that makes
consumers want to keep the brochure once they pick it up at a retailer such as
Design Within Reach. This approach also gives a nod to the exquisite forms of
the furniture featured in the line.
CAS E STU DI E S
But perhaps an even bigger challenge than naming the brand was creating
a brochure that lived up to its contents. How can we make a piece as
structurally interesting as the furniture itself? says Rob Giampietro, principal
of Giampietro+Smith. Its a tough question to answer when youre working
with furniture designed by such icons as Frank Gehry and Ludwig Mies van
der Rohe.
The spreads on the front side of the brochure pair furniture beauty shots
with approachable copy that establishes the brands personality. This section
introduces consumers to Knolls history and lets them know what to expect
from Knoll Space with such lines as: Surround yourself with beauty. Invest in
innovation. On the back, the brochure becomes a mini product catalog with
small, labeled images of the pieces offered in the Knoll Space collection.
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Since project parameters didnt allow for original photography, designers worked
hard to make existing imagery create its own statement. They put an emphasis
on individual pieces of furniture instead of beauty shots of a room and used
both silhouetting and cropping to help distinguish the brand. In the catalog
section, for instance, individual chairs face different directions to simulate how
you might find them in a room. We wanted things to feel like theyre conversing
with each other, Giampietro says. The designers stripped drop shadows out of
the photos to make this approach work.
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Overall, the brochure feels as deluxe as the furniture inside, but its still affordable enough to be feasible as a retail giveaway. The thick, coated stock gives
the piece a substantial, upscale feel. Its also sturdy enough that the brochure
can stand up on its own, creating something akin to a shrunken trade-show
display. Its seductive enough to make a design lover splurge on some new
living room furniture.
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THE CLIENT:
N E E N A H PA P E R
DESIGN FIRM:
A N D PA R T N E R S
Neenah Paper
CAS E STU DI E S
WH AT S YO U R C O LO R?
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CAS E STU DI E S
As you browse the first few pages of the book, youll be asked to choose your
favorite color within several sets of three colors. Flip over the page or card bearing your preferred shade and youll uncover a paragraph about your personality
traits. Prefer yellow over blue and red? Dewey says, You calm troubled situations and bridge differences. If you like yellow and purple, youre passionate
and open to change. In his own informal poll of test takers, Schimmel found the
descriptions to be uncannily accurate.
Neenah tapped And Partners to turn the Dewey system into a resource for the
graphic design communityone that would be useful enough to stick around
studios and help build the Neenah brand. Since Sadka had already put together
several books on his creation, there was a great deal of material to pull from. It
seemed like they wanted everything and the kitchen sink in this book, Schimmel
says. It was very complicated information, and the application was difficult. His
firm worked closely with Sadka as they pared down the source material and
made it more relevant for designers.
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To accomplish the latter, the firm added a section called What about your
clients? that talks about applying the systems proven color attributes to brands.
Theres a foldout chart that shows which shades to choose if youre trying to
convey stability, impulsiveness, or a host of other descriptors. It takes something
subjective and makes it objectivea handy tool for any client meeting. The bulk
of the book consists of foldout color palettes based on different base colorsa
resource that a designer could put to use on almost any project. There are about
1,300 different colors in the book, and tabs labeled with the base color names
make this guide easy to navigate.
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CAS E STU DI E S
The piece took close to nine months to complete, and as a result of this effort,
its highly usable. The designers chose a spiral wire binding for its practicality.
This feature makes the book easier to use because it always lies flat as you go
through the pages. Plus, the double-sided palette sheets are accordion-folded,
so they can be pulled out to more than twice the books width when in use. Thiss
enables you to look at things side-by-side and play with them, Schimmel says.
If you go with these color palettes, youre not going to have what Sadka calls a
color oops.
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Another big challenge was recreating all the colors within the Dewey system;
theyre built colors rather than Pantone color formulas. Once we got the design
and concept worked out, we had to figure out the prototypes of the colors,
Schimmel says. His firm went back and forth with a number of press proofs to
get them just right. Then they included the six-color process formats for many off
the colors in the back of the book.
The piece also promotes Neenahs Classic Crest paper and demonstrates how
well solid colors print on this uncoated paper. Pages of vibrant red and blue
make better testimonials than any copy. This book also helps position Neenah,
in conjunction with Sadka, as a color expert and provides ongoing value for
designers. People seem to love it, Schimmel says.
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THE CLIENT:
U N I V E R S I T Y O F F LO R I DA S C H O O L O F A R T A N D A R T H I STO RY
DESIGN FIRM:
C O N N I E H WA N G D E S I G N
C R E ATI V E F O L D I N G
Connie Hwang needed to figure out how to make the promotional brochure for
the Workshop for Art Research and Practice (WARP) at the University of Floridaa
School of Art and Art History stand out despite a relatively modest budget. The
pieces ultimate form emerged from a two-hour meeting with the client and an
oversized sheet of paper. We just sat there folding and folding, says Hwang,
principal of Connie Hwang Design and an assistant professor of graphic design
at the Gainesville-based university. We wanted something that could stand up.
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The brochures cover uses the schools standard color palette, and the first
spread gives a brief overview of the program. When the piece is completely
unfolded, it features a range of student work intercepted by diagonal lines.
Hwang started with roughly 200 images from the client. We just found the most
interesting ones that represented all the disciplines within the school, she says.
These can be swapped out easily when the piece is updated. And the diagonal
lines? Theyre a nod to the programs interdisciplinary research.
To make sure this unusual format would actually work, a fair amount of testing
took place. Hwang mailed a blank version to make sure it wouldnt get mangled
by the post office and worked hard to select the right papersome stocks crack
when folded. Additionally, Hwang ran her idea by the printer to make sure the
unusual folds were possible.
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The two triangles that allow the piece to stand up also reference WARP, which is
taught by a couple. You cant have one without the other, Hwang says. WARP,
which is geared to freshmen, includes both classroom and studio instruction and
encompasses everything from creative process to artistic integrity. It also covers
a wide range of disciplines.
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Hwang also incorporated folding into a small catalog she created for an
exhibit at the University Gallery. The show, Ten Plus Ten: Revisiting Pattern &
Decoration, featured works by 10 artists prominent in the pattern and decoration
movement of the 1970s. There were two pieces in the show from each artistone from the 1970s and one that was created fairly recently. Hwang wanted
to reflect the shows key conceptspattern and decorationthrough the tools of
graphic design.
When I was brainstorming, the client said, Just take an image and put it on
the cover, she says. But the work is so diverse, its really hard to pick one. I
decided to create my own pattern. On the brochures vellum jacket, Hwang uses
typography as a pattern, while still keeping the names of all ten artists readable.
For the actual brochure cover, she created a pattern inspired by the colors from
the 1970s-era pieces within the exhibition.
In fact, many of Hwangs design decisions were driven by the desire to represent both pattern and decoration within the piece. The accordion foldinspired
by a piece in the exhibit painted on a Japanese screen doorcreates its own
pattern, while the numbers and lines embossed on the cover fall under decoration. When I design, I really try to include all the traditional printing techniques I
can to reinforce the concept, she says.
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THE CLIENT:
D AY C O R P P R O P E R T Y D E V E LO P M E N T A N D
THE UNIVERSITY OF ADELAIDE
DESIGN FIRM:
VO I C E
CAS E STU DI E S
Though Daycorp Property Development has been around for 30 years, the
company only recently started to develop a brand presence. A few years ago,
they turned to design firm Voice in Adelaide, Australia, to create a new identity
and, more recently, tapped the design firm to create a capabilities brochure.
When this document came up, we wanted to create a visual identity for the
book through the type, says Anthony Deleo, a director at Voice.
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The firm had created custom characters for Daycorps logo and decided to
expand them into a full set for this brochure. We wanted to make sure the type-face felt strong and felt like it belonged to a big industry, says Scott Carslake, a
director at Voice. Since the typeface is quite structural, it helps Daycorp project
confidencea quality that helps them partner with other companies on large
developments. This typeface, simply referred to as Daycorp, appears in headliness
and display copy throughout the piece, creating both compelling shapes and a
strong visual thread.
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Overall, this brochure has a simple, elegant feel. Its an approach that starts
things off on the right foot for Daycorp, which had never created a sophisticated
print piece before. The layouts are uncluttered and let the emphasis fall on the
photography and display type. One or two images on most spreads, along with
ample white space, allow Daycorps work to stand out. The piece definitely takes
a big step toward establishing a visual identity for the developer.
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Voice also created custom typography for a fundraising brochure designed for
the University of Adelaide, although it was somewhat less formal. In addition
to traditional type, there are short, handwritten notes and doodles scrawled
across the pieces full-page photos. And these casual elements play a key role
in the brochures concept. Its a way of making people aware theres a different
message on the page, Deleo says.
The brochure hinges on the stories of amazing people connected with the
university, including both individuals who donate money and those who benefit
from those funds. Theres a ninety-three-year-old who earned her masters in
anthropology and a young woman who researches Alzheimers disease using
zebra fish. Carslakes hand-penned notes quickly highlight each persons story
and help forge an emotional connection with readers. This helps to draw people
into the main text to learn more about these extraordinary people and various
fundraising efforts.
To create the handwritten text, Carslake printed out each photograph on laser
paper and put it on a light box. He laid another piece of paper over the top and
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started handwriting the type. Once he was satisfied, he scanned his creation into
the computer. It was a very low-budget job, he says. We had to find ways to
make it interesting.
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Each of the portraits was shot specifically for this brochure, though there wasnt
enough room in the budget for styling. The subjects just showed up at the
shoot in their own clothes and were photographed without much fuss over their
appearance. Since most of the universitys brochures are quite colorful, designers decided to lower the saturation of the photographs to differentiate the piece.
This approach also gave the brochure a softer feel.
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THE CLIENT:
A R E N T F OX
DESIGN FIRM:
DESIGN ARMY
Arent Fox
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S E L L I N G G O O D I D E AS
Its not about B.S.its about telling the truth. I tell the client, Im in this with you.
If you fail, I fail.
Pum Lefebure, creative director at Design Armyy
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Law firm brochures tend to be a little too starched around the collarin fact, you
can probably describe the typical formula. Two men wearing suits and shaking
hands. A buttoned-up layout and muted color palette. Its all a little too predictable. So when the team at Design Army revamped Arent Foxs brochures, they
wanted to avoid the visual equivalent of legalese.
To help this law firm stand out from the competition, the Washington, D.C.
based design shop decided to run with the clients tagline: Smart in your world.
This brief phrase helped inspire the concept for a capabilities brochure. Rather
than emphasize a client list and case wins, the piece focuses on the people
and stories that make the firm unique. You can read about an unusual lawsuit
against building owners whose tenants sell fake Louis Vuitton bags or learn
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about a racial discrimination settlement with the Library of Congress. Theyre the
kinds of tales youd find more readily in a magazine or newspaper than a piece
of marketing collateral.
To enrich these stories, all the copy is presented in a narrative style and paired
with original location photography. The firms lawyers come across as warm and
intelligent, the kind of folks you might like to invite over for dinner. In addition, De-sign Army made the piece friendly, with a clean layout and liberal use of blue and
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redtwo of the firms brand colors. The third color, gray, serves as a complement
throughout the book. Theres also another important way the brochure makes its
mark: instead of a typical 8 x 11inch (21.6 x 27.9cm) or 9 x 12inch (22.9 x
30.5cm) piece, it measures an intimate 5 x 7 inches (14 x 17.8 cm).
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Sounds like the perfect solution, right? But it didnt come to fruition without its
fair share of obstacles. Creative director Pum Lefebure spent a lot of time on the
phone with Arent Foxs chief marketing officer, giving her the rationale behind
concepts and design decisions. Those conversations sometimes stretched as
long as an hour, but they provided crucial information for selling ideas to the
law firms fifteen partners. Its not about B.S., says Lefebure. Its about telling
the truth. I tell the client, Im in this with you. If you fail, I fail. This allows her to
stand up for ideas without becoming an adversaryand since the firm doesnt
have account executives, the creative staff is able to present the thinking behind
their work with genuine passion.
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THE CLIENT:
TIME FRAME:
SIX MONTHS
DESIGN FIRM:
CAP S U LE (U SA)
CAS E STU DI E S
T H E M O ST A M A Z I N G TH I N G YO U V E N E V E R S E E N
I NTR O D U CTI O N
Red Wing Shoes identity is a logo heard around the world. What is now Red
Wing Shoe Company, Inc., began with modest means and grew to become
an international brand of handmade work boots and fashionable footwear.
The classic work boots brand has widely become a fashion boot as well.
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C R E AT I N G
The process of visualizing and creating change was driven by both client and de-e
sign teams with an ability to flex the design process. It began with an exhaustive
exploration of possibilities that helped the group visualize change. Studies were
conducted to observe the shapes of various wings. The original swan wing was
the model. Type studies were also conducted to ensure that the style remained
similar enough to the original. The new design improved readability and other
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details, such as consistent thick and thins. A toolkit was also designed to provide
a variety of options for use in specific contexts. The design was refined, and the
wing was hand-drawn more than ten times throughout the process.
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I M P LE M E NT I N G
An exhaustive online site was created for vendors to source the redesigned Red
Wing Shoes logo and toolkit. The new logo was implemented on everything from
signage and advertising to shoes and other clothing accessories. The result was
a logo design that offers a multitude of options with a logo toolkit and design
that retain original brand equity.
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R OYA L T R O P I C A L I N S T I T U T E
TIME FRAME:
FOUR MONTHS
DESIGN FIRM:
E D E N D E S I G N & C O M M U N I C AT I O N S ( N E T H E R L A N D S )
CAS E STU DI E S
I NTR O D U CTI O N
The Royal Tropical Institute (KIT) is an international center of knowledge and
expertise focusing on international and intercultural cooperation. The organization contributes its energy to building sustainable development, alleviating
poverty, and preserving and promoting diverse cultures. Though KIT has roots in
the Netherlands, its reach is global.
P LAN N I N G
Eden Design & Communication used nature as inspiration when designing the
Royal Tropical Institutes new logo. The result is a visual expression of KITs
mission and core values conveyed in a bright, organic form. At the heart of the
design process was KITs brand promise: knowledge, choices, and opportunities.
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KIT needed a logo that would inspire others to provide their support. To do
this, the logo needed to express KITs missionassisting people in developing
countrieswhile also conveying its most essential values of equivalence,
diversity, sustainable development, and good government. The goal was to strike
a non-Western, worldly, dignified, cooperative, sharing, and respectful design
tone, one of an ambassador with the welcoming cadence of a friendly, trusted
acquaintance. The logo also had to engage others on a fundamental level so the
audience would become curious and motivated to learn more.
The designer gathered tree images from
all over the world with the goal of creating
a universally recognizable, relevant, and
organic image. The influence of these initial
tree images can be seen in the final logo.
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C R E AT I N G
Eden Design went through a thorough planning process to build a strong and
clear foundation; it then used this foundation to leap into the organic creative
process, which followed many paths. By conducting an exhaustive visual image
study, the designers found the right metaphors to convey this complex and
sensitive message.
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I M P LE M E NT I N G
The Royal Tropical Institutes goal was to generate and disseminate specialized
knowledge in the areas of sustainable economic development, education,
healthcare, and culture. This information would be distributed through a variety
of channels, meaning the company needed tailored logo variations for different
groups and initiatives. The new logo also needed to reflect the organizations
values by creating a flexible, structured hierarchy. There were many challenges
in this project, but careful research and attention to every element, as well as
understanding how the overall program held together, paid off.
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LO N D O N S Y M P H O N Y O R C H E S T R A
TIME FRAME:
FOUR MONTHS
DESIGN FIRM:
T H E PA R T N E R S ( U N I T E D K I N G D O M )
CAS E STU DI E S
I NTR O D U CTI O N
The London Symphony Orchestra logo was redesigned to reflect recent
organizational changes. The redesign represents the elegant and delicate
balance between the orchestra and the conductor. Its a visual depiction of the
two parties working in concert to create a memorable musical experience.
The Partners, a design consultancy based in the United Kingdom, designed the
new logo for the world-renowned institution. The firms process included three
distinct stages that eventually brought vibrant life to the combined vision of the
organization and the design team.
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The addition of a new performance venue, LSO St. Lukes, was the most notable
of several new changes that impacted the London Symphony Orchestra, its
employees, and its patrons. It therefore seemed like the appropriate time to
signal the changes in a substantial way. When The Partners took on the project,
they began by gathering research and inspiration about where the organization
was heading. The team delved deeply into the world of classical music, gathering firsthand research from behind the curtain. This work informed the creative
brief for the new visual identity.
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C R E AT I N G
The design of the LSO logo blended an elegant, casually handwritten version of
the organizations acronym with a subtle reference to the conductor. This final
identity was the product of an exploratory design process that led designers
down a number of paths pointing to the past, present, and future history
of the organization.
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The new logo signaled changes, including the addition of a new location that
would be the new home of free public lunchtime concerts, new community
events, and a variety of other concerts. Beyond this, the new identity set a tone
for the orchestras future. The final test was the presentation of the final logo
design to the full orchestra. The musicians collective tapping of their instruments symbolized approval and hailed the beginning of a new era.
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I M P LE M E NT I N G
The new visual identity was implemented on a variety of media and communication tools. It was executed on vehicle sides, on the organizations website,
in campaign advertisements, on programs, on live concert CD covers, and
throughout other supplemental materials. The final product heralded change
while paying homage to a rich history.
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THE CLIENT:
SPRINT
TIME FRAME:
TWO M O NTH S
DESIGN FIRM:
L I P P I N C OT T M E R C E R ( U S A )
Sprint
E LE G A N TLY M E R G I N G TWO B R AN D S
CAS E STU DI E S
I NTR O D U CTI O N
When Sprint and Nextel planned to merge, the focus was on creating Americas
premier communications company. Nextel benefited from public awareness
of the Sprint brand, both its history of innovation and asset value. But the new
logo design also had to represent Nextel and its brand equities. Design firm
Lippincott Mercer created a new logo for the new telecommunications brand.
P LAN N I N G
The merger of two highly recognized and respected brands required thoughtful
planning and strategy. Because of the competitive nature of the visual landscape, extensive research was essential. Each existing logos equity had to be
measured carefully and then carried forward, with one name and style taking a
dominant position.
Logo
Pin
Finish Line
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C R E AT I N G
Creativity rarely escapes a corporate board meeting without a few substantial
bruises. The new logo design for Sprint defies most expectations for a large
corporate logo design. It is not only an effective logo on a functional level; it is
also inspired in form. The metaphor of the pin drop, a trademarked sound for
Sprint, elegantly matches the shape of a wing taking flight. The logo design sets
Sprint in the only open spot on a cluttered map of competitors in the telecommunications industry, which many suits said couldnt be done at this point in
the history of the category. Most important, it positions Sprint in the minds of
consumers in a far more effective manner than most of the competitive set.
CAS E STU DI E S
I M P LE M E N T I N G
Some logo designs almost execute themselves. This often occurs when theyve
been designed carefully from the beginning. The new Sprint logo went through
an efficient implementation in a variety of media, crossing over into signage, the
Web, advertisements, and even backpacks. The new brand vision is refreshing
on many levels, alluding to better customer relationships and a bright future.
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THE CLIENT:
K I N D E R A R Z T, D R . U H L I G
TIME FRAME:
FIVE MONTHS
DESIGN FIRM:
FA C TO R D E S I G N ( G E R M A N Y )
CAS E STU DI E S
MAK I N G K I D S S M I L E
I NTR O D U CTI O N
Dr. Uhligs practice is concerned with healing children and helping children feel
comfortable in an unfamiliar and discomforting situation, such as in a doctors
office. The logo plays an important role in this effort.
P LAN N I N G
Doctors can be intimidating, instruments can be intimidating, and the combination can make a standard checkup a traumatic experience for many adults, let
alone children. The planning process, also called a launch, for Dr. Uhligs new
logo design focused on comforting a very specific section of his practice: his
youngest patients. Success required equal participation from the client, Dr. Uhlig,,
as well as the design firm. The new design needed to reflect a medical professional and also needed to engage and welcome children. The team was set to
create, brief in hand.
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The design process absorbed inspiration from childrens drawings, industry
artifacts, and a variety of other inputs. Out of this, the design process homed in
on one concept: creating a smiling face with a stethoscope. The idea garnered
rave reviews from the clinic and the rest of the team. After that, colors were
chosen to convey warmth while still communicating professionalism. In the end,
primary colors were chosen to appeal to the young audience.
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Many childrens practices pepper waiting rooms with teddy bears and clowns
that distract kids momentarily but dont lend warmth to the environment at
a fundamental level. Other practices simply approach kids in the same way
they would adults. The results can feel cold, sterile, and intimidating. The new
Kinderarzt logo conveys friendliness and care in a light, unique, and clever way.
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When kids are involved, there is extra incentive to create something inspirational.
The new logo is an effort to do just that. The final logo achieves this in many
ways, becoming a popular conversation piece that the audience also uses
functionally and values aesthetically.
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The logo design inspired the rest of the project, from the kids waiting area to
a variety of other communications. Childlike energy bounced out clearly from
the patterns created from original kids drawings. The color palette was simple,
playful, and never intimidating.
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(RED)
TIME FRAME:
TWO M O NTH S
DESIGN FIRM:
WO LF F O LI N S (U SA)
(RED)
T H E C O LO R O F C O M M E R C E , E M E R G E N CY, AN D S O C IAL C O N S C I O U S N E S S
CAS E STU DI E S
I NTR O D U CTI O N
Conceptualized by Bono, (RED) is an ideaan idea that connects brands with
conscious commerce, by making the idea of doing good real and fiscally
rewarding. It provides a financial impetus for prominent brands to lend their clout
to bettering humanity.
P LAN N I N G
The design team was given the direction to create a brand that would exemplify
doing good is good business and bring to life this idea. The design needed to
entice big, powerful brands by standing apart from the myriad other organizations requesting financial support. The concept of (RED) needed to build its own
equity by borrowing from the equity of iconic brands. According to (RED)s lead
strategist, Sam Wilson, (RED) is an extraordinary union of business, people,
and ideas, a twenty-firstcentury brand that inspires individuals, drives positive
commerce, and advances the world. All profits go to the global fund to fight
AIDS, tuberculosis, and malaria in Africa.
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The direction and inspiration were set. The next task was to create a logo
design to exemplify the idea: a design that created urgency of attention and also
provided enough exposure to partner brands to interest them in joining
the cause.
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C R E AT I N G
The challenge was how to unite two brands visually. The traditional method of
bonding two brandssimply placing them side by sidedidnt seem to live up to
the aspirations of the brand. The brand needed to covet the generous partner
brands but not lose its own individual equity. Striking a balance between the two
was difficult.
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The design explorations led the team to a simple, elegant idea. Two brackets
surround the word red. When shown with a collaborative brand, the mark is
embraced to the power of (RED). Minimalist in visual and conceptual form, the
design is metaphorical. As you dig, it tells more of the brands story. Further, the
design is naturally unique. All three criteria are not just met but exemplified with
a logo design destined to become a force of economic and social inspiration.
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I M P LE M E N T I N G
If you have earned airline miles in the past twenty years, youve interacted
with a loyalty program. Designed to buy loyalty, these programs have grown
w
up to become ugly beasts, creating large corporate liabilities and disillusioned
u
cconsumers. The implementation of (RED) marks the beginning of something
new, a method of earning consumer loyalty instead of attempting to buy
n
ititearning it by proving loyalty to customers, to the Earth, to employees, and to
tthe global community.
CAS E STU DI E S
By surrounding existing brands with the (RED) brand, the implementation should
B
provide the inspiration and even provide the vehicle for leading brands to take
p
ownership of a new philosophy around earned consumer loyalty. Implemented
o
aand accepted by the marketplace, this new brand aims to breed more conscious
cconsumers.
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/// C A S E S T U DY
THE CLIENT:
F OX R I V E R S O C KS
DESIGN FIRM:
CAP S U LE (U SA)
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CAS E STU DI E S
The feeling of putting a good pair of socks on cold feet can be a special moment in someones day. The Fox River Sock Company has more than a hundred
years of experience giving customers those little moments of joy. Their socks
have gone to the moon and have reinforced many a foot fetish. Still manufactured in northern Iowa, they offer a great example of sustainable, communityfocused manufacturing that confidently defies most MBA analytics. This and
many other heroic brand stories were not being sung from the tops of mountains. That needed to change.
P LAN N I N G
The worlds first corn sock is completely sustainable and annually renewable.
To sock industry geeks, corn fiber technology was revolutionary, earth-shattering stuff. To average consumers, it was still just socks. Albeit, socks with corn
in them. The goal was to launch a product that would grab shoppers attention
and intrigue them long enough to get educated on the technologys unique
benefits. Capsule sent Fox River some homework to kick off the process.
Two weeks later, Fox River sent back the mother load. Scattered throughout
the brand history sections, tucked between fiftieth anniversaries and factory
expansions, were mentions of sock monkeys, arctic treks, Olympic games, and
space odysseys. Fox River was sitting on a gold mine. Its history was extraordinary but had gone unsung for more than a century.
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rE
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river should push the envelope. Fox
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corn socks became more than just a product. Corn socks became a verifi
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The Made with Corn insignia became a product feature identifier at retail and was
used as a fun give-away in tattoo form at tradeshows and events.
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CAS E STU DI E S
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Job No:02-01845
No:02-01845 Title:RP:Design
Title:RP:Design Matters:Packaging
Matters:Packaging
Job
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10:31
AM
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8:14:46
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/// C A S E S T U DY
THE CLIENT:
METHOD HOME
DESIGN FIRM:
Method Home
O P T I O N O F M E TH O D O R M A D N E S S , P I C K M E T H O D
CAS E STU DI E S
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P LAN N I N G
The offices of method can thank this project for contributing Dont pull a Bloq
on me to the culture and conversation. It started with a promise that method
founder Eric Ryan made to their largest client, Target. In the heat of July, he
said, Sure, we can get a body wash product on the shelves by the holiday season. That was coupled with a desire to create a package that defi es conformation by not standing up as most bottle designs would. This became one of
those stories where planning does not seem to exist, but in reality, the experience of the team serves the role of research and strategy. There isnt enough
time for thoughtful, deliberate, insightful planning; guts, brains, and experience
will need to suffice.
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Job No:02-01845
No:02-01845 Title:RP:Design
Title:RP:Design Matters:Packaging
Matters:Packaging
Job
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10:31
AM
2/27/08
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C R E AT I N G
The charge by Ryan is, I want a package that wont stand up like every standard package in every bathroom. Where do you go from there? Pebbles, of
course. Pebbles, or rather small rocks, dont stand up, but if you pile a few together, they make a nice organic display of product. As the design team developed this idea, it gained quick acceptance and even early praise as an elegant
design solution to the challenge. However, as any design process should be
iterative, this one ran into the iterative monkey known as cost to produce. The
necessary price point would likely slip right past a Target shopper. Although this
wasnt apparent until the Bloq happened, someone needed to stand up for the
price point. The result was what is now called Pulling a Bloq, as the design
director, Josh Handy, is now credited with doing.
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CAS E STU DI E S
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I M PLE M E NTI NG
With the price point within sight, the implementation deadline could now be
achieved. The team still had to produce the design, get it manufactured, filled,
shipped, and on the shelves in what most designers would consider an unrealistic deadline. The rubber met the road and product was delivered on time, and the
cool breeze at the end of this sprint relay race was product launch success both
financially and emotionally. The method culture now contained another story of
how their approach to product development works. Target had another selling
product. And the world had another story of design improving everyday lives.
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Job No:02-01845
No:02-01845 Title:RP:Design
Title:RP:Design Matters:Packaging
Matters:Packaging
Job
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10:31
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/// C A S E S T U DY
THE CLIENT:
PLUM ORGANICS
DESIGN FIRM:
Plum Organics
S Q UA R E A N D P L U M E Q UA LS Y U M M Y
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P LAN N I N G
Analysis paralysis. Weve all heard of it and some even live it on a daily basis.
Planning can be a freeway you get on and off quickly to reach your destination
faster, as well as looking smarter when you arrive. Planning can also be that
country dirt road that doesnt have a turnoff for nearly 100 kilometers. The talent
is seeing the road ahead before you enter and knowing when to use your blinker.
A robust planning process teamed with a flexible facilitator can be two positive
indicators that youre on the right road. The planning team for Brand Engine
makes a great match with Plum Organics. Both have a significant amount of
knowledge and neither was afraid to learn something new about the baby
food category. With this setup, planning for the Plum Organics line had a great
chance to deliver a brand to its destination (shelves) and to look good when it
got there (obvious).
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Job No:02-01845
No:02-01845 Title:RP:Design
Title:RP:Design Matters:Packaging
Matters:Packaging
Job
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10:31
AM
2/27/08
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C R E AT I N G
The designers explored a number of concepts with the client. They refined
a couple and arrived at something close to what you see. The result was a
package able to convey three powerful pointsthe innocence of childhood, the
comfort of something organic, and the feeling of food even adults would eat.
All this is fine and good when you look at the package and say, Yes it does
look good, beautiful, and safe. But the creative process becomes a gold mine
when the results, or rather shoppers, start showing up at the shelves.
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CAS E STU DI E S
8 8:21:38 AM
I M PLE M E NTI NG
Baby food could be seen as a tired category with a small field of typical
competitors putting out line extensions until the cows come home. The Plum
Organics line approached the category, packaging, and product development
from a beautiful angle. The result was a package and product parents would
be happy to pull off the shelf. It delivered other unexpected results when Brand
Engine discovered a significant number of adults consuming certain flavors and
not hiding the fact from the researchers.
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Job No:02-01845
No:02-01845 Title:RP:Design
Title:RP:Design Matters:Packaging
Matters:Packaging
Job
6/28/11
10:31
AM
2/27/08
7:10:21
PM
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/// C A S E S T U DY
THE CLIENT:
INEKE
DESIGN FIRM:
Ineke Perfume
P LAN N I N G
Setting a flag in the sands of time to represent a new view of perfume. Companies who specialize in the science behind olfactory sensory experiences design
most perfumes. Fashion models and celebrities are often the only brand names
on these perfumes. The connection between the designer of the perfume and
the consumer is lost. The new Ineke perfume was designed without a model,
fashion brand, or other diva in mind. It was designed with the consumer in mind.
The package design needed to reflect this while still capturing the elegance
and exclusivity most often attached to the diva with the big name.
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T H E S C E N T O F ST Y L E A N D E L E G AN C E
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Job No:02-01845
No:02-01845 Title:RP:Design
Title:RP:Design Matters:Packaging
Matters:Packaging
Job
6/28/11
10:31
AM
2/27/08
7:11:02
PM
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PM
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C R E AT I N G
Starting with both the visual and written language of the brand, Helena Seo
walked the Ineke team through a process of listing words and collecting images.
These were used to build the feeling around the perfumes story. Then individual
packages were designed to help further visualize the story. After the exterior carton was done, the bottle followed suit within the design language created. There
were challenges when it came to finding stock photography that would convey
the right message and then having to jump to original photography to get the
right feel. The design eventually came together like a three-dimensional puzzle.
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CAS E STU DI E S
8 7:11:03 PM
I M PLE M E NTI NG
With an exhaustive knowledge of packaging materials (glass etching, metal
engraving, woven labels, etc), Ineke was able to collaboratively pull together
and deliver a stunning package for perfume. The lack of a model, diva, or
superstar goes unnoticed after the consumer is able to connect with the scent
and make it part of her life.
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Job No:02-01845
No:02-01845 Title:RP:Design
Title:RP:Design Matters:Packaging
Matters:Packaging
Job
6/28/11
10:31
AM
2/27/08
7:11:08
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/// C A S E S T U DY
THE CLIENT:
LUXELAB
DESIGN FIRM:
D U STI N AR N O LD (U SA)
LuxeLab Blonde-Aid
CAS E STU DI E S
S M A RT E R T H A N TH E AV E RAG E B LO N D E
Do blondes really have more fun? If so, do they need more help being blonde?
This brand identified an unmet need that any brunette would turn up a nose
to: helping blondes care for their specific hair color. If there was a need to give
blondes a greater advantage, this product was formulated to service that need.
The package design had to gracefully convey the help the product was offering
this underserved segment.
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P LAN N I N G
Planning for such a product required significant scientific discovery and experimentation before a package could even be considered. Then, after dedicating
so much time to the product, the package couldnt go unnoticed. It would be
like cutting off your nose to spite your face: great product, hideous package.
The planning included research from LuxeLabs team as well as anything the
designer could find in secondary markets. Once the product formulation was
complete and a brand strategy was clear, the creative process could begin.
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Job No:02-01845
No:02-01845 Title:RP:Design
Title:RP:Design Matters:Packaging
Matters:Packaging
Job
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C R E AT I N G
Creating something to safely treat hair has many metaphors that work to tell
the story. The designer chose to focus on medicinal metaphors surrounding the
Red Cross; medical cleanliness; and elegant, simple shapes. The result, after
many concepts and many more refinements, was a package design that feels
healthy, blonde, and medical.
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IMPLEMENTING
Getting a product to the shelf can involve a series of potholes on the long road
to market. Although there are plenty of reasons for why blondes dont really
need additional caring for their hair, this product has a interesting angle with
its focus on blondes. And launching LuxeLab in Southern California, a market
bubbling over with candidates, is a whip smart strategy. And in case youre
wondering, the product works for converted blondes, toowe asked.
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No:02-01845 Title:RP:Design
Title:RP:Design Matters:Packaging
Matters:Packaging
Job
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/// C A S E S T U DY
THE CLIENT:
O LD NAS S UA I M P O RTS
DESIGN FIRM:
CAP S U LE (U SA)
CAS E STU DI E S
From distant lands we bring liquids to markets where everyone can enjoy the
fruits and grains of labor. Vodka is made from many ingredients, but the distillation and filtration process is really what distinguishes one product from another.
That is, until a brand name, identity, and package are created to announce from
the tallest point in Slovakia, We are not like all the others. Old Nassau Imports
sought to create a vodka product and brand with enough confidence to boast
from any mountain top.
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P LAN N I N G
Taking a swim in the marketplace for vodka may seem like an adventure
worth taking, but it becomes real work when youve seen your hundredth spirit
bottle. The planning process for the team at Old Nassau Imports and Capsule
included enough secondary and qualitative research to make an MBA proud.
The use of visual language boards helped coalesce the brand language and
inspire the rest of the creative process. The result was exactly what planning
should accomplish: a better understanding of the risks and rewards, along with
a pathway to navigate around the risks.
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Job No:02-01845
No:02-01845 Title:RP:Design
Title:RP:Design Matters:Packaging
Matters:Packaging
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CAS E STU DI E S
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C R E AT I N G
Starting with pencil sketches, images of perfume bottles, and mountaintop
photos of Slovakia, the creative process had all the right inspiration. The
concepts were taken to three-dimensional renderings at an early stage so Old
Nassau Imports could take home a short movie and look at the presence of
each bottle concept. Early decisions on bottle shape and structure led to innovative cap ideas and a variety of other fundamental bottle design elements.
Then graphics were applied to the bottle, taking what was a twenty-fi fth-century bottle design back a hundred years to incorporate the heritage of Slovakian
culture. The result is a bottle that not only blends old and new but also creates
the starkest contrast between those two worlds. This contrast conveys the
idea of Double Cross in graphic and dimensional form. The bottle becomes the
brand and the brand becomes the bottle.
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8 7:13:18 PM
I M PLE M E NTI NG
Try telling your dream to someone the next morning and sometimes youre met
with a curious frown. Putting the concept in front of manufacturers charged
with producing the bottle, you could feel the frowns through the conference
call. When challenged, the bottle suppliers who could see beyond the constraints and make this dream a reality were the same ones who landed the
implementation contract. The process of refinements, implementation, and
getting the bottle to the shelf requires truckloads of patience and persistence.
Fortunately for everyone, the entire team had plenty of both.
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No:02-01845 Title:RP:Design
Title:RP:Design Matters:Packaging
Matters:Packaging
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/// C A S E S T U DY
THE CLIENT:
O UTS ET
DESIGN FIRM:
O UTS ET D E S I G N (U SA)
Outset Chillware
C O O L E N O U G H TO C H I L L I N
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P LAN N I N G
Love method? Looking for the same passion for design with your grilling utensils and accessories? Hello, Outset. Planning for design in Outset has many of
the same organic methods and practices. When it comes to a new product, as
the idea develops, it becomes clear where the product will fit in the portfolio,
market, and within consumer grilling experiences. It doesnt mean there are
months spent on focus groups, surveys, or other massive quantitative research
projects. It does mean, however, that strategy is mapped out based on the
teams current knowledge, assumptions are made, and the brand vision comes
to life in how the product and package are designed.
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D E S I G N M AT T E R S / / PAC K A G I N G 0 1
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C R E AT I N G
The design process for the Outset team included concept work and rigorous
education around what would make a great package design. The packaging
design process can sometimes be crushed by a timeline closer to what it takes
to cook a hot dog than what it should take to design a package. When faced
with this kind of deadline, the Outset design team was able to adapt and still
produce a design balancing form and function.
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Title:RP:Design Matters:Packaging
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Because the event was being held on a cruise ship, the design team at Fusion
Hill decided to incorporate a nautical theme into their promotional piecea
stainless steel tin of mints. They also wanted to give away something small
enough to fit in a pocket, useful enough to keep and use over time, and clever
enough to be memorable.
We also thought of other candies such as gum and chocolates, but again, the
mints seemed most useful and the tins would be recognizable as such, then
leaving the little portfolio inside as the surprise, Hatzung says. We found a lot
of different-size tins, but we needed it to be able to house a business card and
our portfolio, fit candies, and match other materials we were creating for our
portfolio. Also, the portfolio inside had to be big enough to show our capabilities
and samples of our work but just be a teaser.
While the Fusion Hill team discovered a lot of vendors that will print on a tin or
personalize the tins and provide the mints for you, they simply werent satisfied
with what they found. The printing samples we found were really subpar for a
four-color image, Hatzung says.
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Recipients were treated to a surprise when they opened the mintsa tiny
accordion-folded portfolio with multiple panels that highlighted the key categories of work and industries that Fusion Hill serves, including financial, health
care, consumer packaged goods, and women.
Fusion Hill had multiple renditions of the labelall fitting within a certain style.
We were looking for place-based imagery that was fresh, used our colors,
but wasnt too wintry as we were sending/handing these out in early spring,
Hatzung says.
At one point in the preliminary design process, the labels featured a moose in
the distance. But it felt a little too kitschy and not quite us, Hatzung explains.
We did keep the idea of the winds of change with the cloud blowing. We really
wanted this tin to look like a product and not just a branded Fusion Hill mint tin,
so we gave it lots of personality.
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They branded the product Wave Makersthe double entendre plays off being
out at sea and the idea that Fusion Hill could deliver change and impact for
those ready for a new perspective. Of those attending, Fusion Hill was the
only firm from Minnesota, so they wanted to play on that a bitpoking fun at
themselves and their frosty climate.
cAS E STu DI E S
Fusion Hill also chose a tin with an aluminum finish to match an oversize tin that
they sent as a follow-up to prospects with their full-size portfolio included inside.
We also needed to make sure that the mints were protected from the portfolio
and for it not to feel tampered withso we included a vellum wrap that covered
the mints and added a layer between the portfolio and a business card we inserted. We then closed the tin with a clear wafer seal, Hatzung says. Our team
wore hairnets and latex gloves and put all the mint tins together in assembly-line
fashion at our office.
The mints are wrapped with a little frosted vellum that says dive in, and once
youve depleted the contents and reached the bottom, there is a message that
says hungry for more? with Fusion Hills contact information.
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A first wave of forty tins was handed out in person at the networking event. An
additional 350 tins were mailed out to prospects and clients. Fusion Hill made
a version for clients with customized messaging. The mailer included a clear
pouch with the tins floating inside (for visual effect and protection).
We love the personality of the artwork that uses our corporate blue and strong
elements like the waves and the name Wave Makers, Hatzung says. We like
how the whole approach sets us apart from the competition and being new
on the scene (for this event), heralds our location and then takes the time to
introduce who we are with quick snippets and examples. We packed everything
we wanted into a tiny little presentation.
Sending out the second wave of their portfolio to clients and prospects after
the first event also proved to be very beneficial. Because we werent handing
them out personally, we needed a unique method of transport. Our mission is
always impeccable and creative presentation and packaging, Hatzung says.
We took what is a heavy-looking little tin and made it look light as air by fugitive
gluing it inside a clear pillow pack. It just floated inside that pack with nothing
but clear air around it.
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because any printing and packaging we found from vendors was such low
quality, we had our own labels printed on a durable, sticky substrate that could
withstand the bumps we knew it would encounter in pockets and purses and
still look great, hatzung says.
The total run with both versions was 650 quantity, and costs for production and
supplies (printing of labels, inserts, mints, and assembly) was $1,650 (1008),
with an additional $500 (305) for postage. This was one of our least expensive mailers by far, hatzung says. our holiday mailings in past years have been
closer to $10 (6) with a similar quantity.
The overall response to the tins was very positivein fact, many recipients
requested more. They were also a great conversation starter for follow-up phone
callspeople remembered receiving them and easily recalled the design firm.
when we handed them out, people of course just thought we were giving them
mints, hatzung says. wed tell them there was a tiny portfolio inside, and they
would look at us with surprise and start guessing what it might look like or what
form it was in, and theyd just have to open them up right there. To us the idea of
a portfolio and a giveaway was just the criteria of doing it at all, but people just
loved it and thought it was so unique. i think the quality of the finishes, printing,
layering, candies, and messages made it really stand out from other standard
giveaways we saw. The ability to package so much punch and personality in
such a small vehicle proved ingenious.
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The mailing label and stamp all fit on a 2 3.75-inch (5 9 cm) label that was
adhered to the pillow pack on the back of the label so that as you looked at the
package from the front you didnt see any of the mailing clutter.
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C R E AT I N G
The firms core portfolio was initially bound by metal rivets, so pages could easily
be removed and replaced when appropriate. Since the metal scratched the
brochures stacked above and below, the firm substituted white plastic rivets for
the second piece in Larsens promotional literature seriesthe ID brochure.
This second component was developed based on a lesson learned: It is difficult
to show a single identity design alone; identities are best displayed in quantity,
Larsen says. With a compendium brochure, Larsen can demonstrate their
breadth of visual solutions for identities and give the client a chance to consider
a variety of directions. And since Larsen identifies itself as a consulting office,
not a style office, a compendium exhibits a diversity of approaches executed by
the firms sixteen graphic designers.
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One would expect a general capabilities piece to be the first brochure Larsen
might develop. With our clients, its easier to demonstrate print collateral by
showing actual finished samples, Larsen says. They exemplify the quality of
design, printing, paper, and texture for which Larsen is known. By the same
token, we are better able to show our interactive design capabilities by directing
prospects to URLs weve designed and developed. Therefore, the two easiest
areas to promoteprint and interactivehave been the last to be solved through
printed literature.
Larsen created the What Sells retail brochure to distribute during the recent
recessionary economy. It cuts to the message and demonstrates that we have
the ability to help corporations and marketing managers drive revenue to the
top and bottom line, Larsen says. Its brightly colored cover with large type and
all full-page photos is a departure from the rest of the promotional literature
system, primarily because B2C requires a more assertive approach than B2B.
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each component within larsens portfolio arsenal has been designed by a different larsen designer, with larsen serving as creative director in every case.
With its extensive portfolio of identity
designs, Larsen built a card deck that could
include all or some of the exemplary work
based on what a client wants to see
and bound together by a rivet.
p o r t f o li o s
The current literature system printing cost is about $18 to $20 (11 to 12)
apiece based on digital, short-run (250 pieces) printing. The unit cost of previous
years examples was $8 to $10 (5 to 6) each, but when printed in quantities
of thousands, larsen couldnt use the brochures in a timely manner and the
featured work became dated.
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larsens printed brochures are primarily given to serious prospects and clients
with whom they anticipate working. in the past, we may have sent brochures to
an extensive prospect list due to its low cost, but now that we print fewer pieces
and they cost more per item, we are fairly selective as to who receives them,
larsen says. we occasionally send literature to a short list of companies in a
particular industry we want to pursue, or send individual targeted packages that
address news about a company that fits with our experience.
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High-quality photography has always been a crucial element to the design (from
signage to packaging to print), so Larsen has budgeted for it every year and
art-directed professional studio photographers. They are then able to use these
images in their Web portfolio, for case studies, and for archival purposes.
Another major decision was choosing the paper and binding method of the
brochures, as Larsen wants to display top-quality materials and methods. Our
binding system has evolved from PVC to spiral to perfect binding, and more
recently rivets in metal, then plastic, Larsen says. Today, we are utilizing a
match-cover style of stitching the book and folding over the cover to hide
the stitches.
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The goal of our promotional literature is to gain new business and referrals
from existing clients, past clients, recommenders, partners, and prospects,
Larsen says. The purpose of the literature has been to exhibit our client work
rather than be a statement about design itself. In many ways, we have taken
our cues for the layout of the pieces from publications like Communication Arts
and Graphis. As the viewer flips though the brochure, it has a design annual
feelclean, straightforward images and minimal text. This familiar format makes
it comfortable to view the work. As a result, the pieces came together easily and
quickly in terms of the design process.
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It goes without saying that every printed piece Larsen produces includes their
URL so the prospect or client can locate the firms online presence to quickly
assess their abilities and access their contact information.
An informal survey indicates people appreciate the books, which offer a chance
to look at Larsens work in depth at their leisure, and as a resource when
projects arise, Larsen says. The brochures are viewed as gifts rather than
promotions because they make good reference tools that demonstrate excellence in design.
To
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With the advent of the Web came significant change, however. For many
clients, printed pieces have become a supplement, and in some cases are not
necessary when they can see our portfolio online, Larsen says. Nonetheless,
its reassuring to have a leave-behind or a tangible item to mail in order to elicit
a meeting. Additionally, the demographics of the final decision maker often
require a variety of media for up-channel selling.
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o lo g i e ( U S A )
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Cohesiveness. Its an important element in many facets of life. Interior designers
embrace it. Sports team managers strive for it. Medical specialists would be lost
without it. It creates a symbiotic relationship among people or elements that
defines who they are and what they do. And when an individual or firm is looking
to promote themselves, creating a cohesive design for their portfolio materials is
paramount. Just ask Ologie, a Brooklyn-based design firm that strives to provide
a consistent message in who they are and what they do.
When determining how to categorize our portfolio system, we separated the big
buckets of information clients wanted to know, says Beverly Bethge, partner
at Ologie. We looked at how businesses talk about themselves and make
themselves more digestible, so we divided our portfolio contents into three
distinct categories:
Skill Set: What we do
Get Set: How we do it; our approach
Mind Set: How we think about it, our point of view.
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Skill Set outlines exactly what Ologie does, without any jargon. When you have
key people in the business who have been at it for more than twenty years,
theres a certain point of view and confidence that you cant change even if you
wanted to, Bethge says. Its how you go to work every day. If you put it out
there and are honest with clients, they respond to it.
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The Ologie team wanted these pieces to look beautiful and make perfect sense
to the userbecause thats an Ologie-like experience. They also know that size
matters, so the pieces are interesting sizes.
Also, in an age where every presentation is digital, Ologie still believes in leaving
something tactile behind. People like to hold something thats real, Bethge
says. We believe it makes everything more tangible. And more credible.
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C R E ATI N G
A huge part of the Ologie experience is about simplificationwhich is very
different from being simplistic. We simplify big, chaotic messes, Bethge says.
A lot of firms say that, but we deliver it. And our space and our collateral
communicate that immediately.
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Ologies introductory pieces are given to prospective clients, visitors, partners,
vendors, presentation attendeesmany different audiences. But as the Ologie
team gets to know prospective clients, and better understand their needs,
they put together more customized presentations that feature case studies of
situations similar to theirs.
Clients are always fascinated by the vinyl folder with the orange Os all over it,
Bethge says. One client even requested something similar for their brand.
Bethge notes that advisors are always telling Ologie to specialize in a single
industry. We think thats boring. And besides, you learn so much from one
industry that you can apply to another. For example, were constantly using retail
tactics in financial services, she explains.
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Whenever you look back on everything, youre bound to find something you
want to change, Bethge says. But as we look through these pieces, they still
reflect exactly who we are. And we couldnt be prouder of that.
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But Ologies prospects and clients always ask, How much experience do you
have in my industry? So they put together a set of magazines to send out to
current and prospective clients to show their expertise in specific categories,
such as B2B, financial services, nonprofit, and higher education. The magazines
share our design and photography capabilities through the layout of the pieces,
but really highlight case studies through a feature-story approach, Bethge says.
The magazines quickly deliver Ologies perspective and experience with the
industry. Ologie has only made one round of minor edits to two of the pieces
within their portfolio system, developed three years ago.
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DESIGN FIRM:
I n T e r e u r o P e C o m m u n I C aT I o n S G r o u P
(ICG, unITed KInGdom)
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From design and public relations to advertising and new media, Intereurope
Communications Group (ICG) is a one-stop shop for clients who are passionate about strategy, design, and getting their message out there.
P L an n I n G
As part of its new-business drive, ICG has historically sent out various brochures
to businesses to gain account wins. However, through follow-up calls we
discovered that our brochures were not gaining the attention of decision
makers, says Simon Couchman, creative director at ICG. Simply asking do
you remember the blue brochure? wasnt working, as marketing managers
receive so much material from agencies. In addition, ICGs online presence was
weak, with little content. They needed a new system that stood out from other
agencies, yet wasnt so overdesigned that it weakened the creative work they
were trying to show.
Through initial research, we recognized that despite designers opting to present
their company portfolios using the latest fashionable typefaces, special inks,
and finishes, they were inadvertently distilling the actual work they were trying
to present, Couchman says. We therefore identified that we needed a system
that was very clean and graphic, retained a strong identity, and at the same time
didnt dominate the work we deliver to clients.
ICGs second step was to focus on the services that they offer and wanted to
promote. They included their four distinctive servicesgraphic design, public
relations, new media, and advertisingall under the umbrella of one company.
We therefore retained our existing corporate logo, but muted the colors to a
single warm gray, and typographically we chose a classic: Helvetica Neue.
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C R E AT I N G
To support and reflect the individual services, ICG introduced a set of four
brightly colored stripes, which were assigned to each service. This reflected our
position as an integrated full-service agency and at the same time defined the
individual services that we provide, Couchman says.
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To support this striking appearance, they also started to include a device in their
mailings to help people remember the portfolio items they sent out. Currently, its
a lollipop made from Blackpool Rock, a type of rock candy made in Blackpool,
England. The lollipop features the ICG stripes, reflecting their location close to
Blackpool itself. In addition, a sticker on the lollipop states: Our rates take some
licking which gives readers an immediate insight into ICGs cost structure.
Once the core corporate brochure was agreed and developed, we then
transferred the look, feel, and selected content to other promotional devices,
such as our websites, Couchman says.
ICG initially considered the implementation process from a commercial
perspective, asking themselves, What do we want to sell to the marketplace?
What messages do we want to convey to potential clients? and How do we
effectively present this information?
We looked at a lot of agencies promotional material, as well as our current brochures, and reviewed what we liked and didnt like, Couchman says. Our house
style is generally colorful, clean, uncluttered designs that communicate clearly
and effectively, so we looked at using an uncluttered graphical treatment.
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ICG also wanted to reflect their strategic approach and included many of the
services they offer. They chose case studies with a range of strategic commercial and communication objectives, such as increasing sales. These examples
would interest marketing managers and company directors.
We presented the case studies uniformly, so that from both a copy and visual
perspective they clearly explained the project or campaign challengesas well
as the creative solutions and results, Couchman says. These creative solutions
were illustrated by a mix of studio-shot photography and flat spreads.
Each
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Influences included Farrows designs for the Pet Shop Boys Introspective album,
and the Penguin book covers of the 60s. The stripes answered our requirements, Couchman says. Once the idea was there, it was hard to shake. We
experimented with various colors and chose a vibrant selection that would stand
out on peoples desks and yet would work in harmony.
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I M P l E M E NT I N G
ICGs portfolio consists of a twenty-page, large-format case study brochure
titled The ICG Bumper Book of Client Case Studies and sixteen-page
pocket-size guidebooks to the firms various individual services, as well as
an activity-review mini brochure. The portfolio theme is carried out through
additional promotional pieces, including a twenty-four-page public relations case
study brochure, The ICG Little Black Book of Public Relations and Copywriting,
specially manufactured holiday gifts, two blogs, and two websites.
The initial design process, including the design of the main brochure, took about
a month to complete. ICG continues to update case studies and other components on a regular basis to keep materials freshparticularly on the websites
and blogs.
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ICG
is an award-winning full-service
agency, offering clients four distinctive
services, including graphic design, public
relations, new media, and advertising. To
promote these separate disciplines, the firm
devised a set of four brightly colored stripes
and assigned each service its own color
(for example, orange for graphic design).
The branding is simple yet effective and
has been rolled out across all elements of
ICGs promotional materialfrom stationery,
business cards, and website to corporate
brochures and their annual highlights
books. It is also included on a number of
promotional items, including mugs, scarves,
lollipops, and even the firms interior office
dcor. The simplicity of the vibrant stripes
ensures consistency and creates a core
brand for the agency without having to
overdesign their own material.
The system has evolved over the last twelve months, and as the stripes are
becoming more recognized, we are able to have fun pushing what we do with
them a little more, Couchman says. We had a client arrive for a meeting in the
striped hat and scarf we sent out as a Christmas gift this winter. Shes hoping
we do gloves next.
ICGs in-house capabilities allow the firm to self-publish some of their mini
guides when they need to communicate with potential clients. For example, we
have just sent out a small guide that talks about marketing during a recession,
Couchman says. These enable us to responsively communicate current issues
and reflect our understanding of the challenges that companies face.
All of ICGs materials have had to be extremely cost-effective, so where possible, the ICG team undertakes work themselves, including the website build, all
photography, and digital printing of the mini guides.
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ICG also found a great supplier of the hats and scarves. The supplier can source
wool in the exact colors in the system, and can produce them as ICG needs
them. Our lollipops were specially made by a local manufacturer, who even let
us select our own flavor, Couchman says.
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Our strong relationships with printers enables us to have the main brochure
litho-printed at a good cost, Couchman says. We generally print around 2,000
copies of the main brochure at a time, with updates to the case studies when
we reprint.
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DESIGN FIRM:
C a C a o D e s i g n ( i ta ly )
cAS E STu DI E S
design
Multidimensional Portfolio Design
founded in
by 2004
Masa by
Magnoni,
alessandro
floridia, and
Mauro
Cacao
Founded
Masa Magnoni,
Alessandro
Floridia,
andpastore,
Mauro Pastore,
designDesign
strives strives
to satisfy
clients
integrated
communication
needs. needs.
working
Cacao
to their
satisfy
their clients
integrated
communication
with clients
myriad aofmyriad
industries,
Cacao design
in corporate
Working
withacross
clientsa across
of industries,
Cacaospecializes
Design specializes
in
identity and
web design.
corporate
identity
and Web design.
The nonconventional brochure is an object to play with while turning over the
pastore, cofounder and creative director at Cacao Design.
design.
pages, says Mauro Pastore,
This is what we always try to do when we work on our clients brochures:
our brochure
change classic printed pieces of paper into designed objects. Our
incites an emotional response and displays the real substance of our creativity
and work approach, which is to come up with unexpected solutions that speak
enjoy your brand!
directly to the clients heart. Enjoy
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P lan n i n g
italian designclothing, art, textiles, and architecturehas long been celebrated
Italian
as the epitome of high-end design. Clean lines, impeccable materials, and
italian design elements some of the
awe-inspiring artistic renderings make Italian
most sought after in the world. The same can be said for the portfolio brochure
design. Based
based in Milan, Italy,
italy, Cacao Design
design has created a
produced by Cacao Design.
unique piece of art in their firms recent portfolio.
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Initially, the Cacao Design team fell in love with another idea: a small-size
brochure that, when closed, was about the size of a deck of playing cards with
full-page photos of their work inside. This precious little pit was placed inside
a big seed that reproduces our logo in 3-D, revealing the concept: cacao seed,
fruit of desire, synonymous with savor and passion, Pastore says.
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DESIGN FIRM:
N aT i o N a l F o r e S T D e S i g N ( U S a )
cAS E STu DI E S
P laN N i N g
What do you get when you cross high-end creative projects for such clients as
Nike and Urban Outfitters with exceptional photography and illustrative copy?
An outstanding portfolio for National Forest Design in Glendale, California, an
award-winning, full-service creative think tank with an expertise in execution.
We create visual languages that can last a season or a lifetime, says Justin
Krietenmeyer, art director at National Forest.
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The National Forest book is for our clients and prospective clients, to demonstrate our capabilities as a design firm, Krietenmeyer says. The design rationale
is fairly straightforward. We have a small introduction discussing our thoughts
as a design studio and its responsibilities within the world of art, marketing, and
design.
The book then goes into three case studies of larger projects the firm has
worked on with Nike, Element Skateboards, and Urban Outfitters. After the case
studies, the book includes a handful of other projects that showcase National
Forests capabilities.
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C R E ATI N G
National Forest created a portfolio book that clearly illustrates specific projects,
approaches, and results featuring a variety of design styles. The ninety-page,
perfect-bound portfolio book with a heavyweight bond paper dust jacket features three case studies and a handful of projects the firm recently completed.
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i M P le M e nt i n G
our concepts and executions book is sent out regularly to new and potential
clients, krietenmeyer says. in the book you will find a range of creative projects
from an urban outfitters catalog, to a mural at rudys barbershop in downtown
los angeles, to a variety of action sports gear and apparel.
D e s i g n M at t e r s / / ca s e s t u D i e s
p o r t f o li o s
in addition to their portfolio book, they created a demolition derby car as an art
and marketing experiment. we decided it would be interesting to purchase a
car, paint it, and enter it in the demolition derby that takes place in irwindale,
California, krietenmeyer explains. Their race team, the west Coast rippers,
ultimately raced the car and lost.
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Every five years or so, National Forest updates their portfolio components. As
we have only made this one book, I am not sure what we will do next time
probably more of a printed art piece than a catalog of client projects, he says.
The books have been received well. It is hard to tell what actually brings in the
work, but we have been busy and steadily growing as a firm.
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We made posters, T-shirts, and pit passes. We bought a block of tickets and
invited more than 150 friends, family, and clients to come see the carnage. We
liked the idea of creating a somewhat serious collateral package for such a
wacky event, he says. It was a fun time, even though our car lost very early on.
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D E S I G N M AT T E R S / / B R O C H U R E S 0 1
PLANNING
DESIGN BASICS
B U D G E T C O N S I D E R AT I O N S
P R A C T I C A L M AT T E R S
Do you have so many deadlines that youre starting to feel like a hamster running on a wheel? Try a few of these ideas to
keep the needle on your creative gauge pointing toward full.
1. TAK E A F O R T Y- E I G H T- H O U R C O M P UT E R VACATI O N .
No email. No Google. No one last peek at that brochure you need to
present to the client on Monday morning.
2. T RY M E D I TAT I O N.
Filmmaker David Lynch swears his daily practice is crucial to all his
creative work.
3. LE AR N S O M E T H I N G N E W T H AT I S N T D I R E CT LY
R E LAT E D TO YO U R J O B.
Sign up for a fencing class or master the art of baking puff pastries.
4. F I N D A M E NTO R T H E Y R E N OT J U ST F O R ST U D E N TS.
Look for someone whose work you admire or who simply excels in a
single area where youd like to expand your skills.
5. C H AN G E T H E S C E N E RY.
When you feel stuck, pack up your laptop and head to the park or the
corner coffee shop. An environmental shift might be enough to shake
things loose.
6. F O R M A S K E TC H I N G H AB I T.
Buy a small notebook and tuck it in your bag. Then use lifes spare
momentsstanding in line at the DMV or sitting in gridlock traffic
to draw whats around you.
7. S ET A TH I RTY-DAY C R EATIVE C HALLE N G E FO R YO U R S E LF.
F.
Maybe its coming up with four concepts for every project that crosses
your desk this month instead of three. Or temporarily giving up your
blog habit and spending the found time designing a poster a week.
8. P R E T E N D YO U R E N OT A G R AP H I C D E S I G N E R.
How would a carpenter handle a difficult client? What would a lawyer do
if he or she were snowed under with deadlines? Look for approaches
and best practices to adopt from other business arenas.
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12. D I TC H T H E M U S E U M AN D S P E N D S O M E T I M E
AP P R E C I AT I N G C H I LD R E N S AR T WO R K.
The paintings hanging on the wall at your nieces grade school might
offer more imaginative ideas than revisiting the Old Masters.
14. B R U S H U P O N PAP E R AN D P R I NT I N G T E C H N I Q U E S.
When the right project arises, these can become innovative tools for
communicating a concept.
P R A C T I C A L M AT T E R S
13. K E E P A F O U N D O BJ E CT C O LLE CT I O N.
Stuff anything that catches your eyefrom the type on a takeout menu
to the hierarchy on a piece of junk mailinto a box or file drawer. Then
pull them back out when youre in brainstorming mode.
B U D G E T C O N S I D E R AT I O N S
11. S E AR C H O UT O LD B O O KS AN D M AG A Z I N E S AT A N TI Q U E
O R J U N K S H O P S.
Those ads and layouts might shake loose some fresh ideas.
DESIGN BASICS
10. P LAY B E AT T H E C LO C K.
Is your motivation flagging at 3:00
? Set an egg timer for thirty or
sixty minutes and challenge yourself to get as much done as possible.
You can always revise this fast-paced work later.
PLANNING
1 5. G O O N A FACT-F I N D I N G M I S S I O N.
Working on a brochure for an unfamiliar industry? Take the time to read
up on widget-making or mortgage insurance. You might stumble on
some context or history that illuminates the problem at hand.
16. R E V I E W PAST P R OJ E CTS F O R T H E S AM E C LI E NT.
Did you miss any opportunities to articulate the message? Can those be
rolled forward into this piece?
17. STO P B E I N G S O S E R I O U S.
Take fifteen minutes and intentionally come up with ridiculous concepts
for the project sitting on your desk. You might stumble on something
useful. Youll definitely relieve some pressure.
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9. F I N D A G OAL B U D DY.
Check in with each other once a week about your creative aspirations
and how youre going to achieve them. It adds accountability when
those personal goals start slipping to the bottom of your to-do list.
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P R A C T I C A L M AT T E R S
B U D G E T C O N S I D E R AT I O N S
DESIGN BASICS
PLANNING
DE
eS
s Ii G
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n M AT
at T
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eR
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s // B
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Y Hi n
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E iSr i0n1g i D e a s
18. G E T U P AN D M OV E AR O U N D.
Spend ten minutes away from the computer screen. Walk around the
block, dust off your bookshelves, or go make silly faces at the account
reps. A little physical activity might give your subconscious a chance to
brew up some creative solutions.
19. AS K F O R ADV I C E .
Whether you describe your problem to your cube neighbor or your
mom, youre likely to get a fresh perspective. Just putting the creative
dilemma into words might give rise to a few ideas.
20. D R AW S O M E T H I N G F I F T Y T I M E S .
Pick any objectfrom the stapler on your desk to your catand draw it
fifty times. No fair giving up halfway through. Youll force yourself to look
past the obvious and stretch your idea-generating capacity.
21. B OAR D G AM E S ANYO N E ?
Stash board games at the office and break them out on slow days or
when the brain drain hits on Friday afternoon. An hour of fun promotes
bonding and helps put you back in touch with your sense of wonder.
22. G O S H O P P I N G!
Grab a fellow designer and go on a retail tour. Look for stores you dont
normally shop at and take a close look at everything from hang tags
and packaging to environmental graphics. Who do you think frequents
this store? Do these people overlap with the target market for any of
the projects sitting on your desk?
23. WO R D E X E R C I S E S.
Write 100 words about the project youre working on as fast as humanly
possible. Look back at these unedited thoughts and see whether theres
a key point to pull out and build on.
24. E X P E R I M E NT W I T H D I F F E R E NT S O F T WAR E .
Always work in Illustrator? Pop open InDesign for your next brochure.
Want a real challenge? See how much fancy footwork you can do with a
nondesign program like Microsoft Word.
25. B UY N EW S C H O O L S U P P LI E S.
Remember what a rush it was to pick out a new Trapper Keeper?
Update your desk with some fun new basics. Spring for the fancy pens
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29. WR I T E YO U R D R E AM P R O F E S S I O NAL B I O.
Then work backward to see what you need to do right now to put
yourself on the path to making it come true.
P R A C T I C A L M AT T E R S
30. WR I T E A LE T T E R TO YO U R C R E AT I V E H E R O LI V I N G
O R D E AD.
In the letter, outline what you find so inspiring about his or her work.
You might just get back in touch with what made you so excited about
design in the first place.
B U D G E T C O N S I D E R AT I O N S
28. R E AR R AN G E YO U R O F F I C E .
Or if thats not possible, simply reorganize the things on and in your
desk. A slight change in environment can give you a creative boost.
DESIGN BASICS
PLANNING
31. P U LL O UT YO U R S E N I O R P O R T F O LI O F R O M C O L L E G E.
Seeing where you startedand how far youve comecan be a powerful
experience.
32. M AK E A C H AN G E I N YO U R DAI LY R O UT I N E .
Leave the car at home next week while you take the bus or eat lunch
at a hole-in-the-wall diner instead of at your desk. Breaking up your
routine may introduce new influences into your life.
33. LO G O F F T H E I NT E R N E T AN D H E AD F O R T H E
B R I C KS - AN D- M O R TAR LI B R ARY.
Peruse the stacks and flip through the books at random. Find a
comfy chair and split your time between reading and observing your
fellow patrons.
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P R A C T I C A L M AT T E R S
B U D G E T C O N S I D E R AT I O N S
DESIGN BASICS
PLANNING
DE
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s Ii G
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43. H I R E A C R E AT I V I T Y C OAC H .
Even if youre not in a rut, they can help you clarify your goals and push
you to the next level.
46. F E E LI N G LU C KY?
Enter a few key words related to your project into the Google search
box and hit the Im feeling lucky button.
48. D O N T LO O K AT T H E C LO C K.
Stop paying attention to how much time its taking you to come up with
an idea or work out some rough spots in a design. Cover up the clocks
and focus on the workignoring those deadline constraints for a bit.
50. U S E S O M E T H I N G F O R A P U R P O S E OT H E R T H AN
WH AT WAS I NT E N D E D.
Draw pictures on your white tennis shoes. Create letters with chopsticks
or paper clips.
De s ig n D
MEat
/ / TfEi fRtSY/i/nBsRpO
i rCiH
nU
gRiEDSe a0s
S ItGeNr sM AT
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49. F LI P O P E N A N OV E L I N T H E M I D D LE AN D R E AD O N LY
T H O S E T WO PAG E S .
Then guess the main plot of the book and make predictions about
whats going to happen to those characters. What kind of clothes do
they wear? Where do they live? What kind of furniture do they have?
Give your invention skills a workout.
P R A C T I C A L M AT T E R S
47. STAR T OV E R .
Throw away your best idea and make yourself start the brainstorming
process over. You might be surprised at what else you come up with.
B U D G E T C O N S I D E R AT I O N S
DESIGN BASICS
44. T E AC H A C LAS S .
Even if its not related to design, youll practice explaining concepts in a
way thats clear and invitinga skill to brush up on for client.
PLANNING
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Take another look at the pencil cup on your desk. Empty it out. Turn it
upside down. Look inside. Challenge yourself to discover something
new about one of these humdrum items.
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De
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IButors
besTow on oThers is a good
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2FR ESH
B E R G M A N A S S O C I AT E S
CC G RAPH IC DESIG N
usa
www.bergassociates.com
usa
www.ccgraphicdesignstudio.com
2 H ATS D E S I G N
B LO K D E S I G N
C D I STU D I O S
usa
Mexico
www.blokdesign.com
usa
www.cdistudios.com
germany
B O H N SAC K D E S I G N
C E M S TO N E P R O D U C TS
C O M PA N Y
1 977 D E S I G N
usa
www.bohnsackdesign.com
uk
www.19-77.com
B - O N C R E AT I V E
south korea
CHANGZ H I LE E
B RAN D E NG I N E
singapore
www.leechangzhi.com
usa
www.brandengine.com
usa
www.chargedesign.com
portugal
www.brandcentral.com
C I N C I N N AT I C H I L D R E N S
AK AR STU D I O S
usa
www.akarstudios.com
A LO O F D E S I G N
uk
www.aloofdesign.com
H O S P I TA L M E D I C A L C E N T E R
A N D PA R T N E R S
usa
www.andpartnersny.com
CACAO D E S I G N
italy
www.cacaodesign.it
usa
www.cincinnatichildrens.org
C O N N I E H WA N G D E S I G N
AN DR EA CUTLE R DESIG N
D e s i g n M at t e r s / / c o n t r i B u to r s
usa
www.cemstone.com
usa
C A H A N & A S S O C I AT E S
A N OT H E R L I M I T E D R E B E L L I O N
usa
www.cahanassociates.com
usa
www.alrdesign.com
CAP S U LE
B A S S YA G E R A S S O C I AT E S
usa
www.capsule.us
usa
www.saul-bass.com
C A R LO G I O VA N I / D O J O S T U D I O
B E N E F I T C O S M E T I C A , L LC
brazil
www.carlogiovani.com
usa
www.benefitcosmetica.com
CAR M IT D E S I G N
usa
www.conniehwangdesign.com
C R E AT I V E S PA R K
uk
www.creativespark.co.uk
CRUSH DESIGN
uk
www.crushed.co.uk
usa
www.carmitdesign.com
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FA C TO R T R E S C O M U N I C A C I N
H A R DY D E S I G N
CONCERN
Mexico
www.factortres.com.mx
brazil
www.hardydesign.com.br
F L E X / T H E I N N O VAT I O N L A B
H A R R Y A L L E N & A S S O C I AT E S
The netherlands
www.flex.nl
usa
www.harryallendesign.com
F O R M AT I O N D E S I G N
HARTF OR D DESIG N
usa
www.vizdrink.com
usa
www.hartforddesign.com
F U S E P R OJ E CT
H E LE NA SEO DESIG N
usa
www.fuseproject.com
usa
www.helenaseo.com
FUSION H I LL
usa
www.fusionhill.com
D E S I G N G R O U P, I N C .
usa
www.thedecoderring.com
D E E R E A N D C O M PA N Y
usa
www.Johndeere.com
DESIG N AR MY
usa
www.designarmy.com
D U S T I N E D WA R D A R N O L D
usa
www.dustinarnold.com
DZ IALI F O R N IA
germany
www.dzialifornia.de
EDEN DESIGN &
C O M M U N I C AT I O N S
The netherlands
www.edendesign.nl
E LE M E NT
usa
www.elementville.com
E L L I OT T YO U N G
uk
www.elliottyoung.co.uk
E X N I H I LO
belgium
www.exnihilo.be
FA C TO R D E S I G N
germany
www.factordesign.com
(HZ DG)
G E RAR D DESIG N
usa
www.hzdg.com
usa
www.gerarddesign.com
usa
www.studio-gs.com
usa
www.hadw.com
H OY N E D E S I G N
G LO J I , I N C .
usa
www.gloji.com
australia
www.hoyne.com.au
I NTE R B RAN D
G O WE LS H
usa
www.gowelsh.com
usa
www.interbrand.com
I NTE R E U ROPE
C O M M U N I C AT I O N S
Canada
www.hahnsmithdesign.com
G ROU P/ ICG
uk
www.icgonline.co.uk
D e s i g n M at t e r s / / c o n t r i B u to r s
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TH E DECODE R R I NG DESIG N
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M E AT A N D P OTATO E S , I N C .
O C TAV O D E S I G N P T Y. LT D .
C O M M U N I C AT I O N S
usa
www.meatoes.com
australia
www.octavodesign.com.au
M E T H O D H O M E P R O D U C TS
O LO G I E
usa
www.methodhome.com
usa
www.ologie.com
ORGAN IC G R I D
usa
www.modsf.com
usa
www.organicgrid.com
M I L K LT D .
O U TS E T, I N C .
greece
www.milk.com.gr
usa
www.outsetinc.com
M M R STU D I O
T H E PA R T N E R S
australia
www.mmr.com.au
uk
www.thepartners.co.uk
MONDERER DESIGN
PEAR LFISH E R
usa
www.monderer.com
uk
www.pearlfisher.com
P E N TA G R A M D E S I G N
usa
www.morrowmckenzie.com
uk/usa
www.pentagram.co.uk
www.pentagram.com
israel
www.jasonandjason.com
KI N ETIC SI NGAP OR E
singapore
www.kinetic.com.sg
KO R E F E
germany
www.kolle-rebbe.ek
LARSE N
usa
www.larsen.com
LI GALU X G M B H
germany
www.ligalux.de
L I P P I N C OT T
usa
www.lippincott.com
L I T T L E Y E L LO W D U C K
uk
www.littleyellowduck.co.uk
D e s i g n M at t e r s / / c o n t r i B u to r s
M U G G I E R AMADAN I
LLDESIG N
D E S I G N STU D I O
PR I NCI PLE
italy
www.lldesign.it
denmark
www.muggieramadani.com
usa
www.designbyprinciple.com
LO C K S TO F F D E S I G N
N AT I O N A L F O R E S T D E S I G N
Q UAN G O, I N C.
germany
www.lockstoff-design.de
usa
www.nationalforest.com
usa
www.quangoinc.com
LU C I D B R AN D S
N I K O L A U S S C H M I DT
R DESIGN
usa
www.lucidbrands.com
austria
uk
www.r-email.co.uk
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SAG M E I STE R I N C.
TFI E NVISION
usa
www.randmcnally.com
usa
www.sagmeister.com
usa
www.tfienvision.com
PA U L R A N D
S E E D C R E AT I V E
TI HANY DESIG N
usa
www.paul-rand.com
singapore
www.seed.uk.com
usa
www.tihanydesign.com
R E A L A R T D E S I G N G R O U P.
TU R N E R DUCKWORTH
usa
www.segura-inc.com
uk, usa
www.turnerduckworth.com
S PA R K S T U D I O P T Y. LT D
TU R N ST YLE
australia
www.sparkstudio.com.au
usa
www.turnstylestudio.com
VO I C E
usa
www.spkdm.com
australia
www.voicedesign.net
STU D I O B E N B E N
usa
www.benschlitter.com
australia
www.wsdv.com
STU D I O D U M BAR
W I L LO U G H BY D E S I G N G R O U P
The netherlands
www.studiodumbar.nl
usa
www.willoughbydesign.com
S U B P LOT D E S I G N , I N C .
WOLFF OLI NS
Canada
www.subplot.com
usa
www.wolff-olins.com
I NC.
usa
www.realartusa.com
R E D WI NG SHOES
usa
www.redwingshoes.com
R E UTE RS
usa
www.reuters.com
R I O R DAN D E S I G N
Canada
www.riordondesign.com
R O M E & G O L D C R E AT I V E
usa
www.rgcreative.com
R O OT I D E A
hong kong
www.rootidea.com
W O R K TO D AT E
R U L E 2 9 C R E AT I V E
C R E AT I O N
U SA
usa
www.rule29.com
france
www.sub-tract.com
www.worktodate.com
WOR R E LL DESIG N
STEVE N S WI N G LE R
uk
usa
www.worrelldesign.com
D e s i g n M at t e r s / / c o n t r i B u to r s
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D E S I G N M AT T E R S / /
as a writer who is so into her work that she dreams of creating another letter
in the alphabet, Maura has won awards from the Minnesota society of professional Journalists and several of her creative writing pieces, including
her memoir and poetry, have been published in various literary journals. with
a passion for literacy, she serves as vice chair for read indeed, a nonprofit
literacy program based in Minneapolis.
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Michelle Taute is a writer and editor based in Cincinnati. she writes about
graphic design for a wide range of magazines, including how, sTep inside
design, and dynamic graphics. her articles have also appeared in a wide
variety of national magazines including better homes and gardens, womans
day special interest publications, usa weekend, Metropolis, natural home,
and The writer.
before her days as a freelancer, Taute worked on the editorial teams of an
eclectic list of national magazines. Those titles include i.d., The artists Magazine, family Tree magazine, decorative artists workbook, popular woodworkingand even a stint on a short-lived bob ross magazine. she continues to
take on content editing and project management duties for magazines and
books. in addition to editorial work, she regularly handles copywriting for major
consumer brands.
www.michelletaute.com
D E S I G N M AT T E R S / /
sign Matters
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about Capsule
Capsule develops local, national, and international brands from its nerve center in
the heart of Minneapolis, Minnesota, usa. its mission is to reduce the risk of taking brands, products, and services to market through qualitative research methods, holistic brand strategy, comprehensive identity systems, memorable naming,
thoughtful package and experience design, and creative writing solutions.
Capsule was founded by brian adducci, a designer whose brand and identity
expertise is sought by international clients, and aaron keller, an adjunct professor of marketing at the university of st. Thomas. Their firm houses an eclectic
collection of designers, managers, lawyers, writers, and researchers.
Clients include fisher-price, honeywell, red wing shoes, Target, sally hansen,
net gear, Capital one, Medtronic, panda express, and Cargill.
D E S I G N M AT T E R S / /
www.capsule.com
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2 0 1 2 R o c K p o R t p u B li S H e R S , i n c .
First published in the united States of America in 2012 by
Rockport publishers, a member of
Quayside publishing Group
100 cummings center
Suite 406-l
Beverly, Massachusetts 01915-6101
telephone: (978) 282-9590
Fax: (978) 283-2742
www.rockpub.com
All rights reserved. no part of this book may be reproduced in any form without written
permission of the copyright owners. All images in this book have been reproduced with the
knowledge and prior consent of the artists concerned, and no responsibility is accepted by
producer, publisher, or printer for any infringement of copyright or otherwise, arising from
the contents of this publication. every effort has been made to ensure that credits accurately
comply with information supplied. We apologize for any inaccuracies that may have occurred
and will resolve inaccurate or missing information in a subsequent reprinting of the book.
10 9 8 7 6 5 4 3 2 1
iSBn-13: 978-1-59253-738-9
this publication is comprised of excerpted material previously published in Design Matters //
Brochures 01, Design Matters // Logos 01, Design Matters // Packaging 01, and Design
Matters // Portfolios 01, Rockport publishers
Digital edition published in 2012
iSBn-13: 978-1-61058-1-622
Digital edition: 978-1-61058-1-622
Softcover edition: 978-1-59253-738-9
Library of Congress Cataloging-in-Publication Data available
Design: cApuSle
layout: Rockport publishers
printed in china
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