August 2, 2021No Comments

The 9 most common logo mistakes you should avoid

As an artist, graphic designer, and a business owner who specializes in logo design, I've seen my fair share of bad logos. I won't say it can make or break you, but it definitely speaks volumes about your business. It'll be on your business cards, your website, your marketing collateral and across social media. Shouldn't your logo be the best representation of who you are? Let's take a look at the 9 most common logo mistakes that people make when designing their company's mark.

The logo is unclear in intention

Make sure people know what purpose your logo serves at first glance by making it clear for them through color usage, shape placement/size/orientation etc.

With the JCUA (Jewish Council on Urban Affairs logo) logo, I wanted to convey diversity and change, and the many different causes they represent. It's also much more dynamic than their past logo and reflects where they are going.

Jewish Council on Urban Affairs logo

For the Thrive Medical Spa logo, I wanted to convey sophistication but also movement and sophistication. It looks great on marketing collateral and even better when fabricated in metal, on their wall!

Medical spa logo

By being clear on your logo's intention you can make sure people know who/what the logo is for at first glance.

It's just like every other logo in your industry

I brought this issue up when I spoke at the Pacific College of Oriental Medicine, to groups of aspiring acupuncturists. You may think you're being original by using a lotus flower and the Papyrus font for your acupuncture business, but a quick Google image search shows that everyone else thought they were original too:

The color scheme clashes

When picking colors for your logo, make sure they complement each other. If your logo has a lot of colors, then pick one as your primary color and use the others to accent it (and those should also be complementary).

Consider extending your palette beyond the initial 1-4 colors too, as you'll need to extend your brand into a website and possibly business cards, marketing collateral, etc. A well thought out palette simplifies things for employees or anyone else working with your brand.

Below, a sample extended palette (and fonts) for the Evidence Video website.

And, your logo will likely be black and white at some point, so how will it look?

It's too busy

Keep logo designs simple and straightforward. When there's too much going on in the logo, it's difficult to get any meaning from the logo design itself. Keep it simple by focusing on one main visual element or line of thought. You can use logo design to tell a story, but make sure that the logo is readable at smaller sizes as well.

It needs more depth

Use an additional color(s), transparency, shadows or highlights, if you want your logo design to have dimension. Gradients have been popular in recent years as well. Think of the Instagram or Firefox logos:

Instagram

Copying another design

You don't want to imitate someone else's style, you want your own unique voice! If people see that it reminds them of another company, they could assume you are trying to imitate them. This makes your logo (and by extension, your company) seem amateurish and unoriginal.

This is an issue I've often heard about on those cheap logo sites: You bought the logo, but they also sold the same design to a dozen others, and now you have copyright issues.

Too trendy

Stay away from designs that are very popular at the moment because they will quickly become dated. Stick with classic styles which never go out of style.

Poor font choice

Choose a logo font that is attractive and differentiates you from your competitors. It's easy to fall into the trap of fanciful fonts like Papyrus (or even Comic Sans? Perish the thought!) but a logo can quickly look amateurish with them.

The logo is too simple or cliche

You want people to remember your logo, not confuse it with another company's logo. Avoid fonts and color schemes that have been used over and over again in other logos (like Helvetica, though I'd still rather use that over a trendy font).

It can be tempting to rush into logo design without thinking about these things, but you'll want your logo to last and grow with your company. It should clearly represent your brand's message as well as its personality. You want to stand out from the crowd and be noticed!

Next week I'll share what makes a well-designed logo and how to end up with a great design.

July 12, 2021Comments are off for this post.

6 hot web design trends you should know

When you think web design trends, what comes to mind? Flat design? (Super dated.) Animation? (Did you say 3D?) Whatever the case, it's important that your site stay current. In this blog post, we'll discuss 6 hot web design trends that have been seeing a lot of success lately and why they're so popular.

To be fair, most of these have been around for a while, but I think it shows they have staying power beyond the first flush of a trend.

Hero Typography

Big typography is characterized by using larger and more expressive fonts, which can be used to help express the mood or message of a site. It's usually found in headers, with large bold letters instead of a tired hero image.

I could use the site below for the next example too: Expressive illustration that complements your brand!

big typography

Hand-drawn illustrations

Hand-drawn illustrations can bring life to your project. They are great for adding personality or character to designs and they don't take up too many resources either—perfect if your site needs more interesting visuals without compromising the user experience.

Neumorphism

Neumorphism is kind of a weird web design trend, but it can be very effective if done right. Basically, neumorphism gives an artificial 3D appearance. This doesn't mean you need to add any polygons or anything like that—just using gradients and shadows in the right way.

neumorphism example

Glassmorphism

Wait, neumorphism is dead? Glassmorphism or glass web design is also a popular web design trend. Unlike neumorphism, this draws on' the use of polygons and glass-like materials to give your site an immersive feel. Glassmorphic web sites are great for product showcases or galleries since they make it easy for visitors to see all the details.

Glassmorphism

Parallax animation

Parallax animation is a fun trend that create a more interactive and engaging experience for web users. It's a trick of the eye that gives web pages depth and makes them feel more natural to interact with. These days, it has been transformed into an animation technique and is used on websites all over the place as a way to create an interactive experience. Web design art history is a great example of this.

Parallax animation

Dark mode

Dark mode can be a good way to make websites more eye-catching. When you think "dark web design," this doesn't necessarily mean that everything on the website needs to be black—it could just refer to having darker colors in order to create contrast with lighter ones. Plenty of apps and platforms are already giving you this option—it really makes content, especially photography, pop.

dark mode website

Trends come and go, so consider using them with a light hand. I find classic design speaks clearly to your audience and lasts longer than the typical trend, and can be brought in to emails and social to freshen your brand.

June 7, 2021Comments are off for this post.

The value of design: Why hire a professional graphic designer?

First published February 2005, updated June 2021.

Two truths: Good design is a powerful tool to communicate your business' objectives. And, good design is not cheap.

However true these statements are, it's difficult for many to realize the value of graphic design in the marketing mix. Sometimes it's not quantifiable—the return on your investment isn't there immediately, or you're not sure what you really get out of a logo, new business card or direct mail piece.

Why hire a graphic designer? Put simply, it’s about communication.

One of the most important things to realize in design is that it is meant to look good—but it is not good design if it does not communicate your objectives.

Anyone who tells you differently is not interested in the results of the piece, just how it will look in their portfolio.

Realize, though, that there is a surplus of visual information coming at us every day, making competition strong. Your clients can just as easily go to someone who is flashier, more sophisticated or deemed more trustworthy in the market.

What gives you the edge are unique, well-presented ideas that distinguish your company and what it does. A designer is best-suited to help you realize this—especially as you realize that marketing your company can become confused by conflicting messages and bogged down by your other responsibilities.

Build a consistent, professional look.

Everyone knows the Nike swoosh, but if it weren't used consistently throughout advertising, products and other materials, it never would have become synonymous with Nike, and vice versa.

The same follows for your logo, website and marketing materials:

Establishing a look sets you apart in the marketplace, but also show you to be professional and dedicated—not just someone with Word template and a printer.

I'll put it to you this way: Is it better to meet a potential client in pajamas, or in a suit? The way you present your business to the world is just as important!

So, what sets you apart?

I'm not only speaking for myself here but all designers: There is a difference in using a designer, as opposed to "doing it yourself" or a friend who's dabbled in Photoshop.

Most of us have gone to school for it [in my case, I have BAs in both art and journalism] and have worked to understand the processes and psychology of buying. We've worked on accounts in the Fortune 100 and small as one-man shops. We know the best way to get a job on press inexpensively, or how to build an e-commerce site customers can easily navigate.

Because we've done this for so long, we can do it quickly, using the latest tools. Those tools cost us not only money, but time in learning, getting up to speed and knowing where to best apply them for you.

Just as you're the expert in your field, we've established ourselves as experts here, and you can use our knowledge to move your business ahead.

June 7, 2021Comments are off for this post.

GIF, JPEG, AI, EPS, SVG, huh? A guide to graphic file formats

Updated 6/2021.

At least once a week I'm sent files that were *gasp* downloaded off the internet, or a tiny, pixelated version of a complicated logo — which, inevitably, falls apart in print or even on the web. This can result in higher printer fees and more time recreating or digging up the right files.

Graphic file formats don't have to be a mystery once you learn the basics, and your printer (and designer) will thank you for it!

For print:
  • .AI [Adobe Illustrator]
  • .EPS [Encapsulated PostScript]
  • .TIFF [Tagged Image File Format]
  • .PDF [Printer Document Format]
For web/digital:
  • .JPEG or .JPG
  • .GIF [Graphics Interchange Format]
  • .PNG [Portable Network Graphics]
  • .SVG [Scalable Vector Graphics]

Vector vs. bitmap graphics

Why the distinction? It's vector vs. bitmap graphics.

Vector graphics, like those created in Adobe Illustrator, are made of shapes created by mathematical equations, and can be enlarged to pretty much any size with no loss of quality.

On the other hand, graphics created in Adobe Photoshop [and of course photos!] are bitmap, or pixel-based. This isn't an absolute, but for our purposes it's a good distinction. When you zoom in on a bitmap, like below, you can start to see the pixels, and the loss of quality of the original graphic is pretty obvious. The JPEG may look all right on screen, but consider handing out materials with a blurry logo—definitely not professional.

VectorBitmapExample

If you do have only a bitmap, it should be at least 150dpi [dots per inch] or, ideally, 300dpi without enlarging it to still look good.

Looking further at TIF, PDF, EPS and SVG

Even within these two big distinctions, there are further breakdowns.

TIFFs should only be used at 100% of size or smaller, and a PDF or EPS file is usually ideal for printing. Keep in mind, if you just re-save a JPEG or other web file as a EPS or other print file, it won't make that artwork go up in quality! If the graphic data isn't there, it's just not there.

What about SVG?

Newer to the game is SVG or Scalable Vector Graphics format. Though this is based in vector, it's meant for web and digital channels. Think of logos and line art, not photographs. The advantage of SVG is that it looks clean and crisp no matter how it's displayed, and it can be optimized to a very small size, so you're not using up your server's resources.

GIFs, JPEGs and PNGs, oh my...

Also, GIFs, JPEGs and PNGS exist for a reason. GIFs often create the smallest file sizes, and support transparency, whereas JPEGS do not allow transparency. JPGs can often be smaller in size than PNGs.

PNGs are hit or miss, but offer transparency and, to me, a cleaner transparent look since there's usually more data to give a cleaner transition to transparency.

Make sure you have each of these graphic file formats on hand, of your logo and any other critical brand materials—it'll save time and money!

March 2, 2020Comments are off for this post.

Website planning: Questions to guide your website’s progress

Updated July 2020.

wireframes

You know you need a website. Or you want to redesign your current one. So, where do you begin? What's most important? There are several factors to ponder as you build—or rebuild—your company's internet presence. These questions and issues will help guide the process.

Who are your audiences? 

Whether you're a non-profit and need to speak to volunteers, donors and board members, or a spa that needs to address current customers, those who haven't found you yet, get even more specific. Are your volunteers in a particular community or demographic? Are your spa customers typically women in the Gold Coast over age 40, and do you want to attract a younger demographic for other services? It does pay to talk to your current clientele to learn how they view your brand, and what attracted them.

What is your website’s goal?

Is it to draw customers by establishing yourself as an expert in your field, the company with the best product selection and ordering system, or simply to give your contact information? The first two are great—they set you apart from your competition with value-added services. The last, however, stops far short of a strategic goal for your site. Once someone comes to your site, they want to know what you have to offer—and your address and a phone number simply aren't enough to effectively draw in a customer, and keep them coming back.

Focus on navigation, then content, then design. 

Navigation is key to allowing your site visitors to find your information easily. The best content in the world, plus the best design, won't fix unwieldy or unintelligible navigation.

Key stakeholders should write down what pages they feel are important, thinking of how your various audiences will look for the information they need in order to confidently purchase from you. This may require multiple navigations, which is not overkill but simply good practice with multiple audiences that all search differently. For instance, a donor will approach your site differently than a volunteer simply looking to help out; and a potential customer may not be sure what to look for, whereas a seasoned one will want to access their information quickly.

Testing various information-gathering and ordering scenarios with people unfamiliar with your business [your own focus groups] will better structure the site and likely provide hidden feedback.

Content is still king.

I started designing for the web back in 1996, and all these years later, copy still leads your site's findability on search engines, its perceived professionalism and your reputation.

Wireframes, a design-less "map" to each page on your site, also makes your site more intuitive [does your contact page need a email newsletter sign-up?] at every step.

When writing, focus on facts about your company's experience, skill base and product or service offering, but consider writing them to appeal to your audiences — it's about them, not you! What can you do for them?

Beyond this, consider writing expert articles on your field with which your customers will find value. Consider linking to partner sites and build reciprocal linking relationships.

In all things, make sure you keep your site up to date and relevant, and error-free.

Focus on credibility—in design. 

According to a 4-year study by Stanford University, almost half of those polled paid more attention to the design and layout of the site than its content.

So what does this mean to you? Work with an experienced web developer to build a well-designed, targeted site.

It's common to want to develop your own web site, but it's also a common mistake. You may be able to develop it quickly and cheaply, but does it reflect the sophistication, reliability and responsibility you want your clients to buy into? The old adage, "you get what you pay for," applies here—you'll see the payoff of a well-done site long before one you did in your spare time. You'll already be a step ahead of the game with a great web presence you'll eagerly want to share with the world.

And, with content management systems [CMS] like WordPress being so commonplace, you can indeed manage the site on your own and save money for the long-term.

Before you start [or restart] your website, ponder these issues, pick an experienced web developer, and soon you'll have a site worth seeing—again and again.

June 1, 2019Comments are off for this post.

Consider these steps before working with a designer

Updated 6/2019.

I'm taking a break from writing, but want to share a short article from AIGA, a professional design organization. Consider this in how you work with a designer.

We offer the following framework as a way to help designers communicate with clients in order to make design an integral part of their business, and to allow designers to make success an integral part of design.

Design is a profession based on conception: on helping to define an opportunity, then develop a solution that will fulfill it. Subsequently, design includes the identification and management of the team that will bring it to life, whether it is a product, communication, event or place. We offer you the following process as a way to make design an integral part of your business, and to allow designers to make your success an integral part of design. It will make you an even more sagacious client. It is a method for partnering, a guide to the most effective use of teams, and the most potent, efficient, reliable way to get from A to B when you are not quite sure what B is.

12 STEPS TO SUCCESS, AT A GLANCE:

  1. DEFINE THE PROBLEM
  2. SET CLEAR OBJECTIVES AND DEFINE SUCCESS
  3. DEFINE THE APPROACH
  4. ELICIT BUY-IN AND SUPPORT
  5. INFORMATION GATHERING
  6. DEVELOP AND PROTOTYPE IDEAS
  7. ANALYZE THE OPTIONS
  8. MAKE THE IMPORTANT DECISIONS
  9. MOBILIZE THE TEAM
  10. PRESENT TO INTERNAL AUDIENCES
  11. TAKE IT PUBLIC
  12. EVALUATE SUCCESS.

January 29, 2018Comments are off for this post.

Case study: UX redesign of EDCNavigator.org career diversity site

EDCNavigator.org, or the Executive Diversity Career Navigator, is a subsite of ACHE (American College of Healthcare Executives). It had been worked on by a few developers, but it didn't feel like a true diversity site to me. For one thing, where were all the people?!

Read more

June 11, 2012Comments are off for this post.

Remembering that creative spark

Going through old files I ran across my very first self promotion project — one I did to get an internship in college.*

I'll refrain from telling you how long ago that was.

Self promotion piece I’ve seen this same concept repeated a million times over — there must be a lot of designers in love with fire. But looking at all the time I spent on every precisely laid out line, the copy I agonized over and the paper choice I made, is a great reminder of everything I love about design. The colors. The textures [yes, even online]. Communicating something just so. And sharing a piece that you’re very proud of.

In the grind of everyday work, of making a buck, it’s easy to lose that focus, what with client expectations, busywork or just being overwhelmed with too much everything in every part of one’s life.

But finding this piece reminded me of where I began, and ultimately, where I [still] want to be. And, how I want to keep working toward those goals. Not bad for cleaning out one’s files!

*And yes, this did result in an internship, at the American Marketing Association.

February 19, 2004Comments are off for this post.

Paper tips: How do I choose the right paper?

This story courtesy of PaperSpecs.com.

In printing, where appearance is everything, you may be tempted to order the highest quality paper you can afford. But is top-of-the-line paper the right choice for your project? Here's why it may not be.

Quality means different things to different people. To the editor, quality may mean informative copy, pleasing cadence, no typos. To a magazine's advertising director, quality might mean advantageous placement and color that matches the advertiser's proof.

But to the production staff, quality is tied to one relationship: ink on paper. Because production quality is judged by how ink looks on paper, infusing quality into your designs should be a simple matter of choosing the highest-quality paper so ink will look its best. Failing that, at least you should choose the highest-quality paper you can afford. Right?

Wrong. Choosing paper is more complex than spending a lot of money. In fact, you shouldn't think about choosing paper based on the highest quality available, or even the highest quality you can afford. Rather, you should figure out the most appropriate quality paper for your needs. In the real world, most appropriate equals best.

Conformance Isn't Everything

Let me explain. In print production, quality is a result of conformance to some accepted standard. Quality control focuses on eliminating any variation from the standard.

We production people spend most of our time in this area. We know the performance characteristics we can expect from various standardized paper grades and basis weights, and we expect paper manufacturers to keep those performance characteristics consistent from one roll to the next. In fact, most of us judge our own performance and that of our vendors on conformance quality alone.

But conformance quality is only the first step in achieving quality. It's important, but it's not everything. If all you're worried about is conformance, then you assume there is some absolute standard of quality that you can reach with each job. The truth is, there is no absolute standard of quality in our business. That's because we're in the business of selling an idea or an image, not the paper or ink they're printed with. In our business, ink on paper may be the end product, but it is not the end purpose. The end purpose is creating a product that will satisfy our customers.

Get the Message to the Market

To do this, we must ask ourselves whose standards of quality are most important? There is only one answer: Our customers are the ones who must determine our standard of quality. Do we know what they want?

Most publishers assume that their customers want the best sheet available. I remember one publisher who told me that he wanted a No. 2 sheet for his start-up magazine because it was a shelter book directed toward high-income readers who expected elegance in everything they bought. Furthermore, he was convinced that national ad agencies would be impressed by the quality of his magazine and would make purchase decisions based on the superiority of his book. "All I have to do is lay my magazine next to the competition. The agencies won't be able to resist when they see what their ads will look like in my magazine," he said.

"Wait a minute," I said and rooted around for a copy of "Parade," the nationally distributed Sunday magazine printed on newsprint, and "Archaeology," a slick monthly printed on a No.3 coated sheet. Both were running identical ads touting a limited-edition figurine. Obviously, the figurine manufacturer wasn't very fussy about paper quality. She apparently cared much more about getting her message out to the market, never mind the form that message took.

Research and Analyze

How can you find out what your customers want? The best way is to ask them. I'm a big fan of reader surveys. I also love to noodle around with demographics; a science that has grown more sophisticated every year as retailers match buying patterns to individual households. I also keep track of letters sent to my publishing clients and to me. I take special note of complaints, always thankful that someone cared enough to try to set me straight. When all else fails, I take a look at my competition and try to figure out why they have made the strategic and tactical decisions that they have.

I learned the importance of all this from the publisher of a florist magazine years ago. She had hired me to help produce a makeover of her trade magazine. The publisher analyzed what the readers were looking for. She asked floral designers in the area, and she talked to the company's field representatives. She compared her vision with the competition. She had her ad director talk to advertisers to find out what they were looking for.

Identify Customer Needs

The publisher concluded that the new version of the magazine must be on at least a No. 3 free sheet, with a 7-point cover. The reason was, her customers needed very high-quality color reproduction. The advertisers wanted exact color matches of their ribbons, artificial flowers, high-style containers, new hybrid blooms, etc. To them, the difference between a bluish pink and a magenta pink was highly significant. Similarly, the readers wanted exact color matches so they could replicate the designs in the magazine.

For a trade publication, we chose a Rolls Royce-level paper. But our reasons for making that choice were based on specifically identified customer needs, not what quality would make the art director's layouts (and ego) stand out best; nor what quality would win prizes at the next industry show; nor even what paper would make our accountant the happiest about the bottom line. We accomplished all those goals, but we did so only by the way. Our real goal was customer satisfaction.

It was a lesson I've never forgotten.

Copyright © 2002-2004 PaperSpecs Inc.

© 2006 PaperSpecs. All rights reserved. These articles were reprinted with permission. PaperSpecs is the first online paper database specifically developed for paper specifiers. Your all-in-one online swatchbook - always up-to-date, comprehensive and fiercely independent.

To subscribe to PaperSpecs’ popular email newsletter for paper news, tips and insights, go to www.paperspecs.com/newsletter.

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©2003-2021 Gizmo Creative Factory Inc. All rights reserved. Chicago area freelance designer & WordPress developer. Located in Long Grove.

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