Subjective assessment of design varies by the type of design

If a visual design does not satisfy the personal preference of the client, then either the designer has not followed the written brief or there is something lacking in the brief which should really identify the importance of the specific subjective requirements.

Any good designer will answer the brief with one concept and push the boundaries of the brief with additional ideas.

While the personal preferences of the client (or clients friends and family) may be infinite, any designer would be foolish to work without a written brief. And any client would be foolish not to write down subjective preferences as part of a brief when most visual design projects are judged based on subjectivity. If supplemental images are sent to the designer during the project, then this is regarded as changes to the brief. The briefing stage begins and and ends at the beginning of the design project. We encourage clients to take more time and write things down which are important to the client.

Product design assessment
Buying a finished design as a product is simple. You see it, you want it, it fits your budget, it solves your problem, you buy it and all going well it gets delivered. All the design work has already taken place prior to you even knowing about the solution. Your assessment concludes when each measure is ticked down the line. Some measures are subjective and other are objective. Often the more objective the criteria, the easier the decision becomes - unless there is an abundance of choice.
The upside for the consumer is that it is often instant gratification, even though other people can buy it as well. It's lack of rarity is only a downside if you were relying on the product to allow you to be seen as unique.

An alternative is investing in the development of visual design as a tailored service. (such as graphic design)

This is quite different. Notice the word 'development'

If a client says - we will leave it all in the hands of the designer and we will simply select from the first round of ideas presented, then it is quite a simple and quick procedure to have anything designed. There is a small investment in development.

If the client requests more rounds of ideas (more choice) after the first presentation, then the process takes longer and can cost more. There is more investment in development.
Designers will often specify how many presentations can be made before detours and additional requests are charged as extras. if it takes time to make minor adjustments, then minor charges will reflect the extra time.

The amount of time for projects can vary depending on a few things. Here are a few important aspects.

1. That the design outcome is measured simply by a detailed written brief which answers questions the designer needs answered or clarified. And that the brief clearly identifies any mandatory subjective visual traits the client wishes the visual design to reflect.

2. That the design solution is measured by the clients or clients associates own personal preference with none, some or limited reflection on the brief.

3. That the client uses the presentation process to sharpen and clarify their brief.

4. That the brief changes along the design process. Evolution is still change.

To make projects focus more on the brief, professional design studios require briefs to be provided in writing, so that each key point is covered when traveling towards the destination.
The client should reflect on questions like 'how should we design our identity?' and allow the designer to argue a case or even challenge the brief prior to beginning with any visual examples.

Where there is less subjective explanation in the brief, this is interpreted by the designer that there is more room for the designers own interpretation on the brief - no matter how simple or complex that interpretation may be.
The brief then is considered by the designer as an artefact which is just as important and as tangible and open to scrutiny and interpretation as the design solution which reflects the brief.

If the client wishes to have the greatest amount of influence over the designers interpretation of the brief, then the client should provide very clear, specific, written and visual instruction within the brief.
This can also backfire given that the designer is likely to have more experience with designing branding than the client. Sometimes where briefs become very specific and void of aspects where the designer can wield their expertise and learned influence - the client should consider contacting a finished artist rather than a designer.

When there is less clarity in the brief about subjectivity, the designer will deploy their expertise and they will draw on their knowledge. The designer will interpret lack of clarity in the brief as more independence to make recommendations. It is then purely circumstantial if the client does not like the recommendations. This circumstance would identify either that the designer is not a mind reader - or that the brief is inadequate for not specifying desired outcomes or subjective requirements.

The question the client should consider is; will I be making the final decision based on;
• the client's personal subjective perspective
• the democratic subjective perspectives of those the client encounters at the time a decision needs to be made, or
• based on the requirements as identified in the brief which points to both subjectivity and objectivity
• based on agreeing with the designers suggested direction

Ultimately, it is rare that all four points to be satisfied at once. But it does sometimes happen.

The method of decision making is at the essence of the brief itself and can have a dramatic affect on the designers procedures, the time it takes and the outcomes.

The designer can fix the price of first stage of concept and the last stage of artwork delivery, but the middle bit often needs to be based on a price range where the lower range is based on less client requests / detours and the higher range is placed on more client requests / detours. This middle part of the design process is generally priced as a by-the-hour service.

Design as a service is generally priced higher than product because it combines the expertise of the designer, the entire process of development and the customisation of the design solely for the clients business. Some clients see value in simplicity, others see value in complexity and others only value design if it looks like something that they could not do. The road to a result can be complex even if the end solution is very simple but effective. Measuring something based on whether or not one could do it themselves is as silly as saying that my 5 year old could do that when looking at an abstract painting. It points to narrow mindedness and a lack of perspective. That type of reaction pays no attention to what the work can achieve in it's current format and where the work has come from to refine to it's level of complexity. Where design is concerned - often simple is best - but only when it satisfies or surpasses the considered brief.

With design as a service - the client is only delivered the end result. The client pays for both the end result and the developmental exploration and detours that lead the design there. This is the key differentiator between design as a product and design as a service.

Types of design other than, product or visual include; user interface design, information architecture and experience based design to name a few.

Each different design type requires a specific set of criteria to assess. The same assessment criteria will not work for each as some design types are purely assessed on practical considerations rather than aesthetic styling.

Girling Design specialises in visual design and aesthetic styling where the subjectivity of the brief should be centred around how we should approach the design. To best answer this question, we have put together a simple briefing document which asks our customers some key visual design questions. If you would like us to assist you with your written brief, don't hesitate to contact us for more specific information. info@girlingdesign.com.au

Briefing a graphic designer for a brochure

While not all projects should be briefed in the same way the following can be used as a guide to setting a base standard of communication. Here are some simple aspects within single project to communicate at the initial stages.

The following is an example

Re: A4 brochure new project

A) Name of the project. Keep it short and descriptive. e.g. A4 4 page sales brochure

B) Primary purpose of the document and if needed - secondary purpose of the document

C) Folded or trimmed size of project in mm x mm  (if known or guide only)

D) Quantity of pages or quantity of kinds or both (if known or guide only)

E) Approved text 'unformatted'. text only. (use as an attachment and use a short descriptive file name) or,

F) Should the text still be in development - ask the designer if they can recommend a copywriter or request that only concepts are required until the text is completed.

Tip with timing concerns: If time is causing the design stage to be merged with the text writing stage, make this clear to the designer so they can provide valuable advice in this area.
Tip to save money: As designers time is usually charged based on time and materials whether they are designing or simply opening a file and making a minor authors correction edit, it can save a client to begin with approved text rather than beginning with rough text the layout as a text editing forum.
If it's just a concept needed: Concepts are often created only using latin text to show a look and feel. It is common for a concept to only visualise a cover and a spread to show style of design. This can take the focus off the text and place it onto the look and feel while the actual text is being edited and written.

G) Advise the timeline for the delivery of the printed document

H) Give the designer an idea of the quantities that you will be printing and if you have a printer in mind. If you don't have a printer in mind, let the designer know.

I) Mandatory elements - Advise that you can provide elements such as logos as eps files and provide imagery in the highest resolution or quality format available. If the designer already has many of the mandatory elements, then identify them by name, description or name of file.

J) Imagery: Advise if you wish to discuss photography options including options such as; Photographer hire, stock library image purchase, or using existing imagery you own. And perhaps indicate a photography budget or request a price.

K) Using your own photographs: Client pre-sorting and categorisation of images saves a lot of time and money for all concerned. It is best to have your designer designing rather than sorting as projects are usually charged based on time and materials.

L) Are any complex illustrations required or additional symbols or logos required for recreation or redrawing?

M) Other - anything else not mentioned above but deemed as important to consider in terms of target audience, position in store, usage etc.

Needing a corporate brochure or another designed item. Contact a professional design studio in Melbourne.

Has anyone told you what difference your business made for their business?

That's right, unless it is an imperative part of their business operations, generally speaking, people could not give two hoots about how you do what you do when providing products or services.

They do care about what difference you make.
If you can quantify that difference, you have found yourself a value proposition. For example;
5 out of 6 of our last customers said that we increased their profits by an average of $$$ by reducing their material expenses via our tactical design services.

That is what we mean by quantification. How many, how much and what difference did it make and for whom did it make the difference? They will be thinking "Can you do it again for my company if you did it for their company? What difference can you make for my company?"

Another example;
We will reduce your xyz and increase your abc's by 50% in the first 14 days of working with us.

So - how do you work out these quantifiable little pieces of gold for your business?

Well, start by asking people who you have done business with. "Hey, I am here to find out what difference we are making for your business at the moment" Rather than - "can you give me some feedback on our services." Or rather than, what three areas can we improve on?"
Yes, that stuff is still relevant to a part, but who wants to hear you sell you services by saying - 9 out of 10 customers want us to be faster at what we do and cheaper than we are now.
But they do want to hear - Our last 3 customers told us that we doubled their intake and increased their efficiencies by 30% by working with our targeted XYZ strategy.

So start asking your customers what difference you make and pool their answers together to develop your own value proposition. Base your proposition around fact and combine it with other publically accessible and quantifiable truths.
e.g. The government advises that 30% of all small businesses with 8 employees or less ...... And with our services we have reversed this situation by.....
You get the picture. Use a fact which has already been researched and combine it with some of your own facts.
Place that on the front of your brochure. Actually - we will do that for you.

Looking to make a difference... So are we.

Identity design and what to discuss with your designer

The following might help you when considering contacting a design firm to develop a logo and corporate identity.

From a client perspective - if you are considering a designer to create a logo for you, please consider the following.

A logo is built from the following.

Concept themes

1. A concept which relates to what makes your company unique and what your company does.
A concept can be;
• abstract,
• style oriented,
• concept oriented,
• colour oriented,
• all of the above but not all with the same hierachy.

Abstract

As a logos' primary intention is to be memorable, then abstract can be a good option. Get people talking and seeing what ever they want to see in your logo.

Style oriented

This is where the style of the design is more important than a pictographic concept. A style might simply be a font style, or a shape style, such as a shape behind the text. Style oriented simply means that there is no specific idea other than style behind the approach.

Concept Oriented

Concept or idea oriented logos are those which draw upon a depth of meaning behind the image and typography.
For instance. Fireworks is an idea for a logo  - and the depth of meaning might be that the fireworks supports the idea of a business which has expansive possibilities. This is a concept.
Other popular concepts are things like; animals with particular physical, visual, cognitive or symbolic traits. Some animals over time represent a universal meaning for different things. Like the fox and the hare, the snail, the cheetah, etc. Allow your designer to guide you through concepts for your business which relate to your company. Should you have an idea, don't hesitate to make it known as a plan can be provided to incorporate that idea in a tailored way together with other concepts.

Colour oriented

This is self explanatory. Sometimes, colour is all that is needed to express the company brand. This is often used to stand out from competitors rather than to blend. There are many occasions where your logo may appear next to other logos. Colour is relevant for all forms of logos. It can obviously be applied to style oriented, concept oriented and abstract logos. And it can also simply be used on its own inside a rudimentary shape.

When meeting with a graphic designer who specialises in corporate identity design and logo and branding development - it is a good idea to have a think about these different approaches. It may save time to simply select one of the above which most resinates with your company.

A good corporate identity designer will be able to guide you through these different spheres and help you best determine what shapes, colours, tones, textures, ideas and themes are best for your business.

Design options

A design option is when a concept or theme has been selected. Lets say that the concept theme is Fireworks. This can then be explored in 1, 2 or 3 different options using the same concept.
By crystallising the concept at the outset, then there can be a specific focus on exploring optional possibilities. In this way, the designer can recommend the best option within the best concept.
The best of the best. Sometimes, the designer will simply discuss words with you prior to developing visuals. This is often a very smart approach so that the design process can begin in an expansive manner and end in a more narrowed focus.
If the design process ends up continually expanding. It is best to keep people focussed on the plan and the initial brief.

A good designer will prescribe a direction based on their professional knowledge and expertise. They will look to the clients business philosophy to clarify their creative directions.
An experienced designer will have definitely worked with countless businesses who are looking for something just like you are looking for. They will also know that the best reference for the direction to take will begin with your company and your unique style of business.

Nicholas Girling
Creative Director
Girling Design


"Logos always need to be memorable first and anything else - we can't remember"

Girling Design is inspired by mid 20th Century commercial art and poster art. We love a lot of Danish design, Russian Constructivism, and the illustration from Commercial artists such as Saul Bass, Paul Rand and Wim Crouwel to name a few. We love their work because it is bold timeless and memorable.

This is our company philosophy and is the measure we place on all of our design work.
Bold - because you need to stand out
Timeless - because we build to last
Memorable - so your brand message is front of mind to customers

If you are looking for a design studio to guide you through the logo and identity process with simplicity and a clarity of focus, look no further. Contact Girling Design

Want to read more on this subject. Click here

When to advertise - for service based business

Demand for business services can fluctuate dramatically from month to month or between the yearly business seasons. Do you have the capability to advertise niche aspects of your company at different times of the year? It might be one of your most powerful advertising techniques.

Look to services like Google Trends to see the annual cycles for services like yours. Also look at the last few years of your business to see what projects you were doing at peak and off peak demand times. Then plot out the last few years and look for patterns in the type of business sales you were making.

This provides a great insight into what and when you might consider advertising.

Here is an example of an industry such as:

Promoting Video Production Services.

Niche your company at different times of the year.

e.g. When do most companies want or seek to produce corporate videos?
Advertise in print just before that annual cycle.

e.g. When do companies launch new products?
Advertise 3 or 4 months your TV commercial services prior to that date so you get in front of them when they are about to start looking for a production company. etc.

What other specific services do you offer? - Now think about when your customers generally do those things. Then plot a print campaign around them. Look at all of the things you bill for. Each one can potentially be advertised as a niche service offering at a relevant demand cycle.

Be in the magazines the companies you want to work with read. Avoid speculation about what they read. Hunt down the facts.

Send out questions to all your customers asking them what print material they read for business. Is it computer magazines, car magazines, top 500 business magazines? Look for a pattern.

How does your brand resonate with your target audiences? What is your USP? Don't assume people know how you are different to your competitors. Tell them.

Pretty powerful when you begin to think in a more planned way about how your customers think - and more importantly, when they think about what they need you to do. Be where they read and when they think.

When you begin to think about your own goals separately to your target audiences goals, you can start to look for patterns.

For more insights into corporate branding design, marketing and advertising services, contact Girling Design.

Top 10 reasons to use a multi-disciplined graphic designer

Many multi-disciplined graphic designers will have some area of their business where they have great experience. Essentially they are an expert in one area of design, but have an interest/experience in all things design. They see all  materials as tools for their design work and have likely experimented with materials and different media types in their own time. So when it comes time to working on a project, they may very well have experience in; materials, media types and styles of design.

The following are general points about what a typical multi-disciplined designer can achieve for their valued client. Some of these points are not necessarily specific to multi-disciplined graphic designers, however they are common with most.

Generally speaking; A multi-disciplined graphic designer will:

01. point out where there are cost saving opportunities.

02. have knowledge of what marketing techniques have worked on previous projects and why they have worked.

03. have knowledge of printing pitfalls and can warn you of potential rookie mistakes  - which in turn can save money and heart ache.

04. have a rich resource of specialists in a large cross section of creative industries; including trusted; copywriters, photographers, printing companies, fabricators, engineers, trade mark attorneys, finishing companies, seo specialists, digital developers and more.

05. know where their strengths are and will quickly communicate if they can or cannot do what you need done.

06. have a problem solving attitude where others may flounder under pressure.

07. have a great sense of timing for critical deadlines.

08. provide you with a variety of options - all which will work.

09. have a well orchestrated business methodology.

10. be an exceptional communicator having dealt with a vast variety of industries and clients.

And one extra.

11. will be able to make recommendations on situations based on their diverse knowledge.

Suggestion: As a potential client, the next time you approach a multi-disciplined designer - and before providing a brief - ask them how they would approach something like you are attempting to undertake from a business perspective. You will quickly gain a measure of their ability to either provide the status quo or build your business around effective work and thinking. They may even provide you with a better opportunity.

As mentioned, a multi-disciplined graphic designer deals with a great diversity of businesses and their management. They see consistencies and differences in the way businesses operate and what businesses want and need. They are a great asset to all size businesses as their task is usually to simplify and problem solve in areas where they have hands on knowledge.

Looking to work with a trusted multi-disciplined graphic design service in Melbourne Australia? Contact Girling Design.

What's important with logo design?

As a design studio with a focus on corporate branding, we are often asked, 'what is important to consider when designing a logo'?

Here is our current take on this question.

Logo design is often either 'logo-text' (logo-type) combined with a symbol. Designers often refer to the symbol associated with the 'logo-type' as the 'logo-mark'

When they are combined - they are the logo.

Logo-text on it's own can also be referred to as a logo or as Logo-type.

The logo-type is something which requires as much consideration as the logo-mark.

If both the logo-mark and the logo-type are complex, then the combined effect can be busy and low impact.

Often people attempt to make a logo-mark into something which is more like a pictogram rather than a memorable design element.

From our perspective we aim to keep logos; bold, timeless and memorable.

Bold doesn't necessarily relate to the font - it is more about the overall impact of the combined elements. To us, it refers to the iconic nature of the design.

Timeless: means that you don't want to run with something that simply follows a trend which may have already passed it's used by date.

Timeless also refers to the concept and the idea behind it. It speaks to the general look and feel, the font selection and the iconic nature of the design.

Iconic doesn't necessarily mean simplicity. A very complex logo-mark can be iconic. And so can a very simple and stylised logo-mark.

Memorable: refers to the iconic nature of the design. Does it leave an impression and can you remember it more than any of the other sketches you have done.

We believe that the memorable nature of a logo is the most important thing for the logo to be. We believe that the best logos are the ones which stimulate a passionate and emotive response. And too often logos are at the mercy of a a group decision where the decision makers are forced to decide on the least controversial design. We often encourage the most memorable approach as long as it satisfies the brief and encapsulates philosophy or style of the company within the concept.

Practical design

Think of where the logo will be displayed.

If the logo is to only ever appear on the front of the building, then take this into account in terms of what might be the best layout for the logo. Should it be tall, short, long, wide etc. But if it is to be applied to multiple elements, then take a good look at what they are and consider how to best prepare. Does the platform need to change or should the logo adapt to the platform?

Do not attempt to encapsulate everything into the logo. The logo combined reflects the company in the same way that a signature does for a person. 

The signature always has the name of the person neatly typed above it on a form. But often the signature itself is illegible. That's not a problem.

Logos don't need to be literal interpretations of the services provided.

For example, you don't need to use a plate of food in your logo for a restaurant.

Look at the clothing brand Lacoste. Their logo is a Crocodile. It is not a pictogram of a T-Shirt. There is a difference between a pictogram and a logo.

For some reason, the Crocodile for Lacoste communicated something intangible about the products the company would sell. To me, a Crocodile is strong, stealthy and iconic. They are arguably the only survivors of the golden age of dinosaurs. Perhaps this is how Lacoste sees their male customers and themselves as a brand. Resilient and timeless.

But how does a designer come up with the Crocodile. Wouldn't it be easier to just draw a T-Shirt? To answer that one, I can say yes, but the crocodile does something much better. It becomes a message and it tells a story  - and at the same time it is bold as a concept, timeless as a concept and memorable as a concept.

This then comes back to the companies philosophy and how they see their customer. Perhaps more importantly - how they resemble their customer. They place their flag in the ground to say - this is who we are. And all those who resemble or relate to that idea can be drawn towards their brand.

And look at Nike - their logo-mark is a tick. Why a tick. A tick is a way of saying - done, completed, correct, right, next, positive, decisive.

It's not a picture of a shoe.

A logo is at it's best when it is at it's simplest. It does not need to be recognisable as anything other than itself.

While the text in a logo needs to be readable - the logo-mark can actually be abstract and it can also be a stylised element. As long as it communicates something about the brand via the company philosophy.

For example - an abstract element might look highly considered and precise - or it might look whimsical and flamboyant. Or it might look fast and brash. You can imagine how an abstract shape can actually communicate something and can also be very memorable.

When you combine a design technique with something that is recognisable, then the logo can have a dual impact of both the creative approach as well as the concept. For instance - is the Lacoste crocodile in terms of the creative style of the drawing; highly considered or brash?

With logo design - It's very easy to get stuck on one idea  - especially when that idea is pretty ordinary.

Make sure that your ideas and approaches are very different to each other.

Not only in the concept, but also in the creative execution.

If you can't think of anything, look to the smallest detail, a crop, a texture, a pattern, a colour or change to a different pencil.

Looking for a bold, timeless and memorable branding agency in Melbourne. Contact Girling Design.