By Mike Bjella
September 4th, 2009
Ok, let’s just get this out in the open, I watch Project Runway. I find it interesting. I also watched a documentary on the famous designer Marc Jacobs on IFC and somewhere in that show he was included in a group of designers that were selected to pick the colors of that particular season.
None of them took this task lightly. These are the colors that appear in our wardrobes, on our textiles and surrounding our lives. Designers in every field take notice including designers in the print and advertising field.
PANTONE has started doing its own color report and here is the fall 2009: A Study in Contrasts.
“The fall 2009 palette is more unique and thoughtful than the typical autumnal hues of years past,” said Leatrice Eiseman, executive director of the Pantone Color Institute®. “Designers recognize the desire for fundamental basics that speak to current economic conditions, but also understand the need to incorporate vibrant color to grab the consumers’ eyes and entice them to buy.”
My personal favorites: Majolica Blue and the Iron. Do you have any favorites? Have you noticed these colors anywhere else other than clothing lately?
By Ryan Emenecker
September 2nd, 2009
You may remember my post about the importance of selecting the correct typeface to help brand your company. I even got a little emotional and drooled over the Periodic Table of Typefaces.
Of course I enjoy designs that are “clean” and “simple” with beautiful type treatment and lots of white space, but as much as I am a believer in type, I’ve been reminded lately that designers can’t live by type alone.
I ran across this site, texturelovers.com and it reminded me how adding texture in design can also deliver a feeling and emotion to the person interacting with your product—even that office chair you’re sitting in right now makes you feel a certain way.
Texture gives your product dimension, it makes someone want to reach out and get closer. If your product or company were a texture, what would it be?
By Stephanie French
August 28th, 2009
Part One of Two: Working with your Printer
Times are tight, we have to spend smarter. I’d love to say I have great investment advice to give, but it’s best to stick with what I know—printing and paper.
In my 12+ years of print purchasing, I’ve picked up a few tips that I’d like to share to help you save some money on your printing projects.
- Get your printer involved from the beginning. Your printer can make some excellent recommendations to help reduce costs, just ask. Sometimes, something as simple as reducing the size of your piece by a half-inch can lead to significant cost savings.
- When your project requires mailing, have your print rep work backwards to advise you on how to layout your piece to meet USPS standards for the best postage rate classification available. In some cases, this could amount to hundreds of dollars in postage savings.
- Allow at least 48-72 hours for estimating. This will give your printer more time to find the most cost-effective way to print your project.
Do you have any tips to share about working with a printer?
By Adam Garcia
August 24th, 2009
Most graphic designers love to doodle and it becomes a very important part of the creative process. I believe that sketching is vitally important to the success of any logo/design project that I work on.
Sketching ideas helps me to generate a large number of possible directions or variations. Most of them will eventually be thrown out, but the point is to think laterally and not rule anything out in order to achieve the most effective design.
Sketching maximizes your creativity without sacrificing time. In a lot of cases, we show our clients a sketch to give them an idea of where we want a project to go and the final piece ends up looking a lot like that original sketch. This is a lot more efficient than creating finished art and having to go back to the “drawing board” if they want something else.
I recommend not running to the computer right away to start your design process. Sketch a few concepts out. Show them to other people and get their feedback and then sketch some more. Once the idea is fully baked, then fire up the Mac and turn your idea into reality.
What other techniques help get your creative juices flowing? Do you sketch first or go right to the computer during your design process? Do you have any sketching tips and techniques you can share?
By Renata Miles
August 19th, 2009
In today’s marketplace, direct mail campaigns need to be innovative from both a strategic and creative standpoint to leave an impression. Your potential customer comes across so many different promotions every day, so it’s crucial to create something that he or she will want to hold on to—not something that will end up in the wastebasket.
Designers frequently turn to alternative materials, three-dimensional packaging, add-ons, or just about anything that will help them engage the target audience. The most effective promotions make you part of the experience.
Let’s look at Bosch’s “Lawnmower” mailer.
The aim of this campaign was to get selected dealers and distributors excited about the launch of the new, battery-operated lawnmower. The idea was to use a unique direct mailer, a calendar, where every page is cut to simulate a wild lawn. The user becomes part of the action by tearing off a page every day, thus emphasizing the long battery life of the company’s lawnmower.
What’s the most engaging direct mail promotion you’ve received? Did you keep it?
