Design - from all angles

Quality, Speed, and Price. Choose 3?

Wed, 31 Aug 2011 04:00:00 GMT

Nope, pick two. You may have heard it before; it's certainly not a new concept. (There are plenty of variations floating about: quality, time, money; quality, service, cost; good, fast, cheap..it's all the same.) But I often find myself explaining to clients that as much as I would love to provide top-notch stellar quality at lightning-fast speed at the lowest rock-bottom price, I can't. Nobody can, without sacrificing something themselves. Between quality, speed, and price, you're going to have to pick two to optimize. Gosh, life is just full of tough decisions, isn't it? Let's look at "a day in the life of Jane" to illustrate this point.

Jane needs to go grocery shopping, but she has some restrictions:

She has a limited weekly budget
She wants healthy food to feed her family
She only has time to shop at one place

Her three shopping options are the DiscountSuperMegaMart, the High-End Health Food store, or the farmer's market.

The DiscountSuperMegaMart sells everything from purses to lambchops. Sure, Jane could shop there. They're known for having low! low! prices! And they're pretty convenient—close to home, and she can get what she wants, when she wants it. That's nice for Jane. But whenever Jane thinks of the DiscountSuperMegaMart, she doesn't think, "Oh yeah, that's top of the line. That's quality." Nope, Jane thinks the exact opposite. Sometimes the place has a funny smell, she often sees broken products or rotten food for sale on the shelves, and she's unclear about the origin of the food. Jane knows it may be difficult to find the quality of food she's looking for there.

The High-End Health Food store is Jane's paradise. In terms of good quality food, this place takes the cake (a gluten-free non-dairy organic cake of course). Because Jane is health-conscious, she always tries to buy fresh organic foods. The High-End Health Food store is still very convenient, right across the street from the DiscountSuperMegaMart. And they consistently remain fully stocked on the items she needs. But Jane is on a limited budget. She knows if she goes to the High-End Health Food store, where their products are more expensive, she may not be able to get everything she wants with the amount of money she has.

Then there's the local farmer's market. Jane knows she can buy top-quality fresh organic food from local farmers that she trusts. They're helpful and friendly, and are just so passionate about wanting to sell healthy produce to the community. The farmers don't have the same costs of the larger chains, and they are able to pass those savings on to their customers. However, they're a little less convenient— Jane has to drive farther out to get to their food stand. And the last time she went, they had just sold the last batch of tomatoes. To get more, she was regretfully told she'd have to wait for the next picking in a few days.

Jane's got a decision to make on where to go buy her food. But Jane is stumped. Why? Because she hasn't defined her priorities. She knows what she wants in a perfect world, but hasn't stopped to consider that she lives in an imperfect one. So Jane needs to figure out either what is least important or is most flexible— is it the budget, the quality, or her time?

Oh, poor Jane. That's not always an easy decision to make. Do you ever feel like her? I have plenty of "Janes" that contact me. Some are more prepared than others to define their priorities and know what it is they're willing to be flexible with. I sometimes have people calling up that need something "like, yesterday", and of course they expect it to be at the normal price and caliber of my regular work. I just hate to burst their bubble when I tell them there will either be a rush charge added on or they are limited in the scope/output of what can be done in order to have it to them, like, yesterday. I'm nice about it, I'm empathetic, and I often bend over backwards to help people when I can...but I'm also realistic.

This isn't to say that you have to completely sacrifice one parameter in order to optimize the other two— for a fair price, you'll get top quality...and you just may have to wait a week for it instead of getting it tomorrow. The time parameter doesn't just get tossed out the window and disregarded...you won't have to wait two lifetimes, just a week. But if you must have it tomorrow, then either price will go up a bit or quality will suffer a bit. You've just made time your priority.

So my question is, do you know your priorities? If you're shopping around to get anything, not just a design project, it's good to have a realistic expectation before you even begin. And be prepared to modify your expectations as you research and learn more about what it is you're buying. You may think, before you do any research, that a website costs $500. When you find out the average cost for the type of website you want will cost $2000, that doesn't mean it's not a fair price, it just means you started out with unrealistic expectations. So you may have to readjust your priorities throughout the process, but you should still always be clear on what they are.

In the Jane scenario, I would consider myself to be like the local farmer (or at times the High-End Health Food store). I genuinely care about the "health" (satisfaction) of my customers and want them to be happy...so I don't want to skimp on quality. I offer reasonable pricing...of course I have to make a living, but I don't believe in gouging people just to try and get rich myself. And though I've had some customers initially think something is pricey, during the course of the project they see how the cost is fully justified by the quality. (Similar to how paying more to eat organic now can save you health problems down the road.)

So, back to Jane. What did she decide to do? Well, it turns out she gave up, stayed at home, and ordered Papa John's pizza.

(Oh, no wait...that was me...Jane's far too health-conscious for that.)

If you were Jane, what would you do? Have you ever had to make a similar type of decision?

What's in a name? Graphic Designer vs. Web Designer vs. Web Developer...Oh my

Wed, 24 Aug 2011 14:57:00 GMT

There are lots of titles floating around for people like me. And I'll be honest here, lots of people don't know what those titles mean. I call myself a Graphic and Web Designer. I used to just say Graphic Designer, but many people would have no idea that also includes websites. When possible I'll say "Graphic & Web Designer/Developer" because I not only design websites, but I build them too. On my formal resume, or when I know the audience will understand, I specify by saying "Graphic Designer, Web Designer, Front-end Web Developer". So what does all of this mean? Here's my breakdown:

The role of a Graphic Artist (Hint: ≠ Designer)

I have had people call me a Graphic Artist before. In a sense, I do consider myself an artist. But an artist and a designer are not the same thing. They are related, but here is what I see as the difference:

Art is typically a vehicle of self expression. It is highly subjective and can have different meanings to different people. It can be intended to convey the artist's point of view on a topic, it can be a social commentary, or it may simply be a personal expression of their style as they seek to represent something they've seen. Just because you throw the word "graphic" in front of it does not change the meaning of the term. It just indicates (for most people) that the artist may use digital means to create their art.

However, a designer is one that solves problems. Whether that is a graphic designer or web designer, the primary function is to use their medium to: 1) understand the needs and goals of the client; 2) understand the issues in reaching those goals and how available technology can be utilized; 3) be able to translate the client's needs into a solution that communicates their message and uses their branding. Aesthetics is a part of that, so having an artistic background or formal training is important. But art for art's sake is a long way from design for communication's sake.

So, now that we've got that straightened out...

The role of a Graphic Designer

A Graphic Designer can work in print design, web design, or even multimedia or interactive design. Within each of these fields, there are niches that a designer can specialize in. For example, within print design, there are Graphic Designers who work solely in identity (Brand Identity Designers, Logo Designers); packaging (Packaging Designers); magazines, newspapers, and books (Publication Designers); or data organization (Information Designers).

The role of a Web Designer

A Web Designer is a Graphic Designer who designs for the web. A Web Designer creates what a website will look like, designs email templates, and develops graphics for use on the web, like banner ads. There are Web Designers who specialize in user interface and user experience (UI/UX Designers—more on this in a bit).

The role of a Web Developer

A Web Developer is the one who builds the website. This person takes the design provided by the Web Designer and turns it into a functional, working site on the internet. I specified that I am a front-end developer. This means I write the (x)HTML and CSS code that translates the static design to an actual website. I will also utilize javascript or Flash to create the interactive elements, I'll set up web forms, I'll input content into databases, etc. Basically, I develop everything that the web visitor sees—on the front-end—as opposed to building the foundation itself. So I may set up a contact form with the fields you need, and make it look good, but I don't necessarily have to build the functionality to transmit the data securely once somebody clicks submit. That's the job of the back-end developer. The back-end developer is more technical, and a person in this role may have a degree in computer science (as opposed to visual communications). This role entails writing databases and developing web applications. They deal with the processing side that makes things work on the server, and may use PHP, Java, MySql, Ruby, C++, or other programming languages and databases. Because I build my websites on content management systems, essentially all of the back-end development has already been done. The foundation is already there, I just have to build upon it and customize it to make it work for each individual case.

The role of a UI/UX Designer

While the end-user's experience is an important consideration for any designer, I will mention UI/UX separately from web design, because many do consider it a separate category—it is not unique to web design. UX (User Experience) Designers examine how the end-user interacts with something and the feelings they get from doing so. For websites, they may try to determine: Was the navigation clear? Was the form easy to understand and complete? Were you able to find what you were looking for quickly? Where you able to complete your check-out process smoothly? They will research and collect data on user behavior, and conduct usability testing on prototypes or finished products. They may also create site maps and wireframes at the beginning of a web design project that outline what should go where. UI (User Interface) Designers are the more technical side. Similar to the back-end web developer mentioned earlier, they will design and build the actual interface based off of the data from the UX Designers.

Visual Communicator Extraordinaire

With all of these terms floating around, it's easy to see how people are confused. That's why titles are never enough to go on. My "elevator speech" may start off with "I'm a Graphic Designer," but it's immediately followed by "who provides individuals, nonprofits, and businesses with custom-built websites and other marketing materials..." and etc. You don't want to overwhelm people with a list of services, but just saying, "I'm a Graphic Designer" sure doesn't cut it. I was considering calling myself "Visual Communicator Extraordinaire" but I have a feeling that wouldn't help matters.

Plus, it wouldn't fit on my business card.

So, anybody else out there with a confusing job title? Have you come up with an easy way to explain what it is that you do?

Designing for print vs. designing for web

Wed, 17 Aug 2011 14:25:00 GMT

Being a Graphic Designer means I design for both print and web. While there are many obvious similarities—design principles don't change, I use many of the same software programs— there are differences between the two that people may not be aware of. Aesthetics and communication are parts of the equation, but the experience also has to be designed, and that experience will differ between the two. In addition, there are technical considerations and marketing considerations for each one.

Print design - a consistent, tactile experience

When I say print design, I mean anything that is actually printed. This means brochures, fliers, magazines, CD covers, etc. These things are all tactile—you can physically touch them in their finished state. In print design, you have to consider more than just the aesthetic design, you also have to consider the paper is it printed on—the color, texture, weight, and finish. That becomes part of the experience of the piece as you see it, pick it up, and feel it.

With print design, what you see is what you get. It's printed on a finite piece of paper—it doesn't grow or expand over time. If you put it down today and pick it up tomorrow, it will still be the same. If somebody else takes it to their house, it will still look the same. Typically, there is not much interactivity—other than possibly flipping pages, or turning it over—but there are no links to click on, rollovers to hover over, etc. It doesn't respond to you as you interact with it. It is what it is, and nothing more.

Web design - a fluctuating, interactive experience

Website are viewed on some sort of digital display like a computer, tablet, or mobile phone. Unlike print design, the finished product can appear variable, depending on where or how it is viewed. A website isn't viewed on a tangible piece of paper; it is viewed across a variety of media with various browsers, operating systems, settings, monitor resolutions, and color profiles. That means the same website may look a bit (or a lot) different on another device. Maybe the color will look a little less bright, the text will look a little bigger, the font will look different altogether, or there will be more of the page background visible. These things are all dependent upon the capabilities and settings of the individual device they are viewed on.

Web design gives the flexibility of providing interaction with the viewer—things happen in response to your mouse movements and clicks. Sections can expand, navigation is highlighted when you roll over it, etc. There is generally no set size, unless you specifically want your website set up that way. But, put enough information on a page, and you'll be scrolling forever..there's no limit.

Websites are also frequently evolving. Effective websites have constantly updated information. The same website may have additions, revisions, and updates from one day to the next, or even one minute to the next. Some companies redesign them completely every few years.

Technical considerations: web and print are not created equal.

You may not be a Web or Graphic Designer, but if you ever decide to work with one, it's good to have a basic understanding of some of the constraints and possibilities of each.

#1: Print design requires high resolution photos. Web design does not.

This is probably the most common issue I have... getting high quality images from the client. Here's a typical example: I start out by designing a website for somebody, using some photos they've provided me with. A month later, they want me to design a brochure and "just use the same pictures you did for the website." I can't always do that. The images they provided me were fine for the web, but not high enough quality for print. Another typical request: "Can you just grab our logo from our website to use?" Aaaand, the answer is no. Not for print work. The magic numbers here are 72 and 300, which should indicate the resolution, or sharpness, of your photos. Computer monitors can only display images at a resolution of 72 ppi (pixels per inch), so that's the quality your web images should be. Printers require at least 300 ppi.

What exactly does that mean? Well, pixels are the smallest unit that can make up an image. Think of it as a teeny tiny square of color. The more pixels that are contained in an image, the clearer the image can be. This is called the image resolution. So, say it with me now: 72 ppi for web, 300 ppi for print. Always.

The image on the left shows a 72 ppi web graphic as it would look when you try to use it for print. The image on the right shows what it should look like, when saved at 300 ppi. You can always make an image smaller and be fine, but you cannot make an image larger without losing quality.

#2: Color: RGB vs CMYK vs Hex vs PMS

I could write an entire post on this topic alone, so I'll just give the bare bones here. Your computer monitor displays all colors as various blends of red, green, and blue. This is the RGB color space. Printers print colors as blends of cyan, magenta, yellow, and black (or registration). This is the CMYK color space. Web colors are displayed as Hex (hexadecimal) formulas, which consist of six digits (letters and numbers) that correspond to the numerical values of the red, green, and blue in RGB. In print, there are also "spot colors" which are standardized blends of color pigments that are then each labeled as a specific name or number. The Pantone Matching System (PMS) is the most widely used color library of this type that allows for specific color matching regardless of how it is output. Ask any organization that has gone through the process of corporate branding, and they'll be able to tell you their specific PMS colors.

In my logo, I use PMS 180 as my orange, PMS 382 as the green, and PMS 308 as the blue. These colors will remain consistent across all that I do. When necessary, I convert the PMS colors to their corresponding CMYK, RGB, or Hex values.

Color is a big consideration in design. That "just right" shade of teal is what you're going for, and nothing too blue or too green will work. PMS color swatches can help you find your exact colors, but the thing many people don't realize is that since color is "constructed" differently in print and web, a color may not look exactly the same on both. Also, monitors are only capable of displaying a limited spectrum of colors. So even if your teal is perfect in print, that same artwork may not look exactly the same on your website, especially when viewed on different monitors, each with its own color profile specified in its settings.

#3: Measurement units: pixels vs inches (and ems vs points)

For print, space is measured in inches. For web, space is measured in pixels ("ems" are also used, but I'll save that discussion for another day). By the way, inches aren't the only unit of measure for print; there are also picas and points (which most people use regularly and just don't realize it). Quick lesson: there are 12 points in a pica, and 6 picas in an inch. This means there are 72 points in an inch. These measurements are mostly used in typography. (And this is why you see font sizes in Microsoft Word listed as 12 pt, 14 pt, 16 pt, etc. It is based on this system of measurement. If you wanted your type to be one inch high, you would use a 72 point font size. Which just so happens to be the largest default size in the list, don't-cha-know.)

Marketing considerations: what is the purpose of each?

#1: The goals are often different. Don't try to make them duplicates of each other.

Cater you message to the medium. Many print pieces are simply trying to get someone's attention, first and foremost. Once your have their attention, the goal is often to convince them to follow up with calling to place an order, emailing for more information, visiting your website to try a free trial, stopping by your brick and mortar location for a blow-out sale, etc. Most are designed to generate awareness, capture attention, and pique interest. THEN, in many cases your website can be an effective tool for "closing the deal"... and you want them to stay on it for as long as it takes until that happens. This means all the details of your products and services can be found on the website. Don't try to cram all these details onto a 4x6 postcard. Which leads me right into the second point...

#2: Adjust your content accordingly. The web is flexible. A printed piece is not.

I've had people try to put five paragraphs of text onto the back of a postcard. Not. Gonna. Work. This information can go on the website; it is not meant for the back of a postcard. Even if you are making a product catalog, you may have to limit the number of pages to keep costs down; so you might want to display only your best-sellers. Keep your copy relevant to the matter at hand (which is getting them to the next step in your selling process); you only have a limited amount of space on a printed piece—make every inch count. On a website, you can have a lot of information, but the design can dictate how much is seen at one time to keep from overwhelming the visitor. For example, having a single sentence description on the homepage with a "click here to read more" link allows you to organize a lot of information without it feeling like a lot of information.

And this is only the beginning...

I could go on...but we might be here for a while. So I'll tackle more in individual posts over time—specifically on color, type, and the planning processes designers and clients might go through for each medium.

However, now that you've had your crash course, you should nonchalantly let the term "pica" slip out next time you're talking with a designer. They'll be impressed. And, if you need more ammo, head over to my Designer's Lingo Glossary to brush up on a few other things.

Umm, are you seeing things? (Unintentional design)

Wed, 10 Aug 2011 04:00:00 GMT

The funny thing about design is that it has to be perceived by people who may have very different perspectives...which opens the door to other interpretations that can sometimes leave you scratching your head. Well, guess what? This phenomenon isn't unique to graphic design...it's a part of life! Have you ever looked up at a cloud and saw a bunny rabbit, or a horse, or a face? And if you try to point it out to somebody else, they may not see what you see in that cloud...

Do you see Yoda?
(photo source)

And if somebody said they ate a pig made out of chicken, would you believe them? Yeah, me either, but this made me look twice:

Orange chicken from Panda Express
(photo source)

So, the other day, my husband brought home some pears he had picked. I was sorting through them and found something that made me squeal. Yes, I said squeal. And now here I am to introduce you to a new friend of mine.

Say hello to Sammy the Seal! (That's right, I named him.)

Can you see it? Isn't he cute!? If you look closely, you can even see him smiling. (Try to ignore the booger in his nose; he's a little sensitive about that.) I'm thinking of making him my mascot.

Gotta love unintentional design!

The new logo is here!

Tue, 02 Aug 2011 04:00:00 GMT

I mentioned a few months ago that I was in the process of redesigning my logo. Well since I only find time to work on it in between, you know, paying projects, it's taken a while. And to be honest, I could probably drag it out quite a bit longer, but I've had to put my foot down and declare it done.

So, this is the big announcement(!), even though you might have already seen a sneak peak in my last post about business cards. Which means my big announcement(!) is a little anticlimactic. Sorry about that. I call that an undercover unveiling; I just snuck it right on in there.

I will soon be updating all of my marketing/identity pieces with the new logo. That means instead of seeing this:

old logo

You will now see this:

new logo

or this:

new logo

It's a bit of a different look, though you may notice similarities—mainly, keeping with the eye concept (even with the same curly eyelashes!). The execution is a bit different— the interpretation of the eye is slightly less literal and the entire thing is a lot more deliberately designed. I drew the "n•vision" myself rather than use an existing font. There is a concept of seeing through new eyes to "envision" what can be created...signified by the groups of dots entering the eye as gray and coming out infused with color. The three colors that converge in the eye coincide with the three areas of design that I work in: web, print, and identity, and that I believe any organization should have cohesively working together for them. (Although you would never guess that part just by looking at the logo, it lends itself nicely to illustrating the concept in my marketing. Just wait and see.) Overall, the new logo is slightly whimsical, a bit bolder, and more conceptual.

You may have also noticed that I have created both a horizontal format and vertical format of the logo. Why, you ask? Shouldn't you only have one logo, in order to remain consistent? Isn't that what branding is all about? Well, that's a good question; I'm glad you brought it up.

Your logo, being the visual representation of your organization, is going to be placed on a variety of things. Sure, you'll have business cards and letterhead, but you might also have advertisements and banners and car decals and signage and promotional items, and many times you may only be allotted a particular space or imprint area. I've come across instances where I've had to force a logo to fit in a space that consequently compromised its size and legibility. I hate having to do that. Recently, I saw an event booklet that had a relatively narrow column for corporate sponsor logos. Guess which ones were more difficult to make out (unless you already knew what they were)? The horizontal ones. They had to be sized down considerably in order to fit their whole width in that narrow column. A vertical or square format logo would have fit much better and at a larger size. Having the luxury of choosing the best logo format for the job is invaluable.

A typical logo may have two elements: an icon, or symbol, and the typography. (This isn't a hard and fast rule, but it's extremely common.) These can be heavily integrated together, or visually separate. In a really successful logo, each of these should be able to stand on its own and still be recognizable as your branding.

When creating various formats, the important thing is that the visual connection remains, even if the various elements of your logo are arranged a little differently. It's still your logo, your branding. Nobody's going to mistake you for the guy down the street just because the icon moved from the side of your company name to above it.

By the way, I also have a reverse version of the logo. By that, I don't mean a backwards version... A reverse logo is one that is meant to be placed on a dark or colored background (essentially, the white and black areas of the logo are reversed). If I wanted to have my logo embroidered on black t-shirts, I would use my reverse logo, because my normal one is naturally designed for a white or light colored background. Here is my reverse logo:

reverse logo

So there you have it, the new logo—horizontal, vertical, and reverse. By the way, if you think that's a lot, it's really only the tip of the iceberg. When you get a logo design from me, you'll end up with a plethora of files, because I want you to be prepared for anything that may come along. You'll get various sizes: small, medium, and large; various file formats: .jpg, .eps, .pdf, .png; various colors: 1-color, 2-color, full color, and reverse; and often various layout formats: horizontal, vertical, and/or icon only. And all this in just about every possible combination. (Whew.) Need a medium grayscale jpg of your logo in a vertical format? You've got it. A small horizontal full color png for the web? You've got that too. An animated logo that dances on your screen? Okay, no, you don't have that. But if that's what you want, I can certainly make it happen!

Horizontal vs. vertical business cards

Fri, 29 Jul 2011 06:01:00 GMT

It's time for me to restock on my business cards, and since I have been redesigning my logo, of course I have to redesign my cards as well. In the spirit of exploring my options, I decided to design a vertical version of my new business card as well as horizontal one. And dangit, now I'm stuck.

I took to the streets (i.e. Google-searched and ended up on various blogs and forums) to see what others thought about vertical vs horizontal cards in general. I didn't learn much...well, not much that I hadn't already opined on my own. But here's a summary:

Pros and Cons of Vertical Business Cards

Pros: They're unconventional. In a sea of horizontal business cards, a vertical one stands out just because it's different. Yes, your business card is for informational purposes, but it can also be a marketing piece. if you can get people to take a second look at your card (just to say "hm, that's different), it will help you to stand out in their mind. That's what every business wants, to stand out from the crowd...to get noticed, be remembered, and inspire action.

Cons: They're unconventional. That means it has the potential to turn people off, if even just a tiny bit. Not everybody likes change. A vertical card will have to be turned sideways to go in business card holders or wallets that are typically oriented for horizontal cards. If someone is looking for or quickly scanning through cards, they'd have to turn either their head or their business card holder sideways to read it. This inconvenience could be slightly annoying to the person having to do this.

Pros and Cons of Horizontal Business Cards

Pros: They're standard. Horizontal cards are the norm. Business card holders, books, racks, and stands are all created for this norm. It's what people are used to. You can't shove a square peg in a round hole. And if it ain't broke, don't try to fix it, right?

Cons: (Yep, you guessed it—) They're standard. It's hard to call this a con, it's really just more like a status quo. But as mentioned earlier, almost everybody has horizontal cards, so you'd need to focus on elements other than the orientation to make yours stand out.

Other factors to consider

Think about the amount and line lengths of the information going on the card.

Vertical cards give you only a 2 inch width. If you, or anybody in your organization, has a long name or title, it may not fit. If your logo is horizontal, it may not fit. If your domain name is thelongestnameintheworld.com, it may not fit.

On the flip side, if you have short concise bits of text, vertical may work for you. In my case, I have a short name (and I'm the only name that will be printed), I've got a list of services that works nicely in a long vertical list, and I have both a horizontal and a vertical version of my logo to choose between.

Think about the purpose of the card.

Whenever one starts to get lost in details, one may tend to forget the forest for the trees. It's always best when trying to make a decision like this to step back and say, "How would this decision affect or support the ultimate purpose of this project?" As mentioned earlier, a business card, at its core, is simply a way to share your contact information with someone else. However, since I don't want to waste an opportunity to market, I think it should also be considered a selling piece. Ideally, you want to be able to talk to people and explain what your business is, what you do, and the benefits of doing business with you. Then you hand them your card so they can get in touch with you later. That's the sharing information bit. However, there will be instances where you don't have time to engage in a conversation with everybody you come across. But you can still hand them your card. If the only exposure that person has of you is your business card, you want it to say something. That's the marketing bit.

Think about your industry and audience.

Typically those in the more creative fields—artists, musicians, and the like—are given a little more leeway in being unconventional. Typically the more conservative fields—like law, finance, and government (random thought: does the President have a business card?) — should stick more to the status quo.

And the verdict is...

Now, back to my dilemma at hand. I've got two designs and can't choose between them. I bet you want to see them, don't you? Okay, okay, you've twisted my arm; here you go:

Vertical business card, front and back

horizontal business card, front and back

And now it's decision time. So, after researching public opinion, reviewing the pros and cons, considering the purpose of my cards, thinking about my industry and audience, and doing some deep soul searching, which one did I decide to go with? Ah, decisions, decisions. Drumroll, please...

Oh, before I get to that...one suggestion I came across on a forum was to design the front horizontally and the back vertically (or vice versa). That way you get the best of both worlds, right? That's a possibility, but it seems to me that would make it more confusing when somebody flips it over. Once you've already established the orientation to the viewer then it might be disorienting if they turn it over and all of a sudden it's not vertical anymore. So, I commend the idea for its attempt to be all things to all people, but I quickly kicked it to the curb.

Right, so back to my decision. Yeah, that. *sigh* Okay, drumroll...

I'm leaning toward...

...the vertical card.

Yeah? No? What do you think?

Grammar police, unite!

Mon, 25 Jul 2011 05:09:00 GMT

AAHHHHHHH!!
That's my reaction to the above image. Do you see it? Can you understand why I look at this and want to pull out my hair? Yes, a grammatical error. On a professional website. In a big bold heading at the top of the page. The first thing somebody sees when they visit this site.

I hope you saw it too—"industries" instead of "industry's". One is plural and one is possessive. Two completely different meanings. I look at this and say, why didn't somebody catch this? It reflects poorly on both the company and the web designer, and a glaring grammatical error like this is the easiest way to undermine your professionalism, intelligence, or attention to detail. Remember, first impressions—whether accurate or not—are important.

So, okay, I'm a stickler for proper grammar. I can't help it. It's in my blood. I admit I'm not perfect, and I don't go around looking for these things; they just reach out and grab me. Grammar rules exist for a reason, and that's to have a set standard for communication. COMMUNICATION IS IMPORTANT! If those grammar rules start to fall apart, then guess what... communication falls apart. And then, of course, ultimate chaos ensues. (Or, at the very least, there's misinterpretation and confusion.)

It seems to me that this problem is becoming more rampant. Some speculate it started with instant messaging and text messages—the need for shorthand and made-up words led to relaxed standards in written communication. I dunno.* Maybe. But I do seem to come across more and more grammatical errors in casual written communication (like emails and Facebook statuses) and yes, even in this case, professional websites.

A common example I see at least once a week is emails without a single iota of punctuation. Jumbled thoughts rattled off in run on sentences are not cool, man. So something like this: "Nyla I need to have my password reset I can't remember it and also Susie needs it too" may generate a response like this from me: "Did you mean you want me to reset your password and send it to both you and Susie, or that each of you needs me to reset both of your passwords?" And then I have to wait for their response again before I can handle their request. Do you see the inefficiency poor grammar causes?

Now indulge me for a second as I point out some very common grammatical errors that are pet peeves of mine:

their vs they're vs there
Correct usage: "Please tell the family their luggage bags are over there in the corner. They're being processed for shipping."
loose vs lose
Correct usage: "I've got some loose change in my pocket. I hope I don't lose it all through the hole in my jeans."
its vs it's
Correct usage: "It's a shame that plant didn't grow. Its root system must not have spread."
should've vs should of (or would of or could of)
Correct usage: "I should've watered my garden today before it got too hot outside."
There is no correct usage of "should of".
everyday vs every day
Correct usage: "It is an everyday habit of mine to drink tea. My mother also drinks tea every day."
misuse of apostrophes for plural vs possessive
Correct usage: "We are providers of the church industry's best software solutions. Other industries that may benefit from our solutions are charities and small nonprofit organizations."
definitely vs definately
Correct usage: "I really hate when I see definitely misspelled as 'definately'."
There is no correct usage of "definately".
congratulations vs congradulations
Correct usage: "Congratulations on your job promotion, marriage, and new house!"
There is no correct usage of "congradulations" or "congrads".

(By the way, don't get me started on the Oxford [serial] comma [used in that last example]. I use it consistently, and wholeheartedly support it. But that's another topic for another day.)

I know that new words are added to the dictionary each year. We have words in existence that our grandparents never even heard of. Sure that's cool, I guess. Language evolves, right? Well here's the thing with evolution— it's based on the idea of new, more developed, more advanced things being created over time. In actuality, what most people think of as evolution is really the result of a LOSS of information. Natural selection occurs because the long haired dog has LOST the information for the short hair gene, so now you have a whole breed of long haired dogs. Genetic mutations cause variation, but mutations are actually mistakes.** So our language is evolving, but it's because of a loss of the correct rules of grammar, or continued and widespread misuse of a word. I'm fine with things changing, but not when that change is the result of a loss of intelligence.

So, forgive me if I'm hard on you (collectively, not individually—I hardly ever point out errors to individuals because that's the sort of thing that can easily come off as insulting, and because I know sometimes it may be just a simple oversight. I'll correct it only when it reflects publicly on your professional image, like when I'm working on your printed materials, marketing promotions, or website). But this really rubs me the wrong way. Let's get back to basics here, folks. Let's make an effort to communicate better.

If you're interested, Grammar Girl is great for a Quick & Dirty Tip every day. (Or, put another way, Grammar Girl is great for an everyday Quick & Dirty Tip. Yeah, you see what I did there?) I'm a fan of the podcast.

So, any other grammar police out there who loved diagramming sentences in grade school? What rubs you the wrong way? Do you get offended when people point out your mistakes?

*Yes, I am aware that 'dunno' is not grammatically correct. But it's purposeful here...seemed apropos, y'know?

**Need more clarity on "evolution"? Answers in Genesis is a great place for you to spend some time.

One of the best modern sans serif fonts - PF Handbook Pro Extra Thin

Thu, 30 Jun 2011 04:00:00 GMT

My sans serif typeface of the moment? PF Handbook Pro. It's cool, calm, and collected, with just enough quirkiness to make it lovable. (Kinda like myself, no?)

The quirkiness kicks in with some of the lowercase letters like g, k and m—giving me unique little details to love. The fonts range from extra thin to black, and while I would probably use the regular weight for most uses, I always really enjoy a good light weight font, for some reason.

Here's a sample of PF Handbook Pro Extra Thin, PF Handbook Pro Italic, and PF Handbook Pro Black:

Isn't it beautiful?

It's been a popular typeface, and understandably so— smooth round corners, legibility at small sizes, fourteen fonts in the family, and stylistic alternatives. It would be great for almost any usage. It's modern, but not necessarily trendy, which I consider a hallmarks of a classic typeface. What's not to love? And since MyFonts also makes a web license available, I just may pick this one up for my next web project. Oh, the wheels are a-turnin'...

I'm bleeding! No, not really. Except I am...

Thu, 23 Jun 2011 04:00:00 GMT

Bleed. Sounds...not good, right? Well, no need to worry, "bleed" is a term used in the printing/graphic design world; it does not involve actual blood; and if you don't already know what it is, now's your chance to learn!

Quiz time! Say you wanted a 5"x7" postcard designed. What size (dimensions) do you think I will design the file at?

a) 5" x 7"
b) 5.25" x 7.25"
c) 10" x 14"

If you answered (b), you are correct. So why would I create the file slightly larger than it will end up being? Well the extra quarter of an inch added to the width and the height are called the "bleed". Bleed is necessary if you want your design to extend all the way to the edge of your paper. When the printer receives the design with the bleed, they will print it on a sheet of paper larger than 5" x 7". Then, they will trim it down to the finished size. Having an extra 1/8" added to each side provides allowance for the slight margin of error that is natural to the trimming process. Because otherwise, if the trim were not exactly precise, and you had no bleed, there would be a thin white line around one or more edges of your finished piece.

A 1/8 inch (.125") bleed is most common, though your particular printer may require different specifications based on your project.

Bleed is really only necessary if your design extends to the edge of your piece. Something like this doesn't require a bleed:

But something like this definitely does:

Regardless, I normally start each project with a bleed area set, because there's no telling if the end product will require it or not. It's standard procedure in my book, because it is much easier to start off with bleed and end up not needing it, than to set up a project without bleed and having to go back and add it in--particularly if there are images involved.

So, now that you know I'm only "bleeding" my projects, and not physically gushing blood, you can rest easy. And since you learned something, I think you can go ahead and chalk this up as a successful day, yes?

White space is your friend — Minimalist design

Thu, 16 Jun 2011 04:00:00 GMT

Every so often, my dear hubby comes home with a new addition—be it a kitchen gadget, filing cabinet, piece of furniture, etc, that was "just too good of a bargain to pass up." This is generally what happens next: I look at it, look back at him, look around at our already full home and say, "Where exactly are we supposed to put this?" His response, "I'll make it fit, I've got a plan." See, he considers himself a master engineer when it comes to "making things fit". When we're packing up the car for a road trip, sure, that comes in handy. When it comes to our living space, well...not so much.

His philosophy is: as long as there's a single inch of empty space anywhere from the floor to the ceiling, that space can be filled.

My philosophy is: de-clutter, de-clutter, de-clutter.

Yeaahhh, see the problem here?

Now, I wouldn't label myself an interior designer, but the principles of design are certainly not just limited to paper or a computer screen. Many of the same concepts that apply for graphic design apply to our physical surroundings, and why wouldn't they? Design affects our experience, regardless of what it is that it being designed, whether it's a room or a website. Our brains still have to process the visuals. So let's talk briefly about visual clutter, white space, and minimalism.

Visual clutter is distracting and (for me) increases stress

In my office, when my desk is full of scribbled sticky notes and papers in disarray; and when my filing cabinet drawers are open with folders sticking out; and when my work table has open books and writing instruments and rulers tossed on it haphazardly—well, I feel more frazzled and stressed than usual. Conversely, when all surfaces are clutter-free and tidy, it's a much more pleasurable environment to work in. It's as though the physical clutter around me causes mental clutter in my brain. This makes perfect sense, when you think about it. Everything in your field of vision has to be processed by your brain. If you have a task to do, you will be able to perform that task more efficiently if your brain can focus more energy on it. If your brain has to also process everything else that is in your field of vision, it will require more energy to focus on the task at hand. (The folks over at ionpsych.com wrote a great explanation of what happens when our brains are visually overstimulated: Visual clutter: it's worse than you think. I recommend you check it out when you're done here.) So, de-clutter your space, de-clutter your brain.

The same holds true for graphic and web design. Have you ever had a flier placed on your car windshield that looks like it was created by someone hopped up on caffeine? With everything on the flier trying to get your attention using large font sizes, bright colors, rainbow gradients, and starbursts all over, you don't know where to focus your attention. When your brain tries to process such a thing, I imagine the "chaos" alarm starts sounding. See, the brain likes order, not chaos. Nine times out of ten, that flier gets a mere second of your attention, and if it's too convoluted, you throw it out. Talk about ineffective. If you want to make a point with your flier (or advertisement, or website, or whatever), make it easy to process—make your point clear, and don't crowd it out with other stuff.

White space: an oasis of nothingness

Nothingness. That doesn't actually sound like a desirable thing. But it is! And let me tell you why. It's one less thing for your brain to process, which means:

it gives your eyes (and brain) a chance to rest (white space is soothing); and

it inherently directs your attention to something that's actually important.

(By the way, white space isn't necessarily always white, it's just the term used to describe negative space...the blank areas of the page where you don't have anything else.)

We've all played "Where's Waldo?" at some time in our lives. The objective is to find the man in the red and white striped shirt who is hidden in a crowd of other people and objects. Here's a thought, how much easier would it be to locate Waldo if there were nothing but white space around him? We would immediately focus in on what we're looking for without wasting time processing everything else (...of course, that wouldn't make for much of a game, but that's not the point here).

White space + Minimalism = BFFs (or besties, if I may)

Minimalism is an art movement that is defined by reducing something to only its necessary elements. Minimalism causes one to focus only on what's important, and nothing else. No fancy frills just for the fun of it. No impulse to fill every empty space with something...anything. Nope, nothing is included that isn't functionally relevant. So of course you can see how minimalism and white space go hand in hand.

In my portfolio, you won't see much strictly minimalist design. That is because each individual project and its objectives dictate the style in which it is displayed, and minimalism isn't always appropriate. But that doesn't mean I don't use the principle of white space. On the contrary, it's impossible to design a piece without considering its white space. The amount and placement of white space affects balance, focus, legibility, and clarity. The funny thing is, not everybody appreciates white space, or understands its usage as a specific design decision. I think this stems from two things:

Designers (oftentimes inexperienced ones) who have used white space ineffectively, creating an unsettling impression that something is "missing" from the piece.

The layman's mindset that, "well you started out with a blank slate; you should be able to fill it with something brilliant. If you leave too much blank, it's because you weren't creative enough to come up with something to fill that space. I mean, really— I could've done that."

But in truth, white space, used correctly, is one of the most powerful design elements there is. In addition to clarifying the focus, it can give a piece a more upscale and elegant look. In contrast, design that is too cluttered can sometimes look amateurish. This famous Volkswagon ad is a great example of using white space effectively.

(photo source)

Though white space is inherently passive, it serves to passively point you to what's important. You immediately see the little car in the corner and "Think small" at the bottom. In a time when VW was competing against larger-sized cars wanting you to "think big," this ad makes the opposite point quickly and powerfully—bigger isn't always better. Less is more.

Minimalism: love it or hate it

When I tell hubby that I need 'white space' to breathe, he looks at me funny and says, "Um, I can breathe just fine." I say, "No, I don't mean literally; there's just too much stuff around me," and he says, "but look how nicely stacked all the stuff is." By the time I start ranting about visual clutter, brain overload, mental claustrophobia and appreciating the simple things in design, I'm quite sure he's already tuned out. (And yes, this happens every time.)

If I were to characterize the two of us as art movements, I'm Minimalism, and he's more like abstract Cubism:


Minimalism	Cubism
Kasimir Malevich. Black Circle (1913)	Pablo Picasso. Three Musicians (1921)

One is clean and focused; the other is busy and visually stimulating. There is genius to be found in both styles, and each has its place, both in graphic/web design and in interior design. Though I will maintain that minimalist tendencies are usually more effective, I will also say that one is not inherently "better" than the other, and many times what style you like simply boils down to personal preference. However, when it comes to my surroundings, I prefer ample 'white space.'

Will I ever see the day that my husband is converted to a minimalist? Well, I'm not counting on it, but hey... a girl can always hope, right?

Pretty bird, pretty bird!

Thu, 09 Jun 2011 04:00:00 GMT

Sometimes, if you call me up, you may hear a voice in the background. This voice may say "Drink your water", or "Xooma Worldwide", or "I love you", or...just shriek obnoxiously. (Yes, I love that.) This is the voice of July the parrot. July will also occasionally say "Pretty bird! Who's the pretty bird? Pretty bird!" She's a little vain, if you ask me. But it's always reinforced when people see her for the first time. They'll say, "what a pretty bird!"

On the face of it, there's not much about her that one might initially consider pretty. She's a gray bird with beady eyes and scaly feet. (And she screeches obnoxiously, don't forget that part.) Doesn't sound that pretty to me. However, she's got a striking red tail, and I think that's part of what hits people when they first see her. I think they're responding to the uniqueness and unexpectedness of seeing it. And when you see her up close, you really get to see all the minute details. I believe that is also what people are responding to. You can see how each little feather is rimmed in white, which creates a beautiful pattern as they overlap each other (think shingles on a roof); and how her intelligent eyes look almost golden at times, with shiny black pupils. You can see how the white part of her face gradually fades away into shades of gray and how the small gray feathers rimming her eyes gives them a little added definition. She's actually magnificent, when you really look at her. You can't help but to appreciate her design. Famed painter Georgia O'Keefe once said, "I decided that if I could paint that flower in a huge scale, you could not ignore its beauty." I understand exactly what she is talking about.

Personally, I believe that God is the creator of the universe and all things in it. And when I look at something like July, and see the intelligent and beautiful design (which encompasses both function and aesthetics), I can't help but give credit to God for being the Best. Designer. Ever.

George Washington Carver said, "I love to think of nature as an unlimited broadcasting station, through which God speaks to us every hour, if we will only tune in." And to sum up the words of Thomas Brown, "...nature is the art of God." I agree.

Beauty doesn't necessarily have to only be brightly colored peacock feathers. For something to be beautiful, it doesn't have to be "obvious" or in your face. It may not be initially realized until you start to take a closer look. It may be something that is just intuitively appealing in its simplicity. Part of beauty is simply intelligent design. Seeing something ordered and in its logical place, with a purpose, pieces fitting together perfectly. Being able to look at something and discerning its underlying purpose, and thereby recognizing its genius. Sometimes it is influenced by seeing something unique and unexpected, like July's red tail feathers, or seeing intricate patterns and delicate ornamentation.

I will always maintain that inspiration can oftentimes be found right around us, if we will take the time to look. And while I usually speak of this in the context of graphic or web design, the beauty of nature can be even more deeply inspiring, if we appreciate the Intelligent Designer behind it.

Back to July. The noises she makes sometimes...well, that's not always beautiful (though some of them are). But aside from that, July is, indeed, a pretty bird. At least I think so...what about you?

The beauty of beans and rice (who knew?)

Mon, 06 Jun 2011 04:00:00 GMT

So I was cooking dinner the other day...a bean and rice dish. Started by sauteing a little onion, then added some brown rice. So far, not very impressive. But then again, I wasn't expecting anything impressive. The next steps were to add in some black beans, dark red kidney beans, garbanzo beans, and diced chilies. And when I did, it was... magic.

All of a sudden there was a brilliant mix of colors...the combination was beautiful. I felt like had just created a piece of art! So I snapped a picture. And I'm filing it away in my brain, for when I need some color inspiration. Here's the palette:

Kind of "old-world Mediterranean", no?

So, the picture. Well, it doesn't quite do the real-life version justice, but here it is:

Mmmm, who's ready to eat?

That's just not my (team) color: red and gold

Fri, 03 Jun 2011 04:00:00 GMT

"Well those are too close to Redskins colors, soo....let's go with this one instead." This was a comment a client (apparently not a Redskins fan) made after I had presented some color options for his new logo design. Ah, the good ol' red and gold (or shades thereof) combination.

Well, whenever someone is developing an identity, or wanting a logo, colors inevitably come up as a part of that consideration (normally limited to two colors). And while everybody wants something unique, they quickly find out there are not many two-color combinations that aren't already in use, somewhere in the world (particularly in the sports world).

It turns out the the Washington Redskins are not the only organization that uses hues of red and yellow. Let's take a look at some familiar faces:


Arizona State University	University of Southern California

DHL	Emerald Nuts

McDonald's	Bojangles

MasterCard	Superman

Your branding, or subsequent projects, should not be based solely on a personal color preference. Of course, if you just don't like it, well...you just don't like it. But, it should be considered carefully. There's a science behind color perception. Just as important, there are associations that we have with colors. These associations are meaningful; they're defined by psychology, society, and culture; and oftentimes they run so deep we don't even consciously realize them.

Associations with the color red

Pure red is the most intense, high-energy color, and is considered a stimulant. It can represent love, passion, anger, dominance, danger. It automatically demands your attention (think stop lights and stop signs).

Associations with the color yellow

Yellow often represents happiness, optimism, and fun. It is also a high energy color (pure yellow, especially). Notice that you'll rarely see pure yellow used alone in a company logo, for the simple reason that it can be hard to see unless placed against a dark background. You are more likely to see deeper shades of yellow with more orange in them (like gold).

This is an interesting visualization of color associations across various cultures/regions. (Did you know that in the Chinese culture, red is associated with fertility?)

How to find the right colors for you

One strategy I employ when starting to consider color choices for a logo, for example, is to list adjectives or phrases that describe the organization or event that the logo will be used to represent, as well as the target audience. Young, hip, energetic? At least one bright, saturated, unconventional color may be appropriate. Conservative, well-established, elegant? Think deep, rich jewel tones. Want to convey strength, resilience, and trustworthiness? Blue would be appropriate. And if you want to assert dominance, high energy, or passion? Yeah, red could be a great color.

Well, this is where it can sometimes get tricky...when you know you want to use one particular color, but don't know what to pair it with. As I mentioned, you will be hard-pressed to find a color combination that hasn't been used before (especially if you're trying to stay fairly conservative). Because there are certain colors that "just look good" together, they may already be widely used. For example, you'll find complementary colors—those opposite each other on the color wheel— paired up often. This means red/green, blue/orange, and purple/yellow combinations. When determining color combinations to use, I believe it is important to have a general understanding of color theory, however, one can always just look around for inspiration (nature is a great source), and there are even helpful online resources, like this tool for generating color palettes.

If red and gold are colors that represent your brand perfectly, but you hesitate to use them simply because they remind you of a bad experience you had at McDonald's, well, that's a problem. But here's what I think. I think there is always a color combination that can represent you that, while maybe not being completely unique in this world, can help you to stand out. It can stand out by being a combination that is rarely seen, or by using a pop of color in an unconventional manner, or using varying shades of the colors. And always remember, your organization's colors do not define you, they simply help to communicate something about you. It's only one piece of the puzzle, not the whole shebang.

I enjoy working with color. I love how expressive it can be on its own. I enjoy finding underutilized combinations, those that are not obvious, but still end up working together cohesively. If you want to use red, well guess what...there are many many variations of red, as represented in the logos above. You may find two reds that work well together (cardinal and maroon). Or pair it with a neutral (gray, brown, black). Or pair it with another analogous color (a warm shade of purple, perhaps). Vary the intensities and values (deep red with a pale orange). There are lots of options. However, I will say this... it shouldn't look forced. If it turns out that red and gold really is the combination that's right for you, don't shy away from it just because you don't like the Redskins. If you look long enough, there will always be someone else using similar colors as you. The thing to remember is that there are other factors that set you apart. Taken as a whole, your branding, your project, will always be uniquely you.

Sporty colors

Mon, 30 May 2011 04:00:00 GMT

As I write this, I am watching the Super Regionals of college softball, which are leading up to the Women's College World Series. (I am, and forever will be, a lover of fastpitch softball and this is the only time of year I watch ESPN of my own free will.) In watching this particular game between Alabama and Stanford, I'm struck by a phenomenon: the apparent lack of color variety in the sports world. The two teams playing now are both maroon and white! Where's the creativity here?

I realize that for college sports, the team colors are simply the school colors. Yet, even taking that into account, there seems to be a limited set of common color combinations in the sports world, both college and professional. Let's play a little game. How many teams (across any sport) can you name that have the following colors?

red and black
black and blue
blue and red
blue and gold
orange and blue
purple and gold
pink and yellow
mint green and peach

Yeah, the last two were to make a point. Because what do all the others have in common? Well, they're bold, mostly associated with being masculine or dominant, and in-your-face colors. Lots of basic primary hues and highly saturated. You don't see many pastels in sports. (I can think of one possible exception, and that's Carolina blue. And like I said, school colors aren't necessarily intended to be used exclusively for their sports teams.)

Whoever it is that decides on a team's colors obviously knows that color is a communicator in itself. There's a psychology behind color. It can evoke an emotion, communicate a concept, or stimulate a mood. So obviously, it makes sense that sports teams have bold, energetic, or aggressive colors to represent themselves. Let's take a look at red. Pure red is the most intense hue in the color spectrum and therefore conveys intense themes: passion, anger, dominance. Well if you're a sports team, intensity and dominance are pretty desirable qualities to express to your opponent. According to a 2005 National Geographic article, wearing red in a sporting competition can give you a psychological advantage over an equally matched opponent. Yep...according to the study, all else being equal, you should bet on the one wearing red.* I guess that's why you won't see many teams in soft colors. What would mint green and peach say..."Grr, I'm intimidating. Be afraid!"? Nah, probably more like, "Tee hee! I'm the Easter Bunny! Hug me!" Come on, nobody's afraid of the Easter Bunny.

So, let's take a look at some examples of "sporty colors":

red and black:

black and blue:

blue and red:

blue and gold:

orange and blue:

purple and gold:

pink and yellow

If you can show me a sports logo of (only) pink and yellow, you win a prize.

mint green and peach:

	(Okay, so it's not exactly mint green and peach, but I was surprised to find one that was even remotely close! Is it significant that this is a team in the WNBA? Do women teams need to have more "feminine" colors?)

Now of course, this is just a small sampling of sports logos out there...and there are many that are a little more edgy or unconventional with their color choices. However, the basis still stands that high-impact, high-energy, intense, and bold colors have the majority in this area. In terms of wearing red to win, I don't know how scientifically the aforementioned study was carried out, but it is an interesting hypothesis nonetheless. I wouldn't use that as the basis for predicting the next Superbowl winner, but I tell you what, I'm gonna keep it in mind as I watch the rest of this World Series. We'll see...!

*Disclaimer: I do not condone betting or gambling, but even if I did, this is not to be construed as advice, by any means.

The Science of Design: Mathematics

Fri, 27 May 2011 04:00:00 GMT

Ahh, math. Who doesn't love math? What? You? Well, that's only because you may not appreciate the true beauty of math. In a general sense, mathematics is the construct we use everyday to express a logical system of order. Can you imagine a world without numbers (or more accurately, a way to manipulate those numbers to discover an underlying systematic pattern)? It would be utter chaos. The entire universe displays mathematical patterns, from growth patterns in flowers (just look at the romanesco broccoli pictured below) to the spirals of outer galaxies. We use it daily in constructing buildings and conducting business transactions. We just can't do without math.

(photo source)

Okay, now that I've got you loving math (!), let's delve a little deeper into its function in design. Math is a huge part of design. It is responsible for balance, evenness, symmetry...the underlying elements that reign in unrestrained creativity just enough to make design really work. It's what helps prevent that utter chaos. Now I could get super technical here and start talking about the Golden Ratio, Fibonacci sequence, the Rule of Thirds, and geometric fractals (maybe I'll tackle those individually in later posts, because they can get quite intriguing), but I'm not feeling quite that ambitious right now. What I am going to do is give you an inside look on how I use mathematics daily while designing.

Here's how I proceed for ANY design, be it web or print, and for clarity, I'll use a web design example with each step:

Determine the final size of the piece.
I design most websites as fixed width for 1024 width screen resolution, which dictates that the size of my design will be either 980 or 960 pixels wide.
Create a grid system based on the final size.
960 is a great width because it can be easily divided by 2, 3, 4, 5, 6, 8, 12, 16... which means I can create a grid based on any of these numbers. Keeping things basic, I can simply use guides to create 12 columns of 80 pixels each. Yep, took some math to figure that out. I will also allocate a padding of 5 pixels per side of each column, which gives me workable column space of 60 pixels (uh huh, more math) with 10 pixels between each column.
Create designs using the framework of the grid, but not rigidly constrained to it.
I may want a large space for my main content with a sidebar on the right for advertisements. So, that may look something like a large area of 720 pixels and a sidebar of 240 pixels. How did I arrive at this conclusion? Well I want to give enough ad space for a standard ad size of 240, so I'll let that determine the width of that sidebar. And whaddayaknow, it divides evenly into my total width. 960 ÷ 240 = 4. That leaves me with 240 × 3, or 720, pixels for my main content. That is a very basic example, and there is ample room for creativity in layout, depending on the project objectives. Not every finished design LOOKS like a grid, mainly because there will undoubtedly be individual elements that "break out" and span multiple columns.

The finished design may not be readily apparent that it uses a grid. Everything won't be lined up in perfect rows of squares next to each other. But because it has an underlying basis of mathematical order—even if we don't consciously realize what we're looking at is based on a grid system—it is actually easier and quicker for our brains to interpret. In this world, when you only have a fraction of a second to make an impression visually, that is vital, and key to communicating your message.

(Now c'mon, don't you appreciate math at least a little bit more?)

Designing Stop Signs

Wed, 09 Feb 2011 05:00:00 GMT

I've worked with all kinds of people. Some people turn out to be very opinionated. Some people constantly call back with "just one more tiny change" each time they've gotten any type of feedback from others. Some people want to use neon green even if neon green is absolutely the wrong color to use, simply because neon green is their favorite color. Get my drift? There are two ends of the spectrum here: people who are driven by others' opinions — they are swayed by any feedback anybody gives; and people who are driven by personal preference — they want what they want, regardless of what anybody says. Am I complaining? Nah. But sometimes, every so often, if I'm having a particularly rough day/week/project, I pull the following video out of the archives to give myself a bit of comic relief. If you've never seen it, go ahead!

We designers don't know everything, and we welcome input (remember, creativity is only enhanced by collaboration), and we want our clients to be satisfied. We understand that our clients know their industry. However, we have done this once or twice before, and a good designer will have done adequate market research as well. Sometimes, it's good to trust our professional judgment, intuition, and past experiences! :)

Ultimately, we are paid to do what the client want, so if they are determined to have a neon green project, that's what they'll get. But don't say I didn't warn you when your communicative value is diluted (because people are shielding their eyes to avoid burning their retinas). If your message is lost, your project is not successful. Let's always remember it's about smart design.

Go Green! with...your website?

Fri, 04 Feb 2011 05:00:00 GMT

I find that a lot of people are surprised to know that the internet isn't environmentally friendly. How so? Isn't the internet just a nonphysical entity of digital something-or-others floating around somewhere in cyberspace? Well...

In order for your website to be up and functioning, all the files that make up your website have to be hosted on a server. A server is a physical machine, that has to be on constantly (or else nobody can see your website). So just think of it as a computer that is running 24x7, to keep your website online. Think of all the websites in the world. They are all hosted on a server, somewhere. Even though a single server can host many websites, that still uses quite a bit of energy. Many servers aren't even operating at full efficiency. Just three years ago, a study found:

"...computer servers are used at only 6 percent of their capacity on average, while data center facilities as a whole are used at 56 percent of peak performance. In other words, if data centers were hotels, they would be bankrupt and shut down instead of growing like kudzu." (Source)

(Kudzu? Yeah, I had to look that one up. It's a plant—a spreading vine known for its out-of-control growth).

A large portion of energy usage in data centers is the process of cooling the components (i.e. running the air conditioning at full blast to keep the servers from overheating). It works, but at what cost? I read an estimation that the effect of running all the servers in the United States alone is equal to that of five nuclear power plants. And that, my friends, is a huge impact on the environment.

Green web hosting

All that can sound kind of scary. What to do, what to do? Well, I invest in and utilize a hosting company that has "gone green"...they use wind power as a source of their energy generation and are 100% carbon neutral. They pool their server resources to operate more efficiently, and they even instituted a telecommuting program for the staff to save on carbon emissions. They also have a commitment to supporting green programs all over the world.

I think it's important to try and reduce your negative impact on the environment. I'm not just talking "carbon credits" here, I'm talking real, tangible ways. Try to reduce your own energy consumption. Your computer isn't a server that has to be on 24/7, so maybe shut it off and unplug it at night. If you use something, give back. Plant a tree. Recycle. Reduce your own waste. No, I'm not a tree-hugging hippie, but I do believe in responsible stewardship of what we've got. After all, we do have to live here.

Right?

"Hey, you stole my idea!"

Wed, 02 Feb 2011 05:23:00 GMT

Have you heard of "Quirky"? It's a website that allows you to submit your ideas for inventions, has people comment on and vote up the ideas, and if yours is chosen, the Quirky team actually brings it to life — they manufacture it and make it available for retail. Quirky functions in the spirit of open collaboration, and there are some pretty useful products that have come about because of it. I think it's a fabulous idea. But...

I also see potential problems with it—most notably, the idea of intellectual property. As a member of the community myself, I've seen a few instances of "Hey, that was MY idea!" and "you ripped this off of me!"...sometimes followed by angry commentary mixed with a defensive recap of how the idea came about. Uh oh. It's that type of situation that makes some people reluctant to share at all.

Quirky would be perfect if we were a breed of humans that were completely unselfish, without pride, and believed in the greater good over our own individual good. But, on the whole, we're not. How unfortunate. Because if we were, I think some truly innovative things could evolve. Quirky tries to overcome this. They incentivize open collaboration by financially compensating those who have contributed to a winning product's development. For the most part, this seems to work—once you post your idea, people are eager to leave feedback, contribute ideas for improvement, offer suggestions for modifications...and ultimately, you end up with a better product than your original idea. It's creativity at its finest.

But of course, you still get the occasional "hey, you stole my idea!"...and I'm not sure there's a way to fully prevent that. Oh, the pitfalls of creativity.

All of this brings to mind a man named Dr. Keith Sawyer. Dr. Sawyer is one of the country's leading scientific experts on creativity. That's right, a scientist who studies creativity. I built a couple of websites for him (explainingcreativity.com and keithsawyer.com) a few years ago, and in the process, learned a few things about creativity. Dr. Sawyer has researched creativity within groups. He sees creativity as a collaborative process. Sure, there are individual creative personalities, but when viewed as a whole, creativity is only enhanced through collaboration, rarely hindered. I think Quirky is a great example of this.

Many times in life, we're hesitant to share our ideas because we're afraid somebody else is going to take it and run with it, and we'd be left without credit, without fame, or without royalties. However, if we never share, I dare say Dr. Sawyer would maintain that creativity suffers...or even dies. (Of course, Dr. Sawyer, If you're out there, correct me if I'm wrong).

It's just something to think about. I myself am not immune (yep, I'm human too)...if I design something, I certainly don't want somebody else ripping it off and claiming credit for it themselves...especially if they make any money from it. That little voice inside would rise up and scream, "That should have been my money! My fame! Curse their ill-gotten gains!" I'm not proud of that, but I can only assume that's how I would initially react. Even in a group-related situation, where there is collaborative effort, I think I would still want to be given credit for "my part". Is that so wrong? Eh, maybe, maybe not. But when that mindset leads to a reluctance to contribute to the rest of the world, I'm not sure the world is better off for it.

Oh by the way, there are some pretty interesting ideas that pop up on Quirky. And by interesting, I mean absurd and impractical. (And some that involve toilets.) But I LOVE these types of things. Why? Because they push the limits. They're out of the ordinary. Not so status quo. Now, I don't like different just because it's different. Rather, I recognize that it's the breeding ground for innovation. What's absurd may just need a few conceptual tweaks. What's impractical now, may lead to something that's more practical tomorrow. Oh, the possibilities. This is it, folks, it's creativity at its core.

So, let's all strive to be more creative, shall we?

Now. Do it NOW.

Mon, 31 Jan 2011 05:00:00 GMT

"People are more motivated by immediate consequences than by future possibilities."

Oh, how true. I work with a couple who are big proponents of sustainable living—how to live happy fulfilling lives without draining the earth's resources. They have actually built a completely sustainable housing community, the Garden Atriums, that is nothing short of amazing. Seriously, click on the link and check it out. One of the challenges they face is getting people to care about what will happen down the road, globally, as we continue to live as we are right now. And you know what? They've found a general sense of indifference when they present these trends, predictions, and facts to people. Of course, nobody acts indifferent when face-to-face with them, but when it comes to taking action today to better our future, most people are slow to do anything at all to make changes in their daily lives.

There may be quite a few reasons for this. Financial restrictions, a sense of being overwhelmed and not knowing where to start, stuck in habit, no sense of personal responsibility, but I also believe a big factor is this: many people are not really forward thinking ("The future is so vague and far away, how can we really know what's going to happen?"). Sure, we may save up for retirement and college funds, but past that, people don't seem to really consider long term consequences for present action. It can be a weak motivator. Especially for small actions that in isolation may seem inconsequential to the larger picture. Think about it—you rationalize that Twinkie today won't hurt anything, right? But you know a lifetime of poor eating habits is going to harm your health in the long run. You still eat the Twinkie, don't you? The immediacy of pleasure outweighs the delayed consequence. And if you do it once, you'll probably do it again.

That's why some industries have it tough. Preventive healthcare, sustainable living, churches—these can be a little harder to market than physical goods or impulse buys (um, iPhone, anyone?). How do you get people to care about the "important" things?

Well, one thing I've learned is you can't force your own passion on everybody. There will be some that just don't want to hear what you have to say, no matter how important, how true, or how life-changing it may be. Some may not be ready for your message. It's hard to accept, but that's how it is. That's why it's important to narrow down who your target audience is. This is more than just age and income bracket. It's also lifestyle, daily habits, what makes them laugh, what is important to them? Who are the ones most likely to be receptive to your message? Next, you have your fringe audience—those that may not be your primary audience, but can be swayed to hop on board. And this is where you focus your efforts. As much as you believe "everybody" should be your target audience, you absolutely have to segment, or your resulting marketing, trying to appeal to everybody, will be impactful to none.

If you're in this type of industry, the important things to remember in your marketing are:

Highlight a sense of urgency. But...
Try to stay away from fear tactics. Or at least overt fear tactics. Fear actually can be a powerful motivator, so in some cases it can work well...but it also has the potential to make people shut down. (Sort of a close your eyes, cover your ears, and "la-la-la" type of thing. We call this denial.)
Focus on the emotional appeal of what you're doing. People are emotional creatures. As you're throwing facts and figures at them, try instead to reach their heart.
Use facts and figures. Backing up your claims or beliefs with cold hard facts will lend credibility and give a foundation to what you're saying.
Offer a baby-steps approach to keep from intimidating people. E.g. preventive healthcare: don't try to turn everyone vegan overnight, maybe challenge people to start just by drinking more water once a day.
Repetition is key.
Repetition is key.
Repetition is key. Hey, did you go visit that Garden Atriums site yet? (Oh, we are a stubborn people, aren't we? It takes a few times to get through to us.)

Of those, I think a sense of urgency is especially critical. In the time that you do have their attention, don't let them get distracted and move on. Impress upon them the importance of acting now! You see it all the time in little ways (in the form of expiration dates on coupons, limited time promotional offers, and one-day sales). And guess what? It's effective. One of the keys of creating marketing pieces that compel action is utilizing this very principle.

So, go, drink a glass of water. C'mon. Do it. Do it now....or else you will pass out from dehydration. (That's the fear thing, did it work? Yeah, didn't think so.)

A designer's head is never cold

Thu, 27 Jan 2011 16:14:00 GMT

I call myself a designer, but I find that I somehow morph into other entities throughout the course of client relationships.

Sounding board ("This isn't really related to design, but...what do you think about this idea? How would you implement it?")
Counselor / Advisor ("I am having a tough time in this economy. I'm in danger of losing my house.")
IT guru ("How do I set up email on my Blackberry?")

Those are just a few. I didn't set up shop to do these things, but it happens more often than I would have expected. I've developed some great relationships over the years. I think it's because I realize that my clients are people first, and clients second. This actually brings to mind a recent incident:

I've just had an experience with one of my service providers that left me unsatisfied. Due to poor service being provided repeatedly and with no end in sight, I needed to speak with the manager. Turns out, the manager was no different than the employees. He had the exact same mentality (giving canned responses and making excuses; instead of owning up to the problem, proactively correcting it, and seeing how they can make me happy again). In their eyes, I'm not a person. With larger businesses, that can happen sometimes. There's just too many customers to think about each one individually. This service provider didn't seem interested in having a relationship with me, at any level, not even as a customer. And so they've just lost my business.

I don't mind building relationships. Yes, sometimes, I need to cut these conversations short (hey, I've got a business to run, after all), and yes there is definitely a line between personal and business (we're not going to be best friends, sorry!). But, it's about building relationships, not just making a buck. And hey sometimes, by building relationships, you will make a buck. (That's the whole point of using social media to connect with customers, by the way).

So whether that turns me into a part-time counselor, advisor, or sounding board, I see it as a part of business. Heck, a part of life.

I wear so many hats, how could my head ever get cold?

What about you? How many hats are you wearing today?

Designing food

Wed, 26 Jan 2011 05:00:00 GMT

My husband is darn good in the kitchen. And I'm darn good at the dinner table. (Translation: he likes to cook, I like to eat). He often talks about "plating". About how the first bite begins with the eyes. How presentation is everything. (Sometimes when I cook, and it doesn't taste so great, I remind him that my plating was fabulous).

This is a prime example of the psychological impact of design. If it looks pretty, somehow we just expect it to taste pretty too, even if we're not aware of thinking it. I'm sure if some scientists got together to perform a controlled study of people ranking how good their food tasted, the group who received well-designed plates would say their food tasted better than the group who had their food sloppily thrown on. (If anybody out there ever does this, please let me know if my hypothesis is correct.)

Talk about "design!" Preparing plates is an art form in and of itself. Here are some impressive examples of designing food for the eyes:

That last one looks it could have been inspired from nature—a daisy, perhaps?

My hat goes off to the chefs of the world—Culinary Designers, as I may start to call them. They have to be able to cook well and design well. Me? I'll just stick to designing. And eating.

Fancy fonts, flickering fonts, why, oh why?

Tue, 25 Jan 2011 05:00:00 GMT

I wrote about fonts in the last post, so it's still on my mind. And it led me to thinking about one of the frustrating things about web development: keeping up with emerging technology. Now, I don't just mean myself, I mean sometimes the rest of the world is slow to catch up on what designers/developers may think is the best thing since sliced cake. (Cake is much tastier than bread, don't you think?)

I'll give you an example. If you click through the "double take" links in the right column of this website you'll see the page design slightly changes for each one — I'll refer to those as themes. If you click on the "classic view", you'll notice there's a different font used for all the text in that theme. Now as I mentioned in the last post, typography is kind of a big deal for designers. And graphic designers have all the fun because there are virtually no limitations on what fonts can be used. However, when designing for the web, we are limited to a handful of standard fonts (e.g. Verdana, Times New Roman, Helvetica, Georgia) — those that are likely to be installed on computers everywhere. Well, that gets kind of old, kind of quick. But hey, that's just the way it is.

But what if, WHAT IF, there was a way to use alternative fonts? Branding should be consistent right? Why not use your company's typeface on your website? You use it on all your print materials, so what's the problem?

The problem is, just because you have a specific font on your computer doesn't mean the rest of the world has it on theirs. The world wide web is a practice in standardization—since there are so many end-user variables that can't be controlled, standardization is necessary to be able to create sites that are functional for people in very different scenarios. It would be great if you could upload your font onto the web server and use it on your pages the same way you would upload an image and place it on your page. The biggest hindrance there is that type foundries do not grant licensing to use many of their fonts in that way. Big no-no. They'll track you down and send you off to jail. Actually, I'm not sure what the repercussions are, but it's not legal, so that's enough for me.

Enter font replacement.

There are a number of ways to incorporate a specific font onto a website. Some font replacement methods are better than others. What I've done on for the "classic view" theme is one method. It works...but it has its pitfalls. If you're using Firefox as your browser, you will see a slight flicker of the default text before the new font is rendered. Not pretty, but that's the way it works in this particular browser. There are some workarounds, but in my opinion, those are worse than the initial problem. In other browsers (Safari, Opera, Chrome, and even Internet Explorer), the pages actually render just fine. But as with most cases in web technology, there will usually be an exception, a problem child, if you will. And this time it's Firefox.

Font replacement is just one example of a great emerging technology, but with limitations that prevent it from being used to its full potential. In this case, "the rest of the world" that's holding this back happens to be a browser that renders differently, and type foundries that do not grant licensing to upload their fonts to your website. I'm not vilifying anybody (Firefox is actually my browser of choice, and type foundries deserve proper recompense), but sometimes innovation is hindered. *Granted, there are services through which you can pay to use specialty fonts on your website; part of your payment goes to compensate the type foundry for use of the font.*

If you want a website that uses a specific font throughout, sure, it can be done! But unfortunately, fancy features often come with a price...someway, somehow. When it comes to web, I love aesthetics as much as the next person, because they serve an ultimate purpose of communicating more clearly. However, my theory is function first, form second. Bells and whistles that ultimately take away from the accessibility, performance, or purpose of the site should be thoughtfully considered before deciding whether to implement.

Next up, ~~why cake is better than bread.~~ Uhmm, never mind.

Fonts that make me giddy

Mon, 24 Jan 2011 05:00:00 GMT

I can't say that about many things in life. Those who know me personally see me as a laid back, calm, pretty level-headed person. Very few acquaintances have ever seen me giddy about anything.

But they've never been around me when I receive my MyFonts e-newsletters. Yup, all bets are off once I open that email.

This isn't necessarily a plug for MyFonts, but I will say, if you need great fonts on a budget, this is my number one stop. (So maybe that does qualify as a plug. But it's the truth. I should add them to the Resources section on this site.)

I realize I'm entering design geek territory with this post. In my experience, nobody, and I mean nobody, outside of designers think of typography as a study and an art. Or even think of typography at all, for that matter. At least not on a daily basis.

Typography can make or break a piece. For some, typography is the piece. I won't go into all of that now. Instead, here are a few jokes!

**warning: entering further into GDT (design geek territory). If you're hesitant to proceed, just back away slowly.**

One font meets the other in Rome. He asks: “Hey, are you a Roman too?” “No,” says the other, “but I am an Italic!”

HA!

Two fonts walk into the bar. The bartender says, “Sorry guys, we don’t serve your type.”

hee hee...

What is the type designer’s favorite breakfast?
Kern flakes!

Get it? Kern flakes? KERN? Because kerning is adjusting space between letters... Oh never mind.

A font walks up to Gill Sans and asks: “Do you want to go out with me?” Gill Sans says “No!” “Why don’t you want to go out with me?” the other font asks. Gill Sans: “Because you’re Grotesque!”

ba-dum-dum-ching! Okay, okay, it's over now.

Anyway, to the point of the entire post, this is the latest font that made me giddy: Cotoris by Ryoichi Tsunekawa. I'm in love with the lowercase k.

I will design an entire piece around it.

Anybody else out there have a love affair with a typeface?

I have a secret (and a confession)

Fri, 21 Jan 2011 19:29:00 GMT

Normally, I don't share these kinds of secrets with the world, because once it's out there....well, it's out there. I also am not in the habit of making confessions to the world. But, here goes:

My secret: I'm working on a new logo for n•Vision Designs. (shhhh!) Now that I've said it, it's gotta happen. However, I'm not telling anybody when I will unveil it. It will be soon though. I'm trying to squeeze in my own stuff around client work, which is tough when there's only 24 hours in a day. Sometimes my own marketing suffers. What's that saying... something about the shoemaker's kids having no shoes? Or something like that. Anyway, I digress.
My confession: I've never really liked my current logo. My existing logo (that eye you see at the top left of the screen) was "thrown together" in... under an hour, start to finish? I was in a pinch way back when, needed something quick, and this is what I've still got today. To be honest, I've never been crazy about it because it's not really very... innovative, I guess, and I'm a fan of innovation. I preach it, I should walk it, right? (Kicking myself for feeling like a hypocrite right now). Oh well, I'm finally fixing it. Rest assured I spend at least 10 times as much effort when developing logos for others. I promise.

Anybody out there know what I'm talking about? Do you put yourself behind your clients / customers to your own possible detriment? If so, join the club. (I'm calling it the Hypocritical Shoemakers Club. Catchy, yeah?)

My Personal Philosophy

Thu, 20 Jan 2011 22:18:00 GMT

I have a design philosophy. This isn't it. Rather, this is just something that hit me years ago while I was still in art school slogging through sleepless nights at the studio trying to get projects done. I asked myself, why am I in art school? Why am I doing this? And all of a sudden, inspiration hit. I was able to finish my project, and I was left with this:

I'm so proud to be an artist, because my Father is an artist. The best of the trade, in fact. I'm following in the family business! The One who envisioned every color that could ever exist, the One who paints the sky every morning, the One who has drawn us all with lovingkindness, has blessed me with a tiny smidgeon of His own artistic skill, creative thought, and sensitive soul.

So my aim is to make Him proud. "...Whatever you do, work at it with all your heart, as working for the Lord, not for men..." (Colossians 3:23).

This is what reminds me that we are all given talents and abilities that in essence are a reflection of who God is. It is a confirmation that "we were created in His image". No matter who you are: Doctor? God is Healer. Artist? God is Creator. Teacher? Jesus was a Teacher. It's something I reflect on every now and then. And I just wanted to share.

How do you see God revealed through you? I know I can't be the only one.

Blog? Who has time for that?

Thu, 20 Jan 2011 21:42:00 GMT

Well, not me, that's for sure. At least I didn't before. Time is slowing back down somewhat, and life is resuming normal speed now that I'm married (wahoo!) and my impromptu career as wedding planning is over (whew). I decided, well why not? I come across inspiration in the day that I will sometimes file away in my brain and will sometimes jot down. Now I will just be "jotting" it on my computer.

So...

Welcome to the blog!

"Design. from all angles."

Because I'm a designer, because it consumes so much of my day while I'm working, because being a good designer is my livelihood, and because, well it's part of who I am, I often see life through a designer's lens. I don't try to, it just happens. And when it happens, I draw conclusions from seemingly unrelated life happenings and apply them to design.

This blog is about design, but not in the strictest sense of the word, and not necessarily just about web design or graphic design. I have a feeling it will all tie back together anyway, but I'm just throwing up the disclaimer right now.

I think I'll leave it at that. I plan to keep these short (for both your sake and mine). But I'm excited. Now I get to share my thoughts with whoever (whomever? Somebody correct me. Where's Grammar Girl when I need her?) I can convince to read them. Hehe.

Till later. And again, welcome!