by Lindsay Sleightholm | Oct 16, 2012 | Business Success, Creative
What is original?
In terms of creativity and ideation, “original” can be described as something new. But being original really requires more than just being new. It also implies standing apart as unique. It’s the combination of new and unique that takes us from ordinary to original.
Why be original?
Society likes originality – and for good reason. It inspires and enriches our lives. We want to see and experience original thoughts, ideas and visuals. We like to be provoked, entertained or questioned in different and interesting ways.
Let’s look at Halloween for an example. This yearly tradition is when some of the youngest members of our society play make believe. They dress up for the rest of us. They plan out a costume based on the person (or creature) they want to become for one special evening. The results of their unique ideas are wacky, wonderful and often original creations.
Why don’t we see more originality?
Today, originality is hard to come by. Speed and efficiency have rivalled its importance. There have never been so many easy solutions for everyday problems than there are now. We have more resources available than ever before – at our fingertips and within seconds. Most simply don’t have the time or patience to produce original, creative ideas.
So what’s missing?
Thinkers – those that have original thoughts and pursue them. Great thinkers either have the time or make the time to explore their unique ideas. But originality isn’t just another item on their to-do list. Original thinkers not only make a commitment towards their ideas, but follow them through with fervor and conviction. As a result, they bring us originality. Steve Jobs and Bill Gates come to mind as a couple of well known great thinkers.
Going back to our trick-or-treaters, I don’t think many kids say, “I don’t have time to think about a Halloween costume this year. I’m just going to go as whatever is easiest.” Instead, these young thinkers plan far in advance. They develop a clear visual of what they want and how it will look. By the time the big night rolls around, everything is in place.
Be original.
Everyone is different. And everyone has a unique view of themselves and the world around them. If we each took that view and used it to generate original ideas, we’d have millions of different solutions to any given problem. But, we don’t. Generally, there are a limited number of individuals providing novel ideas. The rest just follow along with what someone else has already created or discovered, and build upon that success.
It has been said that “it’s all been done before.” But how true is that? Are there really no original ideas left to be had? As difficult as originality is to achieve today, so too is its importance towards creative success. We can’t “reinvent the wheel”, but by saying that, we hinder our own unique thoughts.
What’s your approach to being original?
You don’t have to be a kid or a recluse to have original ideas. Originality can be explored as a process of thinking, planning and doing. The ideal result is something both new and unique. Whatever your approach, make sure it makes sense to you. After all, you’re an original.
Let’s continue the conversation. What are your thoughts on being original?
by Lindsay Sleightholm | Sep 25, 2012 | Advertising, Branding, Business Success, Creative, Design
So you’ve created a brand… What was once just a nugget of an idea has been researched, developed, designed and finally brought to life. The result of all that hard work is a complete identity that will embody all the values of your product or service. Now it’s time to release that new brand into the market for whom it was created. Time to pop open the bubbly and celebrate? Well, not just yet. Before you unleash your brand into the consumer world, there’s one more important step you need to take to ensure its success: you need to provide it with proper brand guidelines to steer it in the right direction. What are brand guidelines? Brand guidelines are a detailed outline of a brand’s essence, explaining everything from brand positioning to visual identity. They will form a document that will act as a reference tool of standards. In other words, they’re an “owner’s manual” for your brand. The standards given in brand guidelines provide direction in times of potential branding mishaps – say, for instance, an inappropriate use of a logo, which would result in inaccurate brand representation. Basically, it all boils down to consistency. The role of brand guidelines is to keep a brand consistent within its identity, and a consistent identity aids strength of brand. Is there any room for maneuvering? Of course. Consistency is the key to the strength of a brand’s identity, but that doesn’t mean there shouldn’t be a little leeway allowed for. Overzealous guidelines will only serve to box your brand into a corner. If guidelines are too restrictive – simply “insert photo here” – the brand won’t be able to thrive. It must be given room to breathe within its guidelines. And the creative team working with the brand should be able to convey effective messaging, without having to check their brains at the door. Know your guidelines
What’s important to remember is that a vested interest into the inner workings of your brand needs to be present at onset. Unlike the one you use for your car, this owner’s manual isn’t just something to consult when malfunctions arise. Instead, you need to ensure everyone working with the brand understands its identity, values, culture and how it communicates to its market. Brand guidelines should not only be made available at all times, but also clearly understood and referred to often. Brand guideline must-haves
- Brand definition: A clear definition of the brand should include all aspects regarding brand positioning, brand voice and brand management.
- Logo, icon and positioning statement applications: After the brand has been defined, it then requires having a complete illustration of the brand’s logo(s) and their components as part of the visual identity.
- Colour palette: The colours associated with the brand’s visual identity make up its palette. All colour values must be indicated in their various conversions for all forms of media.
- Identity restrictions: Unacceptable identity logo usage needs to be detailed in diagram form.
- Identity sizing and clearance: Minimum sizing and a measurement for logo clear space needs to be indicated.
- Identity typography: All typefaces, their sizes and weights as well as any typesetting requirements should be outlined.
- Trademarking: Any trademarks or legal lines that need to be present on graphic material, need to be stated.
- Brand visuals: Visual elements including photography and graphics associated with the brand need to be shown.
- Sample identity usage: Examples of acceptable advertising, promotion materials or signage while adhering to brand guidelines help to solidify requirements.
Anyone who has assisted in creating a brand knows the importance of brand guidelines. Successful branding starts with a clear identity and guidelines that promote consistency in its use yet allows for brand growth. In turn, the brand can thrive and build in value. The role of effective brand guidelines is essential to keeping your brand on the track to success. How much weight do you put on brand guidelines?
by Lindsay Sleightholm | Jul 31, 2012 | Advertising, Branding, Business Success, Creative, Interactive
Even if you have no interest in sport, there is something about the Olympics that makes even the most athletically apathetic tune in and take notice. That something is the drive, determination and dedication of the Olympic athletes. These individuals train tirelessly for the opportunity to prove themselves at their most prodigious competition. As spectators, we get to know them, their stories and for a couple of weeks watch how their life’s goal plays out for the world to see.
What’s more, we witness the raw emotion seen only when the human condition is pushed to its limit. For some, hopes and dreams will be realized, while others will be crushed. There are no second chances; although, sometimes the difference between winning or losing simply comes down to chance.
Emotive advertising
What is not left to chance are the messages of the Olympic sponsors. The advertising these sponsors employ bank on the human element to pull on the heart strings of their consumers in the hopes of propelling their brands forward. And with good reason – emotive advertising has proven its impact on the mind of the consumer.
Emotion within advertising, is not unlike the emotion felt during the Olympic games. It goes beyond borders. Ultimately, no matter who we are or where we call home, we understand and truly relate to one another on a primitive, human level.
It’s been done before
Appealing to human emotion in advertising is nothing new. Some of the strongest brands in the world have successfully leveraged emotion in their campaigns. Let’s look at a few:
[youtube http://www.youtube.com/watch?v=z3naDh4mS1s]
AT&T: Reach Out
[youtube http://www.youtube.com/watch?v=eZ8A-3NmqfM]
Dove: Real Beauty
[youtube http://www.youtube.com/watch?v=rKV0kR6Ih0s]
Coca Cola: Open Happiness
[youtube http://www.youtube.com/watch?v=EnkwbUZ4zog]
BMW: Feeling Remains
How does it work?
Although it isn’t new, emotive advertising has always required an authentic approach to be successful. The emotion behind the message must align directly with the brand. And, the audience must be able to effortlessly make that connection in order to trust the brand message. Basically, you can’t just insert your logo at the end of a heart felt ad, having no relation to your brand, and expect it will resonate with your market. As we all know, the implications of poor brand alignment within advertising messaging, emotional or otherwise, can be catastrophic.
Social implications
It is no secret that a misstep in brand advertising will cause your market to turn on you, and their good opinion once lost, takes a lot to gain back. What was once the brand influencing the market, is now the market influencing the brand. Persuasion has taken a back seat to public preference. Brands have their hands tied, so to speak, and are simply trying to keep hold of their reputations within the social realm.
Emotionally attached
The more technologically connected consumers become, the less emotionally attached (or loyal) they can feel. It has been said that as consumers, we make decisions emotionally and then justify them rationally. No consumer goes to the effort of typing something online without the hopes of being commented on, liked, shared or retweeted. Now more than ever, emotive advertising could be the key to bringing the consumer and brand back together. Social media has provided an outlet for consumers to be heard, and if brands don’t take action, they will be left behind. After all, if brand is a living entity, it only makes sense that it would appeal to its market’s wants and needs in an emotional context.
You don’t have to be an Olympic sponsor to realize the benefit of emotive advertising. And, it doesn’t matter if your brand is a soft drink, telephone, car or beauty product. In an effort to better understand consumers, let’s not just speak to ourselves, lets speak to each other. It could be just the thing our brands need.
by Lindsay Sleightholm | Jun 28, 2012 | Business Success, Creative, Design
If an image is worth 1000 words, combine that image with text and the actual meaning behind the image becomes clearer. The variable of 1000 different words is reduced to only those that are necessary. This is not to say an image cannot speak on its own – many talented photographers, illustrators and artists can attest to that. Nonetheless, image and text together create a more focused message and is the root of great advertising. Further, the chosen typeface not only speaks with the image, it also speaks for itself.
Let’s start with typography
The origins of typography can include the first forms of written language and date back to about 3000 B.C. with Cuneiform by the Sumerians. However, it wasn’t until about 1440 A.D. when Johann Gutenberg created the printing press utilizing moveable type that typography as a craft really took off. This involved the process of printing by use of type blocks made of metal with raised letterforms that could be inked and pressed into a substrate.
What is the role of typography?
The roles of typography, typographic style and the typeface as parts of visual communication have evolved over the ages. Fast forward to today, within the information age (digital age) and there isn’t much we can’t do with type. We have many different tools and methods for working with typography. However, the principles behind it have not changed much since Gutenberg’s contribution. Ultimately, the role of typography should remain to honour content.
So, what’s in a typeface?
A typeface in itself is a visual. If you do not understand the language presented in type, you see it only as a visual. Although, a typeface is much more than it would appear at first glance. It is ruled by legibility, but also communicates through the form of it’s characters to provide meaning.
As designers and creatives know, we all have quite an attachment to the typefaces we work with. Unlike images, typefaces as elements are the ones that we refer back to on more than one occasion, so much so, we know most of them by name. Also, we know their “personalities” and which one of them would pair best with any given image.
A good typeface as part of a design can be compared to a good orchestra as part of a stage production. The music is heard and felt, but does not bring undue attention to itself. It aids the message. This happens not just through its personality and style, but also the mesh it makes with its image counterpart. It is the partnership of these elements that create a complete spectacle. If one overshadows the other, the message may suffer.
Respect for the typeface
If typefaces are ruled by legibility, we also need to consider their readability. As designers we aim to strengthen the meaning conveyed by a typeface through proper setting, size and placement. After all, any good “face” deserves that much. Without respect for the typeface, and its letterforms, many beautifully designed and legible typefaces can lack readability.
Where is typography now?
Well, through its many evolutions, typography has been handcrafted, mechanized and digitized. With these advancements in technology our relationship with typography has become strained. The speed, ease and flexibility that we have been afforded also means the time consuming task of attention to type can sometimes suffer.
Generally speaking, typefaces have been battered and bruised, scaled, pushed, prodded, stretched, outlined and sometimes just ignored entirely. However, as with any good element, the well intentioned and humble typeface continues to hold strong to it’s rightful place in graphic design.
Once upon a time (and not that long ago), there was an entire industry dedicated to typesetting. The specialized role of the typesetter was to govern the accuracy of the text component in conjunction with the designer’s visuals. Now, the role of designer includes typesetting. Graphic designers hold sole responsibility towards the success of typography within visual communication.
“By all means break the rules, and break them beautifully, deliberately and well.”
– Robert Bringhurst: The elements of typographic style
A good typeface should be embraced for its succinct presence, rather than written-off to optical software. So, let’s all just remember for a moment how much our typefaces mean to us, and how we can best show off their strengths.
What role does typography take in your design and more importantly, how much attention do you give it?
Further reading:
The Elements of Typographic Style
Typographic Design: Form and Communication
Type and Image: The Language of Graphic Design
Stop Stealing Sheep & figure out how type works
by Lindsay Sleightholm | Jun 1, 2012 | Business Success, Design
To spec, or not to spec: that is the question
As a graphic designer, I understand the need to build your portfolio, expand your client base and stretch your creative muscles as much as possible. But from one creative professional to another, I feel compelled to urge you not to participate in spec (speculative) work – including design contests and crowdsourcing.
What is spec work? It’s submitting creative or graphic design to a potential client who hasn’t yet agreed to pay you for that work. As a result, that potential client can offer up any type of possible compensation, or, I should say, the possibility of compensation – without legally promising anything. And you may never see a dime.
Need an example?
All right, let’s say Company X launches a promotion calling for entries for the design of their new logo. In return, they’re offering a $250 prize to the winner – plus, the bragging rights that go along with having published work. What’s more, no experience is necessary. If you win, there is also the possibility to include that piece in your portfolio, opening the doors to many more opportunities in the future. Sounds great, right?
Well, there are a few more questions you need to ask yourself before proceeding with your contribution. First of all, why is Company X using a contest to develop their new logo? Why not just hire a designer? Do they not have the funds to actually pay for graphic design? Is this actually what my time and skills are worth? Will this really lead to more opportunities from bigger clients in the future?
Amateur or professional?
There are certain groups of individuals that are within the rank of amateur. Amateurs often are going through the process of participating in competitions in order to hone their skills and improve their rank. There is a judging panel that decides final rank and ultimately a winner. Typically, this also means no payment is received. Some of these include Olympic athletes, voice, dance or acting talent hopefuls.
On the other side of the spectrum, there are professionals. These individuals are paid to perform specialized tasks. Graphic designers are within this category. Unfortunately, as is common practice within the industry, there is a process called “pitching” to a potential client. This is generally understood, as mandated by clients, as being spec. To any agency, this means their creative potential is cut short by having only the limited information given within the brief. In addition, the agency may or may not be informed that they have competition. Ultimately, it is the time, concepts and designs of the creative team that are presented; yet, these individuals are the only ones around the boardroom table who will not be paid to be there.
Why is it that creative professionals should have to take on gratis work, that in effect, puts them in the category of an amateur?
Is spec work bad?
When it comes to spec work, “bad” may not be the right word to choose. “Unethical” would be more appropriate. “Risky” might be even better.
By not having a solid agreement in place between the designer and client, there’s greater risk for the designer. The designs offered up could potentially be used without the designer’s knowledge, and he or she is by no means guaranteed compensation. Even the prize initially promised could end up being less than advertised. What at first seemed like a nice, shiny carrot could later resemble little more than scraps.
As a designer, you’re not the only one who may lose out from being part of a design contest. Spec work devalues the entire graphic design industry. It drives down the going rate for design work, while driving up the misconception that graphic design can and should be acquired as cheaply as possible. Put simply, it makes it difficult for everyone else in the industry to be respected for their worth.
We all make mistakes
Okay, so now you know a little more about spec work. Think back to that contest you entered a few months ago. You put a lot of hard work into that design, and sent it off with high hopes of being chosen as the winner, right? I’m guessing not much resulted from that entry. If you were lucky, maybe you got a “thank you” for a job well done. Does this sound familiar to you?
Everyone makes mistakes. What’s important is learning from them and passing on those lessons to others. Instead of entering contests, there are much more effective ways to build up your experience and credibility. If you haven’t already, get yourself on LinkedIn, visit your local design council, or talk to that friend-of-a-friend who knows someone in the industry. Fostering good relationships with your peers is a much more reliable way to further your career.
While we’re on the subject, here are some great resources for learning more about spec work:
• AIGA, the professional association for design (AIGA – USA)
• Society of Graphic Designers of Canada (GDC – Canada)
• No!Spec (international)
There are always different sides to the same story. This is my view. I’d like to know your view on spec work.
