Design Corps Navigator

DESIGN CORPS AND PUBLISHING 2.0:

2009-11-11T13:42:00.016-06:00

helping authors find their way in a transformed publishing industry

Anyone in publishing knows the landscape has been in great transition.

For a while now it has been increasingly incumbent upon the authors to create their own audience and customers through marketing and promotion. And it has increasingly become a prerequisite for authors to show success in sales numbers before a large publishing house will even consider picking them up for distribution.
Add to this that many authors are choosing other avenues to publish even without the big publishers. While traditional publishing is cutting back due to decreased sales revenue (1), self-publishing, custom-publishing, and vanity-publishing are increasing.
And then there are e-books. E-books can be published online (to be read on your computer or cell phone) or as books specific to certain types of e-readers such as the Amazon Kindle, the Sony Reader, or the Barnes & Noble Nook. Sales of these last sort of books are rising as new e-readers are developed and become popular.

All these tectonic shifts in publishing come together to give us a brave new world for the new author.

DESIGN CORPS has had the pleasure of working on several books this past year which have not only embraced these shifts but capitalized on them to advance greater corporate objectives. Not one of them has been through the traditional publishing industry. Yet the following is true for each of them:

each one has used a publishing and marketing consultant

each one has grown out of, and been intended to promote, a larger business or ministry endeavor which included public speaking, conferences, and seminars.

each one has used professional editors and book designers (that’s us) to help craft a book that is marketable and effective in promoting the larger goals of the business.

each group also used additional means to promote the book and, therefor, their business or ministry as well. These included web sites, blog sites, e-mail campaigns, brochures, posters, Amazon tools, and Social media profiles. And several required e-book versions in addition to printed copies.

Today’s publishing landscape has changed. Books are changing as well but they will remain to be both desired and useful. A company or author needs to clearly understand their audience and objectives in writing a book. Once they do they can select from a wide range of business and technical resources to help them prepare, produce, and promote the book. At DESIGN CORPS we have the experience and strategic partnerships to help any author produce, and promote your self-published book in a variety of means. Call us today to find out more.

(1) “As traditional publishers look to prune their booklists and rely increasingly on blockbuster best sellers, self-publishing companies are ramping up their title counts and making money on books that sell as few as five copies, in part because the author, rather than the publisher, pays for things like cover design and printing costs.…In 2008, nearly 480,000 books were published or distributed in the United States, up from close to 375,000 in 2007, according to the industry tracker Bowker.” — (“Self-Publishers Flourish as Writers Pay the Tab ”, Motoko Rich, New York Times, Book Section, January 28th, 2009)

TAKING INTELLIGENT ACTION IN A BAD ECONOMY: marketing basics and options

2009-11-09T11:04:00.018-06:00

In today’s economy many businesses are saying, “We have to do something, but what?” Depending on whether you are primarily
business-to-business or business-to-consumer now may be the best time for action. Consider, for example, the fact that the gross domestic product (GDP) has reversed direction and is now going up even while unemployment is also still on the rise. Also, consumer spending grew 3.4 percent in the third quarter.(1) All of this could mean that potential for future revenue gains might be growing (depending on your market) while cost of services will remain relatively low for a while.

But knowing you need to act is never enough. Intelligence is also needed. Marketing is using strategic tactics to identify, create and maintain relationships with customers in which both you and the customer benefit. And all of us need to return to the basics of marketing principles:

identify your key strengths and your audience’s key needs in order to speak to them in terms of how you can benefit them
know your competition and be able to distinguish your products or services from theirs
continually use creativity to show your value, emphasizing your key benefits and corporate strengths
move new clients to becoming long-term clients by maintaining good service and earning trust

All these fundamentals rely either on personal communication or marketing communication through a variety of designed tools such as web sites, marketing collateral, or advertising. Too often design is seen by companies (and by some designers) as coming after the fact and as being merely aesthetic. But design is an integral part of any marketing effort . Strategic marketing input is what makes design more than just merely ”art”, it becomes part of the process of effective communication which bridges the gap between your organization and your target audience. Marketing efforts without design as part of the planning and strategy end up creating marketing tools that do not fully translate or convey the message of your company to its audience.

At Design Corps our goal is to design marketing and branding communication tools that work with your market strategies as well as your budget. That is why we offer you a flexibility both in our range of deliverables (number of concepts, alterations, etc.), and in the range of types of services. We can price design by itself, offering the standard design services:
Or we can offer you additional strategic services from our strategic partners. These services include:

branding and marketing analysis
advertising space strategy and purchasing
social media consulting
publishing consulting
editorial services

Either way, we strive to take into account your objectives, audience and corporate character.

At Design Corps we understand that design goes hand-in-hand with branding and marketing which require analysis, strategy, development and evaluation. We offer communication tools designed for specific functions, intelligently integrated with all your marketing efforts. Marketing is a process and, therefore, design is an integral stage that must look at intentions, objectives, and results. Whether it is analysis of your business marketing and branding needs, developing communication devices such as marketing collateral or web-based tools, or establishing advertising channels and evaluating responses, Design Corps can help you communicate in your marketplace. And isn't that what you really need design to do.

(1) numbers reported by the Department of Commerce

E-MAIL MARKETING: A Primer

2009-06-27T14:54:00.036-06:00

E-mail has come a long way. As you are well aware, it is no longer just plain text. Today most e-mail software can display highly graphical messages with visual appeal. Mass e-mails, (also called e-letters and e-blasts), look like designed ads and newsletters.

By now you have probably received thousands of these types of messages and maybe you are wondering how to do it for your own organization. Like many businesses and organizations who want to employ this efficient and inexpensive means of reaching out to targeted markets, you may not know where to start and you may lack the technical expertise. Creating and sending e-letters legally (by the laws and rules), with efficiency and cost-effectiveness can be done easily with the help of services like Design Corps Emailer, a new addition to our host of services. This article will help get you started in e-mail marketing, or help improve your current email campaigns.

Mass e-mailings are not Spam if you play by the rules and use good taste
E-mail has been a necessary mode of business communication since the mid-1990's. And like any form of communication it also was quickly adopted by legions of unscrupulous marketers. Thus, to the ranks of telephone solicitations disrupting our dinners, faxed advertisements using up our toner, and junk-mail filling our mail boxes was added e-mail spam, taking up our working days. But as of 2004 spamming went from just bad etiquette to officially illegal, carrying fines of up to $11,000 per addressee. Therefore, it pays to know how to use e-mail both legally and effectively for your organization.

6 Simple Rules
Despite the profusion of spam, e-mail is still an effective marketing tool when used politely, according to the rules and with good taste. You yourself may get e-mail newsletters, sale announcements, or special offers that are appreciated. So the same may be done by you for your clients. Six simple rules to follow in your own e-letter marketing are:

Write subject lines that are honest and not laden with spam-like come-ons. Be straight forward and indicate who you are and why you are writing.
Offer something either of interest or of monetary value to the recipient.
Include the required "opt-out" (UNsubscribe) link at the beginning and/or end of your e-letter. This is the law.
Remember that e-mails are not read, they are scanned. Write short copy with lots of bulleted items. Articles can be introduced with a few lines of copy followed by a "Read more" link which might take the peaked reader to the full article on your blog.
Make your point quickly, and stress benefits to the reader.
Include lots of pertinent links for the recipient to click on. This will give you items to observe and track in statistical reports which will help you improve forthcoming campaigns.

List Etiquette
Unless recipients know you or your organization, your e-letters have a good chance of being regarded as spam, either by their own email software spam-filters or by remote mail filters, preventing them from reaching your audience. In fact, if a mail server thinks you are spamming, you may be blacklisted on internet mail servers, worldwide, which will block campaigns emanating from your domain.

Use an E-mail campaign service like Design Corps Emailer, our new e-letter marketing product. Don’t attempt to send mass mailings directly from your desktop email software. Putting a large list of names in the “TO” field where everyone can see them is bad e-mail etiquette and violates privacy rules. And don't think blind copying solves the problem. Blind copying large groups of addresses (usually anything over 10 to 20 addresses) just alerts outgoing mail servers to the possibility that you are spamming. Using a service like Design Corps Emailer will keep you legal, make the process efficient and easy, and offer powerful tracking tools for gauging the success of your e-letters.
You have to develop lists. But assemble your lists from your own sources and address collection mechanisms. For example, clientele who have given you their email address have granted you the privilege of writing them. That makes your address book a legitimate source from which to build a list. But, no matter how you build your lists there has to be some trail of permission granted to be perfectly legal and proper. You may not include addresses from purchased, borrowed, rented or "skimmed" lists. Skimming websites for addresses to build mailing lists is bad practice and libel to get you in trouble. See the Design Corps Emailer List Policy for more information on this important subject.

How to avoid being labeled a spammer
Even when using an e-mail campaign service like Design Corps Emailer you can still make mistakes. You don't want to be thought of as a spammer by your audience, but you also don't want to be placed in the e-mail trash by spam filters and you definitely don't want to be blacklisted. Take these precautions for following good e-mail etiquette and law.

Avoid using spammer tricks like type that is intentionally misspelled to avoid being caught by filters (m0rtg4ge, v1agr4).
Avoid the more innocent but overused ways of emphasizing: ALL CAPS, type in red and bold, multiple exclamation marks, etc.)
avoid phrases like “CALL NOW”, “CLICK HERE”, and “FREE”. These are picked up by spam filters.

E-mail, when used correctly, can achieve the very goals you have established in marketing your organization. It allows you to stay at the forefront in the minds of your audience, it gives you control of how you are perceived by allowing you to develop and distribute your message and branding, and it allows you to be seen as a benefit to clients or prospects. The keys are to stay active and stay educated.

DESIGN CORPS EMAILER is one way to make it happen. We can design your email template (“e-letterhead”), setup your account and train you to create your own campaigns. Start sending colorful and attention-getting e-mails for pennies per address. For more information, visit Design Corps Emailer, e-mail Design Corps, or call Dan van Loon at 630-761-9650.

MAKING IT PERSONAL: structuring your marketing message for your audience

2008-10-18T16:47:00.012-06:00

ANALYSIS & SYNTHESIS
All of us in business spend a lot of time analyzing. Whether it is determining budgets, tracking market trends, or reviewing earnings and expenses—analysis is a fundamental part of business.

But there is another less regarded aspect of human reason that becomes equally important when we turn to marketing our business. It is called synthesis, and it is the exact opposite process from analysis. Instead of breaking down the complex into individual parts so we can examine them, synthesis combines assorted parts into a new integral whole. Synthesis gives meaning to data.

This process is used whenever we communicate—reinterpreting the complex through simple representation. Like a map represents a city by excluding unnecessary information, so good communication is more effective when one knows what to say and what to leave out. The ability to summarize the complex often takes a creative approach.

OUR CURRENT BIAS
Since the 17th century, many fields have tried to mimic the ability of Newtonian science to predict results. In their book The Soul of Science, Nancy R. Pearcey and Charles B. Thaxton write:
“The ‘Newtonian’ worldview eventually became the paradigm for all human knowledge. Practitioners of political theory, ethics, psychology and theology sought to restructure their disciplines in accord with mathematical physics in order to render them truly ‘scientific’.”1
The authors could have included those in marketing.

Many agencies nowadays have taken to explaining what they do as being solely based upon the analytical process. The unfortunate consequence of mimicking a science based on cause and effect, however, is that it tends to overlook the very things which makes us human. Not only will this dehumanize one’s view of one’s audience but it will cause one to promise and expect predictability in their results. Communication is part of a relational dynamic and, therefore, must seek to instill trust and confidence in others, not just get others to do what one wants.

Considering that we all have inherited this tendency to mimic Newton, it could benefit you to take a moment to evaluate your organization’s recent attempts to communicate to its audience. Is there a need to “re-humanize” the message? Instead of focusing solely on analysis — describing the details of what your business does — see if you can also incorporate synthesis by creating a coherent and appealing message for the people you are trying to reach.

IMPROVING YOUR COMMUNICATION
Just like courting, marketing is fundamentally a relationship between persons. Here are some suggestions to put the romance back in your marketing.

1. Know your audience
If you don’t know the demographics of your audience then you need to find out. Outside help can assist you in getting fresh insights into your company and your audience. These companies may seem expensive (from $3,000 to $30,0000 or more) but they can do what those within the organization may not have time or ability to do, which includes conducting internal and client interviews, making assessment of the competitive market, and formulating objectives for branding and marketing. Whether you use outside help or do it yourself, the bottom line is that you need to find out how you are perceived.

2. Speak to their need
Once you have a clear idea about your audience begin to prioritize what information about your company is important to them. Try to customize your marketing strategy and your message to speak to your audience’s values, desires and needs.

3. Make clear your intentions
If your company has been communicating the wrong thing to the wrong people you need to retarget your marketing message. These changes shouldn’t be done in secret. It requires a rebranding of yourself. Get as much attention from the target audience as you can.

4. Speak the same language
Your primary audience doesn’t necessarily speak the slang and understands the acronyms of your field, but even if they do your language should do more than present concise information for comparison. People bring to their work all the normal human emotions of passion, fear, humor and frustration. Speak to win their trust.

5. Put yourself in your clients’ shoes
Imagine your audience as busy and as time-conscious as you are. Think of things you appreciate when someone gives you something to read. We all like things to be concise, direct, and informative but also with the aesthetic qualities which make it engaging, stimulating, or humorous.

6. Simplify your message
Sometimes the information you need to present can be greatly simplified by using visual or verbal pictures. Verbal pictures include metaphors, stories and testimonials. Visual picture includes your mark or logo (the symbolic representation of who you are) and also pictures and graphs to represent important data.

7. Get professional help
Creative professionals can give your brand a more personable feel. Copy writers and graphic designers use creativity not just for aesthetic appeal but to “package” your message in a way that can get attention and be easier to understand.

At Design Corps we are all about synthesizing information to make it understandable to your audience. Our motto is “turning information into communication”. We enjoy helping our clients represent their complex organizations in simple effective ways that the audience can quickly comprehend. We also work with several strategic partners that offer detailed analysis of businesses and their markets. Contact us for more information.

1 Nancy R. Pearcey and Charles B. Thaxton, The Soul of Science, (Crossway Books, Wheaton, IL, 1994), pp. 93-94

BOOK COVERS: STRATEGIC MARKETING WITH LITERARY DEPTH

2008-05-20T09:59:00.017-06:00

A book cover is a complex design project—part packaging, part advertising, and of course part product. It is required to provide product positioning, sales information, and aesthetic quality. Despite this demanding criteria, or perhaps because of it, we find book covers appealing as a creative platform for innovative work that is both artistic in aesthetics and strategic in marketing.

Design Corps was recently asked to design a dust jacket cover for the hardcover book Living Beyond the Sanctuary published by FaithWalk Publishing and written by Glenn McDonald. The book challenges Christians to get out of their comfortable churches in order to be "salt & light", bringing the Good News to a fallen world. There have been many books on this theme (see below).
And this title lent itself to some straightforward interpretations. But we wanted to have the cover work on several deeper levels:
• stylistically sophisticated,
• intellectually intriguing,
• aesthetically appealing, and
• philosophically revealing.

Design Corps first submitted three concepts to establish the direction that the publisher wanted to go with the cover, two of which were straightforward representations of the books title or content, and one which was an interpretaion of its principles and meaning. At first the publisher leaned toward the straightforward representation, but over time after much back and forth between the publisher and the author they each concluded that they were drawn as well to the more sophisticated interpretation. Therefore, just as the actual art was created through layering of multiple layers of photographs and effects, so the selected design incorporated strengths in conveying meaning on multiple levels:

Style:
The audience was defined as Christians in the Emerging Church movement, which basically means they eschew the trappings of tradition (in the form, ritual, and established dress of church) in order to engage a post-modern culture in it’s own terms. Therefore style of layout, type, etc. was intentionally post-modern and “anti-traditional”.

Content:
The title did not need to be repeated in an image of a sanctuary. Instead we wanted to accentuate the meaning by showing a man walking through puddles on a rainy day to convey that the “real world” is not all nice and comfortable. We also included along with the puddles images of people in the background, the very impetus for getting “beyond the sanctuary”.

Aesthetics:
The strong blue color and the intriguing angle made for a powerful shelf presence for the cover. But the image was given a lot of attention to give it an appealing texture so that the closer you get the more you see that every part is rich in a texture of ripples or rain. Four photos were merged to come up with the final photo. as well as several digital effects to add the texture.

Deeper Meaning:
The richest aspects of multi-layering are not in the aesthetic qualities but in the latent meaning sometimes only discovered as one comes to understand the message of the book. There are several aspects of the cover design that are intentional yet subtle.

• first, as mentioned above, the rainy atmosphere is a visual affirmation that life is not about comfort and seclusion but about our interactions with others

• second, the main figure is not the focus. Rather, his steps out into the world.

• third, what we do see of the main figure is in the poor reflection of the puddle, upside down and degraded by raindrops. This portrays a Christian theme of loss of self and of self-focus. John the Baptist said, “I must become less, He (Christ) must become more.” This is at the heart of McDonald’s message.

• fourth, unlike the reflection of the main figure, the figures in the background are seeming to come forward from obscurity to clarity. This illustrates the books emphasis of having a focus for other persons and their welfare.

The final result was a book cover that combines meaning, texture, strategy and color. So much thought is put into the interior of a book, it should be assumed that the cover would have equal depth in an appropriate manner so as to reflect the intent, meaning and message of the writing while still having strategic marketing value.

A Good Identity Starts with a Strong Self-Awareness

2008-05-15T18:50:00.017-06:00

Good communication starts with knowing what one wants to say. In marketing that means that design is most effective when the organization has clearly identified its corporate characteristics, strengths, and positioning.
Such was the case with a midwest collection agency that had long-lasting experience and success which set it apart, and needed to tell others about it. Design Corps was hired to develop a brand identity system for the collections organization and its sister company which went after debtors who had not yet been brought to court. Through our interaction we came up with a plan that would emphasize strength and tenacity (essentials for any collections agency) but also justice of cause, superior skill, and a longevity which was uncommon in this field. Using visual references to heraldic symbols of the Griffin and the Dragon, the logos were made to work together and also to identify the separate character and purposes of each company.
The parent company only went after debtors who had already been told by the court to pay. For this the Griffin was used because the Griffin was seen as having nobility of purpose, superior strength and tenacity, and also having authority.
The other company chased debtors, even those who had left the state. For this the Dragon was more appropriate. In mythology the dragon was seen as being something that you did not want to tangle with, but also as being swift and crafty, able to pursue.
After the logo marks were developed we also created stationery that was intentionally reserved, showing a sparse conservativeness that would reflect both the seriousness and strength of the company in a visual language that would be at home with companies that dealt with money, law or government. We also gave it a look that would harken back to a past era to reflect the companies established history and longevity.
And finally, we created a simple brochure that recounted the major advantages of the company while conveying the same character and strengths begun in the brand identity program and the stationery. To do this we incorporated graphics and styles used in nineteenth century publications.

Web Publishing—Part 2: Stepping Through the Process

2008-01-08T14:40:00.000-06:00

In Part 1 of this article we pointed out the equivalent status of the Printer and the Web Programmer (Developer)—both production functions in the world of publishing. In this second part we will describe the project phases and job functions of producing a website, and we will show you how Design Corps can fit into this process. You’ll soon have an adequate understanding of how websites can be created with the right people and services. If you are an experienced buyer of design services for print you will clearly see the similarities in the processes. Having a good understanding will remove much of the mystery of website development.

Background
Most printing technologies have been around in their basic form for centuries, some since the 1400s when Gutenberg invented a printing press that utilized “movable type”. The process has grown in speed and complexity but the principle is the same. Today, putting ink to paper (and a myriad of other “substrates”) is something we all take for granted. The common consumer does not have a clue as to the steps involved in producing that slick brochure they pick up at the auto dealer or the label on a can of beans.

So, if this article is about the process of web or Internet publishing, why are we talking about brochures and can labels? Simple. With a closer look you’ll find the two processes are almost identical. When you’re finished reading you might conclude that you already knew the basic concepts of the web publishing processes, but didn't realize it.

The Process in 4 Phases
The whole process, from start to finish, is embodied in four simple phases: Concept, Planning, Content Development & Design, Production. This basic four-phase process is nearly identical for both print and web publishing. The only real difference is in the final Production Phase. In any publishing project the culminating work of the first three phases will either be production by printing (i.e. ink to paper), or by programming (program code to web browser).

All of the necessary functions in the process can be performed by one person or many people, depending on the size, complexity, budget and schedule of any site.

Phase I: Concept Development
Every publishing project begins with a communication objective in mind. Therefore, the real task of concept development is to identify the objective and, through research, hone a core message for a specific audience, brainstorm methods of propagating that message, and finally compose plans and “creative briefs” for reaching the objectives.

Research will include examination of a myriad of materials and data pertaining to such things as audience demographics, the competition, client expectations, history, strategies, and goals.

Through elimination of peripheral or secondary messages, focus on a core message is sharpened. With sharpened focus brainstorming will produce viable concepts for communicating and also help to identify vehicles for conveying the message.

It may be decided, in the culmination of this conceptualizing process, that a variety of devices could be employed, such as printed items and various media options. Perhaps a website will be in the mix, or even the sole means of meeting the objective.

Phase II: Planning
The Planning Phase of a website can be a joint effort between the client and a project management function. A web project might be managed by an individual in a small company, an outside consultant/agency, or an in-house creative services department. In any case somebody has to plan the structure and function of a site and each component part. (Note: This would be the same function in the development of a printed publication.) Sometimes the person who plans site structure and functionality is referred to as a “web architect”.

Design Corps is available to help in this phase of the project. Playing the role of web architect we can help the customer think through such details as how many pages a site will consist of, what kind of content (imagery and text) will occupy those pages, what kinds of interactive functionality will exist on the pages (forms, menus, animations, etc.), how pages will link to and interact with other pages within the site and external sites.

Ultimately, the architecture of the site is visually diagrammed. This “map”, as we call it, will be vital in the remaining two phases of a project. It will provide the players—designer, content provider, and programmer—the tools they need to estimate their costs and time frames. Evaluation of the plan as it formulates, enables timely adjustments, before a final map is drawn up, to accommodate such concerns as budget and schedule.

Aside from certain functionalities unique to web interfaces you will note the same or a similar kind of structural planning must occur even for a printed publication. Therefore, the phases we have described thus far are not foreign to experienced buyers of design and printing.

Phase 3: Content Development & Design
Equipped with the final plan and creative brief from Phase 1 and the structural map from Phase 2, the designer goes to work creating the look of the site and the content provider begins to assemble such items as copy and data. The content provider may be supplied through client in-house resources (to keep cost down and possibly expedite the process), or may be contracted on the outside. Sometimes a copy writer or editor is the perfect type of person to fill the role.

Budgets will determine how many “variations on a theme” the client will see in preliminary stages of design and content development. The designer will identify and quantify content needs. Both, designer and content provider, will join talents to rough out the overall look and content of the site. In the process we take into consideration all communication objectives as defined in Phase 1 along with existing branding standards and design precedents utilized in other communications published by the client.

Subsequent to preliminary presentations we transition into development and honing of the favored visual concept and content. Pages are presented as prototypes on the web. The prototypes can be considered “rough cuts” which may have little to no interactive functionality, but which can be evaluated from the standpoints of aesthetics and their ability to meet communication objectives. After a series of presentations and refinement cycles, design and content are finalized and approved for production in Phase 4.

Phase 4: Programming
The start of this final phase is initiated in much the same way the print production phase is begun. The designer delivers “art” (production files) to the production function. For printed pieces this production function would be a printer, but in the case of websites the production people are programmers and the production files are prepared according to slightly different specifications. For example, print production files are prepared at higher resolutions in a different “color space” and in different formats than files prepared for the web.

Once the programmer has the art files, the site diagram (map), and has been briefed on functionality and interactivity requirements, they are ready to begin their technical work.

The programming phase is marked by cycles of programming, testing, and reviews. In the process the designer and client work with the programmer to resolve technical issues that inevitably arise. After extensive testing of the site in various browsers on a variety of user platforms and validations of the programming code, the site is ready to launch. (The terms “deploy” or “go live” are also used).

The more complex the functionality of a site the higher the level of programming expertise is required. Of course, Design Corps has access to programming talent that can handle the most complex of technical development issues.

Design Corps is Ready and Able
Website development can be relatively simple or highly complex. But as you can see, all of the functions you are familiar with in the world of the printed word are present in web design and development to one degree or another. Because of that you may now realize you had a better understanding of the process than you might have thought.

In any case, we are here to answer questions you might have about any project you have on the horizon. Please feel free to write us directly at info@designcorps.us, or leave comments at the end of this post.

Copyright 2007 © Design Corps, (630)761-9650

Wheaton College Graduate School: Clear Strategy, Effective Communcation

2007-11-05T21:41:00.005-06:00

A year ago Wheaton College Graduate School discovered through research something that it already knew through practical experience—the prospects most interested in the school were also the exact type of individuals which the school desired to attract. That sounds like a formula for success. The problem was that Wheaton, being as most schools are a bureaucracy, had not been able to capitalize on this in targetted communication until the data convinced all the necessary parties. This year Design Corps had a mandate: to develop both style and content suggestions with the following audience in mind: college-graduate adults who have a passion to serve Christ.
For their 36 page overview booklet, we shed the emphasis on high gloss and bright colors to give their materials the rougher, earthier look of an adventure guide book using parchment backgrounds, hand-drawn graphs, and hand-written text. Object art was used to symbolize finding one’s direction in pursuing one’s calling, such as a sextant, a compass, and a road-sign. We also suggested a greater emphasis on testimonials and inspirational quotes from God’s Word on following one’s calling.

This theme was continued in an advertising campaign that included a general ad stating “Never settle for a job…when you have a calling,” and testimonial ads for individual degrees with the headline “Living Out the Calling.”

Once again a CD was produced to be included in the guidebook or handed out at conferences. It carried over the style of the guide book and had extra pages using the symbolic tools guiding prospects to seek a higher calling, to choose a direction, and to download information to start the application process.

Finally, we also produced several extra elements such as a three banner display for trade shows, and a desktop encourager to be shipped as a polybag insert with Charisma magazine.

Overall the response internally has been fantastic. But that can only be ascribed to the fact that Wheaton College Graduate School had a clear marketing strategy to offer to its primary prospects the very message they were desiring to hear. With a clearly defined message we were able to come up with visual forms that clearly and creatively met their objective goals.

Copyright 2007 © Design Corps, (630)761-9650

The Treasure Seeker’s Study Bible: creating an adventure for kids

2007-11-02T22:26:00.000-06:00

There is a time when a child will hang on a parent’s every word—and then there is the rest of growing up when they “want to do it themselves”. This Bible was created to enable kids to have a wonderful adventure while teaching them the foundational principle that God’s Word is full of riches—truths that can help a person throughout life by establishing a rich relationship with God through Christ.

Design Corps was asked by The Livingstone Corporation to develop visuals for this new concept to help sell the project. Originally what was requested were several samples of different insert items placed in a two color design of the interior for several sample pages.
But, as the project began, Design Corps realized it just wasn’t enough to design a few extra background images. This was a kids’ Bible, and kids don't like boring. And it was also a project we believed in. Design Corps had caught a bigger vision. To get the point across required lots of illustrations. This was necessary in order to convey the continuity of style as well as the richness of diversity of images.

We did illustrations for different types of study notes (archaeological, historical, etc.). Then we added realistic types of coins, stamped with nine different traits we gleam from reading God’s Word. The largest insert art was for the title page of each book of the Bible.

Finally, to make sure that the client knew we were really talking ADVENTURE, Design Corps designed a cover that would really POP on the shelf with the same type of illustration and richness of style that was found in the interior, but in full color.

Understanding what makes a company recognizable

2007-10-02T11:05:00.000-06:00

Whether it is your corporate logo, stationery, web site, sales materials, advertising or products—everything your audience sees acts as a visual reference to what your company is. Let these work for you by using the following criteria for determining how effectively you are presenting your company to your audience, with one goal in mind above all others: recognizability.

Distinctiveness—design ought to create a style for you which has the character of standing out from the competition and the visual clutter.
Consistency—in any training consistency is vital to educate, so it is with the use of a business’ visual lexicon. Consistent use quickly trains the audience to recognize your company’s marketing materials.
Repetition—consistency is only possible when one repeatedly creates avenues of exposure to the audience through advertising, newsletters, signage, etc.

The Reality of Perception: Why design is a necessary part of your business strategy

2007-10-01T10:22:00.000-06:00

As in any occupational field, graphic design has a history besmirched with an overabundance of self-importance. For example, in 1956, Paul Rand, the designer of the famous IBM striped logo, declared that “If it looks terrific, then that’s all I care about. After the looks, and of strictly secondary importance, comes client approval.”1 Many designers have also tried to justify their subjective styles with haughty sounding claims based on artistic pride that elevated the designer’s esoteric expertise over the client’s more pragmatic concerns. But, as always, what curtails such abuses is the real-world necessities of the marketplace. It will not tolerate prima donnas and art snobs. Yet here we also find two principles that make design indispensable. They are not based upon overinflated egos but upon nature—human nature to be exact.

The first principle is psychological. It is human perception, the way people make value judgements based upon visual clues or indicators. This phenomenon has been described as arising from our survival mechanism of distinguishing dangers in our environment or distinguishing good foods from bad. Our environment is no longer the wilds of the hunter-gatherer but the ever changing chaos and clutter of the marketplace. The visual clues that identify products and places in our urban environs are now mostly man-made. Yet we still rely upon the dominant function of our brains which is pattern-recognition. Uwe Stoklossa, writing in the book Advertising, states the following:
“The human brain is predominantly devoted to sight. About fifty per cent of the cerebral cortex is used to analyze visual information.…Psychologist Professor Philip Zimbardo of Stanford University described perception as follows: ‘Perception is the ordering principle that gives coherence to kaleidoscopic sensory input and meaningful unity to separated elements, making possible an organized direction of our behavior. without organizing processes of perception, we would not see objects, space, events, movement, people, or relationships, but would drift through a world of meaningless, random sensations.’ (Psychology and life, Glenview, IL, 1988)”2
Recognizing man’s natural talent and tendency to identify needs using visual information is fundamental to a business’s marketing strategy.

The second principle that makes design a vital consideration is cultural. We call it the visual language. In all cultures the visual clues mentioned in the first principle are codified as a sort of shorthand which can be understood by all people only as it is learned. There are numerous statistics on the growing amount of information, but what these often do not consider is the nature of people to adapt through the use of mental shortcuts. And the primary shortcut is using visual clues to make quick decisions. Thus the other commonly repeated observation: we are becoming a people that read less and seek information more through purely visual media. With this tendency our visual language is increasingly important and companies that recognize this are quick to develop a visual reference for themselves.
“The central social function of graphic design is to embody identity through visual forms. Design creates a visual personality for institutions, products, audiences, and for designers themselves. Organizations of every size—from multinational conglomerations to corner stores—use design to convey a sense of purpose and a set of values.”3

The primary concern of design here is not beauty, style, or artistry—as was supposed by Paul Rand four decades ago—but more objective business goals of distinctiveness, consistency, and repetition (see sidebar for definitions). These are not phrases that relate to art but to business. The chief goal for any company should be to be recognized and remembered, to have its branding convey meaning about the company to the audience in such a way that sticks despite all the visual clutter competing for attention.

Both of these fundamental realities, of human’s visual orientation and of society’s visual language, show that businesses need to have a fundamental concern with being visibly recognizable in their culture. The effectiveness of design in these environments to distinguish a company arises not from sophisticated art theory but from basic facts about human psychology and society. Make it your goal to develop a communication strategy that recognizes these realities.

Paul Rand, cited by James Woodhuysen in “Paul Rand Hates Logos”, Blueprint, (September 1989): 37.
Uwe Stoklossa, Advertising, (Thames & Hudson Ltd, New York, 2007), pp.204-205
Ellen Lupton, Mixing Messages, (Princeton Architectural Press, New York, 1996), p.83

Designing for (the sake of) Children

2007-05-26T14:27:00.000-06:00

Recently Design Corps has had the opportunity to design for a worthy cause—the very lives of children. We were approached by Better Orphan Care to help develop their branding. But because funds have not materialized as fast as was hoped, printing of stationery was delayed and the web site was put on hold. Therefore, in an effort to help BOC reach prospective donors, Design Corps contributed this temporary website while the organization seeks to obtain enough capital through donations in order to fully initiate its programs. If you are interested in this cause and would like to contribute please go to the Better Orphan Care web site.

The Cause
Over three quarter of a million children are suffering in Russian orphanages today. The low quality of life results in developmental delays and emotional problems that last a lifetime and have a huge impact on society. In Russia 90% of the children raised in orphanages and released at the age of 15, either end up addicted to substances, involved in criminal activities, or commit suicide.

To further compound the problem, as reported in a recent National Public Radio article, “Russian authorities have suspended the work of foreign adoption agencies. That has put into limbo the plans of many Americans waiting to adopt Russian children, even as human rights groups say a growing number of institutionalized children in Russia are living—and dying—in wretched conditions." It is clear that the orphanages are a one way avenue to failure because the mechanisms for adoption or foster care in country are non-existent or ill developed.

You can listen to or read the full article here.

There is a better way! Better Orphan Care believes children were designed to be raised by families, not institutions. No orphanage can offer as healthy an environment for a lonely and neglected child as a loving family.

Better Orphan Care seeks to provide a loving family for each orphan from within the orphanage country. BOC does not seek to be a foreign adoption agency, but rather to educate and train nationals, and thus radically change how orphans are cared for in countries where there is little to no foster care or adoption occurring.

Copyright 2007 © Design Corps, (630)761-9650

Web Publishing—Part 1: "Do you DO websites?"

2007-05-25T15:52:00.000-06:00

“Do you DO websites?” The question is a relatively new one asked of designers these days. But, it’s much different than the traditional questions that have been asked. “Do you DO catalogs?” “Do you DO books?” “Do you DO brochures?” Experienced inquirers know that when a designer answers the old questions in the affirmative it does not mean they print or produce the catalog, book, or brochure. No. We design the item and hand off the design to a printer for production. But who produces our web designs? Keep reading.

Today the real meaning of the new question about DOing websites is different. Without saying it, most people are actually asking if we design and produce websites. Do you see what has happened in this new world of web publishing? The production function, due to lack of understanding of the process of producing websites, has landed by default in the realm of the designer. Web publishing is so new that the technical function of producing web pages and websites has not reached the equivalent position in people's minds of print production—all of the technical stuff, like “pre-press” which takes place after the creative design phase is completed.

Designers are not equipped to do the printing of the brochure they design. They don't have the technology, equipment, or knowhow to perform print production tasks. Likewise, most designers are not equipped to take website designs from the creative stage through production functions of programming, testing, and “deploying”. Thus is born the function and profession of a new kind of “printer”—The Web Programmer (a.k.a. Web Developer).

Producing web pages (called “programming”, or “developing”) is the technical equivalent of print production. Since it is a technical discipline, the production function of web publishing is becoming correctly perceived as the work of the developer. The perception that the Designer does it all is going away. The developer/programmer is the new “printer” of this Internet age.

In Part 2 of this article we define all of the key functions in the process of doing websites. In this effort you will see clearly how Design Corps fits into the scheme of your web project and understand the functions involved in the process—from concept and design to “going live” on the web.

Copyright 2007 © Design Corps, (630)761-9650

Creative Problem Solving

2007-05-07T12:19:00.000-06:00

Taken from Discover Your Genius by Michael Gelb, the following is a partial list of advice gleamed from his ten figures in history:1

Plato—raise fundamental questions
Brunelleschi—do the math to discover the single possible solution (as he did for raising a dome on the Florentine cathedral)
Columbus—don’t explore by following the shore but head out perpendicularly from it
Copernicus—see incongruity as a need for a new paradigm (Copernicus saw this in the existing mathematical models and realized a new model of the solar system was required)
Einstein—look at problems through imaginative play, recombining them in a new framework

Gelb, Michael J., Discover Your Genius: How to Think Like History’s Ten Most Revolutionary Minds (Harper Collins Publishers Inc., New York, 2002)

Finding Inspiration

2007-05-06T13:24:00.000-06:00

Work can be very satisfying. It can give us the pleasure and satisfaction of accomplishment. But every once in a while we run into a brick wall, some problem where all our efforts seem to be simply “spinning our wheels”, wasting time on fruitless efforts. These are times when we face problems that require more than motivation, they require inspiration.

Problems can be divided into two types, according to David Perkins in his book Archimedes’ Bathtub, The Art and Logic of Breakthrough Thinking. There are reasonable problems which merely require time to reason them out, and insight problems—those requiring a new insight or different way of thinking.1 For insight problems, many times the increased efforts of the problem solver only digs the hole deeper. What is required is a new key, or insight, into the problem.

We have all had those “eureka” moments when suddenly a solution becomes clear. As graphic designers, we at Design Corps are daily aware of how creativity helps in all forms of problem solving, not just in design. Right solutions to insight problems are obvious only after they are discovered, but are obscured before because they require viewing the problem in a different way. The inspiration for these breakthroughs are not beyond any of us, but they do require new habits of thinking creatively. Here are some steps that can help anyone to increase their chances in finding more of the inspiration they need in solving tough problems:

Step One: Gather Information
Do the Math
Michael Gelb, in his book Discover Your Genius2, describes how Brunelleschi won the competition to build the dome on the cathedral in Florence. Brunelleschi’s creative solution was laughed at but, because he had received mathematical training, he had literally “done the math”. Therefore, he could proclaim with confidence that “there could be no other solution.” An in-depth analysis is often the first step to showing us a new creative approach is needed.

Examine Logical Relationships
Often a solution is implied when we examine the relationships within the problem, or at least a clue of how the current approach is not working. Many paradigm shifts came about because of incongruity in the accepted paradigm after it was examined in-depth. Copernicus’ heliocentric model of the solar system is one such example. His model was in opposition to the common perception of anyone looking up in the sky where, of course, it appeared that all heavenly bodies revolved around the earth. By looking at the logical relationships we gain insight into the root of the problem that may lie in our assumptions and even our perceptions.

Step Two: Question Existing Assumptions
Determine the proper context
By determining how the problem relates to the real priorities, we can often find quick solutions logically implied. Determine the most important needs and remove other considerations that are acting as obstacles. The solution may have been obscured because of personal distractions, such as it requires someone (even yourself) doing something he or she doesn’t want to do. Or the problem may have been presented with presumptive thinking that inhibits a solution.

Ask the right question (the one that isn’t being asked)
Many times that ‘eureka’ moment comes not just by getting an accurate view, but by asking a more insightful question, one that represents the problem differently. Often the original problem is unreasonable because it assumes certain limitations. Are those limitations valid?

The cliché of “thinking outside the box” now means to most just thinking differently. But what it really should encourage us to do is to seek a bigger picture. Don’t ask just how to accomplish the task at hand, but ask the deeper questions: “what is the real need? … what is the real purpose?, … what is really important?” By ordering the priorities rightly we often can see better in order to jettison the distracting presumptive thinking.

When NASA wanted to build a reentry vehicle they determined the top priority to be finding a material that would not burn off but resist heat up to 3500°. After a fruitless search someone rephrased the question to be “What will keep the astronauts safe from heat?” The answer was a material that gradually burned off, but as it did so it took heat with it.1

Attack the problem from multiple angles.
We tend to approach things the same way. Thinking about the problem differently often requires that we try some variety. Many of the solutions by inventors mentioned by Perkins came when they left the problem to do something else. Gutenburg found the solution for mechanical printing at a festival with a wine press.1 And Archimedes discovered how to measure the volume of the king’s crown when he sunk into a nice, hot bath (through the displacement of water).1 Activities such as reading, conversing or exercising help our minds let go of the same fruitless frontal attack to find, seemingly by chance but really through an analogous situation, a solution through a lateral way of thinking about the problem.

Play with re-framing the problem
Einstein was known for addressing theoretical problems with a playful imagination. His Theory of Relativity began with a thought experiment that led him to intuitively question the ad hoc assumptions of others. By recombining the question in other frameworks he literally re-framed the question to make more sense, and changed our paradigm of physics, and our view of time, forever.

Accepted patterns of thought have a stamp of authority that often stops new thinking, and new ways of doing things. If you find yourself at a dead end with the old way of thinking, consider re-framing the problem.

Step Three: Move Forward
Systematically search for the solution
Many times we can narrow down our search for a solution to one very specific missing piece. But finding that missing piece may still involve a tedious search. Edison had to experiment with hundreds of materials to find the perfect one for a light bulb filament. When we have established the proper context, asked the right questions, and are certain of the specific need then the greatest need is persistence and time. And…

Flexibility
When the ‘eureka’ moment doesn’t come, or when things turn out differently than planned, we still have to move forward. Action can become a great asset for discovery. Having the will to use what we have creatively will get us through many problems. When Alexander Graham Bell invented the telephone he was trying to invent a hearing aid. And, of course, the 3M Post-it Note came about with a glue that was not as strong as was desired.

Inspiration is never guaranteed. Answers to problems often seem to come by chance, but the reality is that most breakthroughs come neither by sheer chance nor a steady reasoning process but somewhere in between.1 When inspired solutions do come they will not only lessen time wasted spinning your wheels, but will also change your whole way of seeing the problem. You will gain new enthusiasm about what you are doing, confidence in your decisions, and ability to communicate clearly the principles behind your decisions.

Perkins, David N., Archimedes' bathtub : the Art and Logic of Breakthrough Thinking (W.W. Norton & Company, New York, London, 2000)
Gelb, Michael J., Discover Your Genius: How to Think Like History’s Ten Most Revolutionary Minds (Harper Collins Publishers Inc., New York, 2002)

Designer, Brand Thyself: our new look

2007-02-03T12:38:00.000-06:00

It has been said that the hardest client to work for is yourself. This past year we have developed a new branding for our stationery, web site and sales materials, and now we know this proverb is true.

For our new branding we naturally had to use something from the World War II era to be consistent. And, with our emphasis on design as communication, we settled on the military “code-letter” matrix used by the intelligence and communication corps. We want you to know that design can “decode” your corporate message to be easily understood by your target audience. That is also why our new tag line is “turning information into communication”.

The new Design Corps web site, www.designcorps.us, can be accessed by clicking on the picture below. In the coming weeks we will have even more information and resources useful to buyers of design and creative services.
The results of our new self-branding efforts are seen in all our communications. Shown here are our website, stationery and sample card. We hope they communicate not just our passion for design but our philosophy as well.

Copyright 2007 © Design Corps, (630)761-9650

The 3 Cs of Design

2007-02-02T12:51:00.000-06:00

You should consider three general aspects of design, which are described in Design Basics Index. They address the audience and the purpose of design.

Concept—abstract elements of theme, connotation, message and style. These intangible ingredients of a design or image are critical to its visual presentation and delivery of message.
Components—the visual elements used within a design. Photos, illustrations, icons, typography, linework, decoration, borders and backgrounds are all components.
Composition—the way in which the elements of a design are visually combined and arranged. Composition takes into account placement, grouping, alignment, visual flow and the division of space within a layout.

What are you conveying?

2007-02-01T13:17:00.000-06:00

What is the true measure of design? Many critique the elements of design by starting with preferences about color, type, or layout. But the true starting place for judging the value of design is conveyance.

‘Conveyance’ may be defined as n 1: a [legal] document effecting a property transfer 2: the transmission of information 3: something that serves as a means of transportation.

In design communication, conveyance means that each aspect of a design (text, color, components or images) can be used to help transfer the message or theme to the audience—in short, to communicate. It is more important how the audience interprets the design, rather than how you personally like it.

The designers job is to communicate your message. Some times this requires analysis, sometimes intuition. But, however it is accomplished, three things must happen:

Conveyance requires research—
the audience must be known, not just identified.
Conveyance requires creativity—
the design must stand out in order to be noticed
Conveyance requires coordination—
each aspect of the concept, composition and components needs to be centered on the audience and purpose.

A case for inconsistency

2006-11-03T13:46:00.000-06:00

Identity is often developed in the mind of your audience through consistency in both visual representation and message.

But when the opportunity arises to target an even smaller segment of your audience, the defining parameters of the target audience must briefly change. Both the message and the design need to speak directly to that new segment.

Such was the case recently for Wheaton College’s Graduate School. With several new ads planned in upcoming youth conference journals focussing on ministry or missions, the age spread of their target audience became smaller and younger. Also much more was known about the priorities, values and goals of the conference attendees that differentiated this segment from the original broader audience. As a result the look and message of the advertising needed to change; it became edgier and more defiant against the status quo. Consistency was maintained through the types of images and fonts used. But rougher elements, a more earthy color palette and a tilted composition made it less academic, to say the least.

The resulting two-page spread print ad for Wheaton College showing our redefining from their established branding is shown above.

Copyright 2007 © Design Corps, (630)761-9650

What’s your philosophy of design?

2006-11-02T14:03:00.000-06:00

For years design was seen as merely artistic craft involving intuition and aesthetics. Design was “successful” if it at least captured attention.

More recently, design has been elevated to the status of a science involving market research, focus groups, and response tracking. This may benefit both the designer and the client, for it requires that design fulfill specific purposes and focus on clearly defined objectives. But, as with most sciences, it can at times dehumanize the process.

Graphic design must never become “art for art’s sake” but neither should it be a cold compilation of facts distilled into single solutions. Design needs to be seen as communication.

Whether your company is a corporation, a publisher, or a small business, your designed materials will benefit when you start with a specific audience, an objective goal, and a defined message. And, as with any communication, it will be more effective when done creatively and aesthetically. Design must hold in equal measure both the objectivity of communicating a message and the creativity and craft of telling a story in order to engage an often disinterested audience.

Take time to evaluate your own company’s design—not as art, not as science, but as effective communication.

Design with purpose:

1. IDENTIFY YOUR TARGET AUDIENCE

2. DETERMINE THE BEST MEDIA FOR REACHING THEM
Will it be a web site, brochure, advertisement or book cover?

3. CLEARLY DEFINE THE GOAL OF THE PIECE
If multiple goals then have a clear hierarchy of what to communicate. Prioritize one aim and make sure other aims do not compete for attention with the primary aim.

4. DETERMINE THE PROPER MESSAGE
The message is what you want to communicate to your audience through the art and text.

5. WORK WITH DESIGNERS TO DEVELOP A CREATIVE, AESTHETIC AND ORIGINAL SOLUTION
The solution needs to do 5 things:
- appeal to the tastes of the target audience
- stand out above the media noise
- communicate the message with clarity
- distinguish you from the competition
- be memorable

The purpose of this newsletter is to remind, inspire, and invigorate our clients and friends as to the true potential of design when it is used for a clear purpose to communicate. Through subsequent articles we will address such issues as strategy, creativity, and branding which, we hope, will benefit you in some way.

Copyright 2007 © Design Corps, (630)761-9650

The Art of Communication

2006-10-04T20:40:00.000-06:00

Just as in war, business communication requires strategy that can not only insure victory but also avoid crisis. We believe it is essential for organizations to be proactive in managing their market presence by using intelligent and effective communication in corporate branding, marketing, and product creation. At Design Corps we are able to facilitate and bring to completion a comprehensive communication strategy for today’s business organization. We do this by using the highest degree of talent and creativity in the service of clear corporate objectives and strategies.
Call us today at (630) 761-9650 for an estimate or to learn more about our methods and experience. Or visit us at www.designcorps.us.

Copyright 2007 © Design Corps, (630)761-9650