Noisy Decent Graphics

Designer or studio that is fluent in Arabic?

Jeff is looking for a "designer or studio that is fluent in Arabic and English design". Can anyone help?

Email him (not me) over here. Thanks

Button ideas

Take a look at these buttons.

The tick explicitly means 'yes', and the cross 'no' which is good because that's crystal clear. But then green and red mean exactly the same thing thus rendering the tick and cross entirely unnecessary. Right?

So here's the question; are the tick and cross a good idea or a bad idea?

Interview with Fabrica

The finished interview with the designers of this year's D&AD Annual can be found over here on the D&AD blog. It's not as technical and geeky as I'd hoped, but it's well worth a read.

Pippa asks

"I'm from the arts institute at bournemouth and am researching inspriation for my final major project. I was hoping you could ask your graphic designers 1 thing that inspires them.

All those in favour say "aye"

Dearest Tom,

Saying "What's wrong with Arial aesthetically?" is a bit like comparing Greta Garbo to Jodie Marsh.

Helvetica can be expensive and if you don't have it installed on your PC then, for you, Arial will probably suffice. But just look at the way the glyph's finish on these a's.

This is Arial.

This is Helvetica.

Oooh, isn't that lovely? They didn't make a film about Arial did they?

Although desktop printers don't use the same sort of screen as a Heidelberg they don't print solid colour. Only a screen print can do that. Deskdrop printers still measure in a dpi system but it's a little different. Macus will elaborate.

And lastly, seeing as you've opened Pandora's box, all those in favour of Helvetica say "aye" below.

UPDATE: Bruno provides some historical clarity here. A must read.

Alison asks

Alison emails a question:

"i wondered if you have a few moments if you could give me some help on a project im working on. Im looking for inspiration really, i am currently in the process of designing a magazine, and i am about to start the contents page, so i am looking for artists that have designed contents pages in a typographic way, i just want to see ways in which typography can influence a contents page. so if you have come accross any good pieces of work, can you please send me some links"

Can anyone help?

Design Questions Week Is Now Closed.

So that was fun, wasn't it? A big thanks to everyone who took part. I hope it was interesting and I hope I answered your questions sufficiently.

I enjoyed that.

Q17 Sarah asks: What's your best advice for a young designer?

I think I've already answered this here. If you don't think I have, email me.

Q16 Famous Rob asks: What do you think of the new BBC One graphic identity, and what are your favourite TV station logo/identities?

I like the new BBC stuff. I certainly don't think like this.

But then I like almost everything Lambie Nairn has done. Now he is a branding genius but he only really gets talked about in TV circles.

He created the classic Channel 4 logo.

And he started these charming little fellas.

Hard to appreciate now how innovative they both were at the time.

Recently he's done this

which is a pretty good bench mark for modern, consumer branding.

Q15 Tom asks: What do you mean by 'design' ?

Design is art people buy. Well, that's my favourite explanation at the moment.

Q14 David asks: How many designers does it take to change a light bulb?

One.

Q13 Valarie asks: Of all the projects that you've worked on, which one makes you the proudest?

My favourite thing I've designed, that's a tough one.

But one I get asked all the time. The problem is that for the last 5 years I don't feel as if I've really designed anything on my own. Not 100% on my own. My proudest achievemnent of the last five years (work wise) is this and everything we've all built and achieved with that. But, obviously, there are a lot of other people involved in that, not just me.

Work wise, I've always liked the stuff we've done for these guys, I think it's different and strong and I think that we (meaning us and the client) have created a really strong brand with going through some laboured branding exercise. They also had the courage to go with something that is very bold for their industry.

Then there's this which gave everyone all sorts of fun and led to me being interviewed all over the world including on Radio 4's Today programme. I have to admit I enjoyed that.

If you could get your hands on one account, anywhere in the world, who would it be and what would you plan for them?

There isn't such an account really. The best problem is the next one that needs solving.

I also want to second Andrew's question. I don't know about England, but Design is not taught in American schools. What 'curriculum' would you come up with to teach design to teenagers?

A curriculum! Jesus, Valerie! OK buy all the books by these guys especially this one. Read cover to cover, then get back to me.

Q11 Richard asks: We're shutting up shop for a day in early December and flying over for the Alan Fletcher show. What would you recommend six designer types do to make the most of our limited time?

Good question, If you haven't been, the Tate Modern is brilliant, and nearby. In fact it's always brilliant - so go there. Again if you want to stay nearby the Fashion and Textiles Museum can be interesting. Sometimes.

It sounds silly but we often visit Selfridges for inspiration, they often have interesting stuff there.

Sir John Soane's museum is the best in London and very, very over looked.

If it's a Friday you ought to go here. And if you bribe us with some of this lovely stuff you could pop in and visit our brand new studio.

Q10 J Drut asks: What's the ideal relationship between creative/design and strategy/planning?

Another one I'm not sure I'm fully qualified to answer that as most of my experience is in design agencies who don't tend to have planners. But anyway, I think it's best if anyone shares their toys with everyone else, if everyone is open and that they share ideas early - whilst at the same time remembering that certain people do certain things that you can't do. Just like you do things they can't do

Q9 Marcus asks: What's the hardest thing about employing designers?

Designers are very easy to employ. By that I mean it's easy to spot good ones. They can be hard to find but being one it makes it a hell of a lot easier to spot a good one. Plus that's our main competence so we're good at all that stuff.

Employing other people, admin staff etc, that's another issue...

What's the hardest thing? I'm not sure really, probably finding good ones but we don't have a major problem with that, we get hundreds and hundreds of CVs.

Q8 | Mike asks How do you sell design?

How do you sell design? Should good Design Sell itself? For Instance, Logo's - most new business who approach us for an identity shun at the thought of paying more than £50 for a logo/brand. How do you tell them that its better to start off with the "right image" rather than go to a printers around the corner who knocks up a logo and 500 business cards for £100!

You can ask a question in the comments section here.
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Mike - do you really charge £50 for a logo? If so I think that's the mistake. You're placing so little value on that piece of work you're bound to get involved in a price war you can't win. Did you ever see those Gordon Ramsey programmes where he turns the restaurant around? He wants to double prices and the owners worry that no-one will pay those prices? And in the end they get less customers but more profit.

So, I think we're asking the wrong question here. But still. I don't think you should 'sell' design, sure there will always be an element of selling or persuasion in any consultant / client relationship, but I don't think a client should be 'sold' a concept.

If you're working collaboratively it should be obvious to both parties which direction you're traveling in and then the work won't need selling.

If you're asking how can you persuade people that it's worth paying decent money for a decent logo, I suggest you read this post. But to be honest if the clients you've got are willing to pay £50 then there's probably no hope.

Or was the £50 thing just a metaphor?

Q6 | Mark asks How much is design down to the individual (inspiration + hard work) vs the influence of others (via their work + conversation)?

You can ask a question in the comments section here.
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I'm not 100% sure I understand this question, sorry.

Designers can't work in garrets anymore as discussed here. And then here we've discussed how creativity isn't linear. So I suppose I'm saying that the conversation is more important, but there is still that moment when it's just you alone with a blank piece of paper. I'm not sure I get the 'influence of others' bit.

Sorry. That doesn't sound very helpful.

Q5 | Russell asks: what are the 5 worst bits of graphic design you can think of?

You can ask a question in the comments section here.

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The questions are getting a little harder.

I thought this one would be really easy, every day I see stuff that makes me go "urgghh". But I suppose most graphic design is so ephemeral it's hard to recall bad examples. There are loads of examples of bad usability, like this

but that's technically usability and not design. Anyway, let's see if we can find 5.

1. That Abbey logo.
God I hated this. I don't normally reel at these rebrands like the tabloid press do but this is awful. Terrible.

You can begin to understand what they were trying to do with all that 'turning banking on it's head' stuff, but it just didn't work.

As I get older I'm starting to realise that you see more bad executions than you do bad ideas. What annoyed me most about this logo was the execution. The sheer amateur nature of those faded edges. Did they seriously think that would work as a shop front?

A modern logotype has to work on screen, on paper and in 3D. Faded edges to not align themselves well with these items. You might get away with it for a start up record shop, but a top ten high street bank? Madness.

It annoys me even more that Wolff Olins are responsible for this. What every you think about them, they've done some great work and they should at the very least have known better than this.

Look at the store fronts. Every sign is different. And not different in a good way. Some glass, some vinyl, some wood. Bad, bad, bad.

I remember visiting branches of the Abbey that had three previous logos on display. Once again if I was paying Wolff Olins style fees I'd expect them to get the rollout done properly. Rubbish.

2. Comic Sans
It's a cliché but I really hate Comic Sans. If you absolutely have to use a comic style font, you know, if you work for DC Comics or the Beano or something, then hand write it and do it for real. Certainly don't use it in restaurants, in hospitals, when lifts have broken, when couriers have to use the other door and never, ever on business cards.

3. Currys.digital

This is such a bad idea. Dot digital sounds so dated. The name is ridiculous. But the design. Take a look at this.

Grey and green? Just because the name is dated doesn't mean the graphics have to be. Unbelievable.

4. All design agency websites.
Drop the Flash intros. In fact drop the bloody Flash all together. Lose the picture of the studio dog. Lose the stock shots and do your own fucking photography. Forget all the 'why we're different' ' our philosophy' bollocks. Show me the work and give me a map. Quickly.

Sorry that's only 4.

Q4 | David asks: EXPLAIN WHAT 'BRANDING' MEANS

EXPLAIN WHAT 'BRANDING' MEANS

And if you work for a design 'agency' it's a near-on certainty that it'll be bullshit peppered with words such as 'holistic' and 'paradigm'. Or something like this maybe:

"It all starts with the creation of a mark and a brand system which includes a mission, vision and customer promise. Once BigBoy has created these using our proven research-based methodologies you can move forward with identity creation, message architecture and creative implementation across the marketing mix."

Impressive, eh?

But my favourite definition is from Jeff Bezos of Amazon: "it's what people say about you when you're not in the room".

Anyone got anything better?

You can ask a question in the comments section here.
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First off you won't find any "bullshit peppered with words such as 'holistic' and 'paradigm' " around here and you certainly won't find any where I work.

It's probably a good idea to look at the little tag cloud on the left hand side. You find that the biggest word is design, followed by good, interesting and stuff. That probably tells you more about the words I use than anything else.

So, what does branding mean?

I like David Ogilvy's suggestion, "A brand is all the ways a company is perceived and experienced".

If you're feeling a little more academic then Socrates' quote is useful, "Regard your good name as the richest jewel you can possibly be possessed of - for credit is like fire; when once you have kindled it you may easily preserve it, but if you once extinguish it, you will find it an arduous task to rekindle it again. The way to gain a good reputation is to endeavor to be what you desire to appear."

But I also like Johnny Cash's quote, this is an honest way for consultants to approach a clients brand, "I think I understand a little bit about how you feel about some things, it’s none of my business how you feel about some other things and I don’t give a damn how you feel about some other things."

Jeff Bezos' quote is good, very good, but it has one fundamental problem. It doesn't take into account that what people say when you are in the room is important.

(All pictures taken from Wikipedia  with huge thanks, usual stuff applies.)

What's interesting is that as terms like 'logotype' and 'mark' are being lost, 'brand' and 'branding' are being used to mean everything from logo to identity to reputation to just graphics.

Q3 | Will asks: How, for you, does great design come about?

Is it a very methodical process, dominated by procedure, or does it happen at 3am on a Sunday morning?

You can ask a question in the comments section here.
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Another good question. Short answer: It happens at 3am on a Sunday morning. Or 4am. Or 5am. Or on a Monday morning. Etc etc.

Longer answer: We kind of cover this in our standard "creds" presentation at work, Neil covers it if you download his presentation here and Michael, brilliantly, covers it here.

We get asked how we work every week and I think it's the hardest question we get asked. It's a hard question because there isn't really an answer. Creativity, as Michael pints out, does not happen like this.

There isn't really a determined path. There's sticking on walls. There's discussion. There's arguing.

There's more stuff on walls. And yes, often there's a moment of inspiration that comes from nowhere at 3am on a Sunday morning.

You can't really explain that part in a PowerPoint presentation. Maybe a better way of explaining it is this story (urban myth?) about Picasso.

"Pablo Picasso was sketching in the park when a bold woman approached him.

“It’s you — Picasso, the great artist! Oh, you must sketch my portrait! I insist.”

So Picasso agreed to sketch her. After studying her for a moment, he used a single pencil stroke to create her portrait. He handed the women his work of art.

“It’s perfect!” she gushed. “You managed to capture my essence with one stroke, in one moment. Thank you! How much do I owe you?”

“Five thousand dollars,” the artist replied.

“B-b-but, what?” the woman sputtered. “How could you want so much money for this picture? It only took you a second to draw it!”

To which Picasso responded, “Madame, it took me my entire life."

Q1 | Bureau L'Imprimante asks: What's the best way to manage a design career?

The, let's say "japanese" way, wich includes beeing a real specialist in one domain during your whole life, learning and learning again 'til you become a master (not before 75 y.o.).

Or the, let's say "french" way, wich includes working on very various projects claiming that your opened vision is the key to a fresh, flexible way of thinking (but some call it ignorance).

So, what's your position?

You can ask a question in the comments section here.
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Great question to start with. Bloody good question. I'm not 100% sure that I'm fully qualified to answer at the tender age of 31. But here goes.

I'll answer this as if you're thinking of embarking on a career in graphic design right now. Not five years ago and not in five years time. I'm sure the industry will change in the next five years.

Short answer: I would say the "French" way. Work on very various, varied projects.

Long answer: First off get a degree in Graphic Design. Why? Because you'll have fun, because you'll get a lot of stuff out of your system and because you be taught stuff like kerning and leading and picas and proportions and other stuff that's more important than Photoshop, InDesign and Illustrator.

Then get a graphic design job. Any job. Just get one, they're hard to come by. It's a cliché but it's true that you'll learn more in the first 6 months of employment than you will in 3 years of college. This isn't a bad thing, enjoy it.

Next, start moving around, don't get stuck early on working in publishing or pharmaceuticals because the pay is better than your mates get in the record industry. Work hard, be nice, talk to people. Talk to people who aren't designers. Talk to clients. A lot of my success in my first job was because I was "OK to take to client meetings", that's a valuable skill.

Gradually, depending on how talented you are and how hard you work, you will get better jobs with better companies. Do some great work that people will take notice of. Have points of view that people will take notice of. And then one day...

One day, you'll have to start up on your own. Make no bones about this, any decent designer or any designer you admire, they've got (or like Jonathan Ive and lots of Pentagram, they had) their own studio. And this is a key reason why you should work on various projects and immerse yourself in various situations, because one day it will be just you, a mouse and a blank sheet of paper.

So why not specialise? Because, these days what would you specialise in? There are a few great specialists around, but they are few and far between and I suspect they're getting rarer.

Or you could just buy a copy of Michael Johnson's excellent career tree and follow that (click on shopping).

Design Questions?

OK, we're going to try something a little different this week.

Design Questions. Here's how it's gonna work. All week from today (Saturday) until midnight Friday it's Design Questions week. You, my beloved listeners, leave questions in the comments and I'll answer them as separate posts. I won't be posting anything but answers to your questions, so if you don't ask any it will be a quiet week on Noisy Decent Graphics.

One simple rule. I'll only answer questions about design, so don't ask me about the future of planning in Uganda.

Does that sound fun? I can tell you're excited.

For Martin

Further to your comments, British Rail did actually make one that looked like a plane! I've spent all week looking for this and I've finally found it. There's also a decent TV ad for the service here. The picture is from the excellent, must have book, Smile In The Mind.

You see how nice I am to my listeners? You don't get that kinda service with other design blogs...

"are there many more like me out there?"

Dan asks a good question here. Does anyone have any thoughts?

Vegas TM

Jon from the strange Isokon emails me the following tale. In a world where we're increasingly having to spend ages discussing IP with lawyers, this is an interesting story.

Picture taken from predragbubalo with huge thanks, usual stuff applies 

"A friend of mine is a designer for a company that did a promotion in the
US city of Las Vegas.  They needed various signage and branding for the
promotion that would be displayed throughout the area it was taking place.

What he later found out from the company's legal dept., was that in the
city of Las Vegas, the following graphic/sign elements are trademarked by
Las Vegas itself...

Stars with seven or more points
Stars, three or more; Three or more stars
Circles, plain single line; Plain single line circles
Circles, three or more; Three or more circles
Diamonds with decorative borders; Diamonds with plain multiple line
border; Diamonds with plain single border; Plain diamonds with a single or
multiple line border and decorative borders
Rectangles that are completely or partially shaded"

Blip?

What did you think to my kerning homework?

Long overdue answer to Will's question

"How can Account Management, Planning and Creative work better together to both develop and sell big communications ideas?" (1)

Or

* How can we improve efficiency? (2)
* How can we ensure that 'big ideas' are allowed to flourish/be sold? (3)

Many others have already written on this, so I'll try and write some new stuff.

(1) Have you heard of a Peak Performing Organisation? It sounds like bollocks but, quickly, it's the reason why the Brazil football team are always brilliant even with different players and managers even in different decades. Ditto for the New Zealand Rugby team. It's also probably why Volkswagen have always had great ads. Essentially, everyone believes in the same goal and they're determined to get there.

This is how account management, planning and creative can work better together. Believe in making great work. No passengers here.

(2) Communicate better. Break down walls. Don't covet your ideas. Share. Be open source. Ensure tasks aren't being duplicated.

(3) Like pretty much everyone else, I don't think good ideas are sold. They sell themselves, although they often need an account man to tell the story of the idea and convey the thinking, effort etc that went behind the ad. But, how can you work better to sell better? Do better ads.

Sorry if that was a bit short, Will.

Sheradyn asks

"Hello, I am an aspiring graphic designer looking to go to graduate school in the US or UK and I am wondering if you could recommend any schools I should look in to. I don't really know which universities are the best and I am looking for advice."

I don't really know enough about the US, so I'll talk about the UK.

I used to think St Martin's was good. But I grew out of that. What used to be called the London College of Printing always seem good. Norwich have had great student shows over the last five years. I met some people from Northampton the other day and they seemed like decent fellows.

I don't think there's a stand out college. Go for somewhere that concentrates on ideas, that has read this and that lets you step away from the Mac once in a while.

Anyone else?

Caspian asks

Caspian from Smooth Fluid in New Zealand has asked me a question about pitches.

"Pitches. You win some, you loose some. When you loose you'll usually never hear why, and when you win the reasons given should be taken with a pinch of salt (just read BLINK and the smoke is lifting, that, in addition to a masters in psych, has proved very handy ammunition in this field of our). I digress.

Maybe I slept through a class once. Maybe it should be all to obvious, but presenting one's own work is one of the hardest thing we ever have to do, in particular for awards and the like. What would be really handy is on anonymous person who is on a panel saying what pushed his/her buttons about the presentation (not the work), but so far I
have been unable to locate any.

Do you have any advice? Thoughts? Or maybe you listeners do."

You can read my thoughts on free pitches and pitching in general here.

The main thing about pitching is that you lose more than you win. I reckon you win on average one in every (insert number of people on the pitch). So if you're always up against four agencies you'll probably win one in four.

When you're on a roll you'll win more than that, when you're going through a bad patch you'll win less.

I have sat on the other side once. I was on a pitch panel for a public sector organisation looking to appoint someone to look at their identity. It was only a creds pitch but here's a few of my thoughts.

1. Only half the agencies (there were 6) had laptops. For some reason, the ones with laptops looked better. A lot better.

2. Most people had a standard presentation. This looked shit. Someone had taken the trouble to scan in some current literature from the organisation and they talked about that for a bit. That was brilliant.

3. Everyone was nervous as hell. Even the big, experienced agencies.

4. People showed their work as if it was the Mona Lisa. It wasn't.

5. Some people were just boring.

6. Most people came in two's, but only one agency had taken the trouble to work out who was Bert and who was Ernie. All the others kept interrupting and overlapping each over.

7. Everyone wore a suit, or a least a jacket.

8. Some people forgot to hand over business cards (ooohh that makes me mad).

9. The ones who were the best were the ones who had actually read the brief. You'd be surprised how many people hadn't.

10. In the end we went for the one who inspired us the most.