The Basics Archives - Breakaway Graphics

Your Essential Guide To Social Branding

Sheana — Wed, 12 Dec 2018 16:08:41 +0000

Social Branding 101

Social branding isn’t simply a case of just going on Facebook and chatting with your customers under the auspicious canopy of a fancy branded image. It goes a lot deeper than that. It’s about ensuring that every action you take on social media embodies and reflects the essence of your brand. To help you nail that perfect but elusive social media nirvana formula, read on for our essential guide to social branding 101.

Implement a solid CSR initiative

The concept of corporate social responsibility (CSR) is a new one, but it’s increasingly becoming a crucial aspect of a business’s social branding. CSR refers to a brand’s commitments to social and charitable causes. A shining example of this is apparel brand Patagonia, whose marketing channels are permeated with messages of sustainability and environmental concerns. By aligning themselves so publicly with such a hot button issue (and by actually fulfilling their commitments to them), Patagonia convey a powerful social brand that speaks to their customers. And it works. Consumers are increasingly buying from brands that have a genuine, visible CSR commitment.

Identify a social cause that matters to you and your customers and make it part of your brand strategy. Set up a charity initiative or donate a percentage of your profits to a cause. But most importantly, make your CSR visible. Weave it into your social media channels and let your customers know the good work you are doing. As more and more consumers choose to align themselves with brands with a conscience, it behooves you to be vocal about your support for social causes.

Identify a social cause that matters to you and your customers and make it part of your brand strategy.

Find out what matters to your customers

Social branding isn’t passive. It’s a proactive idea that relies on listening to your customers and finding out what matters to them. Just as a relationship between two people relies on each person being aware of their partner’s needs, hopes, and desires, so too does the relationship between a brand and their consumers rely on the same.

Brands have the advantage in this respect though. They have a range of social listening tools that can help them learn more about their customers, helping them to reposition themselves and their social brand accordingly.

Such tools include Twazzup, a simple application that provides alerts in real-time when your brand is mentioned on Twitter. Alternatively, you could use HowSociable for a more holistic view of social mentions. And for mentions outside of social media, Boardreader lets you search forums and message boards for keywords or phrases.

Monitor what people are saying about your brand online, then adjust your marketing efforts accordingly. You could capitalize on positive mentions, or head off negative ones before they become an issue. But by interacting with them on a meaningful level, you’ll help bolster your social branding with ease.

Offer personality, not a sales pitch

While it’s tempting to focus on chasing the almighty dollar as a brand, try to avoid turning your brand personality into a constant sales pitch. An excessively self-promotional tone across your website, email, and social channels will simply repel your customers.

Indeed, studies show that 45% of consumers unfollow a brand on social media as a result of being overly self-promotional. As a rule of thumb, employ the 80/20 rule: 20% of your content should be promoting your brand, and 80% should be content that content that engages your audience.

Social branding is about building relationships, rather than a one-way street of sales pitches and image boosting. A strong social personality leads to repeat customers and regular sales, even if your product and service can also be bought elsewhere.

A good example of this can be seen in the many dropshipping stores on Exchange. These are businesses that are selling the same thing as thousands of other websites. But they’re successful in making themselves look and feel different to their competitors because they have good social branding. Their customers buy from them not for their products, but for their brand. The evidence is clear: social branding works and adds value to your business.

A strong social personality leads to repeat customers and regular sales, even if your product and service can also be bought elsewhere.

Be speedy and responsive

A brand ignores its customers at its peril: people don’t just expect a reply when they reach out to you, they expect it to be quick and compassionate. A swift and empathetic response to your customers portrays you as a brand that cares about their consumers, in turn augmenting your social branding. An example of how this can impact your branding can be seen in the case of disgruntled businessman Hasan Syed. He made headlines after he spent $1,000 promoting a tweet blasting British Airways over some lost luggage, after they ignored his original complaint. It was seen by more than 50,000 people and was very bad publicity for the airline.

image via Twitter

On the flipside of this is fast food restaurant Wendy’s whose speedy response to one of their customers led to the most retweeted tweet of all time. Carter Wilkerson asked the Wendy’s Twitter account how many retweets he would need for a year’s free supply of nuggets, and the company promptly replied with ’18 million’. The tweet went viral, garnering support from Apple, Google, Microsoft and other big brands. Twitter even included the story in its Q1 shareholder letter of 2017 (and Carter did finally get his year’s supply of nuggets). This brief exchange generated a huge amount of free publicity and goodwill for Wendy’s, proving the importance of engaging with social media followers.

Social branding is vital when it comes to your business’s success. Brands are so much more than their product or service: they are a personality, and they should act as such. You are under scrutiny from your customers 24/7, so you need to work to convey a positive brand that your audience will engage with.

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What Is Corporate Identity

Sheana — Thu, 05 Apr 2018 00:09:14 +0000

Our Process for Building a Solid and Relevant Identity

The combination of all of the elements that make up the company’s aesthetic is more or less, its identity. Its a visual presentation of the company as a whole. Identity design is based on the visual elements created by a brand expert to build cohesive and appealing sales tools, marketing collateral and tradedress. A specific set of guidelines are developed, inspected and examined to ensure that a company’s brand identity remains intact throughout all avenues and each element adds value to the overall visual feel. To learn more about the ideation process, read my blog about Creating Iconic Brands.

Marrying these elements, the brand expert will create a brand manual and style guide which should be studied and followed closely as it illustrates how the Identity is applied throughout all mediums by using exact color palettes, specific fonts, pre-approved layouts, etc. By establishing and following these guidelines early on, the company can begin the process of building brand recognition, customer loyalty and achieve success by offering a cohesive message and visual aesthetic no matter where the customer encounters them.

To illustrate how each element works together to form a corporate identity, we’ll take a journey through the process using a client of mine and the identity I created for them.

Logo Development

In this case, I had been working with LoPresti Aviation for four years within the limitations of an existing identity they had when I was contracted to do collateral for them. When leadership changed hands, the new owner contacted me to strategize a completely new look (something I had been itching to do since the first sales deck I had produced for them.I started from a slightly difference place than I usually do (see my typical logo design process here), instead choosing to skip some initial steps simply because I already knew so much about the company. I already had a good understanding of their values, competitors, position in the market and goals. The SWOT analysis had already been performed and metrics defined. The first sprint of heavy lifting was in the past. So in this case, I chose to start by confirming if my view of the company’s ideal presentation was aligned with the view the new owner had for the future of the company.

I asked him if there were any elements that needed to stay from the old brand. (Sort of, yes…more on that below). I asked how he wanted the customer to FEEL when they interacted with the company. (Safe and as if they were dealing with THE professionals of the trade). From these and several other questions, I was able to determine four solid personal characteristics that were the foundation of the company’s representation: Dependable, Innovative, Accessible and Bright

The old identity utilized bright yellow, orange, red and a ‘swoosh’. The new owners wanted to maintain some similarity to the old brand. Specifically, they loved the movement expressed by the swoosh and a secondary use of the warm color palette but wanted a more ‘high-end’ feel. I chose to represent movement by positioning the plane as if it were landing or taking off. This ambiguity would also allow the user to unconsciously assign perspective resulting in an organic connection to the mark. I liked the idea that yellow represents optimism, brightness and sunshine in color theory (one of their main product lines is super bright HID lighting systems). It is also the most easy to see color of all the rainbow. This worked right into their product line of high visibility aftermarket lighting.

I chose a warm yellow for its additional connotations of durability (think construction tools) and because when combined with black and grey (the other brand colors we chose to convey elegance, prestige, and stability), the overall presentation was one of sophisticated illumination. I also replaced the old standard italic serif typeface with a sturdier serif/slab serif hybrid. Then, I manually adjusted some of the ligatures and skew so that it nodded to the old brandmark while departing from the commonality of the previous type.

Establishing Best Practices for the Brand

Once the logo was finalized, I further defined the identity by solidifying typefaces, accent colors, patterns, additional supplementary graphical elements, margins and use guidelines. The result of this process would eventually become the style guide which was used as a reference on how to use the brand elements and to ensure that the visual representation of the company is always congruent.

Utilizing the Style Guide to Create Collateral

By carefully following the guidelines and best practices set forth by the style guide, I began to create the various sales tools and internal business collateral utilizing the approved color palette, typeface, patterns and image standards. A typical starting identity suite from a designer would include letterhead, business cards and perhaps a presentation/pitch deck template. In this case, however, I was contracted to work beyond just defining and developing the identity. I was also tasked with creating many additional pieces including presentation folders, envelopes and sales sheets for various airplane models.

So Why Is This Important?

Everything from the shape, the colors and the type to the arrangement of elements, the use of space and minimum standards for imagery are all important components. When combined, they offer the viewer a dynamic view of your company. It’s that view and the resulting opinion formed in the mind of the consumer that will motivate how he or she engages with the company moving forward. Given that successful marketing and design expertly leverage the three “V’s” of communication (55% Visual, 7%Verbal [what is said], 38% Vocal [how it’s said]), it could be argued that your identity (or visual representation) comprises 55% of customer’s first impression. And since you only get one shot at a first impression, you should be deliberate, careful, and thoughtful. What you’d like that first impression to be? How you want your customer to feel in response to seeing it? How you will achieve that response through your corporate identity?

Think of it like this: if the logo is the face of the company, the facial expression and body language are its Identity. As a side note, the brand is how all of the above plus beliefs, personality, style of voice, etc are perceived by the audience….but more on that in a future post.

The post What Is Corporate Identity appeared first on Breakaway Graphics.

The Urban Dictionary of Social Media Marketing

Sheana — Thu, 13 Jul 2017 20:54:51 +0000

by Victoria Greene: Brand Marketing Consultant & Freelance Writer.

I work with online businesses and ecommerce merchants to create high-performing content and marketing strategies that yield successful results. I am always happy to share my expertise and love discovering new potential collaborators.

For new business owners and executives who are new to the world of social media marketing, one of the more common challenges you’re likely to come across at the start is attempting to digest all the jargon. Social media is a minefield of odd words, phrases and acronyms that make perfect sense to those who are fluent – but are inclined to baffle the new and uninitiated. Nonetheless, as you explore, you will become more confident. Don’t give up on social media just yet, because it could be just what you need to build an online community around your business. And it’s not going anywhere soon. Here is a guide to some of the more common slang words surrounding social media (don’t forget to read up on social media etiquette as well).

At mentions

At mentions (also know as @ mentions) are used on Twitter. They essentially do the same thing as Facebook’s tagging system, enabling you to mention someone in your tweet, which will automatically send them a notification.

Avatar

Your avatar is much like a profile picture. It’s an image – or sometimes just a username – that represents you online. This could be on social networks, as well as places like online forums. If you set up a Gravatar account, you can set an image to follow you from site to site, so there’s no need to upload one every time.

Bookmarking

You’ve heard of a physical bookmark – bookmarking is not much different, except that it’s digital. If you find something online that you enjoyed or would like to save for reading later, you can bookmark it either directly through social media websites (see bookmarking on Facebook) or through an external bookmarking manager like Pocket.

Brand ambassador

Brand ambassadors are very valuable. They are your best customers: the ones who love your brand so much that they will voluntarily share the positive experiences they’ve had with you on social media. Brand ambassadors are essential to building a good online reputation – even in this digital age, we must never underestimate word-of-mouth marketing.

Clickbait

You’ve probably seen clickbait around, you perhaps just didn’t realize it had a name. Any marketing material that relies on an overly hyped or sensational headline to try and entice you to click falls under the category of ‘clickbait’. Clickbait articles are designed to generate revenue and nothing more. They might sound like ‘People are doing something seriously weird with their McFlurrys’ or ‘How old was Rooney Mara when she first ate pie?’.

Facebook advertising

Facebook has its own advertising system that allows businesses to reach a precise audience with relevant, targeted adverts. There are various pricing options available for most marketing budgets, as well as the ability to select your audience by demographics such as age, location, and interests. Arguably, Facebook advertising is one of the more efficient ways to advertise online. Here’s a beginner’s guide.

GIF

GIF is shorthand for Graphics Interchange Format, and on social media they act as small animations or video clips – characterized by being rather jerky. They are usually just a few seconds long and played on a loop, often with subtitles (but not always). GIFs can a fun way to illustrate a point and are perfect for young, playful businesses to share.

via GIPHY

Hashtag

A hashtag can be a word (or group of words) that starts with this sign (#). The words are grouped together and are usually to categorize information and ideas, making your posts more relevant and visible for other users. Examples of popular hashtags (right now) include #wimbledon, #dontsteponabeeday, #thingsbleachcantclean and #mondaymotivation.

Influencers

Influencers are social media power users. They have large online followings and with them, the ability to sway the thoughts and opinions of others. Influencers tend to be well-connected, activists, early adopters of new products or technology, and social media savvy. Popular influencers in 2017 include Zoe Sugg (beauty), Lilly Singh (entertainment), and Mark Fischbach (gaming).

Meme

An internet meme is a catchphrase, image, concept or other piece of media that spreads. Mostly memes come in the form of an image, but they can also appear as videos, websites or hashtags. Memes commonly take their roots from popular culture, although not exclusively – they can come from almost anywhere. They provide a fun and playful way to express a point on social media. Here are some of the internet’s favorite memes.

New media

‘New media’ is really just another way of describing social media, though in the past it’s been used to describe all kinds of digital media. A more accurate description would be any digital communication channels that promote collaboration between users, rather than that which is static, such as a print magazine.

News feed

On Facebook, your news feed is very simply the central column of your homepage – the one that you will inevitably start to find yourself scrolling through. The news feed is constantly updating with new stories, pictures, events and other media from your friends and the people/businesses you follow.

Newsjacking

Newsjacking is when a person, brand or business capitalizes on a popular news story in order to amplify their sales and marketing efforts. Newsjacking can be effective, but it must be done with care and consideration, and only when truly relevant. Here’s a guide to successful newsjacking on social media.

Retargeting

This online advertising technique is used by social media marketers and ecommerce merchants to display ads on social media to users who have previously visited their website. Retargeting campaigns can be highly effective, reminding users of the products they were interested in but perhaps didn’t get round to purchasing the first time round. Retargeting functionality can be added as part of your online store setup using apps and/or plugins.

Tagging

Similar to ‘at mentions’ but for Facebook, tagging is where you can attach a person’s name to a picture, video, or status update. Tagging has a lot of meanings online, so it can be easy to get confused. So for example, if you were to upload a photo to your page that featured three of your staff members, you could individually tag each staff member and they would receive a notification and be able to see (and display) that photo as desired. Facebook tagging is becoming more sophisticated thanks for facial recognition software.

Troll

No, they don’t live under bridges – although who knows, maybe some of them do. An internet troll is an altogether different (though equally unpleasant) type of beast. They go around posting on social media and in the ‘comments’ sections of articles and forums, deliberately inciting arguments with irrelevant, hostile or inflammatory comments. Their primary goal is to make people angry and provoke some kind of response. If you ever encounter an internet troll, here is what you should do.

Viral

When something ‘goes viral’ on social media, essentially all that means it that it became very popular and got widely shared – usually in the tens of thousands or millions. So you might say “this Breakaway Graphics blog post has gone viral!” if it were shared and then reshared thousands of times on Facebook or Twitter. But it’s not always an article – equally (perhaps more often) it is a video, meme, infographic, or even a GIF. Virality is highly sought after in the marketing world, but can be difficult to achieve, as there are multiple factors (timing, relevance, shareability) at play.

Although some social media terms can be tricky to understand at first, most of the time they actually relate to something very simple. All it takes is a little getting used to – and just like learning a language, the more you immerse yourself in it, the quicker you will pick it up.

What other social media slang words do you find confusing? Let us know in the comments below (no trolls please) and we’ll see if we can help.

The post The Urban Dictionary of Social Media Marketing appeared first on Breakaway Graphics.

Copyright Myths

Sheana — Mon, 04 Aug 2014 20:40:37 +0000

In my job, Copyright Laws and Intellectual Property come up for discussion on almost a daily basis. As a Freelance Designer, I uphold and respect these laws even if it means I loose an account due to refusal to copy or mimic someone’s work. Why wouldn’t I? Copyright Laws protect my designs too and let’s face it, my designs are how I make a living. So in an effort to set the record straight, I have compiled a list of the most frequently misunderstood laws and commonly held false beliefs.

1. If it’s on the internet, it’s not copyrighted. Wrong. Every picture, article, song, video, and design is protected by copyright law. As a rule of thumb, if you would like to use an image you found on the internet, contact the author and get permission. If permission is not received, don’t use it.

2. If I can’t find the author of an article, I can use it. Nope. Anything that is created has an original author. In the digital age where people think anything on the net is fair game, it can be exceedingly difficult to track down where the article originated if it has been re-posted multiple times but, again, that doesn’t mean that the original author has given up his rights. Don’t publish anything that you don’t have permission to use.

3. If it doesn’t have a copyright notice, it’s not copyrighted. You guessed it….wrong. As I stated above if it was created, it has an author and it is by default copyrighted. While it is good practice to watermark your photos and designs or include the standard ‘Copyright [dates] by [author/owner]’ on written pieces, leaving it off does not relinquish your rights as copyright holder.

4. If it’s an old photograph, the copyright has expired. Maybe, but probably not. The shortest Copyright Term is the lifespan of the author plus 70 years. Photographers, for example, might transfer the copyright to another member of the family prior to his/her death thereby ‘renewing’ the copyright. Once again, ask for permission from the copyright holder.

5. If I change it 10%, it’s a new work and I am the copyright holder. This is just ridiculous and completely wrong. I’d like to ask: what exactly constitutes 10%? Changing the font? Reversing the photo? Applying special effects? Replacing one name throughout an entire story? This is hands-down the biggest, most widely held, completely incorrect copyright myth out there. The notion that a photograph can be scanned and reversed and is now no longer the original work of the photographer is simply stupid. If you cannot use the photograph without the permission of the author, why would be be allowed to use it for manipulation to create your own work? The same principle holds for design. Derivative works can actually be considered property of the owner of the original work with the major exception of parody which is a super gray area for which I am not properly educated to elaborate on.

6. Ideas cannot be copyrighted. True. An idea cannot be copyrighted but the work based on that idea can be. This is where copyright law starts to get confusing. I understand it to mean, in a story for example, a woman’s husband is having an affair, she finds out, the story unfolds. This is an idea. VS. Jane, a high powered attorney, finds her husband Curt, a car salesman, cheating on her. Jane and Curt’s characters are copyrighted as are the actual words used to tell the story and what actually happens in the story.

7. If I don’t make money off of it, it’s not infringement. Wrong. It’s like saying, if I don’t get caught, I never committed a crime. I believe this idea stems from misinterpretation of ‘Fair Use’. Each case determining fair use is different and takes into consideration many aspects of the alleged infringement so don’t assume that you can use whatever you like just because you don’t make a profit by using it. I write this blog without profit, that doesn’t mean that I can simply hunt around the internet for articles I find interesting and paste them here as if I came up with them myself. In fact, even if I gave the original author full credit without gaining his or her permission to reproduce the work, I’d be in violation of copyright laws.

This is, of course, not a comprehensive explanation of copyright laws and I am by no means a lawyer (so don’t take the above as legal advise). The myths listed above are simply the one’s I encounter most frequently in my day-to-day life as a designer. There are many more out there so when in doubt if you didn’t create the work, you shouldn’t use it. If you’d like more information regarding copyright and intellectual property laws, visit http://www.copyright.gov/. For more information on copyright infringement, visit http://www.copyright.gov/title17/92chap5.html.

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Home Office, Not Homework

Sheana — Wed, 25 Jul 2012 20:57:31 +0000

Many professionals and freelancers work from a home office: perhaps due to familial or personal restrictions, perhaps because the commute to the company office is too far, or perhaps that’s just the way they like it. Whatever the reason, once a designer finds his- or herself in a situation where work is performed under the same roof as laundry, a few small actions can make all the difference in maintaining a healthy life-work balance and not getting caught doing homework.

A Dedicated Space.

Remember when you were a student and you would sit down in your favorite spot to do homework? Maybe it was the kitchen table, maybe it was a little desk in your room; either way, you did your best studying when you were in ‘your spot’. This can be true for the home office too. It is preferable to have a dedicated room if you plan on working full time from home although this may not be an option for everyone. At the very least, you should have a specific area to work and be devoted to only performing work in that area. What I mean is, don’t do your Skyping® with family or play games from your work area. Similarly, don’t take your laptop into another room to work. You wouldn’t eat in the bathroom or vise versa (think about it…..yuck!), think of your home office the same way. This little trick helps the human psyche to distinguish from work and play subconsciously.

The Switch to 9 to 5

If You’re Not a Student, Why are You Doing Homework?

I would be willing to bet that is the hardest adjustment to make since working from home means being near the office all the time and never actually ‘leaving’ your office building. The work is always there, lurking in the background and beckoning you to pay attention to it. If you are not diligent at keeping your personal and work time clearly separated, you stand the chance of putting in way more hours than necessary. Is it really necessary to work on that proof at 2 a.m or spend all day Sunday making updates to a website that no one will even see until Monday? No, it isn’t. Resolve yourself to working on client projects only during your regular work hours. By answering phone calls and emails only during posted hours of operation, you send a clear message that you are a bona fide business like any other. Also, actively disconnecting your personal time by physically shutting your office door (or shutting down your computer) when the work day has ended will help remind you that just because you’re ‘at the office’ doesn’t mean you have to be working.

Of course, business owners and freelancers are often required to work on things not necessarily related to production or billable time like bookkeeping, billing, and filing. Setting aside time to do the extras like making backups on Friday evenings and sending out billing on Monday mornings you can accomplish most of these tasks when a regular employee would be performing opening or closing duties and not get stuck doing them on your personal time.

Making Your Space Awesome

One of the most wonderful parts of having a dedicated office space in your home is your ability to do whatever you want with it! You can surround yourself with all the things that inspire you. You can be as messy or organized as you want and you can place your office essentials in a place that is easy for you to access, not down the hall where everyone can get to it. It is YOUR space. Paint the walls in a color that induces creativity or keeps you motivated. PANTONE® has a great resource on their site to help you pick just the right color to fit the mood you want to create in your work environment (http://www.pantone.com/pages/paint/moodselector.aspx). Being creative by nature will surely help in constructing a space that promotes your personal productivity.

Go to Work!

Some designers swear by acting as if their home office is an actual commuting job. They may, for example, get up, take a shower, get dressed, and have a cup of coffee before ‘leaving for work’. This is a great tip if you are having a hard time adjusting to working from home. By creating a routine, you are again training your psyche to distinguish work-time from playtime.

Avoiding Distractions

(addressing the friends and family issue)

When you were a kid and little Bobby came by your house to see if you could play, your mom opened the door and explained that you were doing your homework and could not come out until it was done. Well, your Mommies can’t help you now so it’s up to you to address the common assumption that since you work from home, you can ‘play’ whenever you want. This may be technically true but let’s face it; we all have bosses, our CLIENTS who depend on us. By being honest and frank about your working hours with friends and family, you can avoid the hassle of constantly having to explain that you are not sitting around all day eating Cheese Puffs and waiting for something to do. You wouldn’t dare interrupt your friend’s workday to ask if they could walk your dog, or check your mail, or run an errand for you….they shouldn’t do this to you either.

Improving Every Day

Everyday is an opportunity to improve your work environment and adjust to a designer’s ever-changing work load. Obviously, the above cannot be implemented in a manner that never allows for change (heck, we’ve all had an all night deadline at some point!), but making a continued effort to balance one’s life can’t be a bad thing. One of the most fantastic benefits of setting your own hours and working from your own space is that you can alter your schedule to suit the ever changing needs and obligations of life. If you’re having an off day, go catch a movie or take the dog to the park. Feeling a little less than creative? Pull out the sewing machine or canvas and oils and work in a different medium for a few hours. You have the freedom to make your own choices, your own hours, your own environment…..take advantage!

Please feel free to comment with additional tips, experiences, or questions about maintaining a healthy work-life balance when your work and life happen to coexist in the same space.

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“My Designer Wont Give Me My Files!”

Sheana — Wed, 28 Dec 2011 15:56:52 +0000

Often, in design, there are requests by the client to release the layered, master files. Many clients feel a bit peeved when their designer tries to explain that the master files are not included in the final price and are not considered part of the Final Deliverables. Perhaps they are right to feel this way based on a misunderstanding of the profession and the assumption that the price they pay is for the rights to the master artwork. One of the roles designers play is to educate the client (or public) about many things, one of these things being why Master files are not always part of the deal. In an attempt to to clear up misconceptions, I’ve detailed the main reasons behind why master files are not considered part of the package for many freelancers.

First, we should resolve the difference between work performed by an Independent Contractor versus Work-for-Hire. According to the United States Copyright Act of 1976, “work made for hire” is— (1) a work prepared by an employee within the scope of his or her employment; or (2) a work specially ordered or commissioned for use as a contribution to a collective work, as a part of a motion picture or other audiovisual work, as a translation, as a supplementary work, as a compilation, as an instructional text, as a test, as answer material for a test, or as an atlas, if the parties expressly agree in a written instrument signed by them that the work shall be considered a work made for hire. (17 U.S.C. § 101). Work-for-Hire typically implies that any work created by a graphic designer as an employee of Company A, remains the property of Company A, not the designer. Occasionally Graphic designers are commissioned to perform Work-for-Hire but at a substantially higher rate (usually 300%) and when the terms and conditions are mutually agreed to in writing.

An Independent Contractor is commissioned because the work requires significant artistic skill. The Designer supplies her/his own tools, performs the work at her/his own office, works for a relatively short time on a project-to-project basis, and controls when, how or how long he/she works. Typically, in this arrangement, the client has no part in the Designer’s business practices, does not provide the Designer with employee benefits or contribute to his/her unemployment or worker’s compensation, and most importantly to Uncle Sam, the client does not treat the Designer as an employee for tax purposes. Independent Contractors work where they want, when they want, how they want and with whom they want. They pay self employment taxes and foot the bill for health insurance, technical maintenance, tools required for the trade, and provide a valuable service to their clients.

So, “why aren’t master files supplied to me, the client? That’s what I am paying for, right?” The short answer is no and here’s why:

1. You’re paying for the final product, not the tools to create that product.

When you contract a professional graphic designer to create and deliver a brochure, that’s what you will get for your money, a fully completed, fully thought out printable (or printed) brochure. You are not paying for the history, tools or layers used to create that brochure nor are you paying for the fonts and images contained within it. Think of it this way: if you went to the hardware store to buy a drill, you pay the cashier for the drill to take home and use as-is, not for the manufacturing trade secrets, right to the mechanicals and mechanisms or for the rights to take that drill, remove the brand sticker, replace it with your brand sticker and sell it to the public for profit.

2. There are third parties involved that you may be unaware of.

Every designer uses fonts, photos and graphic elements that are often the works of someone else. Designers spend a good amount of money (font licenses can cost anywhere from $25 to $600) purchasing licenses to multiple typefaces in order to offer you options that maybe you don’t already have and to create the perfect overall look for your collateral. We spend our capital to have access to stock imagery that must be purchased for use in your collateral. These tools are not our property but are the property of their respective creators, we have simply secured the right to use it to provide you with awesome designs. Because of this, it would be unethical and illegal for Designers to release those tools to you as we are not the copyright holders.

3. You likely don’t have the hardware or software to handle or manipulate the master files.

Graphic files can be very large and what I can open and manipulate with a fair amount of quickness with my heavy-duty machinery, could slow your equipment down to snail speed. Assuming that you have the proper software and can open the document, what are the chances you know what to do with it afterwords? Do you know how to change the text, what color space and resolution to use, how to format it for different mediums or how to collect it for submission to printers or vendors? There is a whole host of technical junk Graphic Designers have to learn and use everyday. We’ve already put in the time to learn the ins and outs, the technicalities and techniques, so why not just let us handle it and save yourself the headache?

4. We worry about issues with file types.

As designers we often keep track of multiple proofs, files and file types. For example, I may have a high res psd or tif file that I use for the artwork, a indd file I use for the text and layout, various files for import into InDesign, a few low res pdfs of various revisions, a high res pdf with trim marks for an offset printer, a high-res pdf without trim marks for another printer, a high res pdf with half-inch margins for in-house, inkjet printing, a low res jpg for web, and possibly several more. I know the specs, color space, technicals and use for each of these files and can easily send the one needed to various vendors if need be. What many designers worry about is that a client with all the files will erroneously and unknowingly send the wrong file, causing a headache for the client, the vendor and the original designer as usually we’re the ones who have to step in and remedy the situation. Also an issue is that if a layered file is supplied to a vendor who doesn’t have the same fonts or embedded images, the formatting and typeset can go very askew (i.e. the font will automatically change to a default font, ruining any formatting and the images will either show up as grey boxes or in low resolution and will not print properly), turning our hard work into a mess and making life harder for the recipient of the file and causing undue upset to the client.

5. If you have the software and technical know-how, why do you need a freelancer?

The simple answer to this is that most people don’t have the specific skill-set and/or talent to do the work or that they simply don’t have the time. If you are hiring a designer simply because you don’t have the time and are looking for someone to collaborate with, then the work is considered work-for-hire and would be handled as mentioned above. Similarly, if you are hiring a design professional for their creative and technical talents with the intent to use them for the concept and initial execution but not for derivative or future works of the concept, with the purpose of making future changes yourself, you would need to work out a Work-for-hire agreement between yourself and the creative. Unfortunately, many designers face the sad fact that there are people out there who want to pay them for a stellar concept without being completely forthcoming with their intentions, then secretly hand off that concept to a novice or cheaper designer to save money. Since the original designer has done all the hard work already, the second designer gets to reap the recurring financial benefits of that design for doing little work. It’s unethical and unfair to the professional designer. Of course, if this is stated up front by the client, most designers will negotiate an additional fee or higher hourly rate to complete the work for another designer to take over. In this case, it is Breakaway Graphics, LLC’s practice to require the client to purchase all fonts, elements and photos used in the design and stipulate that once the files have been released, we are held harmless of any warranties with the design.

If you are working with a designer and would like to obtain rights to their layered/master files, just ask. Most designers won’t have an issue negotiating a price for the transfer of full copyright including layered files and are more than willing to help you secure the various image and font licenses to protect yourself from violating a third-party’s copyright. The industry standard for copyright transfer is 300% of the total bill so if you’ve used your designer for letterhead and business cards that total $200 in design fees, be prepared to offer him/her about $600. This will cover the loss of future income for the designer from those designs as well as the time it will take him/her to collect and prepare the documents for sale and aid you in securing licenses. If you are working with a designer who flat out refuses to release copyright without one of the above valid reasons, find a new designer.

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Graphic Design File Types

Sheana — Thu, 02 Dec 2010 20:31:29 +0000

Below is a list of common file types, extensions and uses for Graphic Design Professionals and their clients.

Raster File Types (definition here)

.jpg (.jpeg): Image File. Commonly used for photos but also acceptable for logo or advertisement files. While a .jpg will exclude some data, it is widely used and easily opened by most anyone with a computer. A jpg can be used for web (RGB, 72dpi) or print (CMYK, 300dpi), however any transparencies will be lost.

.psd: Adobe Photoshop Document. .psd’s are typically layered files in which designers can manipulate the text, images, shapes and format. These can be created in any size, resolution and colorspace.

.gif: Graphic Interchange Format File. These are primarily used in web and allow for transparencies as well as animation.

.png: Portable Network Graphic. These are often used in web-based design and applications but can also be supplied in CMYK/300dpi if intended for print use. These are easier to use in web as the transparencies remain intact and are of better quality than .gifs.

.tif (.tiff): Tagged Image File. These files are the preferred file format for print designers as they are widely accepted by many of the design software programs and are equipped with all the file data. These can be RGB but are far more commonly used in print at CMYK/300dpi. These can be flat or layered depending on the intended use.

Vector File Types (definition here)

.eps: Encapsulated PostScript File. .eps files are often used for signs, banners, and billboards…or anything that is to be printed in large format. Vector graphics are easily scalable and can be used at any size without loss of image quality or definition. They can also be supplied to print designers for use in their designs, guaranteeing an image that prints clear and crisp.

.ai: Adobe Illustrator File. As the industry’s leader in software for creating vector graphics, Adobe Illustrator files are commonly used in the creation of logos by graphic designers all over the world. These files can also be supplied to printers for use when printing in large format or to other designers for creation of business collateral (advertisements, brochures, business cards, etc)

.svg: Scalable Vector Graphics Files use an XML-based text format to describe how the image should appear. SVG format was developed as an open standard format by World Wide Web Consortium (W3C). The primary use of SVG files are for sharing graphics contents on the Internet and are suitable because the XML base allows SVG files to be searched, indexed, compressed, and scripted. SVG files are widely supported in Internet Browsers.

(as a side note, some .pdfs can also be used as vector files so long as they were developed in Illustrator (or other vector software) and saved properly for this use)

Page Layout File Types (definition here)

.indd: Adobe InDesign File. These are layout files with one or more pages arranged in a particular order.

.qxd: QuarkXPress File. Like .indd, these are layout files with one or more pages arranged in a particular order.

.pdf: Portable Document File. .pdf files are often used for print and are the preferred file type for magazines when accepting advertisements from designers and for printers when accepting magazine files for production. .pdfs are also viewable by most anyone with a computer or smartphone, making it the easily the best way to supply clients, printers or publications with a file to be proofed or printed. .pdfs are so versatile that they can be any color space, resolution or size and can be ‘flat’ (a single layer), merged (with transparency) or layered (for manipulation) making them acceptable for both print designers and web designers alike.

While there are many, many more file types that are used in design, these are some of the most common for print (which is of course what we specialize in). When in doubt, use the file type requested by your designer, publisher, printer or programmer. If they do not readily offer this information, just ask. Trust me, all of these folks will know what to ask for and what file type will make their job easier.

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Logo Design Process

Sheana — Sat, 13 Nov 2010 13:51:25 +0000

In logo design and imaging, there is more to the process than simply creating a ‘pretty’ icon for the client. There are many blog posts and books out there that are dedicated to explaining this process and why it is so important in creating an effective and successful iconic logo. I’ve decided to include my own design process on this website as I believe it could be a valuable tool for other designers and an informative article for prospective customers who want to know more about how brandmarks are created and why choosing a experienced designer is a necessity, not an option. As you will read below, a good amount of work is done before the client ever sees a concept. There is also a great deal of research and critical thinking on the part of the designer to gain the information and perspective required to create said identity. So without further ado, here’s my logo design process:

First Things First

Before I do anything at all, I will send my client a questionnaire with comprehensive and detailed questions aimed at getting all the information required for me to start the process. When possible, I prefer to ask these questions and perform an interview in person but that’s unfortunately not always an option. The logo questionnaire/interview is extremely important in the logo design process and even if the client feels that they’ve already settled on a design they’ve created, it is vital that I, as the designer, have all the information so I can familiarize myself with the company, the company’s mission, the target demographic, their competitors and the client’s personal preferences. All these things will aid me in producing a design that they will really love as well as a design that will embody the company’s message, product or service in a way that will be successful for that company. It is only after this that the work really starts.

First, after studying the completed logo questionnaire and the logo samples that the client supplies (if they already have some ideas, many do), I will do some research on the client’s profession (looking for strengths and weakness in their or their competitor’s brand) and perform a preliminary visual scan for trademarked logos that we may want to avoid being too similar to. Of course, once the logo has been completed, a Lawyer would have to do a proper trademark search if they intend to TM/SM (state level) or ® (national level) the logo.

Now The Fun Starts

Next, I sketch out thumbnails….ideas on paper that I draft very quickly. This is faster than doing all the preliminary work in a design software and allows me to make changes and follow my thoughts as fast as they come. Also, it’s an easy and time effective way for me to get as many ideas out in a short amount of time as possible (esp. since I charge by the hour). I am able at this point to build off of the sketches and ideas until I get something that is worthy of conceptualizing digitally.

Third, I will re-create the chosen sketches in Adobe Illustrator. The client often receives only 2-4 preliminary designs as I will only proof them on the best ones and not waste their time with designs that simply don’t (or won’t) work. These choices will be based upon the 5 elements that make an iconic logo:

1. Describable
2. Memorable
3. Effective without color
4. Scalable (i.e. will work at 1″x1″ as well as it would work at 3′ x 3′)
5. Relevant (to the industry in question)

Describable and Memorable really go together because how will you be able to remember it and tell your friends about this great product or service if you can’t describe what the logo looks like?

Being effective without color is important because if the mark doesn’t work in black alone, color will not make it any better. A bad design is a bad design with or without color. As I have posted before, color plays a vital role in the emotional response to the logo and the company it represents. A really great design can be nixed by the client if he/she isn’t attracted to the color it’s presented in so to help the client really look at the designs themselves, I always proof in B&W.

A scalable mark is critical for collateral, such as office letterhead, business cards, return address labels etc.—these little applications can often be overlooked by the inexperienced designer and the client alike.

Being relevant is important as the design must be suitable for the business it represents. This is achieved through research, studying the logo questionnaire, knowing how color will play a role, and talking with the client. It also helps to differentiate the client from their competitors.

Proofing Begins

Once I present the initial designs to the client, they might be immediately attracted to one of the proposed designs and we can move forward with tweaking, adding color and finalizing the logo. OR they might want to combine two of the proposed designs until we have one design to work from. It is important to ask the right questions during this step to gain as much insight as possible why a particular design wasn’t liked by the client. By listening closely to the client’s explanations and suggestions, you can make the necessary modifications to the designs (being sure that any modifications will move the design in the right direction).

As mentioned above, I continue proofing in only all black or all white (on black background) as this aids in being able to focus on the design itself and not be influenced by color. What’s important at this stage is the mark’s shape, form and the idea it represents. This is the part in the process that often takes the most time.

Final Touches

Only when the final design has been chosen, will we start working with color. The proofing process starts all over and will be in the same manner as the black/white versions but with color this time. I use the science of how colors effect our emotions to help choose the right hue to gain the most appropriate emotional response from the customer. This process also fits into point five of the five points to a successful logo since I would likely not use pastels in a Law Firm’s logo just as I wouldn’t use bright red (the color of anger, emergency and danger) for a Nursing Home. In this case, the brandmark was going to work best in solid black (or white for reversed use) given that the overall brand aesthetic would be black, white and grey with warm (yellow/orange/red) accent colors for various applications.

After

After the colors are decided upon and the design is approved, I will get to work finalizing the logo for both print and web, making sure that the logo is easy for the client to use as well as ensuring that it can be used across many platforms and applications.

I know the logo design process can be a little intimidating for the client as well as the designer. But if you know what’s coming in the process and what steps to take (and in what order), the whole affair will go much smoother for both parties. This will make for a pleasurable experience for the customer and help the designer maintain control throughout the creative process. If you are a company or individual looking for the right designer to create your logo, be sure to do your homework to be certain that you and your designer are going to work well together towards achieving the same goal. If you’d like to see some of the logos that Breakaway Graphics has designed, we’ve included a few below. To see more, please visit the Portfolio section of the Home Page.

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Basic Design Terms

Sheana — Sun, 03 Oct 2010 20:34:24 +0000

There are an innumerable amount of design terms involved in the process of getting idea from the abstract to the concrete. Graphic design, printing processes, color spaces, file extensions, typography and production all have a vernacular specific to their role in the process. And although many of the roles are separate, it is important to have a basic understanding of the process that comes before and after your part in the process. I have compiled a short list of (very) basic terms all graphic designers, publishers, printers and advertising agencies should have a preliminary understanding of. Here they are:

Page Layout And Setup

Live Area: The live area is the area within an ad space where all important text, pictures and information must be contained.

Trim/Page Size: the trim size is the dimension at which the printer will cut the page. No text should be within 0.375″ of this size.

Margins: Margins are the space from the trim size to the live area. Usually, margins are0.375 – 0.5 inches all the way around a page. Bad margins will separate the amateurs from the professionals.

Bleed: The bleed is the part of the page that will get trimmed off in the printing process. If an ad is a full-page bleed, the graphics and art must extend 0.125 inches from the trim size on all sides.

Gutter: The gutter is the space created by the binding of a book or magazine. Depending on how large (how many pages) the book or magazine will have, the gutter will be larger or smaller to account for the parts of the page that will descend into the bind. Gutters are particularly important when working with spreads that cross the bind.

Slug: The slug is an optional space that a designer can add to a document that can be displayed but is not intended to be printed. Slugs can be a very good tool for a designer in the print business as it can be used for notes, suggestions, copyright information, and/or an infinite number of other things while proofing clients or supplying additional information to printers.

Color & DPI

Resolution: In simple terms, resolution is how clearly a picture, graphic or text will appear. Standard print resolution is 300dpi (some publications and printers will even demand 350dpi for the sharpest results). Screen resolution is usually 96dpi or 144dpi.

CMYK/RGB: These are the 2 basic types of color space used in design. CMYK (cyan, magenta, yellow, black) is the standard for most traditional printing processes resulting in a tangible piece. RGB (red,green,blue) is how your computer and TV display color.

Resample: This is a function accessible in image editing programs which allows the user to change the resolution of the image while keeping its pixel count in tact. It is especially important when up-sizing a 72dpi image to a printable 300dpi image to NOT resample the image. By not resampling, you are permitting the program to adjust the final size of an image in accordance to the radio you are increasing the resolution. This ensures that the re-sized image will not print pixilated.

Typesetting

Kerning: Kerning is a typography process by which the space between the characters of text are squeezed or stretched. To kern something -10 would shrink the space between each letter. Conversely, kerning something +10 would create more space between each letter.

Leading: Leading is similar to kerning but in the opposite direction. Leading doesn’t effect the space between letters but instead controls the spacing between lines of text. So to lead something -10 would bring each line of text closer to the lines above and below it. Leading +10 would space the lines further apart.

Alignment: Alignment is the positioning/arrangement of lines of text or an image. Alignment can be left, right, centered or justified.

Printing

Offset Printing: Also called Lithography, this is the most common printing process. It involves the transfer of ink from a plate to a blanket to paper instead of directly from plate to paper.

Digital Printing: This is often a cheaper alternative to offset printing and is essentially printing directly from a digital file to the page by skipping the plate making step.

Screen Printing: A design is burned onto a screen through an emulsion and exposure process. Ink is then pressed through the resulting ‘negative’ image left on the mesh, transferring it to the material of your choice.

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