June 26th, 2014 by Sean
Foundations of Layout and Composition: Marketing Collateral
Call me old-fashioned, but I think it’s important for a designer to know certain basic issues like the size of a business card and what information belongs on an envelope. Nevertheless, I see a great number of portfolios that have envelopes with phone and fax numbers, business cards that are unwieldy and oddly sized, and examples of 3-dimensional promotion that goes against the laws of physics. No this isn’t the fault of the owner of the portfolio. Clearly nobody took the time to explain these basic issues. I’m guilty of this myself. I’ve often talked to students and assumed someone else already taught them the information.
So, I can complain and be the cranky designer who laments that world isn’t what it was when I was a youngster, or I can help. When the good folks at Lynda.com asked me what course I’d like to do next, I suggested we dig deeper into basic issues of layout and composition and move into the stuff we make. Foundations of Layout and Composition: Marketing Collateral gave me a chance to start at the beginning with issues like audience, determining a budget, and what items to produce. I then added basic information on business cards, letterhead, swag, 3-d promotion, and posters.
I’m hoping the examples I use are interesting and inspiring. I rounded up some of my favorite firms like Eight and a Half and Modern Dog. But the main goal is to explain simply the most basic information with collateral. Don’t get me wrong; I’m fine with something being unexpected. In fact it should be. But it’s best when you know why it’s not ordinary. Nobody should be in the position that I witnessed a couple of weeks ago:
Me: Why did you decide to make the letterhead a unique size?
Me: I’m not sure that a 5×7 card is a poster. What was your intention?
Me: Is the envelope mailable? It looks like it will fall apart and cost a ton in postage.
Designer: Why are you so mean?
June 19th, 2014 by Sean
Cary Grant cool glasses
I have a bad habit of buying the same item repeatedly. It’s not as if I decide I need a few of the same shirt. I forget I have these items and keep buying more. I have a massive amount of khakis and blue Sperry sneakers. Each time I see them I think, “Hmm, now those are pretty nice.” I have every possible kind of madras shirt, as if anyone would notice one from the other. And I have way too many eyeglasses. There is a store in Pasadena, Old Focals, which is rather like a heroin den would be to others. I keep buying the same few styles of glasses over and over. Just this morning, I thought, “I like those glasses Harry Hamlin wears on Mad Men. I need to go get me some of those.” Of course, I already have several just like them.
And why vintage glasses? I can’t get on board with some of those groovy new styles. I don’t want to look like I’m a DJ or hip-hop star, although it’s doubtful anyone would make that error. If sturdy eyebrow glasses were good enough for my grandfather, and thick simple frames worked for Cary Grant, that’s good enough for me.
June 13th, 2014 by Sean
51st Annual of Advertising, Editorial and Television Art & Design
I’ve been asked if I have a favorite typeface. I’d like to consider myself type-tolerant, but I’m actually rather a type snob. Most projects begin with me trying something outlandish such as Behemoth. But, as time passes, I slowly migrate back to Franklin Gothic. When I found the 51st Annual of Advertising and Editorial Design for The Art Director’s Club of New York, I found a gold mine. Giant Franklin Gothic and my favorite shades of orange and yellow. The book was designed by Dennis Mazzella. In the credits, its states: with the help of Kurt Weihs, my friend. I don’t know what that means, so I’ll include it to give credit to all parties. I also love that this book is stamped by my friend Doug Boyd. It’s a double treasure.
I am in love with the unashamed enormous Franklin Gothic slipcase and cover. So much in love that I considered not sharing this so I could file it in my memory bank of possible solutions. And the spine, showing the inductees into the Hall of Fame is wonderful. Everybody gets so hung up on spines having all the information, but really, in this case on a designer’s bookshelf, is anyone going to say, “Well, I dunno. What the hell is that thing?” And how many times have I spent designing countless covers for an annual report because every tiny detail means something to someone in the room. This cover solves that problem. “All we want are the facts. Just the facts, ma’am.”