There are a whole host of techniques that you can use to make you print publications look and feel different. All come at a cost of course, but it is money well spent when you see the final result. These finishing (the processes that occur after the printing has been done) techniques can be applied to most things, from the humble business card, brochures and annual reports and are especially useful and relevant when implying luxury, quality or simply to stand out from the crowd. A word of caution, use with moderation.
With a publishing deal under my belt and a book launched in Europe, and let’s face it the UK being the primary market, Know Your Onions: Graphic Design (as of March 2019) has been re-printed 14 times to the tune of 56,000 copies. It has been translated into Chinese, simplified Chinese for Thailand and Japanese. I am, of course, delighted by this, but find it odd that France, Germany, Italy and cultural countries that are more aligned with the UK have not been so successful.
I am very lucky to have a close relationship with my readership, through Twitter and email. This manifests itself in a number of ways. Sure I get tweets, but I also get direct questions and requests from my readership who want some specific advice. I do my best to accommodate them and help where I can. In one instance I advised a reader to sort his portfolio out. He did. Eighteen months later he arrived at my door and presented his portfolio. I gave him a job. That all worked out very well – for both of us.
In this article i set out what a mission, vision statement does, how an organisation can use a descriptor and what a lift speech is. We help organisations establish these as the bedrock of their brand values. This article is an edited piece from my forthcoming book, know your onions: corporate identity.
I’ve employed a fair few graphic designers in my time. Most of which are straight out of uni or as a result of work experience. Setting aside the advise I give in What to Put in Your Portfolio and Get a Job: Graphic Design – these are the top ten things you need to think about, and do, when you get your first job.
This post aims to help clients get the best value, speed and accurate proofs when they commission a designer.
Following this guide will save you money and deliver your project sooner.
This then is the second and last in our series of ‘Design miscellany’ series, from M–Z. Nothing more than random comments, explanations and observations to inform and hopefully entertain.
Working with luxury brands and services requires a shift in communication mind set. You are no longer required to speak to the masses, but to the few. Often your market is more demanding and harder to impress. You must understand what is important to them and your aim is to communicate the product or services in a light that makes it a 'must have'
Annual report structures tend to be quite similar. There is probably a good reason for that, stakeholders, board members and the like, like things just so and CFOs do like their accounts to be set in a straight forward 'workman' like manner. All of that is fine. You can still mix it up a bit without upsetting the apple cart. The same suggestions apply to impact reports, strategy reports, but for now, I'll stick with a reasonably heavy weight report, the sort of thing you see in the finance industry.
This is the first of two emails in our ‘Design miscellany’ series. This is a collection of terms, comments and miscellany in alphabetical order with no other rhyme or reason other than to inform and entertain.
It applies to anything that you hope will be read and understood. Designing to ensure communications are accessible should always be on a designer's mind, not just when producing materials for an older audience or the visually-impaired.
There is often the misconception that once a piece of print work has been signed off, the final printed matter should be available in a matter of hours, let alone days. Like most things in life, there is more to print production than meets the eye. True, some modern print production techniques deliver astonishing results in a matter of hours. This article firstly talks you through the typical process of litho printing and then explains the other options, their benefits and disadvantages.
We (Navig8) are lucky enough to get a constant stream of CVs flooding into our inboxes of the finest creative talent this country (and abroad) has to offer.
The problem is that the vast majority of approaches are of a poor standard, something that could be easily fixed with a bit of effort.
This is a hit list for any would be employee. This covers the bare minimum if you hope to have any chance of getting your foot in the door. Remember, unless you are responding to an advert, the agency may not be actively looking for a new recruit. Having said that, we are always on the look out for talent.
This document is an overview that outlines the typical stages and approximate number of days for an HTML Email project. All vary of course, but this aims to set out the process and highlight where potential pitfalls and opportunities. Understanding this process helps us and our clients work together better, avoid misunderstandings and create stunning work.
We understand the challenges clients face when delivering an annual report and aim to help them deal with the shifting landscape and often challenging scenarios they face. This article focuses on the challenges a client often faces and what we can do to help them through the process.
We think a lot; we get paid to think. So it’s hard not to come up with ideas because we’re always thinking. Coming up with good ideas isn’t quite so easy. There is, unfortunately, no magic formula. But there are ways to increase the likelihood of striking that eureka moment and coming up with a great idea. This month we have a guest writer – Cris (no H) Convery, an ideas monster here at Navig8.
Designers and clients have mixed views on the benefits of having a style guide for an organisation's communications collateral. Why's that? Well exponents love 'em because they bring order out of potential chaos, helping to reign in the potential 'home-made' designers from trying to include kittens and clipart in publications. Detractors see a style guides as a restriction of creativity and a draconian, corporate bible, that does not fit their needs and hinders their expression. Thing is, a good style guide should remove all of these reservations and provide a platform for creativity and consistency – so that everybody is a happy bunny. What does a style guide do? What makes them good? What makes them bad? Read on...