How do you handle smaller organisations who approach you for identity development but cannot afford a proper discovery process?

03.01.2010 / Question submitted by: Seven25

Studio Junglecat:

A great question, and a challenge I face continually working with small or new businesses, nonprofits, and visual or performing artists with tight budgets. Because these organizations are typically small, their mission, culture, particular challenges, and near- and long-term objectives likely all exist in the hearts and minds of a small number of people. By talking openly with those involved, asking the relevant questions, and getting at the essence of who they are or who they’d like to be, you can pretty quickly gather a sense of direction. These conversations cost nothing but do require time and preparation. However, the more clearly you can outline the objectives and parameters at the outset of the project, the closer in you can start on exploration, thereby recouping some of the resources (time) allotted to discovery. Additionally, I believe that qualified designers bring a certain “x” factor to their work, which is a kind of informed intuition making it possible to connect the dots and bring all the disparate elements together into something meaningful and valuable. This comes from experience, cultural awareness, and an open, collaborative relationship with the client, which nets mutually beneficial results.
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Creative Process Study 04

03.01.2010 / Project: FocusRx

Studio Junglecat

FocusRx is a small consultancy with a finely nuanced understanding of pharmaceutical laws and systems. Using this specialized expertise, they partner with large health care provider organizations to develop prescription plans that work and make sense for the end-users. We are talking about ridiculously complicated, labyrinthine systems that would make the average head spin. FocusRx sought a graphic identity that could portray this narrow specialization within the health care field and demonstrate its value. Because they operate in an industry where efficiency and precision are a mandate, their identity must be clear, simple, and direct, but with a character that distinguishes this company amongst its peers.

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When Clients Ask to Spitball

03.01.2010 / Author: Steve Zelle

For me, logo design is an exercise in minimalism, balance, and abstract forms. It is something that doesn’t lend itself to discussion but rather to exploration and experimentation on paper by one individual or a number of designers working individually and then coming together.

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How do you bring color selection out of the realm of subjective client preferences and into the concrete, strategic arena?

02.15.2010 / Question submitted by: Hexanine

Seven25:

Colour is often a tricky element in identity development and there are many ways of managing it. In my experience choosing the right approach depends on your client, the number of people involved in the process, the nature of the project and your relationship with your client. When embarking on a new project I explain our process and broach the topic of approvals and feedback. If any phase of development is measured based on specific goals then gauging colour appropriateness should be no different.
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Designer Bait and Switch

02.15.2010 / Author: Steve Zelle

What clients rarely ask when selecting a studio is “Who designed this particular piece, and will they be working on my project?” It is seldom discussed, but portfolios can contain work by designers no longer with the studio, or who will not be working on every identity project. Is there any value in seeing work you like by a designer who will not be directly involved in your project? What can clients and designers do?

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Creative Process Study 03

02.13.2010 / Project: Garbage Critic

Seven25.

We were approached by Garbage Critic—a waste reduction and management consultancy—to design an identity for their startup. As a new agency with extensive experience in the public sector, it aimed to position itself as the leader in the field, as an innovator but also as a valuable team player in the quest for widely adaptable solutions to the waste problems we face. One of our challenges was to represent waste—something few people wish to think about—in a way that was engaging and eloquent.

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