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Graphic Design

Color in Design: What Is CMYK and RGB

Color in Design: What Is CMYK and RGB

 

Before getting into the core of the topic, let’s see a few basics on what’s colour and its perception. We could define colour as the specific wavelength of light reflected by the surface observed and captured by the human eye.

 

As Sir Isaac Newton discovered in the seventeenth century white light can be divided into several distinct colours ( by means of a ray of sunlight passing through a prism, after other strange experiments like passing a needle into his eye, in an attempt to understand human sight.)

 

Surfaces will reflect certain wavelengths and retain others, thus the wavelength reflected is the light we see on the surface. The visible light has what is called three primary colours which are red, green and blue. They are called primary because combining these three colours you can create the whole hue spectrum.

 

And now, the important part, what does happen when you combine all the primary colours? In visible light, if you mix them all together you get white light back, and that is the reason why visible light is known as an “Additive Color System.” If you were like me as a kid and liked mixing paints and colours and making a real mess on your clothes with them your memories will bring a contradictory concept to what I just explained, when we mixed all the paints together we didn’t get white, to our despair our painted clothes didn’t get whiter, on the contrary, they were more of a brownish, blackish colour.

 

Why does pigment in paints go black instead of white? Because the pigment surface retains more light than it gives back, so as we add more and more pigment, less light is returned back thus getting a black reflection. For that reason, pigments are known as “Subtractive Color Systems”

 

With all that said we can approach the two most known colour systems in graphic design.

 

    • CMYK is a subtractive colour system and for that reason adequate for printing as the pigments have that subtractive behaviour. While painters use the basic colour wheel ( Red, Blue, Yellow ) as a guide to mixing colours, printing ink uses another set of primary colours: Cyan, Magenta, Yellow and Black (CMYK). In theory cyan, magenta and yellow should be able to produce black but the mix isn’t rich enough to create a vivid and wide tonal range, for that reason black is added to the mix, forming what is known as “four-colour process.” So from the designer point of view, you should use this colour system when your project was intended for print, like letterheads, business cards or other stationery.
  • RGB is, on the other hand, an additive system, for that reason ideal for screen use. The combination with different percentages of Red, Green, Blue can generate the whole hue spectrum, being a 100% of each primary colour the generation of white (with the same logic 0% of each generates black). Therefore RGB is a good system when you are working in web design projects, logos for web or screen use only and any other imagery on screen.

 

There will be cases whereas a graphic designer you will need to provide solutions for both conditions (screen and print ) like a branding project. In those cases, I provide my client in the style guide a palette with the CMYK and RGB values that match better the colour chosen.

 

Article Source: https://EzineArticles.com/expert/Jordi_Riera/1422464

 

Branding
Graphic Design

Secrets to Creating a Visual Brand Identity That Sets You Apart

Secrets to Creating a Visual Brand Identity That Sets You Apart

8 Key Areas You Want to Keep Your Visual Brand Consistent

 

Have you ever wondered what your social media followers think about you?

 

Is it possible for you are sending mixed messages to your prospects?

 

This month we’re talking about the importance of personal branding and how it helps your business. This article ties closely in with that regarding your visual brand – essentially how you come across to others.

 

Over the years I have seen a lot of business owners who haven’t taken time to define their brand. They don’t understand when businesses stray from their brand, it dilutes their brand power and impact. Or worse, they have nothing about them that sets them apart.

 

As a result, they complain they are attracting the wrong customers or hardly getting any leads at all…

 

This “me too” method of marketing that mimics what competitors are doing isn’t effective.

 

That’s why I feel compelled to share more what a visual brand is and how to build a strong one online.

 

Whether you’re creating a new brand or updating your existing one, your brand’s visual identity is the most important factor in your marketing.

 

Your brand is so much more than a website and a logo. It’s a user’s total experience and perception of you.

 

So every touchpoint a prospect has with you should have one consistent look and theme. This includes your logo, website, stationery, social media, videos, brochures, business cards, and of course your personal brand in how you dress and present yourself to the world.

 

A solid visual brand:

 

– It helps people know what to expect from you.

 

– Promotes professionalism and purpose.

 

– Draws prospects who align with your ideas, attitudes, and values.

 

– Enhances confidence, trust, and rapport with your followers.

 

– Builds upon the existing brand experience they have with you in a positive (or a negative) way.

 

Visual branding adds real power to your marketing. It increases engagement and understanding.

 

With all these benefits to personal and professional branding, it’s more important than ever to brand your visual content and images so you stand out from competitors.

 

How Can You Keep Your Brand Consistent?

 

You write blog articles and posts every day. You are working back and forth on projects. How can you be certain that all the marketing you do resonates with your core brand?

 

Creating a style guide makes it easier to keep your marketing pieces consistent.

 

Firstly, ensure your brand is consistent in the following areas:

 

– Headshot – Having a professional headshot goes a long way in developing brand trust.

 

– Logo – your logo is the nucleus of your brand, everything else stems from that. Ensure it’s designed properly which includes the psychology of what it represents.

 

– Colour Palette – Colours that will resonate with your target market and be meaningful to your brand.

 

– Brand Message – This is the essence of your business that includes your slogan or tagline of who you are, what you do, and how you deliver value.

 

– Fonts – Being consistent with the same one or two typefaces throughout all written materials as well as graphics

 

– Design Elements – The use of borders, lines, shadows, and filters should all become familiar with being associated with your visual brand.

 

– Tone – Set the tone of your business presence and stick to it – whether serious, high-tech, sarcastic, or soulful, this is a big part of building a solid brand presence.

 

Create a Style Guide as Your Roadmap

 

A style guide acts like a map that helps your team to stay on track. Sharing your style guide with key members of your team can ensure everyone knows the style guidelines and can follow them.

 

– Your copywriter and social media manager will understand how to write with your brand voice.

– Your graphic designer will stick to the fonts and colours your brand is known for.

– Your web design team can make sure your website and landing pages all have the same look and feel.

 

This is especially important for companies with virtual employees spanning in multiple geographic regions. Make it easy for your team to access your logo, fonts, and templates. Always protect your brand. Double-check when new marketing pieces come in that they conform to brand guidelines.

 

Here are 8 areas you will want to keep your brand consistent in everything you do in your business marketing and social media efforts:

 

1. Website

 

Your website is the biggest brand statement your business has. It serves as a reference to make sure all other brand elements are in alignment.

 

That’s why I am so against people who use cookie-cutter template sites. They may look polished, but they lack the warmth, connection, and personality of a branded website (not to mention how badly they are built.)

 

Make sure the images you use are reflective of your ideal client. Use language that resonates with your target audience. Create an about page that helps your visitors understand your backstory and why you are passionate and good at what you do.

 

The more your website looks and feels like you, the stronger the attraction tool it will be for potential clients.

 

2. Professional Headshot

 

I was very camera shy when I first started my business. So when it came time to get some updated headshots, I dreaded it. But I found that going through the process brought me confidence.

 

My new headshots are used as a personal and business branding tool that helps me to be more recognized online. They are on all my social media profiles and on our website. As a result, people recognize me when I attend local networking events.

 

Investing in new headshots can truly jumpstart your brand and success.

 

3. Sharing Photos

 

Sharing photos makes your marketing more personable and showcases your personal brand. Consumers love seeing the real person behind the business.

 

So be mindful of when you are working or in group situations and see how you can snap pictures to show followers what you are up to.

 

Take a picture holding your new book. Grab a shot with a new friend you met while networking. Show the resort you are staying at for your business mastermind.

 

4. Video

 

Creating videos helps build a strong following online. It’s important to have your videos match your brand too. Dress in a manner that is consistent with your brand.

 

You could also shoot it in similar places or locations. Whether that’s sitting at your desk, cooking in the kitchen, or standing in front of a green screen with a projected background, that consistent setting helps build familiarity.

 

Be warm, friendly, and connective. If you promise to offer weekly video tips, then get them out on the same day each week so viewers can anticipate them. Create a custom hashtag for your video tips too.

 

5. Branded Images

 

Kick up the interest of your blog articles and social media with images. There are loads of free tools to help you make graphic quotes, infographics, and other visuals to add impact.

 

Make sure all your graphic images are consistent with your brand. Adding your logo makes it easy for people to instantly recognize the content is from you.

 

6. Social Media

 

Social media provides so many opportunities for visual branding. From Facebook cover images to profile pics, to graphics, there are endless opportunities for people to learn more about what you do.

 

The images you use can evoke the feelings and emotions you want your brand to convey. The goal is for someone to look at your social media account and get an impression that helps them understand your unique vibe.

 

7. Free Giveaways

 

When you are offering free reports, tools, and other goodies to visitors, make sure they have the same colours, logos, and visual feel as your other materials.

 

When it looks professional and makes a great impression, it builds credibility. Plus, it’s just one more piece of the brand puzzle that helps them understand what you do.

 

8. Email Signature

 

A graphic email signature can add a visual impact to every message you send. Services like Wisestamp make it easy to add your logo, picture, and social media links to your email signature.

 

Have your virtual team members set up a signature too so you come across as a professional team to your customers.

 

Are you a Wanna Be or a Real Brand?

 

It’s really important to take a look at your brand as a whole to make sure everything is in alignment.

 

Is your visual brand

 

– Clear,

– consistent,

– Authentic,

– Memorable, and

– In alignment with changes in the marketplace, your offerings, or your success?

 

Even if your brand was on target 3 years ago, the nature of your business may have changed where your brand no longer accurately reflects what you do or who you serve.

 

You have become more specialized. You may have new product offerings. Maybe you are now the host of a new podcast.

 

Take a look at your brand with the eyes of an outsider and ask yourself if what you see truly reflect who you are now as a company.

 

 

Article Source: https://EzineArticles.com/expert/Susan_Friesen/260293

 

branding
Graphic Design

The 7 Pillars of Branding

The 7 Pillars of Branding

Although the question of branding has always been an essential part of marketing and has been approached with multi-dimension models, sometimes these studies have been made without a systematic approach or full of redundancy or ad-hoc views. Unlike marketing which has the widely-known and usable, practical 7P-model, branding still misses such a sort of basic structure which makes the skeleton of all branding stories.

 

Here I am making an outline of such a simplified model to help people in successfully designing brands and also to better understanding the already existing ones. I collected 7 layers of the branding with 7 different tasks to be completed in everyday actions. I hope this can be useful for the readers, too.

 

Right before entering this syllabus, we need to define what brand and branding are: in our view brand is a vision that is related to a specific company, product or any specific entity which lives in people and materializes to them. Branding is the art of deliberate control over the whole process.

 

First pillar: Publicly known

 

A brand always defines a smaller or bigger group of people who are somehow aware of the product or the service in question. This is the prerequisite or trivial condition of all brands: if you are the only one who knows a specific service or uses a specific product and no information is publicized, the service or product is unable to evolve into a brand. This is the primary task of all marketing efforts, making our specific product or service (along with its whole branding costume) widely known on the addressed market: the majority of the marketing budget is used for this purpose. At this point we normally pay attention to the details of the publicity of all brands: target segment(s), its content, geographic, demography, media, communication methods, timing etc.

 

Task 1: design and make your publicity

 

However, the fame of a product or service is not exclusively based on the publicity gained (mostly depending on the money available for promoting the brand) via frontal, push-type of promotion. Money spent on communications is a very important factor to reach the second stage of publicity: the people involved in the communications flow will probably share the information with each other and start a – sometimes very simple and few words – discussion about the product or service heard. The act of sharing the information with each other happens or has happened with all known brands. Suggestions, opinions made in public are very important in articulating brand and thus creating or strengthening/weakening brands. This is why the importance of Facebook in contemporary marketing cannot be overestimated enough, or, with similar effect, the customer service/problem handling has always been the focal point of customer satisfaction and branding, too.

 

The publicity of branding, therefore, incorporates all means of sharing the information related to a specific brand or service. There is two basic types of publicities: there is, of course, the strictly controlled information sharing method (typically: marketing communications) and we also have to face a second publicity, the huge uncontrolled means of communication. When we are thinking on designing a new brand or just examining an existing one, we have to enlist all the ways how the specific brand gains publicity and sort them by relevance with regards to the public coverage and effect, making special attention to the uncontrolled ways of publicity.

 

The success of controlling publicity is a key to profit from branding, however, public control will never mean information monopoly over the media and over the outcome: even situations when a company has theoretically 100% control over the situation (e.g. customer care desk at the office or shop), it is always a challenge to control what is exactly happening there, what is going to be told or heard. Thus, from micro to macro level the publicity always carries a huge uncertainty factor with regards to reach, direct effect and future implications.

 

Second pillar: Associative and narrative – stories around

 

The discussions initiated and information shared publicly about a brand (or a branded product or service) would show up the next major characteristic of brands, that is, the power of the coupling or association related to the branded products or services. In other words, branding means that we create stories around a brand. Brand identity or personality, brand vision, brand promise are the official stories reflecting the narrative of a generic brand on different levels. Marketing creative planning is exactly doing the same around a specific product of a brand (e.g. ‘The environment-friendly Toyota Prius’ as a story), while general brand stories (I mean the Toyota brand in the example) or associations are on higher level only. We, therefore, have to consider several layers of brand stories or narratives when examining them. It is very useful when these stories are consistent and formed professionally and are not contradicting with each other.

 

Brands are incorporating many stories and ideas not just from individual products and services determined by the company but stories and ideas also coming from the public. Unfortunately – as we mentioned above – we cannot control the majority of the perceptions of our brand. Individual opinions, perceived qualities, good or bad experiences are building the narrative universe, or more simply, the stories of a brand.

 

Task 2: define and drive brand stories

 

Notwithstanding the above, we can drive these brand stories and narrow them to the desired ones on at least two-three different areas. The mission statement of a company/organization is the very source of official brand stories and determines the branding direction via its written values and operational reasons. Secondly, the slogan or the tagline of a brand (like LG’s Life’s Good) is meant to embody the driving narrative story and works like a magnet: collects all the associations around a brand. The third layer of story comes along with specific products or services: repeating the slogans, taglines while inserting the logo of the brand on individual products/services makes the specific product or service painted with the general brand’s associations and qualities. The individual story of a product or service is like a topping on the branding cake. Pure brand campaigns, on the other hand, are always aiming to outline and to fix the desired main stories and narratives of qualities in the customers.

 

Controlling publicity cannot be done without controlling the stories attached to a specific brand and seems the major task of all branding and communications managers. Here, we have to highlight a related issue which behaves like the blind spot of the branding: rebranding. Rebranding campaigns are to change the very basic story of a brand. This is the reason why these campaigns fail many times and real rebranding is a very seldom event.

 

Third pillar: Concrete and multiplicative form

 

In real life we always give tangible forms to brands because we want to make profit from our money spent. Brand without concrete product/service to buy (or without a related person when we talk about personal brands) is useless or just a promise (like the newly planned Jolla mobile OS with only a demo video). The embodiment of a Brand is an essential part of its very nature.

 

Normally we use the power of a general Brand Name for many individual products. An already existing brand hands over its potentials (its stories of qualities, usage, value etc.) to specific, individual products and even when we see a new product of an already known brand we are already having a presupposition or sense of certain expectations towards the brand new product. A VW car is perceived for many as a reliable one; however, it may happen that a much lower quality is introduced in a new model than what the brand had fulfilled at its predecessors.

 

Task 3: make several appearances to utilize brand power

 

Most times we may say that a brand is transferred into several products and therefore it is multiplicative. It is very seldom that an earned reputation of a brand represented in only one product or service. For example the perfume 4711 seems to be transferred only into one product for a long time, but the brand’s product portfolio today consists of more than one item: after shave or even shower gel is also produced. Start-ups typically own only one product and normally the first product is the one that determines and forms the brand later on. Initially, the brand is typically built upon on only one product or service and this is why it is very sensitive when entering a market with a new company and a new product: it also determines the future brand and products the company assessed with.

 

Personal brands, seen superficially, are not multiplicative: a person who has double face (see politicians) and therefore not able to form a consistent and concrete personal brand, are subject to lose their reputation and their face rapidly. This is because brands can have only one concrete (credible) story, without major contradictions. The multiplicative nature of personal brands should be investigated from another perspective. In case we regard a person’s appearances in public as concretizations and multiplications of his/her brand, we are closer to the truth and we understand better why celebrities and politicians are so keen on public appearances.

 

Fourth pillar: Unique proposition

 

The history of branding is stemming from the wish of making a producer’s goods identifiable. This is not just to ensure the identity of goods but also to prevent from copying and forgery. The brands around us are still carrying these old attributes: the logo of the company/brand is expressing the uniqueness of a brand (supported by law as trademarks) and helps us to identify a specific brand in the universe of brands and signs.

 

Sometimes it is very hard to make distinction based on the products/services alone: Pepsi and its rivals put in a neutral glass next to each other are unidentifiable, so the use of branding techniques is crucial for gaining profit for both companies. Just like in the cola case, the technological industry also heavily relies on the branding when selling its products or services: PCs, laptops, smartphones or internet accesses are very similar to each other. Or, a tax advisory service consultant firm is facing real challenges to provide specific brand vision.

 

Task 4: find and use the means of brand differentiation

 

The unique proposition of the brands has to be built up and shown for the public: the individual logos of brands on devices for example help the company to make distinction from their competitors and help the customers to identify different market players in order to make a personal choice of preference. Most times companies heavily rely on the unique brand distinguishers, like stories about their unique market segment, tailor-made products, additional services they provide etc. Sometimes, when stories among a group of competitors are very similar or compatible (like the Big Four Auditors) and even their service is similar, a common story may evolve around them focusing on more the similarity and indirectly expressing the exclusivity of the group members.

 

Fifth pillar: Value

 

When we identify a brand on its telltale signs (e.g. design) or logo we do not think on what we see first (the product itself) but rather we focus on the brand value represented by the specific product or service. We may say (even without seeing the product) that if you are having Martin Logan stereo speakers that is very cool, but if you are having Philips that is not so awesome. Different brands represent different values: there are low-end and high-end brands with many in between. Start-up companies have to position their brand value on the axis predetermined by the existing market players. Making decision on positioning the companies’ services or products on the lower or higher end of this axis has nothing to do with ethical values: a low-end, cheap car helps many disabled or poor people without doubt. Rather, making the choice of brand values determine the market we are about to target. And this target market decision affects our business outlooks directly. When Toyota launched it Lexus series and decided to focus on the higher end cars they probably considered the higher profit option.

 

The value of a brand is also expressed in a more measurable way. In general ledgers brands are valued as a part of the company’s goodwill and are very sensitive for new product introductions and for amortization, too. From financial point of view brands regarded as assets that have been created due to investment and are also subject to lose or increase their values.

 

Task 5: define and carry brand values

 

The value of a brand emanates into individual products of a company and the value of the sold products affects the value of the brands. More surprisingly, the value of a brand may transfer over the buyer persona influencing the perceived value of a person in a certain group of people (see Apple fan-effect) while the network-effect of the public also modifies the brand value (exclusivity, limited models are also able to increase brand value).

 

The relative price of a product or the whole branded portfolio both has very special connection with the brand value: the higher the price positioned the harder to imagine low brand value. This is because the narrative of the price (see Second pillar) influences the brand value. Other narratives of a brand (how durable it is, for instance, or which celebrities are using this brand) heavily affect the brand value, too. Similarly, the extent of public spread (see First pillar – how much the brand is known, how much spent on advertising) also affects the brand value.

 

Brand value is determined by several other factors even not listed here. It is partly the result of deliberate actions of the company (market positioning of the brand and its products) but also exposed to external factors (like time) and public opinion.( LG’s rebranding from the low-end Goldstar brand to the higher positioned LG showed that value propositions of a brand require efforts in both areas. Grundig made the opposite U-turn when sold to Chinese company.)

 

Sixth pillar: personal relation

 

All the pillars encountered previously are summoning on personal level because the nature and the definition of branding 100% relate to human feelings and perceptions. Most cases we can translate this personal effect and feelings to perceived brand values and the position of a brand in the customers’ head. People know or do not know, like or dislike brands, become haters or fans of brands, recommend or just accept certain brands.

 

Task 6: turn personal relation to the action

 

As a result, this personal disposition of a brand clearly ends up in the relation to the act of buying. We, marketing professionals, should not deny the aboriginal intention of our branding efforts to influence buying decisions on personal level. We are not just simply influencing people in business for the sake of general human aims: we do not want world peace; we do want to have our specific products and services sold. We want to convince John or Clair Smith as individual customers to select our service or product. This is the action we – or more generally: the investors – expect from any investments (including brand campaigns) made.

 

Fortunately, we not all live in the business sector, not all follow business aims (i.e. sales) in our lives. Surprisingly, non-profit organizations are not so much different from business ventures from this point of view. Non-profits also want to have a specific action to be reached: an action that is maybe appearing directly (like giving a donation for starving people) but can be mental action or change to be targeted (for instance diversity campaigns).

 

The personal relation to a branded entity can be outlined in a matrix where on the first axis we can define the readiness or probability of buying action (or in a non-profit: readiness for action) and on the second axis we may highlight the level of brand’s emotional acceptance.

 

The personal relation to a specific brand with regards to the ultimate sales reason can be mapped as shown, but we should not forget that personal emotions and relations to brands are much wider than presented above: some people feel that their beloved brand is expressing also their way of life, involving several other actions well beyond a simple shopping; or just feeling neutral about a brand while the person is not going to be represented in any commercial situation (like myself with any hunting brands, although I know some of them).

 

We should, therefore, identify very precisely the personal relations to our brand of our existing and potential customers and we should make focused actions to harvest the branding efforts we have previously made.

 

Seventh pillar: Exposure to time

 

We have already mentioned before the amortization as an important factor in brand values. The simple reason for amortization is that the brands (via materialized products/services) and the customers live in time.

 

The general life exposure to time factor represented in concrete shapes with regards to brand itself and to its specific products/services. (Amortization is only the result of that process.) Brand perception very much affected by the products/services in the timeline (e.g. how much up-to-date the product is reflects the brand’s state-of-the-art nature) and on the other hand, the brand itself (without looking at individual products) also has an individual character which has its own life-cycle (how old a brand is, what type of products they represent).

 

Task 7: Consider time: plan and replan over time

 

Brands do not last forever and are changing over time, even without deliberate actions. Amortization expresses the time-factor in economic terms but all the pillars mentioned before has a time layer. The repeated actions of marketing campaigns, the product developments or changes in market environments change the face of the brand even if it is not perceived by the company. The sad story of Nokia is a perfect example of how this specific brand was affected by the time factor in all possible way, from the publicity of its phones (a complete new generation has skipped Nokia phones), through the changes in the narratives attached to the brand, with the refreshed need to be unique again to the sharp decline of the brand value.

 

Article Source: https://EzineArticles.com/expert/Zsolt_Egri/1603668

 

Graphic Design

The Seven Deadly Sins of Bad Graphic Design: What You Don’t Know Can Hurt Your Business!

The Seven Deadly Sins of Bad Graphic Design: What You Don’t Know Can Hurt Your Business!

An advertisement for food that takes away your appetite. A commercial that leaves you wondering what the product actually is, and how you can avoid it. Whether it’s a billboard, a television commercial or a magazine advertisement, we’ve all seen bad ads and wondered, ‘What was that company thinking?!’ Yep, a graphic design disaster strikes again!

 

It’s true; nothing leads to bad advertising or wastes your marketing dollars faster than a graphic design disaster. From big corporations to small businesses, everyone has made a graphic design mistake. Big corporations, however, have big bucks to spend on advertising, so the huge chunk of change that a large company just blew on an ineffective Super Bowl ad doesn’t hurt their bottom line the way an advertising mistake can hurt small business.

 

If you’ve never worked with a graphic design team before or had a bad experience in the past (I’ve heard horror stories of small businesses being ignored or mistreated by large design firms), the world of graphic design may seem mysterious, complex and even a bit confusing. A professional sign or graphic shop is experienced in turning your ideas into reality, and understand every step in the graphic design process. I’m here to debunk the mysteries, answer some common questions, and ensure your small business gets the biggest bang for your advertising buck! Read on for the ‘seven deadly sins’ of graphic design, and learn how to avoid these common pitfalls.

 

Sin #1: Graphic design doesn’t matter.

I beg to differ. The goal of every marketing initiative is to clearly communicate your message. Good design is at the root of this communication. A good design visually implements your marketing strategy; poor design does not. Good design establishes your brand’s legitimacy; bad design undermines it. Even the most creative and innovative marketing idea will fall short if you fail to properly execute the design. Whether it’s driving sales, promoting a product, or defining a brand, graphic design has a clear business purpose and a specific goal to accomplish.

 

Fundamentally, good graphic design should: (1) improve your image and strengthen your brand, (2) make your business stand out from your competitors’ and (3) convincingly sell your messages to customers with a strong emotional appeal. The best designs stimulate an emotional, subconscious reaction in the viewer. And this all adds up to one thing: a better small business.

 

Sin #2: Cheap designers are just as good as expensive designers.

You get what you pay for. This old adage is especially true in graphic design. Think of graphic design not as an expense, but as an investment in your company’s future. Would you hire your next-door neighbor to do your business taxes? Unless he’s a certified accountant, the answer is probably no. The same goes for graphic design.

 

If you aren’t a graphic designer, don’t try to create your own logo – and don’t hire a friend without design experience to do it either. Leave the logo and marketing materials to a professional design team. There is a fine line between getting the biggest bang for you buck and looking cheap. When you choose to advertise your small business, whether it’s with vehicle wraps or window perforations, your goal is to cut costs, not quality. From color disasters to font fiascos, don’t gamble your business’s brand away on sub-par design. Whatever your graphic needs, avoid a branding catastrophe and go with the professionals.

 

Sin #3: Learning the lingo is a waste of time.

In reality, learning some basic design lingo can go a long way to helping you understand the process and getting you the biggest bang for your buck. From vector images to pre-flight approval, graphic design terminology is unique, and I know it can be a bit confusing to someone not familiar with it. When we first started in the design business, we didn’t know all the right terms either! Below I’ve listed some common terms that will help you better understand the design process – and ensure you get the best end product.

 

Vector images – A vector image is one made from basic geometric shapes, such as rectangles, lines, circles, ellipses, and polygons. Since a vector image is created from shapes, it does not use pixels, thus when the image is enlarged, the same high-quality resolution is maintained. Vector images are important because they allow for easy manipulation during the design process. If you have a logo or an image, be sure to give us the file in vector format. We can also convert some graphic files to vector format, although this is a chargeable service.

 

Color matching – If you have already printed a logo or other advertising collateral, you will likely want to match the color of your existing material to your vehicle wrap or window lettering. In order to ensure an accurate color match, bring us a sample in person. Because color can vary from computer to computer based on a monitor, the only way to ensure an accurate color match is to view a sample in person. Understand how important color matching is for your brand, and make sure to get it right the first time.

 

Pre-flight – When a design is in its final stages prior to printing, it is in ‘pre-flight.’ That means a production team does a final check to confirm colors and dimensions are correct before printing. Once an image goes to a pre-flight check, no major design edits can be made (otherwise, you’ll need to start over from the drafting process).

 

Sin #4: I never plan ahead.

The key to a successful design job is planning. If you have a great idea, tell me! A good design company will help you take your idea from concept to completion. The best way to do this is to go to the shop, view samples, and talk to them in person. If you want a custom vehicle wrap job, be sure to bring in your car. This way they can get accurate measurements and get a feel for what you want. We use computer templates as a starting point for every vehicle wrap, but specific measurements allow us to customize the templates and ensure the design will fit just right.

 

Sin #5: I need my rush job ASAP.

Custom work takes time. Every design team will do their best to accommodate your schedule, especially in the event of a last-minute rush job. Deadlines change and ‘I need it next week’ suddenly becomes ‘I needed it yesterday.’ Keep in mind that a design shop can (unfortunately) only do so much. Your rush job still needs to be squeezed into the regular production schedule. Quality work takes time, and rushed jobs tend to look like they were rushed.

 

Sin #6: I proof my work when I feel like it – whether that’s today or next week.

Prompt proofing speeds up the design process. A good design company will work with you on edits and revisions as many times as you need, but keep in mind that proofing and changes take time. I always tell customers to allow 2-5 days for proofing and review. This may seem like a long time, but I’ve learned from experience that the change process can move slowly.

 

So what can be done to speed this up? The design proofing process will go much faster if the customer gets back in a timely fashion. I know you’re busy, but when you get proof, take a few minutes to review it right away. Try not to wait a day or two – by the time you send changes and the design shop gets back to you, a few days will have already passed.

 

Sin #7: There’s no need to pay for quality materials.

Cut costs, not quality. Vehicle advertising and window graphics are two cost-effective marketing techniques that generate thousands of impressions and are a great return on your investment. However, poorly designed, printed and applied graphics look cheap – and reflect poorly on your brand. Use professional lamination for outdoor signage to protect and seal your graphics from sun, dirt, and the elements. This will keep your colors fresh and preserve the ink, ensuring your graphics remain vibrant. Finally, make sure the lamination is done by a machine that presses a clear layer of vinyl on top of the graphic. The alternative process, using liquid lamination that is painted on by hand, may cost less, but it is an inferior process that looks cheap and easily fades and peels. A reputable shop will have a lamination press. Ask to be shown the machine so that you know you’re dealing with a reputable shop!

 

And when you’re ready to take off the graphics or change out your look, don’t remove them yourself. Improper removal c

Article Source: http://EzineArticles.com/5819623

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Graphic Design

What Is Graphic Design: History And Origins

Graphic design is a profession whose business is the act of designing, programming, and create visual communications, generally produced by industrial means and intended to convey specific messages to specific social groups, with a clear purpose. This is the activity that enables graphically communicate ideas, facts and values processed and synthesized in terms of form and communication, social, cultural, economic, aesthetic and technological. Also known as visual communication design, because some associate the word figure only to the printing industry, and understand that visual messages are channelled through many media, not just print.

 

Given the massive and rapid growth in the exchange of information, the demand for graphic designers is greater than ever, particularly because of the development of new technologies and the need to pay attention to the human factors that are beyond the competence of engineers who develop them.

 

Some classifications are widely used graphic design: advertising design, editorial design, corporate identity design, web design, packaging design, typographic design, signage design, multimedia design, among others.

Graphic Design History

 

The definition of the graphic design profession is rather recent, in what concerns their preparation, their activities and goals. Although there is no consensus on the exact date of the birth of graphic design, some dating during the interwar period. Others understand that begins to identify as such to the late nineteenth century.

 

Arguably specific graphic communications purposes have their origin in Paleolithic cave paintings and the birth of written language in the third millennium BC. C. But the differences in working methods and training required auxiliary sciences are such that it is not possible to identify the current graphic designer with prehistoric man, with xylograph fifteenth century or the lithographer 1890.

 

The diversity of opinion reflects the fact that some see as a product of graphic design and all other graphical demonstration only those that arise as a result of the application of a model of industrial production, those visual manifestations that have been “projected” contemplating needs of different types: productive symbolic ergonomic contextual etc.

 

Background

 

A page from the Book of Kells: Folio 114, with decorated text, contains the Tunc dicit illis. An example of art and page layout of the Middle Ages.

 

The Book of Kells – A Bible was handwritten richly illustrated by Irish monks in the ninth century CE-is for some a very beautiful and early example of a graphic design concept. It is a graphic demonstration of great artistic value, high quality, and that even a model for learning to design-for even surpasses in quality to many of the current-editorial productions, and also from a functional point of view contemporary This graphic piece responds to all needs presented the team of people who made it, however, others believe that it would be graphic design product because they understand that their design is not adjusted to the idea of a current graphic design project.

 

The history of typography-and by transitive, also the history of the book is closely linked to graphic design, this may be because there are virtually no graphics designs that do not include such items graphics. Hence, when talking about the history of graphic design, typography also cited the Trajan column, medieval miniatures, Johannes Gutenberg’s printing press, the evolution of the book industry, the posters Parisian Arts Movement and Crafts (Arts and Crafts), William Morris, Bauhaus, etc.. ”

 

The introduction of movable type by Johannes Gutenberg made books cheaper to produce, and facilitate their dissemination. The first printed books (incunabula) scored the role model in the twentieth century. Graphic design of this era has become known as Old Style (especially the typefaces which these early typographers used), or Humanist, due to the predominant philosophical school of the time.

 

After Gutenberg, no significant changes were seen until the late nineteenth century, particularly in Britain, there was an effort to create a clear division between the fine and applied arts.

 

In the 19th Century

 

The first page of the book “The Nature of Gothic” by John Ruskin, published by the Kelmscott Press. The Arts and Crafts intended to revive the medieval art, inspiration in nature and manual labour.

 

During the nineteenth-century, visual message design was entrusted alternately two professionals: the artist or the publisher. The first was formed as an artist and the second as a craftsman, often both in the same schools of arts and crafts. For the printer as art was the use of ornaments and selecting fonts printed in his compositions. The artist saw typography as a child and paying more attention to ornamental and illustrative elements.

 

Between 1891 and 1896, the William Morris Kelmscott Press published some of the most significant graphic products Arts and Crafts Movement (Arts and Crafts) and established a lucrative business based on the design of books of great stylistic refinement and selling them to the upper classes as luxury items. Morris proved that a market existed for works of graphic design, establishing the separation of design from production and the fine arts. The work of the Kelmscott Press is characterized by its recreation of historic styles, especially medieval.

 

First Vanguards

 

Poster for the Moulin Rouge in Paris. Made by Henri de Toulouse-Lautrec with colour lithography in 1891. Thanks to Art Nouveau, graphic design and visual clarity gained by the composition.

 

Isotype of the Bauhaus. Founded in 1919 by Walter Gropius, is considered the birthplace of the graphic design profession.

 

Given Poster for Matinée. Made by Theo van Doesburg in January 1923. The free font organization expresses the spirit of the Dada movement, irrationality, for freedom and oppose the status quo and visual expressions of the time.

 

Corporate identity design for Lufthansa, by the Development Group 5 of the HFG Ulm. Ulm School was an inflexion point in the history of design since there is outlined the design profession through scientific methodology.

 

Current pictograms design for the National Park Service of the United States. The idea to simplify the symbols forms developed during the 1950s.

 

The design of the early twentieth century, as well as the fine arts of the same period, was a reaction against the decadence of typography and design of the late nineteenth century.

 

The interest in ornamentation and the proliferation of measurement changes and typographical style one-piece design, synonymous with good design, it was an idea that was maintained until the late nineteenth century. The Art Nouveau, with its clear desire stylistic, was a movement that contributed to higher-order visual composition. While maintaining a high level of formal complexity, did so within a strong visual consistency, discarding the variation of typographic styles in one graphic piece.

 

Art movements of the second decade of the twentieth century and the political turmoil that accompanied them generated dramatic changes in graphic design. The Dada, De Stijl, Suprematism, Cubism, Constructivism, Futurism, the Bauhaus and created a new vision that influenced all branches of the visual arts and design. All these movements opposed to the decorative arts and popular, as well as the Art Nouveau, which under the influence of the new interest in geometry evolved into the Art Deco. All these movements were a revisionist and transgressive spirit in all arts of the time. This period also publications and manifestos proliferated through which artists and educators expressed their opinions.

 

During the 1930s developed for the composition interesting aspects of graphic design. The graphic style change was significant because it shows a reaction against eclecticism ornamentalist organicism and the time and proposes a more stripped and geometric. This style, connected with Constructivism, Suprematism, Neoplasticism, De Stijl and Bauhaus exerted a lasting influence and inescapable in the development of the twentieth-century graphic design. Another important element concerning professional practice was the increasing use of visual form as a communication element. This item appeared mostly in the designs produced by the Dada and De Stijl.

 

The symbol of modern typography is the sans serif font or serif, inspired by industrial types of the late nineteenth century. Highlights include Edward Johnston, author of the font for the London Underground, and Eric Gill.

 

Design Schools

 

Jan Tschichold embodied the principles of modern typography in his 1928 book, New Typography. He later repudiated the philosophy presented in this book, calling it fascist, but remained very influential. Herbert Bayer, who dirigó from 1925-1928 the typography and advertising workshop at the Bauhaus, created the conditions for a new profession: the graphic designer. He put the subject “Advertising” in the education program including, among other things, the analysis of advertising media and the psychology of advertising. Notably, the first to define the term Graphic Design was the designer and typographer William Addison Dwiggins in 1922.

 

Thus Tschichold, Herbert Bayer, László Moholy-Nagy, and El Lissitzky became parents of graphic design as we know it today. They pioneered production techniques and styles that have been using later. Today, computers have dramatically altered production systems, but the approach that contributed to experimental design is more relevant than ever dynamism, experimentation and even very specific things like choosing fonts (Helvetica is a revival, originally a Typography design based on the nineteenth-century industrial) and orthogonal compositions.

 

In the years following the modern style gained acceptance, while stagnated. Notable names in modern design midcentury are Adrian Frutiger, designer of the typefaces Univers and Frutiger, and Josef Müller-Brockmann, a large poster of the fifties and sixties.

 

The Hochschule für Gestaltung (HFG) in Ulm was another key institution in the development of the graphic design profession. Since its founding, the HFG distanced himself from a possible affiliation with advertising. In the beginning, the department concerned was called Visual Design, but it quickly became clear that his current goal was to solve design problems in the area of mass communication in the academic year 1956-1957 the name was changed to Department of Visual Communication, modelled Visual Communication Department at the New Bauhaus in Chicago.2 3 In the HFG Ulm, decided to work primarily in the area of persuasive communication in the fields such as traffic sign systems, plans for technical equipment, or visual translation of scientific content. Until that time were not systematically taught these areas in any other European school. In the early ’70s, members of the Bund Deutscher Grafik-Designer (Association of German graphic designers), unveiled several features of their professional identity, as in the case of Anton Stankowski among others. While in 1962 the official definition of the profession was directed almost exclusively to the advertising, now extended to include areas located under the rubric of communication visual.4 corporate images produced by the Development Group 5 of the HFG Ulm such as those created for the firm Braun or airline Lufthansa were also critical to this new professional identity.

 

Gui Bonsiepe and Tomas Maldonado were two of the first people who tried to apply the design ideas from semantics. In a seminar held at the HFG Ulm in 1956, Maldonado proposed modernizing rhetoric, classical art of persuasion. Maldonado Bonsiepe and then wrote several articles on semiotics and rhetoric for Uppercase English publication and Ulm magazine that would be an important resource for designers to that area. Bonnie suggested that it was necessary to have a modern system of rhetoric, semiotics updated as a tool to describe and analyze the phenomena of advertising. Using this terminology could expose the “ubiquitous structure” of a message publicitario.5

 

The idea of simplicity and good design feature continued this for many years, not only in the design of alphabets but also in other areas. The tendency to simplify influenced all means at the forefront of design in the 1950s. At that time, developed a consensus that simple, not only was the equivalent of good but was also more readable equivalent. One of the hardest-hit areas was the design of symbols. The designers raised the question of how they could be simplified without destroying its informative function. However, recent investigations have shown that the shape simplification only one symbol does not necessarily increase readability.

 

Second Vanguards

 

Reaction to the sobriety growing graphic design was slow but inexorable. The origins of postmodern fonts back to the humanist movement of the fifties. In this group highlights Hermann Zapf, who designed two typefaces today ubiquitous Palatino (1948) and Best (1952). Blurring the line between serif fonts and sans serif and reintroducing organic lines in the lyrics, these designs served more to ratify the modern movement to rebel against him.

 

An important milestone was the publication of the Manifesto, first things first (1964), which was a call for a more radical form of graphic design, criticizing the idea of design in series worthless. He had a massive influence on a new generation of graphic designers, contributing to the emergence of publications such as Emigre magazine.

 

Another notable designer of the late twentieth century is Milton Glaser, who designed the unmistakable I Love NY campaign (1973), and a famous Bob Dylan poster (1968). Glaser took elements of the popular culture of the sixties and seventies.

 

The advances of the early twentieth century were strongly inspired by technological advances in photography and printing. In the last decade of the century, technology played a similar role, but this time it was computers. At first, it was a step back. Zuzana Licko began using computers to compositions soon when computer memory was measured in kilobytes and typefaces were created by dots. She and her husband, Rudy VanderLans, founded the pioneering Emigre magazine and type foundry of the same name. They played with the extraordinary limitations of computers, releasing a great creative power. Emigre magazine became the bible of digital design.

 

David Carson is the culmination of the movement against contrition sobriety and modern design. Some of his designs for Raygun magazine are intentionally illegible, designed to be more visual than literary experiences.

 

Present Times

 

Today, much of the work of graphic designers is assisted by digital tools. The graphic design has changed enormously because of computers. From 1984, with the appearance of the first desktop publishing systems, personal computers gradually replaced all analogue in nature technical procedures for digital systems. Thus computers have become indispensable tools and, with the advent of hypertext and the web, its functions have been extended as a means of communication. Besides, the technology also has been noted with the rise of telecommuting and special crowdsourcing has begun to intervene in work arrangements. This change has increased the need to reflect on time, motion and interactivity. Even so, the professional practice of design has not been essential changes. While the forms of production have changed and communication channels have been extended, the fundamental concepts that allow us to understand human communication remain the same.

 

Job performance and skills

 

The ability to design is not innate but acquired through practice and reflection. Still, it remains an option, one thing potentially. To exploit this power is necessary for continuing education and practice, as it is very difficult to acquire by intuition. Creativity, innovation and lateral thinking are key skills for graphic designer job performance. Creativity in design exists within established frames of reference, but more than anything is a cultivated skill to find unexpected solutions to seemingly intractable problems. This translates into the design work of the highest level and quality. The creative act is the core of the design process manager but creativity itself is not an act of design. However, creativity is not exclusive graphics performance and no profession, although it is necessary for the proper performance of the design work.

 

The role that the graphic designer in the process of communication is the encoder or interpreter works in the interpretation, organization and presentation of visual messages. His sensitivity to the form must be parallel to its sensitivity to the content. This work deals with the planning and structuring of communications, with its production and evaluation. The design work is always based on customer demand, the demand which eventually established linguistically, either orally or in writing. This means that the graphic design transforms a linguistic message in a visual demonstration.

 

The professional graphic design rarely works with nonverbal messages. At times the word appears briefly, and in other texts appears as complex. The editor is in many cases an essential member of the communications team.

 

The design activity often requires the participation of a team of professionals, such as photographers, illustrators, technical illustrators, including professionals with less related to visual message. The designer is often a coordinator of various disciplines that contribute to the production of the visual message. Thus, coordinates its research, design and production, making use of information or specialists following the requirements of different projects.

 

Graphic design is interdisciplinary and therefore the designer needs to know about other activities such as photography, freehand drawing, technical drawing, descriptive geometry, the psychology of perception, Gestalt psychology, semiology, typography, technology and communication.

 

The professional graphic design is a visual communications specialist and his work is related to all steps of the communication process, in which context, the action of creating a visual object is only one aspect of that process. This process includes the following:

 

  • Defining the problem.
  • Targeting.
  • The conception of communication strategy.
  • Display.
  • Schedule Production.
  • Monitoring Production.
  • Evaluation.

 

This process requires the designer to possess an intimate knowledge of the areas of:

 

  • Visual communication.
  • Communication.
  • Visual Perception.
  • Management of financial and human resources.
  • Technology.
  • Media.
  • Assessment techniques.

 

The four guiding principles of graphic design are variables that graphic design professional should consider when facing a project, these are:

 

  • The Individual: conceived as an ethical and aesthetic unit that integrates society which is part and to whom the visual space is uniform, continuous and connected.
  • The advantage: because it responds to a need for information and this is communication.
  • The atmosphere: because it requires knowledge of physical reality to contribute to the harmony of the habitat, and the reality of other contexts for understanding the structure and meaning of the human environment.
  • The economy: it encompasses all aspects related to the study of the cost and streamlining of processes and materials for the implementation of the elements.

 

For graphic design services visit: Elula Graphic Design

 

Article Source: https://EzineArticles.com/expert/James_Pichardo/1561384