9 tips for starting out in design

 

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We ask a panel of top designers: if you could give one tip to a designer just starting out, what would it be?

When you're just starting out in you design career, everything can seem like a struggle. You can ease the pain by having the right drawing tools and learning from inspiring design portfolios, but even so there's bound to come a time when you find yourself asking whether it's all worth it.

Everyone's been there, though; even the mightiest creative director has found themselves considering jacking it all in and running away to become an accountant at some point.

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And so we asked nine leading designers to come up with their top tips for anyone starting out in design. Read them and see your career in a whole new way.

For further career-enhancing tips from more top designers, take a look at Computer Arts issue 250.

01. Know your niche

Creative director Mads Jakob Poulsen says: "Think about what you can contribute to the world of design. What's your niche? What's your special secret weapon? Don't be like everyone else – do what you think is fun."

02. Have a singular vision

"If you make things the way you think they ought to be, they're more likely to be what you'll be asked to make going forward," says Spin's Tony Brook. "It took me a long time to fully understand this."

03. Be versatile

Anagrama's Sebastian Padilla comments: "A designer needs to be versatile, like a Swiss Army knife. You need to be comfortable with working in broad fields such as typography, composition and copywriting."

04. Refine your skills  

"Hone your skill set," says Matt Howarth of ilovedust. "Whether digitally orby hand, work hard on your craft every day and in time you will find a style that you are comfortable with and, most importantly, enjoy doing."

05. Follow your heart

Dawn Hancock of Firebelly says: "None of us really know what the hell we're doing, but if you think with your heart and go with your gut, it will all work out in the end."

06. Lose the attitude

"My tip for a new, young designer starting their career is to lose any sense of entitlement you may have," says Steve Simmonds of weareseventeen. "Just because you've studied for three or five years doesn't mean you can come into the industry and expect it to be easy. This sounds harsh, but I get young designers all the time telling me what they are and aren't willing to do from day to day.

"You must remember that it's not just graduates fighting for their place in this industry; seasoned pros and entire companies are fighting too and good attitudes make all the difference. Be keen and enthusiastic: it goes a long way. Bread and butter work is a staple in any studio, so expect to be heavily involved in a lot of this at first. Don't expect to be working on all the bigger studio projects. This will happen in time; just approach the bread and butter stuff with bags of enthusiasm and make those projects shine unexpectedly. Do this and your rise through the ranks will be swift."

07. Stay the course

Becky Bolton of Good Wives and Warriors says: "Our general tip for people is to just try and stick with it! A creative career is going to be peppered with rejection and potentially confusing times. Without sounding too trite, it's important to try and believe in the value of your work and keep pushing through the times when you feel like quitting!"

08. Take risks

Ady Bibby of True North says: "Stand for something. Take risks. Don't be happy to merge into the mediocrity of creativity out there."

09. Only work with people you like

Designer and teacher Fred Deakin comments: "Biggest lesson: only work with people you like on projects you care about. If you take your time to make great work then eventually the money will come."


CREATING ILLUSTRIOUS BRANDS: STORYTELLING THROUGH DESIGN

A graduate of London’s Royal College of Art, Paul Wearing is a commercial artist who has applied his distinct illustrative touch to many projects, from large-scale architectural installations to campaigns for brands including Herman Miller, Elsevier, IBM, Bang & Olufsen, Neiman Marcus, Cedars Sinai Medical Center and The Royal Bank of Scotland. Often reflecting a passion for food, fashion, interior design and travel, his illustration agency’s work regularly appears in design annuals, art magazines and mass-circulation publications including The Wall Street Journal, M Magazine, Le Monde and bon appétit. He spoke with BrandingBusiness Chief Creative Officer Michael Dula, about his creative process, the power of colour and the role of creativity in branding.

Dula: As an illustrator, an artist, an image-maker, can you describe the look of your style for our listeners?

Wearing: I guess the essence of it is, it has a contemporary look. A lot of the influences that arise in my work come from mid-century type of styling — my interest in things like Charles and Reims furniture. Some of the artists who were working in that period come through my work in one way or another. What I guess it has is familiarity, in one respect, and, hopefully, freshness in another.

Dula: Tell us a little bit about your creative process. Do you create for yourself or do you create for your client's audience?

Wearing: I produce work for myself, whether or not it has an application anywhere or not. What is great is when you work with a client who has a view and wants to harness your work and take it further forward. That way, there's an interaction between the two. They'll bring something towards what you do and you'll add something to what they want to achieve.

Dula: How does your mind think when it comes to reaching your client's audience and drawing them in?

Wearing: I’m looking a lot to what the client talks about at the initial briefing on where their position is and where they're leaning, in terms their product or brand, and look at what's going on in the existing market with their competitors — trying to do something which doesn't repeat things other people do, so they have their own distinct, individual characteristic and they tell the story that is relevant to their company — their history or their characteristic¬ — and try and get across some of the essence of what the company or the product is about.

Dula: Do you spend a lot of time researching your clients, researching the background?

Wearing: As much as possible. I also try and keep abreast of current affairs and things that are happening in retail or fashion or anything like that.

In a previous life, alongside illustration, I used to work as a design consultant — advising retailers on trends, colors, products they should be developing. That involved going around the world, basically looking at what everybody was doing, going to various trade shows to see the newest colors that were coming in, and reading a lot.

That kind of background feeds into what I do now. As well as the artistic and creative side, which may be more powerful to me, there's also an awareness of the commercial aspects and socials trends manifesting themselves across a broader spectrum of areas.

Dula: How does color play out in your work?

Wearing: For me, color is absolutely key. Taking back to one of my first art history teachers, a fantastic, charismatic man who liked to tell you, “Color is the first thing anybody sees.” Essentially, I think he's right. After that, you see form and then line.

One of my earlier trainings was as a print textile designer, and color is so key in that area.

One of the most wonderful things… you can almost tell a story with color. If the colors aren't right in something, it never quite works for some reason. If they're right, things fly. And you'll see how much care people put into that when they apply it to areas of business like branding — the enormous amount of energy and focus on detail in trying to get people to have their individual look and individual color and individual stamp.

Dula: When I look at your illustrations, there is color harmony and balance and color complexity. It does seem fundamental when I look at a Paul Wearing illustration, whether you're using three colors or 100 colors. There's a certain harmony. Does color come naturally? Do you go through a lot of experimentation?

Wearing: I work almost exclusively on the computer now. When I begin a job, into the file that I'm working in, I'll bring in several pieces of work… images and colors that I think are pertinent to that particular job. Then I'll just begin playing. The beauty of working in digital media nowadays is the ability to recolor things. It's just fantastic.

Dula: It's amazing to me the vastness of your work, in terms of the application — whether it's on the side of a building, in an ad, on a website. Is there a difference between working with consumer brands and corporate brands?

Wearing: Sometimes just because of the pace of things with retail brands, things move faster. They're slightly more predetermined.

Sometimes with corporate brands, there's a more organic growth or a development period, probably because a lot of parties need to be involved in the decision-making. Also, there aren’t the pertinent deadlines you might get if you’re launching a product.

Dula: So many stories and ideas pour out of your imagery. Whether they'd be minimalistic, whether they'd be more complex, each one seems to hold a story. When you think about storytelling, how big of factor does it play?

Wearing: I think it's quite a big factor — not necessarily in a straightforward type of narrative like a storybook. A lot of my work will involve layering of imagery, subtle patterns and sometimes patterns which tell a story. They may not be immediately obvious.

For example, I had a great commission for Cedars Sinai Medical Center to develop a book promoting their child acute-sickness ward. In that, we had a child being picked up. And within the child, there was a repeat pattern. You got the sense that it was caring not just for one child but numerous children.

Dula: I've gotten to know you and your work through our client Elsevier [a leading provider of scientific, technical and medical information products and services]. Can you talk about your recent work for them?

Wearing: What a fantastic job, to begin with. It's not that often that a client will come to you and want to base their whole look and brand around a lot of the graphic handwriting that you produce.

One of the things about the job… they liked what your colleague Drew [Letendre] termed “visual wit”… the idea of a tree within a head that signified knowledge. But because it had to do with digital downloads, the tree's roots were then made out of circuit board.

It sounds slightly trite when you say it, but when you illustrate it in the right way, it can be beautiful and it can work so nicely and tell a story in a very succinct way.

Dula: In your experience, what role does creativity play in the world of B2B branding?

Wearing: I think creativity everywhere is important, but especially in branding. To differentiate your company, get your company to tell its unique story. To have somebody come in with a creative spark and add a creative idea of how you can do that, I think, is so important.


DE-BRANDING AS RE-BRANDING AND INTERNAL EQUITY (OR BRAND MYOPIA)

Strange as it may sound, some of the most important work we do does not involve building or even refreshing brands, but simply finding brands to retire.  I hesitated to use the word “simply” because it’s rarely simple. What stands between brand retirement and simplicity is that old bogeyman, Internal Equity—that and the business cultures that create and sustain it.

Internal Equity is often just a euphemism for a non-rational attachment to brands on the part of their stewards. These are typically product developers, marketers, sales personnel and managers of the P&L centers who believe they are dependent on the existence of these brands to meet required business results. The delusion is that the level of awareness and perceived value ascribed to these brands by internal stakeholders is also shared by the market.

To be sure, this is not always a case of brand myopia. Sometimes internal stakeholders do have very clear, accurate and evidential knowledge of a brand’s true worth or market value: the internal and external attachments match. But more often than not, the phenomenon of Internal Equity is rooted in phantom logic.

Such delusions are easy to come by. Saturated day in and day out by the same brand messages, names, logos and even by regular contact with the product itself, brands take on a life of their own. From there, it is easy to project value unwittingly, outwardly. The world, however, may see things quite differently (or see them not at all).

The late Wally Olins, of Wolff Olins and Saffron, sums up the issue with characteristic concision in his posthumous book, Brand New:  “How do businesses assimilate the companies and brands they acquire so that they fit comfortably into the whole without losing the characteristics for which they were acquired in the first place?’’

We might go further and ask,  should they assimilate them at all, or is it better to allow them to persist on their own, tethered to the parent by a long, thin, invisible thread, if only for a time? And with that we are in the realm of brand architecture—how to manage and deploy one’s valued strategic assets to catalyze business performance and/or achieve certain strategic ends.

What we have found in our work with clients is that quite often the majority of acquired items in a portfolio are not (nor ever have been) brands in any robust sense. They are usually mere trade names (sometimes trademarked, sometimes not). They have no marketing budget, effort or apparatus to support, manage or grow them. While they may be bought and sold by customers, they have no inherent brand equity; they are not actively marketed, advertised or otherwise promoted. They are not brands. It’s at that point of discovery that we invoke and apply one of branding’s cardinal rules:

The Brand Parsimony Principle: create and manage the smallest number of competitive brands that you can actively and effectively manage, leverage and grow.

Which brings us to the nub of the matter: how one determines—effectively and economically—whether a beloved brand truly is a brand or is a counterfeit, a mere trade name, not so well-known beyond the halls of the business it originates in. The obvious but expensive answer is to conduct formal research into what customers and prospects know, don’t know or think they know. Budget constraints often rule out this option, especially if the need is to make determinations about a large number of brands.

So, while quantitative testing, with statistically significant sample sizes, is almost always preferable, it’s also expensive. So what’s the alternative (apart from blissful self-delusion)? BrandingBusiness has developed a brand research instrument to answer the Internal Equity question.

Based on logic and experience, we have identified a set of dimensions that help us assess brand status (awareness and equity) indirectly.  To get to such a point, we do not ask for judgments, estimates or best guesses about a givenbrand’s market value, level-of-awareness or equity. Rather, we ask questions which admit of quantitative answers, along dimensions that we think can tell us something significant about brand status, things like: product history (number of years in existence), clientele (number of active customers); competition (total number of competitive products in the market); promotional support (whether or not a brand has a dedicated marketing/advertising budget or not—and how much, etc.).

We used these dimensions with success for the Process Systems (PS) division of Saint-Gobain’s global Performance Plastics business. PS designs and manufactures fluid management technology—advanced tubing, pumps, valves, manifolds, gaskets and seals—for highly specialized, often demanding applications.

Using the BrandingBusiness equity protocol, we assessed their portfolio of over 50 SKU’s and identified just four genuine brands around which the total offer could be organized, simplified and more effectively marketed and sold. In the end (or in the new beginning), we re-purposed them as functionally defined lead (line) brands, refreshed their individual identities, and assembled them into a new, more equitable and navigable architecture.


How to jog your creative mojo with paint #creative #design #inspiration #graphicdesign

Recently had our painter decorator in to finally splash some colour into our offices! I get to stare at a not so luminous lime green wall for the best part of 9 hours which surprisingly is quite nice!  

Only time will tell on how these colours affect my daily creative juices.

 

when you look at the psychology of colour and creative minds there's a lot to take in, paint has a massive effect on our mood whether it be at home or in the office, try staring at a red wall for 8 hours then have a nice conversation with someone.

if you're stuck in a creative mud puddle up to your neck and can't see how you lost it, change your view.

 


Quiqup Branding Re-imagined for the Future

Contributed by Rosie Andrews of London-based MultiAdaptor.Quiqup

With well over 100,000 orders fulfilled, and millions of pounds of investment raised just one year into trading, Quiqup is a major force in the rapidly growing on-demand delivery market.

Whether it’s delivering dishes from your favourite restaurant (that doesn’t do takeaway); picking-up and dropping-off a last-minute gift for a special occasion; or running an essential errand you don’t have time to do yourself — Quiqup delivers.

 

Colour and imagery — bringing the freshness

In a market flooded with red brands, we clearly differentiated Quiqup with a super fresh bright green — setting an energetic tone that reflects the fresh-from-the-kitchen and fresh-out-the-box promise of the on-demand delivery experience.

 

The big idea — Forever flexible

A truly flexible brand was required to reflect a truly flexible service. Unlocking and liberating the ‘loop’ in the Quiqup Q, we developed a framework to consistently communicate this quality, that is infinitely adaptable but instantly identifiable.

Ambition — Reshaping the way the world sees delivery

Quiqup are at the forefront of an exciting new market that transforms the established business models of delivery, courier, and even concierge services through technology.

Like the Uber of on-demand delivery, Quiqup brings benefits to their network of drivers and riders that deliver to customers; and to the bricks and mortar retailers — from the big to boutique and everything in-between — who are competing with the e-commerce giants that dominate consumer buying habits.

View more identity work on the MultiAdaptor website. Follow MultiAdaptor on Twitter