Feeds:
Posts
Comments

A sobering thought

I’d be lying if I said getting a graphics company off the ground on your own, and having 2 small children, is easy. I have struggled from time to time to juggle all the aspects of my family and professional life. And thank goodness in a way, because if I weren’t juggling them that would mean one of them was coming a very poor second and barely entering my consciousness … and anyone who knows me appreciates how important both are to me.

It’s been a hard couple of weeks … 8 out of the last 10 nights of not going to bed before 2 am, working on a punishing deadline, and pretty soon you start to feel easily frustrated, annoyed and impatient with things, and people.

A couple of mornings a week, I walk my children to school, and there are some days it’s all we can do to get out the house on time. Stress and tiredness through the roof. And then … and then that magical thing happens, because as I walk, they slips their hands into mine. They blast it all away, not even knowing that their sheer oblivion to my stress is its part-remedy. And however my business day is going, I feel very lucky, and very happy indeed.

OK. You’ve set up a business. You’re raring to go and want your first leaflet designed so you can tell all your customers.

The most common mistake business people make when they plan a leaflet is to assume it’s a one-function piece of communication. A leaflet can work for your business on many levels.

What you produce must GIVE the customer something. If you make it all about your products and services they will simply switch off.

Give your customer as much of an insight into the BENEFITS of your service as possible.

THEN … GIVE THEM MORE. Make them want to keep your leaflet.

This may be in the form of:
• further information
• further resources
• interesting facts – people love weird little facts that are relevant
• relevant contact numbers
• a map to your business, if appropriate
• images that look probable, relevant, good quality and feature people …
… and if the leaflet is going to an existing customer, build up the relationship by using extras like puzzles, humour or highlight special/limited offers.

And then get Boost to put it all together for you, so it looks enticing, engaging and persuasive.

Entry: Traci Rochester

For those of you who have a strong interest in advertising facts and practices, I suggest you read “Ogilvy on Advertising” and “Confessions of an Advertising Man” by David Ogilvy. They offer a refreshingly tangible insight into workable formulae and dispense general consultancy advice that is hard to find elsewhere.

Also on the topic of advertising and marketing, some of you may have been lucky enough to tune into a Radio 4 programme aired over the last few weeks about WD40. The programme explored the marketing strategies employed by the chief in command, since the product’s conception, but it also raised interesting points about staff management, and brand placement. An acronym for Water Displacement Formula 40, the product has an ever-growing fan base, and the company that produces it maintains a simple approach in an often unneccessarily complicated marketing world. One particularly interesting aspect to their broadening of their customer experience is the invitation to customers to submit any ideas for new uses. My favourite, however, is its use in bars and clubs, as a way of preventing drug abuse, which can be found at the following link.

A very large client of mine has been urging me to consider changing the training Boost Multimedia offer, to provide online training videos. I’ll be honest with you, the man/woman hours that go into the preparation, the recording of 100’s of well-planned video containing 1,000’s of hours of instruction is a daunting task by any stretch of the imagination, but from a long-term view, I will concede: for Boost Multimedia, it’s a no-brainer. No more taking a day out of the office to instruct; no more free 30 days’ customer support: no more certificates of completion to send out for those who attended on the day; no more tricky questions to answer on the spot; no more general advice to have to give to the occasional wide-ball question. Hmmm, tempting …

But from the customers’ perspective …?

No-one to guide them when they don’t understand the principles; no teacher to bring it all to life; nobody to show them how they apply what they are learning to something that arose that day, on that very computer; no 30 days’ free support; no colleagues to raise interesting questions; no thought-provoking discussion; no opportunity to take their education “outside the box” … no fun either.

To summarise, in case you were in any doubt: Boost Multimedia will continue to provide on-site personal training to all our clients, because the knowledge acquired by our students has so much to do with the teacher administering it.

For any business people out there, wondering how much design should cost, The Design Council issued the following design cost guidelines in 2005, and things haven’t changed much since:

FREELANCE:
Designers fresh from college: £200-400 a day
Experienced designers: £500-800 a day

SMALL AGENCIES (up to 5 staff):
Designers: £400-800 a day
Principal designers: up to £1,000 a day

MEDIUM SIZED AGENCIES (up to 20 staff):
Designers to senior designers: £600-900 a day
Principal designers and senior account managers: £900-1,200 a day

LARGE AGENCIES (20+ staff):
Designers: £600-1,000 a day
Specialist design consultants: £800-1,200 a day
Principals and ‘name’ designers: £1,200+ a day
OUR CHARGES AT BOOST MULTIMEDIA:
We charge £400-600 a day, currently, as our overheads are low but our designers are all senior and/or ex-major agency creatives.

Our suggestion to those of you looking for the cheapest possible designer to do your job:
Think of designers as you would builders: go for the cheapest quote and you’ll find that the work is messy, the attitude is sloppy, knowledge and experience is minimal, the foundations are dangerously shaky, and when things go wrong: don’t expect to see them for dust. Isn’t your business worth as much to you as your house?

Way back when …

There’s plenty news in the press about the plethora of students raking in the straight A’s for their work. In fact, stories about straight A’s are no longer novel, and a little bit – dare I say – common. I think about where it will get these students in the short, and long, term. [I also wonder about the poor souls that are truly exemplary being engulfed in the company they keep!]. So how does any of this excellence on paper lay the foundations for up and coming entrepreneurs?

Think about our country many centuries ago, where the landowners were wealthy and passed down their titles and riches through their sons or heirs. This afforded a Western, academic education, which in turn meant securing most of the wealth and much of the land – and subsequently expanding these assets. Money begets money. Money begets power. Power begets power.

But how did the landowners come to exist in the first place?  – Through their brave and bolchy forebearers. They didn’t have straight A’s in Physics or Marketing. They were wily, devisive, willful, brave and strong … And yes, sometimes, just damned lucky.

My own education was appropriate for what I always wanted to do: graphic design and advertising. For years after qualifying with a B.A. Hons 2.2, the sting of that grade smarted. Then work took over, and my interest in design, people and business became more significant. As I mixed with more people in business, I learned a great deal about how others tick.

I am a huge fan of “The Apprentice” and “Dragon’s Den”. I watch Sir Alan Sugar, Debbie Meadon, and Duncan Banatyne with fascination. You can look at a lot of business people and find similarities between their character attributes and motivations, I’m sure. Some of them were born into business like heirs to the throne. Some became successful business people because of a life-changing event, psychological challenges, or a long-standing dream, perhaps. And some … were simply born into war: the fighting kind. In terms of our ancestors, it was the latter who simply had the balls, if you’ll forgive such a macho term, and the opportunism, and no formal education at all. This character type seems the most formidable in business. Why? Because they are not easily discouraged or scared or indecisive. And one has the strongest of sensations that if you took it all away – the money, the power, the title, the land – they’d still be fighting their corner … and winning.

It reminds me of a moving scene in the film “Gattica” where Ethan Hawke’s character Vincent is swimming in a race against his “perfect”, gentetically superior, brother. His brother was genetically screened at embryonic stage, for maximum strength, ability, intelligence and longevity. He wins the races every time, until this night, when he can swim no more without risking being too tired to make it back to shore. So he retreats, and Vincent wins, swimming on into the darkness. When asked by his brother many years later how he managed to win that race,  Vincent replies simply that he chose not to save anything for the journey back, implying that he was desperate enough to risk his life to win. And it’s that desperation, that fight from the body and soul, that some people have on a given day, and some people have every day.

Being academically able will only get you so far. And that, sadly, is what our new batch of graduates are about to find out. There’s a recession out there, and an awful lot of competition … requiring an awful lot more than just straight A’s on a piece of paper.

Pretentious – moi?

Leading ad and design agencies invariably call upon the cream of talent for their solutions, but sometimes even they get it wrong. It’s a very fine balance between self-indulgence of an idea and an esoteric approach.

At the Cannes Lions ad festival this week, AKQA won the Grand Prix in online advertising/innovative ideas for its Fiat eco:Drive campaign: a delightful and charming video introducing the benefits of this new technology. Meanwhile, CumminsNitro picked up three Grand Prixs for “The Best Job in the World” – an explosive delivery of viral marketing. But, in relation to the point made above, Nike Battlefield took the Design prize. All I can see is pretentious copywriting, over-the-top music and school-boy locker room melodrama in the battlefield analogy. I’m suspicious that the creator/s are a bit lacking in drama in their real life and this was the best they could do to simulate it. Nice prints though…

Entry: T Rochester

I cast a glance towards my old life-drawing of a model who posed for me when I was at art college, and I realised how out of practice I am with this skill. At one point I recall being almost addicted to drawing everything I saw, which resulted in a frenzied kind of energy in all my work. So where did all that talent go?? It made me consider the processes involved in artistic endeavours – especially professional ones, and how my own industry has evolved. Let me explain …

As part of our foundation course, and graphics degree, we quite simply had to learn to draw. Then, on taking a job as a graphic designer (assistant in my first post), I realised my role was to use edited text and pre-commissioned imagery by illustrators and photographers, sourced by a picture editor. Also, in those days, we would lay out our pages and they would be sent off and returned as artwork-ready paper, which we would cut and paste most diligently if a sub-editor didn’t like the wording or there was an error at the eleventh hour, but their discipline was tight and they knew this was laboursome and costly, so they were generally accurate in word length. Once pasted into position, the camera-ready sheets would be sent off for reproduction and then print. The art editor, editor and creative director would then proof the job.

Nowadays, a client expects designers to source imagery (formerly done by the picture researcher / editor), or actually DO the illustration work and TAKE the photographs, enhance the imagery (formerly perfectly shot by the photographer, or perfectly rendered by the illustrator); WRITE THE COPY (formerly done by the editorial team); PLAY AROUND WITH THE COPY until it fits (formerly done by the sub-editors and production editors); and do all of this error-free (without the services of the production editor) – without paying for any of the specialists’ services. Oh – I forgot to mention that this is all in addition to being computer wizards.

In summary: a designer’s remit is far, far greater, and yet financial reward far less, than 20 years ago.

How will the  next 10 years pan out, I wonder …

Entry: Traci Rochester

Just a quick one to say: check out our NEW ”Scrapbook” page, which features miscellaneous inspirational sources …

We often hear these words from clients who know (roughly) where their target audience lies, and what they want, but who are afraid to rock the boat with their marketing material. The fact they say “the same” indicates their desire to align with the competition and fear of taking risks. And for “different”, read “better”. 

I am a numismatic (cough, cough). As any collector will tell you, it’s the unusual attributes that make an item more valuable. Take banknotes for example: sometimes there’s a serendipitous flaw (e.g. a spelling error), sometimes there’s a planned special treatment (e.g. unique design with a limited print run), and sometimes life just puts a spanner in the works (the chief cashier dies, rendering the signature a rarity): I tend to think of these as the banknote’s own USPs.

I wish I could tell you that I am a nerdy collector. By that I mean I wish I knew every factual detail behind every banknote and coin I possess. My brain struggles to crystallise information that’s presented in cold facts and figures such as print circulation dates, monarch reign dates etc. But my visual and experiential memory is very strong, so I will recall the design, the visual detail and the anecdotal history of a piece much more readily (for a definition of FLUID v CRYSTALLISED intelligence, visit Wikipedia). My mind will start to imagine … How many hands has this banknote passed through to reach me (if any)? Was it a payment of a debt, or a bet, or given as a gift on a 10 year old’s birthday? Did it buy the last loaf of bread for a family? [Any of you who've read Zen and the Art of Motorcycle Maintenance will know where I'm heading with these ideas. ]

As you know, I often digress with my musings (can you be in a creative profession without doing this constantly?), but today I can bring the text back to my original point: much of Robert Persig’s writing discusses quality and context, and those two key aspects affect – in fact drive – what we do: we present online and offline communications that fit well into a context that is economically, socially and empirically based, but the true ‘quality’ is the thing that separates the product from the rest; that makes it stand up and be counted. Sometimes that takes courage, particularly in the shooting season.

Entry: Traci Rochester

Older Posts »