OUGD201 - Evaluation

What skills have you developed through this module and how effectively do you think you have applied them?  

Throughout this module, I have gained extensive insight into commercial printing. The ‘Top 10’ manual of things you need to know about print allowed me to explore aspects of commercial printing I had never come across. I learnt how to set up an artwork to print in the form of colour management, scale, resolution, preflight and so on.

We had a screen printing workshop in Blenheim and in Vernon street last year but I never put this into practice within my work. However, this project allowed me to explore print processes which I had never fully investigated therefore screen-printing seemed like the perfect choice to experiment with. As I eventually created a packaging consisting of a black substrate, I chose to screen print pearlescent, metallic silver ink. Despite the lengthy process for such a small amount of information, I believe this has been worthwhile and my knowledge in this aspect of print production has vastly improved.

What approaches to/methods of design production have you developed and how have they informed your design development process?  

The concept development phase of this module, in particular for the ‘Good is?’ brief allowed me to explore my concept in more depth in order to devise a story or background to which I would eventually base my project on. In past projects, I have usually delved straight into digital design as opposed to creating a thorough rationale and exploring my concept through all possible aspects – this usually produces a body of work that is not as thought out as it could have been.

The visit to Team Impression provided me with a huge insight into commercial printing. Although I had researched into print processes and production, I hadn’t fully understood the process, limitations and outcomes in which they can produce until this visit. Understanding the limitations of colour, stock and print processes allowed me to create an informed decision as to how I would print my products in industry.

What strengths can you identify in your work and how have/will you capitalise on these?  

Before beginning this course, my work was predominantly advertising and design for web. Through this module however, I have picked up an extortionate amount of new skills which I have adapted to my work. I believe my passion now lies within print due to the tactile nature of printed outcomes and the endless possibilities in which it can produce. I believe my strengths lie within brand identity and packaging as this was most prominent through the ‘Good is’ brief. I believe the simplicity and minimalistic aesthetic of my designs reflects the concept of nostalgia effectively.

What weaknesses can you identify in your work and how will you address these in the future?  

I believe my time management is lacking – I need to prioritise and organise my time effectively to avoid panic and frustration at module hand-in. Through the workshops given to us during the early stages of the design process, I was able to focus more so on concept development and research as opposed to digital design. However, I still did not have a focused concept towards the beginning of the physical design process that ultimately disrupted by design development due to the multiple changes I had to make. I hope to rectify this in future projects by outlining what I will create.  

Identify five things that you will do differently next time and what do you expect to gain from doing these?  

Define my concept early on – Despite the numerous revised rationales, it was nearer towards the end of the project where I had a definitive concept outlined including what I will produce, the story/background behind it and the context of the products.

Define my target audience in advance – Similarly to my concept development, I need to define who I am aiming my product/outcome towards as this may alter the design decisions dramatically. Although I had a fairly clear concept as this was a novelty gift, I originally intended to devise a nostalgia pack catered to everyone – obviously, this was near impossible as everyone has personalised and individual memories and in the progress crit, it was noted I could create a pack based on a particular decade which resulted in a more defined and focused target market (albeit a very diverse one).

When doing to-do lists, stick to them – Now and again, I create to-do lists which although help keep me focused, I rarely abide by them. I need to make sure I am following my progress constantly.

Explore all aspects of print – Although I had experimented with screen-printing and possible foil-blocking, I need to book an induction with letterpress, laser cutting etc as this may prove beneficial in future projects.

PPD - Workshop [2]

www.moo.co.uk
www.generationpress.co.uk
www.core77.com

CV

• Not a human resources CV
• Needs to be a creative CV
• First alternative to a portfolio
• Be creative, be memorable
• MUST have contact details
• Outline what skills you have - software etc

Contacting professionals

• You're a professional contacting a professional
• Plan, document, make notes - try not to make it public
• Have reasoning for your choice
• E-mailing is easy, it's nice to get a letter
• When calling someone, have what you are going to say written down
• Preparation iss key

What do you want to tell them?

• In the first email, do not ask for a placement
• State you appreciate their style and content of work
• Give them something to respond to

Visual communication is changing and constantly evolving
If you can think it, it can be done
Have a business card printed and ready to hand out; your 'self identity' changes


Action Plan

Brand yourself, make a business card, think about a creative CV
- Who you are
- What you do
- Contact details

Start/carry on with a contact list with reasoning for your choices

OUGD201 - Good is? - Group crit

Comment on the extend to which the research and development of the presented briefs demontrates a significant understanding of the chosen subject matter/problem.

1) Extensive research which has been demonstrated on the blog and a developed understanding of what nostalgia 'means' to people.

2) Large amount of relevant contextual study which is leading to a well crafted project.

Comment on the extent to which the work presented/proposed exploits the practical and conceptual potential of the brief.

1) The pack idea exploits design for print well

2) Lots of work, maybe investigate some colour

Comment on the proposed range of products/deliverables/media/formats to be produced in response to clearly identified problems/briefs

1) Consider promotion as an extension to Design for Print - Point f sales? Poster promoting the concept of nostalgia to make people think

2) Interesting idea, not sure at the moment what sort of environment the pack would be found in.


Additional comments

1) N/A

2) Realistically the project is coming along fine, there are no massively obvious adjustments that need making, keep going in this direction and it should be a good project. Start investigating stock, colour and print finishes.


Action plan

• Which stock, print finishes, colours?
• More visible potential resolutions - What exactly is going inside the box?
• For a bit of extra research, look at 'you nostalgia, you lose' thread on the internet (link provided)

Response

I need to clarify exactly I will create, what will be inside the nostalgia pack and and where the products can be found. In terms of nostalgic medicine, it is unable to be sold as a corporate product/range due to the fictional nature of nostalgia itself - this therefore needs to be a novelty gift with an aspect of humour whilst still promoting the idea that nostalgia can provide a break from reality.

I also need to look at stock considerations, print finishes and begin experimenting with colour. To expand my body of work, I will need to design and experiment more, not just using the computer.

David Airey - What employers look for

David Airey asked several design employers to give advice to give advice to job applicants to form a four part series on his blog. The first in the series is courtesy of Eric Karjaluoto, partner and creative director at Vancouver-based smashLAB. I have highlighted some key points:

Source: davidairey.com

#1

The book

Although it’s rarely a physical book any longer, the first thing I look for in a designer is a visual sensibility. While I’d like to tell you that I pour a cup of tea and gingerly peruse someone’s design samples, the opposite is the case. Typically, it takes me less than 15 seconds to determine whether a portfolio warrants further inspection. While I don’t have a bias to any particular style of work, I do look for a certain amount of professionalism and depth.

Editing

I lied about my first point. The very first thing I look at is the resume. What may be different from what you’d expect, though, is that I consider it from a design standpoint. Yes, the credentials and work experience are important, but I’m more interested in what a designer has chosen to say about him/herself, and how appropriately they can craft this (deceptively complex) marketing tool.

Big picture and close-ups

Good designers tend to be able to step back from a situation and consider the bigger problem before getting carried away with execution. As a result, they are able to articulate their thinking behind a project in a coherent fashion; meanwhile, they know when to finesse details, run spell-checks, and sweat all the other (seemingly) small stuff. Both are equally important points to pay attention to, and it’s awfully easy to spot which designers are attuned to them and which are not.

The person

I need to be able to work efficiently with the people I hire. While we needn’t be the best of friends, it does mean we have to be able to maintain an open and healthy dialogue. The designers who are most apt to communicate/interact in such a way tend to be thoughtful, considerate, and not overly wrapped up in ego. They are largely interested in learning and honing their craft. When we started smashLAB, I struggled with this point, sometimes hiring the wrong people, and we suffered for it. Now, I more quickly flush-out applicants who seem to be a poor fit. Doing so has resulted in an exemplary team at smashLAB, which I’m very proud to work with.

Commitment

Design isn’t like other jobs. In order to be any good at it, you really have to put in your time. For experienced designers, the result of doing so is typically reflected in their portfolios. Young designers, however, generally haven’t had sufficient time to cultivate a solid body of work; therefore, they tend to be a bit of a gamble and are hired on a bit of a hunch. Once in the door, the real interview begins. Now, they need to prove to me that they’re worth the investment I’m making in them (many of my colleagues note feeling the same way). If you’re a new designer in your first professional role, I encourage you to be the first one in, the last to leave, and while you’re there, work your ass off. If you aren’t absolutely committed to your career, I’ll come to the conclusion that I shouldn’t be either.




#2

The second comes from Jim Walls, executive creative director of Philadelphia and Los Angeles-based branding agency 160over90. They are looking for...

Chops 

Do they have a solid understanding of type, color, form, balance? How well do they work with photography or illustration? Grids? Do their layouts communicate immediately? Do they know when to exercise restraint? Does the work accentuate the copy, or work against it? Can they even work with copy? Talking about the basics here. Ninety percent can be eliminated outright based on this criteria almost immediately. That’s the 15 seconds mentioned above.

Versatility 

You’ll often hear our CDs talk about portfolios being “good, but very samey.” If we look at the work and can’t differentiate a layout between a car ad and a brochure for a retirement home, it’s an indication that the designer is only comfortable working within a particular style. Likewise if a book is mostly letterpress wedding invites or gig posters. The work can be beautiful, but if it’s all of a piece, it’s concerning.  

We like to see work for a wide variety of projects, client types, and industries—in different mediums. Short copy, long copy. Logos. Magazine layouts. Motion graphics. Posters. Digital projects. The more the merrier. Our designers never face the same problem twice. You shouldn’t come off as a designer who can solve the same problem 10 different (but mostly samey) ways. I also like to see grand solutions for challenging categories. A beautiful logo for a financial services firm is twice as impressive as a similarly crafted mark for a coffee shop.

Conceptual ability 

A designer who knows how to develop work around an initial concept and think in terms of broader systems, solutions, and campaigns will go very, very far in life. The one who asks questions before any work is done. The one with insight into the mindset of the target audience. You’re the one every creative director in the world is competing for. An agency of 20 of you can topple Governments.  I’m not talking about design flourish disguised as an idea. That’s just wallpaper. If you don’t know the difference, well, that’s another post, and it’s also how portfolio schools stay in business.

Originality 

Portfolios, like fashion, tend to run in seasons. In the late 90s, everyone had at least one condom ad in their book. Ten years later, you couldn’t even call yourself a designer if you weren’t selling your Wilco posters on your personal site. If you worked for a certain youth-oriented clothing and lifestyle retailer two years ago, it was all about duotone newsprints. First with lots of vector art triangles, then about a year ago those triangles morphed into diamonds.

We hired a designer recently based mostly on the originality of the work. It just didn’t look like anything we had seen before. Everything just felt so unique and fresh. Nothing made us say “oh yeah, right, the tea packaging again.”

That reminds me of another point: If you’re going to include an identity for a cupcake shop in your portfolio, it had better be the ne plus ultra of cupcake shop identities. I’ve seen so many, I’ve developed a cynical twitch every time I get close to an actual cupcake. That ain’t right.

Editing 

What’s that one piece you tried to bury in your book about two-thirds of the way through? The postcard for the real estate development? It sucks. Get rid of it. It makes that fantastic pro bono campaign at the opening of your work look like a one-off. Then again, it was probably your co-designer’s work anyway. What was her name again? Is she looking for work?

Best. Work. Only. Doesn’t matter if it’s your only piece that actually got printed. Here’s a good way to edit: Consider each piece individually. If you had to get hired based on the quality of that piece alone, could you do it? If the answer is no, drop it and move on. Also, 15 pieces is enough.


Portfolio tips

Have a PDF portfolio always at the ready. And remember you’re designing for a screen, not a printout. Vertical layouts with 4-point type don’t translate well to a 15-inch MacBook format. Physical books? Endangered species. We maybe get four or five a year, unsolicited. Does it help you stand out? Maybe. But more often than not I’m wondering what the hell to do with the thing once I’m done looking though it. It’s gotten to the point that we don’t even really look at portfolios in the actual interviews anymore. Everything’s digital.


#3

Rochelle Fainstein, digital marketing manager in the Manhattan office of Sterling Brands.

Whenever we post a design job listing at Sterling, we always point out how important it is to us for you to possess four core values: Be brave, be productive, be collaborative, and be creative. These values are what truly connect us and keep us on a common mission to make the consumer world a more beautiful place. In addition to our values, there are a few things that will give you an edge in our hiring process in our design group:

10 things we love about you: 

1. Experience in packaging is a must. Packaging is what we do. Packaging is a language; you’re either fluent or you’re not. 
2. Must know the supermarket aisle like the back of your hand. Knowledge of Walmart is a PLUS. 
3. Must love watching men shave… And getting involved in all sorts of consumer behavior, market research and intelligence gathering. 
4. We like quirky. 
5. Must not mind a good work/life balance. If you insist on working the week between Christmas and New Years, this may not be the place for you. That in mind, we do work hard the rest of the year. 
6. Superior verbal and communications skills in design are critical. You must be able to present your fantastic, creative, incredible ideas. 
7. Must love blogs. We recommend you do your daily reading, which should include The Dieline, DavidAirey.com, Brand New, and Design Observer; or turn us on to something new. Inspire yourself. Inspire us. 
8. Pets are a plus. Our President of Design is a huge sucker for dogs. AND we get to design a lot of their food! 
9. Be a self-starter. We love folks who take the initiative, so don’t wait around for us to call you. If you want to work for Sterling, go all-in! 
10. Have a can-do attitude. Sounds like a propaganda poster, but we’re serious. A glass-half-full mentality has helped all of us through a hellacious week. Complainers need not apply.

#4

Simon Manchipp, co-founder at London-based SomeOne.

Your portfolio

I run a company. It’s tough. Complex. Very time consuming. I am time-poor. So your portfolio has one purpose: Dazzle me. From the first page. Show me what you got. Now is your chance to make me double-take. Make me actually stop the other thing I’m doing. I get about 20 seconds to jump through your PDF. Often on an iPhone. On the way to a meeting. So make it count. Beautifully crafted, brilliant ideas. And don’t worry, it need’t have actually been accepted by the client (although that always gets extra kudos). Show me your cut. The one that floats your boat.  

And being SomeOne, we do want to see your logo work. But make sure it is applied to something, inventively, progressively, interestingly. Make a BrandWorld — not just an Illustrator vector whacked on a LiveImage Photoshop file. Show me how the work goes deep. How you use it to create a rich brand world… not another logo rubber-stamped everywhere. If I cover the logo, what else is there to tell me who’s talking? Make it all shine. Dazzle me.

Copy

Show me you can write, not just make other peoples writing look good, and you’ll get my attention. A witty, smart, appropriate CV will always add value. Never underestimate the CV. It’s old-school, but it tells me a lot. it tells me you can string a sentence together… which probably means you could speak to a client, which probably means you are confident, which probably means you are good. Probably.

Strategy

What was the big idea behind a project? We start all our credentials with a quick run through of: What the challenge was. How we approached it. What the results were. Why it worked. Where it worked. It’s a really simple construct, but if you can answer each of the sections, you get a quick and effective way of describing the creative work behind the creative work. Show me you think. And how you think. And where that thinking works.

You

If you get hired you will love what you do. You won’t quite believe you get paid to do it. You will always be amazed that you’ve managed to make a career out of doing stuff you love. In fact, You’re always going to be waiting to get found out. Everyday you get to go to a cool studio, in the coolest city in the world, to work with the coolest clients on the planet, to just do cool stuff for them, with the coolest people… then go out for drinks with them all. That isn’t a job. That is amazing.  

So get excited. If you don’t want it more than the next person, the next person will probably get it. Don’t be annoying, be clever. Think — what’s going on right now? What is topical. What are they up to? How can I be useful? Then do it.

10,000 hours

You are probably young. Fresh from college even. And that’s cool. That’s how most of our designers start. But 10,000 hours is widely accepted to be how long it takes to be an expert. In anything. From playing the guitar to the way you operate on peoples brains. It’s the same with design. You need to do your time. There is no quick fix. You can’t be an overnight expert. So do your time.  

The Beatles went to Hamburg to rack up their hours faster than waiting the usual 10 years (the average time it takes to get to 10,000 hours under your belt). They started playing at 8pm and got home at 8am. Every day. For Months. You are no different. To get noticed, to get hired, to keep the job, to get promoted, paid more, you need to be the first in, and the last out. Everyday. All the time.  

Getting the job is tough. Keeping it is harder.

You are the Map Maker

You are the Map Maker is a book written to inspire and features inspirational insights from thirteen international, creative and resourceful entrepreneurs. The book is available as a free download so I thought it would be a perfect opportunity gain insight into industry practice through creative professionals. One of the featured designers is David Airey, a brand identity designer whose blog I follow regularly and work I admire.

The website states;  "This is the start of a journey. One where you will be challenged to take your self-doubt, bundle it up and chuck it overboard. You have just downloaded insights from 13 of the most creative and resourceful entrepreneurs on the planet."

Here is just some of the insightful and resourceful information I gathered:


Your best idea might be the one people laugh at
- Kathryn Schultz

Lessons for designers to embrace   (Nubby Twiglet)

1) If a client immediately loves everything that you've done, there's still room for improvement.

It does occasionally happen and it’s the best feeling in the world when you receive positive affirmations based on something that you created. Though it is a huge ego boost, you’re not perfect. Get feedback from a few peers and then take it a step further.

2) Don't take negative feedback too personally

If a client isn’t excited about what you’re presenting, ask for some honest, constructive feedback and build off of it. Clear up any misunderstandings, but don’t get defensive. After all, if they’re paying you, they’re entitled to an opinion. Stand your ground if you think that something’s not right but also listen. Take some time to process the information and then present a revision. If you’ve given it your best shot and are confident with the output but they still don’t like it, at least you have some peace of mind knowing that you did your personal best.

3) Clean and simple does not equal boring

When I was first starting out, I felt that I needed to prove that I could design. This meant adding in extra flourishes, brushes and layers of things that, looking back, were totally unnecessary. As you get more comfortable with your style and receive more training through school, internships and jobs you’ll realize that there’s no need to shout from the mountaintops, “Look what I did!” The work will speak for itself.

4) Accept the fact not everyone will love your work

Design is subjective and so are people’s opinions. I’ve had times where on the very same day, one viewer of my portfolio offered me work on the spot while another had a laundry list of changes that I should make. As long as you’re content with your output, that’s all that matters at the end of the day. Remember that if you’re making everyone happy, then you’re doing something wrong.

5) Everything should have a purpose

More, more, more isn’t always better. Don’t add more elements just because. By adding, ask yourself what you’re you taking away.


Communicating your essence

The foundations of communicating your essence are what you say and what you do to make people feel that they matter. Things like:

• Being different
• Doing something you love
• Working with people you care about
• Looking for niches and edges
• Spending time listening to customers
• Showing not telling
• Being generous and sharing your insights
• Not worrying about the competition
• Fulfilling the unexpressed desires of your clients
• Building relationships
• Delivering value
• Doing something unexpected
• Speaking human
• Creating surprise
• Generating delight
• Connecting people to each other
• Compelling clients to say, "I love this!"
• Compelling clients customers to say "I love this, where did you get it?"
• Being yourself

Is your product a good idea?   (Chris Gullebeau)

1) Desperate need

People need (or think they need) your product or service

2) High value

You deliver high value. You're proud of what you sell

3) High margins

You make real money form it.

If you have all three, you're probably onto something



What do you sell?

Selling design is very—different from selling tall skinny lattés, boxes of cereal, or tubes of toothpaste, unless you own a logo warehouse that is. Great design is not a mere commodity and this is what makes differentiating your product a challenge at times. As a creative would you want it any other way?


Does your story really define what you do?

• What makes your design stand out?
• What makes your work blend in?
• How is your product different?
• How is your service special?
• Are you delivering on your promise, original, unique, timeless, flexible, enduring?
• Can you create a new market and do something that hasn't been done before
• Can you reinvent something that's already been done and do it better?
• What is selling right now?
• What's not selling today that could sell if it was marketing in new ways tomorrow?
• Could you produce something thats scalable?
• Is it possible to create scarcity?
• What makes your product remarkable?
• Does your design start conversations?
• If not, how could you make that happen?

Understand your target market

• What drives them?
• How do they choose?
• What communication channels do they use?
• How can you nurture professional relationships?
• How can you package your product to meet the worldview of the audience you are trying to reach?
• What are the tool you will need to create a presence in your chosen market?
• Are you designing for everyone or perhaps creating things that some might dislike?
• Are you asking people to switch to you or are you creating a whole new market
• Why would I buy from you and not the designer who rans in the top ten in Google?

THINK BIG ACT SMALL


Go for it   (Mark Bloom)

Create something people want to talk about 

Focus on doing great work. Design things that people love and can’t help sharing. Allow your work to speak for itself. People like you who give form to ideas have the opportunity to be unique. That’s an edge in itself.

Make it easy for people to spread word about you 

Consider how people interact with each other. Work out new ways to make it easy for them to spread your work, ideas and designs. Although there is no map, here’s a short list of potential routes to think about.


It's not how good you are. It's how good you want to be

PPD - Workshop [1]

Collaboration

• Challenge yourself
• Work with others
• Don't play it safe

Us as designers

• We are constantly evolving as designers
• We already have a professional work ethic due to the nature of the course
• Find something that excites and interests us
• Be inquisitive
• It is the formation of an idea that is import

Self promotion

• See how others promote themselves, not just graphic designers; look at photographers, artists etc
• Don't stick with just emails - emailing is easy
• Be prepared and plan in advance

Contemporary Practice

• Primary investigation
• Get out in to the real world
• Life experiences

Make use of all your contacts

• Past students
• Tutors
• Visiting professionals
• Friends and family

Contacting studios

Create a list of studios/professionals and start an address book

• Send letters
• Face-to-face communication
• Be professional 
• Be as creative as you can
• Do something difference
• Keep in contact to build relationships

Seize the moment and every opportunity

Professional practice

• Aim high
• Approach studios early
• Keep up to date with them through their blogs, portfolio and news sections on their site
• They can only say no
• Be persistent

Sending an email

The tone of voice is important

• Be approachable
• Be friendly
• Be professional
• Don't be too familiar

Travel & Accomodation

• Think sensibly and realistically
• Home town/other friends/relatives

While you are there

• You are there for a reason
• Your placement is based on previously submitted work
• You are not dependant upon
• Ask questions
• Learn while you are there
• Be honest with what you know and what you don't know
• Work on mistakes
• Build relationships
• Keep in contact
• Reap the benefits
• Be willing to learn
• Get in early

Portfolio & Self promotion

• Produce a set of business cards
• Create a low res .pdf tutorial you can send via email
• Who you are, what you do
• Use your identity in correspondences
• Your 'identity' may change frequently

You don't ask you don't get
Be yourelf and don't try and emulate their work

Look at TM Marketing talk