brainstorming magazine

Salke Lagumdije 3
71000 Sarajevo
Bosna i Hercegovina

p: +387 33 956 517

p: +387 61 107 832

w: www.brainstorming.ba
e: info@brainstorming.ba

Publisher
DDS Idea is all

Salke Lagumdije 3
Hadisulejmanova 10
71000 Sarajevo
Bosna i Hercegovina

p: +387 33 956 517

p: +387 61 107 832

w: www.ideaisall.com
e: info@ideaisall.com

Editor:
Rusmir Arnautovi | rusmir.arnautovic@brainstorming.ba

Review editor:
Ena Matkovi-Arnautovi | ena.matkovic@brainstorming.ba

Cover illustrator:
DDS Idea is all

idea is all is an digital design studio located in the Sarajevo

area and serving clients worldwide. We have experience in
Branding, Identity Design, Web Site Design, Graphic Design,
Multimedia and Print Production. Our work has been recognized
by a number of clients in various industries for exceptional
performance, expert advice and quality services in the fields of
design, information architecture, branding and development.

INFO: http://www.ideaisall.com

We`re always on the lookout for new artist as well as estab-

lished creatives - so if you`re interested in contributing to the
magazine, please send some examples of your work to
(e.) samples@brainstorming.ba

2 | ISSUE 02 | GRAPHIC DESIGN AND DESIGNERS

Welcome

While Graphic Design as a discipline has a relatively recent history,

with the name graphic design first coined by William Addison
Dwiggins in 1922, graphic design-like activities span the history of
humankind: from the caves of Lascaux, to Romes Trajans Column
to the illuminated manuscripts of the Middle Ages, to the dazzling
neons of Ginza.

In both this lengthy history and in the relatively recent explosion

of visual communication in the 20th and 21st centuries, there is
sometimes a blurring distinction and over-lapping of advertising
art, graphic design and fine art. After all, they share many of the
same elements, theories, principles, practices and languages, and
sometimes the same benefactor or client. In advertising art the
ultimate objective is the sale of goods and services.

Meet the artists

KittoZutto HandMadeFont

They combine fine art We are an Estonia based

illustration with digital design company HMF
imaging, and the highly- (HandMadeFont). It was
detailed results are founded in 2008 by Vladi-
often best seen in large mir Loginov and Maksim
formats. Loginov.

Alberto Cerriteno Fabrice Le Nezet

These contrast strik- Sculpting

ingly with the blending of Directing
desaturated colours and Design
ink, sometimes featuring
a vintage coffee finish.

Pale Horse Max Kostenko

Pale Horse has had the I work with the largest

opportunity to create agencies all over the
artwork for companies world, develop characters
like Hasbro, Sanrio, Iron and draw illustrations.
Fist, Bernstein & Andri-
ulli, Dean Guitars ...

GRAPHIC DESIGN AND DESIGNERS | ISSUE 02 | 3

Contents
JULY
GRAPHIC DESIGN
AND DESIGNERS
Graphic design is a creative process most
often involving a client and a designer and
usually completed in conjunction with pro-
ducers of form (i.e., printers, programmers,
signmakers, etc.) undertaken in order to
convey a specific message (or messages) to
a targeted audience.
The term graphic design can also refer to
a number of artistic and professional disci-
plines that focus on visual communication
and presentation. The field as a whole is
also often referred to as Visual Communica-
tion or Communication Design.
Various methods are used to create and
combine words, symbols, and images to
create a visual representation of ideas and
messages. A graphic designer may use ty-
pography, visual arts and page layout tech-
niques to produce the final result. Graphic
design often refers to both the process
(designing) by which the communication is
created and the products (designs) which
are generated.
Discover What Type
of Designer Are You?
Just like there are different client types, and different
people in general there are a few different types of
designers. In this article we will have a look at some of the
characteristics of some of these and give you some tips on
how to improve. Hopefully you will have a few good tips on
how you can become an even better designer when youre
done with this article!
Have you ever thought that youre unique? Or felt that
youre just one of thousands out there struggling to get a
project?
Page 26
Brainstorming Tips and
Techniques for Freelancers
Brainstorming is the secret weapon of every freelancer and
entrepreneur. It helps us recall everything we know about
the subject and any related ideas to it. Whether we realize
it or not, brainstorming is at the root of every venture we
undertake, be it a product, project or something as simple
as a blog post.
Theres a reason freelancers swear by the powers of brain-
storming. A single brainstorming session can create new
and creative ideas that either make you more productive or
help you find a solution to your problem. Its a great way
to extract all the information you have and what you need
to know more about.
Page 46
Email Marketing: Tips to Do it Well

Nowadays, with Internet spreading its wings all over the globe,
more and more people are switching from physical mediums of
business promotion to online marketing. Email marketing is one of
the best means of promoting your products and services online. It
is also one of the oldest sources of business-to-business marketing
used by virtually everyone.

A well planned effective email marketing campaign can help

your business products and services gain maximum visibility and
recognition, not only locally but all over the world. With this direct
marketing procedure you start getting quick response once your
email reaches your targeted customers.

Page 66

Artist, Illustrators, Photographers, News

Achim Lippoth Winkler+Noah

Achim Lippoth, born For Winkler+Noah, pho-

1968 in Ilshofen, Ger- tography was the most
many. Freelance Photog- fitting point of arrival for
rapher since 1992, also an artistic itinerary that
directing commercial they began instinctively
videos since 1998. from childhood ...

Kele Dobrinski Rodney Pike

My work spans across My name is Rodney Pike.

all mediums, and I take Many in the art world
pride in its breadth & know me as rwpike,
diversity. which is my username
at several of my online
portfolios and sites ...

Mario Testino Poked Studio

Mario Testino was born Poked Studio is Jonathan

in Lima, Peru. In 1976, Ball an illustrator and
after completing his stud- graphic designer living on
ies in Peru, he arrived a diet of pixel dust.
in London to pursue a
career in photography.
Meet the Artist:
INFO: http://www.lippoth.com/

Achim Lippoth
Achim Lippoth, born 1968 in Ilshofen, Germany. Freelance Photographer since 1992, also directing commer-
cial videos since 1998. Childhood is the central topic. His works are constantly on exhibition and regularly
win international awards. The latest awards he got 2010 in Cannes and at the New York Festivals, current
exhibitions took place in Galerie Paris Beijing (Paris), Shay Arye Gallery Tel Aviv and at Catherine Edelman
Gallery Chicago.

In addition to it Achim Lippoth is founder and editor of kids wear magazine, which is published interna-
tionally since 1995.
Meet the Artist:
INFO: http://arnistotle.deviantart.com

Arnold Tsang
To contribute artistic skills and experiences, and be involved with art teams to create worlds and design high
quality media.
 re at ive
C
wo r k s
GRAPHIC DESIGN AND DESIGNERS | ISSUE 02 | 11
GRAPHIC
DESIGN AND
DESIGNERS
Graphic design is a creative process most often involving a client
and a designer and usually completed in conjunction with produc-
ers of form (i.e., printers, programmers, signmakers, etc.) un-
dertaken in order to convey a specific message (or messages) to
a targeted audience. The term graphic design can also refer to a
number of artistic and professional disciplines that focus on visual
communication and presentation. The field as a whole is also often

referred to as Visual Communication or Communication Design.

Various methods are used to create and combine words,
symbols, and images to create a visual representation of
ideas and messages. A graphic designer may use typogra-
phy, visual arts and page layout techniques to produce the
final result. Graphic design often refers to both the process
(designing) by which the communication is created and the
products (designs) which are generated.
Common uses of graphic design include identity (logos and
branding), web sites, publications (magazines, newspa-
pers, and books), advertisements and product packaging.
For example, a product package might include a logo or
other artwork, organized text and pure design elements
such as shapes and color which unify the piece. Compo-
sition is one of the most important features of graphic
design, especially when using pre-existing materials or
diverse elements.
History
While Graphic Design as a discipline has a relatively recent
history, with the name graphic design first coined by
William Addison Dwiggins in 1922, graphic design-like
activities span the history of humankind: from the caves
of Lascaux, to Romes Trajans Column to the illuminated
manuscripts of the Middle Ages, to the dazzling neons of
Ginza. In both this lengthy history and in the relatively
recent explosion of visual communication in the 20th and
21st centuries, there is sometimes a blurring distinction
and over-lapping of advertising art, graphic design and fine
art. After all, they share many of the same elements, theo-
ries, principles, practices and languages, and sometimes
the same benefactor or client. In advertising art the ulti-
mate objective is the sale of goods and services. In graphic
design, the essence is to give order to information, form
to ideas, expression and feeling to artifacts that document
human experience.
The advent of printing
During the Tang Dynasty (618907) between the 4th and
7th century AD, wood blocks were cut to print on textiles
and later to reproduce Buddhist texts. A Buddhist scripture
printed in 868 is the earliest known printed book. Begin-
ning in the 11th century, longer scrolls and books were
produced using movable type printing making books widely
available during the Song dynasty (9601279). Sometime
around 1450, Johann Gutenbergs printing press made
books widely available in Europe. The book design of
Aldus Manutius developed the book structure which would
become the foundation of western publication design. This
era of graphic design is called Humanist or Old Style.
Emergence of the design industry
In late 19th century Europe, especially in the United
Kingdom, the movement began to separate graphic design
from fine art. In 1849, Henry Cole became one of the
major forces in design education in Great Britain, informing
the government of the importance of design in his Journal
of Design and Manufactures. He organized the Great Exhi-
bition as a celebration of modern industrial technology and
Victorian design.
From 1891 to 1896, William Morris Kelmscott Press pub-
lished books that are some of the most significant of the
graphic design products of the Arts and Crafts movement,
and made a very lucrative business of creating books of
great stylistic refinement and selling them to the wealthy
for a premium. Morris proved that a market existed for
works of graphic design in their own right and helped
pioneer the separation of design from production and from
fine art. The work of the Kelmscott Press is characterized
by its obsession with historical styles. This historicism was,
however, important as it amounted to the first significant
reaction to the stale state of nineteenth-century graphic
design. Morris work, along with the rest of the Private
Press movement, directly influenced Art Nouveau and is
indirectly responsible for developments in early twentieth
century graphic design in general.
14 | ISSUE 02 | GRAPHIC DESIGN AND DESIGNERS
Twentieth century design
A Boeing 747 aircraft with livery designating it as Air Force
One. The cyan forms, the US flag, presidential seal and the
Caslon lettering were all designed at different times and
combined by designer Raymond Loewy in this one final de-
sign. The name Graphic Design first appeared in print in
the 1922 essay New Kind of Printing Calls for New Design
by William Addison Dwiggins, an American book designer
in the early 20th century.
Raffes Graphic Design, published in 1927, is considered to
be the first book to use Graphic Design in its title. The
signage in the London Underground is a classic design
example of the modern era and used a font designed by
Edward Johnston in 1916.
In the 1920s, Soviet constructivism applied intellectual
production in different spheres of production. The move-
ment saw individualistic art as useless in revolutionary Rus-
sia and thus moved towards creating objects for utilitarian
purposes. They designed buildings, theater sets, posters,
fabrics, clothing, furniture, logos, menus, etc.
Jan Tschichold codified the principles of modern typogra-
phy in his 1928 book, New Typography. He later repudiated
the philosophy he espoused in this book as being fascistic,
but it remained very influential. Tschichold, Bauhaus typog-
raphers such as Herbert Bayer and Laszlo Moholy-Nagy,
and El Lissitzky have greatly influenced graphic design as
we know it today. They pioneered production technique-
sand stylistic devices used throughout the twentieth cen-
tury. The following years saw graphic design in the mod-
ern style gain widespread acceptance and application. A
booming post-World War II American economy established
a greater need for graphic design, mainly advertising and
packaging. The emigration of the German Bauhaus school
of design to Chicago in 1937 brought a mass-produced
minimalism to America; sparking a wild fire of modern
architecture and design. Notable names in mid-century
modern design include Adrian Frutiger, designer of the
typefaces Univers and Frutiger; Paul Rand, who, from the
late 1930s until his death in 1996, took the principles of
the Bauhaus and applied them to popular advertising and
logo design, helping to create a uniquely American ap-
proach to European minimalism while becoming one of the
principal pioneers of the subset of graphic design known
as corporate identity; and Josef Mller-Brockmann, who
designed posters in a severe yet accessible manner typical
of the 1950s and 1970s era.
The growth of the graphic design industry has grown in
parallel with the rise of consumerism. This has raised some
concerns and criticisms, notably from within the graphic
design community with the First Things First manifesto.
First launched by Ken Garland in 1964, it was re-published
as the First Things First 2000 manifesto in 1999 in the
magazine Emigre 51 stating We propose a reversal of
priorities in favor of more useful, lasting and democratic
forms of communication - a mindshift away from product
marketing and toward the exploration and production of
a new kind of meaning. The scope of debate is shrinking;
it must expand. Consumerism is running uncontested;
it must be challenged by other perspectives expressed,
in part, through the visual languages and resources of
design. Both editions attracted signatures from respected
design practitioners and thinkers, for example; Rudy
VanderLans, Erik Spiekermann, Ellen Lupton and Rick
Poynor. The 2000 manifesto was also notably published in
Adbusters, known for its strong critiques of visual culture.
Applications
From road signs to technical schematics, from interoffice
memorandums to reference manuals, graphic design en-
hances transfer of knowledge. Readability is enhanced by
improving the visual presentation of text.
Design can also aid in selling a product or idea through ef-
fective visual communication. It is applied to products and
elements of company identity like logos, colors, packaging,
and text. Together these are defined as branding. Branding
has increasingly become important in the range of services
offered by many graphic designers, alongside corporate
identity. Whilst the terms are often used interchangeably,
branding is more strictly related to the identifying mark or
trade name for a product or service, whereas corporate
identity can have a broader meaning relating to the struc-
ture and ethos of a company, as well as to the companys
external image. Graphic designers will often form part of
a team working on corporate identity and branding proj-
ects. Other members of that team can include marketing
professionals, communications consultants and commercial
writers.
Textbooks are designed to present subjects such as geog-
raphy, science, and math. These publications have layouts
which illustrate theories and diagrams. A common example
of graphics in use to educate is diagrams of human anat-
omy. Graphic design is also applied to layout and format-
ting of educational material to make the information more
accessible and more readily understandable.
Graphic design is applied in the entertainment industry
in decoration, scenery, and visual story telling. Other
examples of design for entertainment purposes include
novels, comic books, DVD covers, opening credits and clos-
ing credits in film, and programs and props on stage. This
could also include artwork used for t-shirts and other items
screenprinted for sale.
From scientific journals to news reporting, the presentation
of opinion and facts is often improved with graphics and
thoughtful compositions of visual information - known as
information design. Newspapers, magazines, blogs, televi-
sion and film documentaries may use graphic design to
inform and entertain. With the advent of the web, informa-
tion designers with experience in interactive tools such as
Adobe Flash are increasingly being used to illustrate the
background to news stories.
Skills
A graphic design project may involve the stylization and
presentation of existing text and either preexisting imagery
or images developed by the graphic designer. For example,
a newspaper story begins with the journalists and photo-
journalists and then becomes the graphic designers job
to organize the page into a reasonable layout and deter-
mine if any other graphic elements should be required.
In a magazine article or advertisement, often the graphic
designer or art director will commission photographers or
illustrators to create original pieces just to be incorporated
into the design layout. Or the designer may utilize stock
imagery or photography. Contemporary design practice has
been extended to the modern computer, for example in
the use of WYSIWYG user interfaces, often referred to as
interactive design, or multimedia design.
Visual arts
Before any graphic elements may be applied to a design,
the graphic elements must be originated by means of
visual art skills. These graphics are often (but not always)
developed by a graphic designer. Visual arts include works
which are primarily visual in nature using anything from
traditional media, to photography or computer gener-
ated art. Graphic design principles may be applied to each
graphic art element individually as well as to the final
composition.
Typography
Typography is the art, craft and techniques of type design,
modifying type glyphs, and arranging type. Type glyphs
(characters) are created and modified using a variety of
illustration techniques. The arrangement of type is the
selection of typefaces, point size, line length, leading (line
spacing) and letter spacing.
Typography is performed by typesetters, compositors,
typographers, graphic artists, art directors, and clerical
workers. Until the Digital Age, typography was a special-
ized occupation. Digitization opened up typography to new
generations of visual designers and lay users.
Page layout
The page layout aspect of graphic design deals with the
arrangement of elements (content) on a page, such as im-
age placement, and text layout and style. Beginning from
early illuminated pages in hand-copied books of the Middle
Ages and proceeding down to intricate modern magazine
and catalogue layouts, structured page design has long
been a consideration in printed material. With print media,
elements usually consist of type (text), images (pictures),
and occasionally place-holder graphics for elements that
are not printed with ink such as die/laser cutting, foil
stamping or blind embossing.
Interface design
Since the advent of the World Wide Web and computer
software development, many graphic designers have be-
come involved in interface design. This has included web
design and software design, when end user interactivity is
a design consideration of the layout or interface. Combin-
ing visual communication skills with the interactive com-
munication skills of user interaction and online branding,
graphic designers often work with software developers and
web developers to create both the look and feel of a web
site or software application and enhance the interactive
GRAPHIC DESIGN AND DESIGNERS | ISSUE 02 | 15
experience of the user or web site visitor. An important
aspect of interface design is icon design.
Printmaking
Printmaking is the process of making artworks by printing
on paper and other materials or surfaces. Except in the
case of monotyping, the process is capable of producing
multiples of the same piece, which is called a print. Each
piece is not a copy but an original since it is not a repro-
duction of another work of art and is technically known
as an impression. Painting or drawing, on the other hand,
create a unique original piece of artwork. Prints are cre-
ated from a single original surface, known technically as
a matrix. Common types of matrices include: plates of
metal, usually copper or zinc for engraving or etching;
stone, used for lithography; blocks of wood for woodcuts,
linoleum for linocuts and fabric plates for screen-printing.
But there are many other kinds, discussed below. Works
printed from a single plate create an edition, in modern
times usually each signed and numbered to form a limited
edition. Prints may also be published in book form, as art-
ists books. A single print could be the product of one or
multiple techniques.
Tools
The pencil is one of the most basic graphic design tools.
The mind may be the most important graphic design tool.
Aside from technology, graphic design requires judgment
and creativity. Critical, observational, quantitative and
analytic thinking are required for design layouts and ren-
dering. If the executor is merely following a solution (e.g.
sketch, script or instructions) provided by another designer
(such as an art director), then the executor is not usually
considered the designer. The method of presentation (e.g.
arrangement, style, medium) may be equally important to
the design. The layout is produced using external tradition-
al or digital image editing tools. The appropriate develop-
ment and presentation tools can substantially change how
an audience perceives a project.
In the mid 1980s, the arrival of desktop publishing and
graphic art software applications introduced a generation
of designers to computer image manipulation and creation
that had previously been manually executed. Computer
graphic design enabled designers to instantly see the ef-
fects of layout or typographic changes, and to simulate
the effects of traditional media without requiring a lot of
space. However, traditional tools such as pencils or mark-
ers are useful even when computers are used for finaliza-
tion; a designer or art director may hand sketch numerous
concepts as part of the creative process. Some of these
sketches may even be shown to a client for early stage ap-
proval, before the designer develops the idea further using
a computer and graphic design software tools.
Computers are considered an indispensable tool in the
graphic design industry. Computers and software applica-
tions are generally seen by creative professionals as more
effective production tools than traditional methods. Howev-
er, some designers continue to use manual and traditional
tools for production, such as Milton Glaser.
16 | ISSUE 02 | GRAPHIC DESIGN AND DESIGNERS
New ideas can come by way of experimenting with tools
and methods. Some designers explore ideas using pencil
and paper. Others use many different mark-making tools
and resources from computers to sculpture as a means
of inspiring creativity. One of the key features of graphic
design is that it makes a tool out of appropriate image
selection in order to possibly convey meaning.
Computers and the creative process
There is some debate whether computers enhance the
creative process of graphic design. Rapid production from
the computer allows many designers to explore multiple
ideas quickly with more detail than what could be achieved
by traditional hand-rendering or paste-up on paper, moving
the designer through the creative process more quickly.
However, being faced with limitless choices does not help
isolate the best design solution and can lead to endless
iterations with no clear design outcome.
A graphic designer may use sketches to explore multiple or
complex ideas quickly without the distractions and compli-
cations of software. Hand-rendered comps are often used
to get approval for an idea execution before a design in-
vests time to produce finished visuals on a computer or in
paste-up. The same thumbnail sketches or rough drafts on
paper may be used to rapidly refine and produce the idea
on the computer in a hybrid process. This hybrid process
is especially useful in logo design where a software learn-
ing curve may detract from a creative thought process.
The traditional-design/computer-production hybrid process
may be used for freeing ones creativity in page layout or
image development as well. In the early days of computer
publishing, many traditional graphic designers relied on
computer-savvy production artists to produce their ideas
from sketches, without needing to learn the computer skills
themselves. However, this practice has been increasingly
less common since the advent of desktop publishing over
30 years ago. The use of computers and graphics software
is now taught in most graphic design courses.
Occupations
Graphic design career paths cover all ends of the creative
spectrum and often overlap. The main job responsibility
of a Graphic Designer is the arrangement of visual ele-
ments in some type of media. The main job titles include
graphic designer, art director, creative director, and the
entry level production artist. Depending on the industry
served, the responsibilities may have different titles such
as DTP Associate or Graphic Artist, but despite changes
in title, graphic design principles remain consistent. The
responsibilities may come from or lead to specialized skills
such as illustration, photography or interactive design.
Todays graduating graphic design students are normally
exposed to all of these areas of graphic design and urged
to become familiar with all of them as well in order to be
competitive.
Graphic designers can work in a variety of environments.
Whilst many will work within companies devoted specifical-
ly to the industry, such as design consultancies or branding
agencies, others may work within publishing, marketing or
other communications companies. Increasingly, especially
since the introduction of personal computers to the indus-
try, many graphic designers have found themselves work-
ing within non-design oriented organizations, as in-house
designers. Graphic designers may also work as free-lance
designers, working on their own terms, prices, ideas, etc.
A graphic designer reports to the art director, creative
director or senior media creative. As a designer becomes
more senior, they may spend less time designing media
and more time leading and directing other designers on
broader creative activities, such as brand development
and corporate identity development. As graphic designers
become more senior, they are often expected to interact
more directly with clients.
Qualifications
A degree or certificate from an accredited trade school
is usually considered essential for a graphic design posi-
tion. After a career history has been established, though,
the graphic designers experience and number of years
in the business are considered the primary qualifications.
A portfolio, which is the primary method for demonstrat-
ing these qualifications, is usually required to be shown at
job interviews, and is constantly developed throughout a
designers career.
One can obtain an AAS, BA, BFA, MFA or an MPhil / PhD in
graphic design. Degree programs available vary depending
upon the institution, although typical U.S. graphic design
jobs require at least some form of degree.
Current graphic designer jobs demand proficiency in one
or more graphic design software programs. Arguably, the
most common software used in the graphic design indus-
try is Adobe Creative Suite. The Suite has three primary
programs used by a designer:
- Photoshop -manipulate photos, typography and create
images with a variety of effects.
- Illustrator -create logos and typography.
- InDesign -create typography, and output print layouts.
(Some designers still prefer QuarkXPress when creating
layouts, as it was previously the industry standard choice.)
Outside the graphic design industry many people use
Microsoft Word to make a layout or design. However,
depending on the job at hand, most designers create the
layout in either InDesign or QuarkXPress. Specifically, the
designer will type the text in the layout program, import-
ing the graphics and images they created in PhotoShop or
Illustrator. There are a couple reasons a designer builds a
layout in this fashion:
- Files going to press are printed at 300 dots per inch. As
a result, the file size can become very large. So by using
a layout program and importing the graphics and images,
the working file is a fraction of the file size. When the
designer is ready to go to press, they will either create a
press-ready PDF; or do what is called, Collect For Output.
- InDesign or QuarkXpress make it possible to work with
large multipage layouts like catalogs and booklets.
- Since InDesign and QuarkXPress import the original
Graphic
designer
A graphic designer is a professional within
the graphic design and graphic arts industry
who assembles together images, typography or
motion graphics to create a piece of design. A
graphic designer creates the graphics primarily
for published, printed or electronic media, such
as brochures (sometimes) and advertising. They
are also sometimes responsible for typesetting,
illustration, user interfaces, web design, or
take a teaching position. A core responsibility
of the designers job is to present information
in a way that is both accessible and memorable.
file, linking to the graphics and images, the designer can
change the original file and it will update all instances
throughout the document. This is very efficient and a big
time saver, which in the Graphic Design industry deadlines
are always tight; and time is money!
A web designer should understand how to work with XML,
HTML, and basic web programming scripts. A print design-
er should understand the processes involved in printing to
be able to produce press-ready artwork.
Designers should be able to solve visual communication
problems or challenges. In doing so, the designer must
identify the communications issue, gather and analyze
information related to the issue, and generate potential ap-
proaches aimed at solving the problem. Iterative prototyp-
ing and user testing can be used to determine the success
or failure of a visual solution. Approaches to a communica-
tions problem are developed in the context of an audience
and a media channel. Graphic designers must understand
the social and cultural norms of that audience in order to
develop visual solutions that are perceived as relevant,
understandable and effective.
Graphic designers should also have a thorough under-
standing of production and rendering methods. Some of
the technologies and methods of production are drawing,
offset printing, photography, and time-based and interac-
tive media (film, video, computer multimedia). Frequently,
designers are also called upon to manage color in different
media.
GRAPHIC DESIGN AND DESIGNERS | ISSUE 02 | 17
Career portfolio
Fifty years ago, the graphic designers portfolio was usually
a black book or large binder in which samples of the art-
ists best printed pieces were carried to show prospective
clients or employers. Printed pieces are often protected
inside by being mounted on boards or slipped into Acetate
sleeves.
Since the 1990s, portfolios have become increasingly
computer digitized, and now may be entirely digitized and
available on the Internet, or on CD, DVD, or via email.
Branding
Graphic design relates heavily to corporate identity, the
branding and persona of a corporation.
Graphic
design
occupation
Graphic Art Managers
The following are positions or responsibilities and usually
titles, held by experienced graphic designers in related
management roles:
Creative Director
Creative directors are in charge of a creative team that
produces artwork to be displayed in advertising campaigns,
or on products. A creative team can consist of artists (e.g.
art directors, graphic designers, illustrators, photographers,
copywriters, production artists) and a production staff. Cre-
ative directors initiate or inspire creative ideas and make
sure that the art works include those ideas to the clients
satisfaction. Creative directors usually are promoted from
an art director or copywriter position. A creative directors
job may also involve responsibilities usually associated with
a client representative or a project manager.
Art Director
Art directors make sure that illustrators and production
artists produce and complete their work on time and to the
creative director or clients satisfaction. Art directors also
play a major role in the development of a project by mak-
ing decisions on the visual elements of the project, and by
18 | ISSUE 02 | GRAPHIC DESIGN AND DESIGNERS
giving the final say on the selection of models, art, props,
colors, and other elements. Art directors need advanced
training in graphic design as they often do artwork and
designing themselves. However, an art directors time may
be consumed doing supervisory and administrative work.
Art Production Manager
Art production managers or traffic managers oversee the
production aspect of art to improve efficiency and cost
effectiveness. Art production managers supervise art-
ists or advise the supervisors of artists. Creative directors
and art directors often assume the role of art production
managers, especially when production cost is not a critical
concern.
Hands-on Graphic De-
signers
The following are positions or responsibilities, not neces-
sarily titles, held by art directors and graphic designers:
Brand identity developer
Brand identity design is concerned with the visual aspects
of a company or organizations brand or identity. A brand
identity design is the visual element that represents how
a company wants to be seen; it is the companys visual
identity, and is how a company illustrates its image. A
companys brand identity can be represented in terms of
design through a unique logo, or signage, and is then of-
ten integrated throughout all the elements of a companys
materials such as business cards, stationery, packaging,
media advertising, promotions, and more. Brand identity
may include logo design. Brand identity development is
usually a collaborative effort between creative directors, art
directors, copywriters, account managers and the client.
Logo Designer
The job of a logo designer is to provide a new and in-
novative way to express the key message of a company
through an image. Logo designers take the information
given to them by the client and work, using their own cre-
ativity along with marketing strategy to find an appropriate
image that their client can use to represent what they are
trying to encourage, sell, or what they are. It is not likely
that a company will specialize in logo design or have a
position for a designated logo designer.
Illustrator
Illustrators conceptualize and create illustrations that
represent an idea or a story through two-dimensional or
three-dimensional images. Illustrators may do drawings
for printed materials such as books, magazines, and other
publications, or for commercial products such as textiles,
packaging, wrapping paper, greeting cards, calendars, sta-
tionery, and more. Illustrators use many different media,
from pencil and paint to digital formatting, to prepare and
create their illustrations. An illustrator consults with clients
in order to determine what illustrations will best meet the
story they are trying to tell, or what message they are
trying to communicate. Illustrating may be a secondary
skill requirement of graphic design or a specialty skill of a
freelance artist, usually known for a unique style of illus-
trating. Illustration may be published separately as in fine
art. However, illustrations are usually inserted into page
layouts for communication design in the context of graphic
design professions.
Visual Image Developer
Similar to illustration are other methods of developing
images such as photography, 3D modeling, and image
editing. Creative professionals in these positions are not
usually called illustrators, but are utilized the same way.
Photographers are likely to freelance. 3D modelers are
likely to be employed for long-term projects. Image editing
is usually a secondary skill to either of the above, but may
also be a specialty to aid web development, software de-
velopment, or multimedia development in a job title known
as multimedia specialist. Although these skills may require
technical
knowledge, graphic design skills may be applied as well.
Multimedia Developer
Multimedia developers may come from a graphic design
or illustration background and apply those talents to mo-
tion, sound, or interactivity. Motion designers are graphic
designers for motion. Animators are illustrators for motion.
Videographers are photographers for motion. Multimedia
developers may also image edit, sound edit, program, or
compose multimedia just as multimedia specialists.
Content Developer
Content developer is a generic term used for describing
illustrators, visual image developers, and multimedia devel-
opers in software and web development. The term has a
broader scope that includes non-graphical content as well.
A generic name for content that is used in a digital compo-
sition are digital assets.
Visual Journalist
Visual Journalists, also known as Infographic Artists create
information graphics or Infographics; visual representa-
tions of information, data or knowledge. These graphics
are used anywhere where information needs to be ex-
plained quickly or simply, such as in signs, maps, journal-
ism, technical writing, and education. They are also used
extensively as tools by computer scientists, mathemati-
cians, and statisticians to ease the process of developing
and communicating conceptual information. They are ap-
plied in all aspects of scientific visualization.
Layout artist
A layout artist deals with the structure and layout of im-
ages and text in a pleasing format. This can include maga-
zine work, brochures, flyers, books, CD booklets, posters,
and similar formats. For magazines and similar produc-
tions, color, typeface, text formatting, graphic layout and
more must be considered. Is the chosen typeface good
for long term reading, or will the eyes get tired? Does that
title typeface fit the feel of the rest of the article? Are the
photos arranged in such a way that is pleasing to the eye,
and directs the reader in the right flow or direction? These
are just some of the questions a layout artist must ask
themselves. Page layouts are usually done by art directors,
graphic designers, production artists or a combination of
those positions.
Interface Designer
Interface designers are graphical user interface (GUI)
layout artists. They are employed by multimedia, software,
and web development companies. Because GUI elements
are interactive, interface design often overlaps interaction
design. Because interfaces are not usually composed as
single computer files, interface design may require tech-
nical understanding, including graphical integration with
code. Because interfaces may require hundreds of assets,
knowledge of how to automate graphic production may be
required. An interface designer may hold the job title of
web designer in a web development company.
Web Designer
A web designers work could be viewed by thousands of
people every day. Web designers create the pages, layout,
and graphics for web pages, and play a key role in the
development of a website. Web designers have the task
of creating the look and feel of a website by choosing the
style, and by designing attractive graphics, images, and
other visual elements, and adapting them for the websites
pages. Web designers also design and develop the navi-
gation tools of a site. Web designers may make decisions
regarding what content is included on a web page, where
things are placed, and how the aesthetic and continuity is
maintained from one screen to the next.
Depending on the scope of the project, web design may
involve collaboration between software engineers and
graphic designers. The graphic design of a website may
be as simple as a page layout sketch or handling just the
graphics in an HTML editor, while the advance coding is
done separately by programmers. In other cases, graphic
designers may be challenged to become both graphic
designer and programmer in the process of web design in
positions often known as web masters.
Package Designer
A package designer or packaging technician may utilize
technical skills aside from graphic design. Knowledge of
cuts, crease, folding, nature and behavior of the packag-
ing material such as paper, corrugated sheet, synthetic or
other type of materials may also be required. A customer
may see the top/outside of a package at first, but may also
be drawn to other package design features. A packaging
design may require 3D layout skills in addition to visual
communication to consider how well a design works at
multiple angles. CAD software applications specifically for
packaging design may be utilized.
GRAPHIC DESIGN AND DESIGNERS | ISSUE 02 | 19
Creativ
AD Photo`S

20 | ISSUE 02 | GRAPHIC DESIGN AND DESIGNERS

GRAPHIC DESIGN AND DESIGNERS | ISSUE 02 | 21
22 | ISSUE 02 | GRAPHIC DESIGN AND DESIGNERS
GRAPHIC DESIGN AND DESIGNERS | ISSUE 02 | 23
Showcase of Inspirational
Tree Logos
Tree logos are used by many companies in various industries around the world. The use of the tree logo is a universally
recognizable symbol which represents many things, some of which are life, wisdom, strength, protection and abundance.
The popularity of tree logos is due to certain characteristics attributed to them, including the following:

Acacia Banyan Tree Companies Beirut Gardens

Dig this tree Westerville Campground

Odyssey Paper Earth save Eileen Myers

24 | ISSUE 02 | GRAPHIC DESIGN AND DESIGNERS

Lotus Legacy Wellness King of the Beach

Greenscapes Inspiring life La Carolina

Grapes & Granola Geko climbing Frisco

Environmentally Friendly Ephfx Foresti

GRAPHIC DESIGN AND DESIGNERS | ISSUE 02 | 25

 Discover What
Type of Designer
Are You?

Just like there are different client types, and dif-
ferent people in general there are a few dif-
ferent types of designers. In this article we will
have a look at some of the characteristics of
some of these and give you some tips on how

to improve. Hopefully you will have a few good
tips on how you can become an even better de-
signer when youre done with this article!

Have you ever thought that youre
unique? Or felt that youre just one
of thousands out there struggling
to get a project? Most likely, both of
these statements are true. Many de-
signers are out there trying to get
their next project and most of them
are in a way unique. Still there are
some characteristics that we all have
more or less of. By understanding
some of these and knowing how to
take advantage of your better sides
while getting rid of the bad ones, you
will be more likely to succeed!

Different Characteristics The Over-worker

Very few are just one single type. Most of us have
some characteristics from several of these types, giv-
ing us hundreds of possible combinations. So we are
indeed unique. Being one specific type doesnt mean
that youre better than everyone else, or worse for
that matter. The best way to be is a nice mix of differ-
ent ones if possible. Even some of the more negative
sounding types do have their positive sides. Now lets
have a look at one way to divide us into these types:
More common within the ranks of fresh designers is
the over-worker. This is the designer that spends a
lot of time on even the smaller projects believing that
this is the answer to everything. On the good side its
always great when people try to make sure theyve
done the best they can. On the other hand this can be
a dangerous path to go as you will have time for less
projects during a month. If youre being paid by the
hour your designs will be more expensive than with
several other designers and if youre paid by the proj-

26 | ISSUE 02 | GRAPHIC DESIGN AND DESIGNERS

ect theres a good chance youre working a lot for every
dollar you get in. The key here is to learn when to say stop
and getting more confident in what you do.
The Confident
Confident can be good. Actually its very good to some
point. The confident designer knows that hes doing well
and sometimes dares to believe in his own gut feeling
when making decisions. Balance is essential though. If
youre too confident you may be missing some important
feedback from the client or not be critical enough to your
own work.
The Nervous Wreck
Ive met a few designers that are really nervous wrecks.
They think that everything they do is bad or that clients
will be unhappy with them no matter what they deliver.
The confidence level is zero and Ive many times thought
that it must be really painful to have it this way. For some
it can be just a matter of getting some quality feedback or
polishing the skills a bit to feel more confident. Ask fellow
designers for feedback, read up on what you do and do an
evaluation of your routines. Maybe youre someone whos
better off in another job?
The Average Designer
As the title says this is the average one. By average I dont
mean bad, just someone whos right there in the middle
with thousands of others without standing out much. A lot
of us manage well in this segment and get a nice share of
projects on a regular basis. These designers live by current
trends without daring to take too many risks. They have
the basic skills and understanding and usually make an ok
living from designing.
The Creative Mess
The creative mess has a lot of ongoing projects simultane-
ously. He/she often has many projects outside the design
terms as well, along with personal projects and dreams
all in the creative field. This can be a dangerous path to
walk down if youre not able to get done with what youre
doing. Try to get balance (the next characteristic) and
work on time management. Sometimes it can be hard, but
necessary to realise that you cant do everything you want
always. Priorities have to be made.
The Balanced Creative
This is the succesful version of the creative mess type.
With a lot of ongoing projects, this designer knows that
it takes priority and hard work. Having multiple projects
can be a really good thing and this designer has found the
secrets to how to balance all projects in a satisfying way.
The Unique
This designer works more for the design than for the
money (usually). A person that focuses on design that
is uncommon and rarely seen. He doesnt always have
enough work but occasionally there comes huge projects
along from clients that dare to go for his unique ground-
breaking style. Often this designer works part-time.
The Trendsetter
Many times the trendsetter can own his own company or
work with a bigger one. But these can also be freelancers.
This type is the first one to start-up new trends and often
has a lot of success. He can choose from many available
projects at most times and is well-known in his niche. To
be able to stay on top this designer will need to spend a
lot of time reading up on whats happening in the market,
have the latest software and keep the skills polished.
The Ego-tripper
Havent we all met them at some point? The designer who
believes he is a trend setter or that his designs are abso-
lutely awesome at all times. This person needs to be better
to listen to feedback and be more realistic. Instead of at-
tracting clients he will be likely to drive them away. Clients
that re-buy are few and he doesnt understand why as he
is perfect in his own eyes.
The Copycat
There are some designers that copy others work almost
for a living sometimes. This will eventually be discovered
and is a really bad thing. It gives a horrible reputation and
most of these designers have to stop doing business after
a short time. The secret is to do your research properly
and learn to use trends without copying someone elses
work.
The Lucky One and the Unlucky One
This is many times more a myth than a fact in my opinion.
Ive many times hear someone say they dont succeed be-
cause they have bad luck or that someone else succeeded
because they were really lucky. Obviously you can have
good and bad luck with everything you do, thats a fact.
But using it as an excuse is not the way to go. While some
succeed or hit that one client that is great referral or has a
lot of money, it all comes down to hard work. The harder
you work, the bigger the chance is for success!
Conclusion
There are many types of designers, and youre probably
a combination of several of these. My advice to you is to
have a look at these, make up your own opinion and work
towards becoming the type you think is the best for you.
Im sure Ive forgotten some characteristics, so feel free to
leave your feedback for everyone to hear. By doing things
your own way without blaming the situation and working
hard instead, you will have a better chance at success!
Good luck!
GRAPHIC DESIGN AND DESIGNERS | ISSUE 02 | 27
Most Creative
Ads Series

28 | ISSUE 02 | GRAPHIC DESIGN AND DESIGNERS

GRAPHIC DESIGN AND DESIGNERS | ISSUE 02 | 29
30 | ISSUE 02 | GRAPHIC DESIGN AND DESIGNERS
GRAPHIC DESIGN AND DESIGNERS | ISSUE 02 | 31
Meet the Artist:
INFO: http://paffos.com

Arsen Stahiv
Paffos (Arsen Stahiv), whose works are perfect blend of creative photography and manipulation, whether it
is the composition and light or the breathtaking environments. Paffos has been responsible for some of the
most stunning images. Here we present his portfolio, you will see each photographs are different in ideas
and style.
Meet the Artist:
INFO: http://www.4playgraphix.com

Olly Howe
Advertising, Digital Art, Illustration
Meet the Artist:
INFO: http://www.cathriley.com

Cath Riley
The emphasis, and main body of my work, has always been of a three-dimensional nature, but over the last
few years, I have given time to develop and explore new skills, particularly the use of pencil on paper to
produce some of the pencil drawings which are here on this site.

The drawings are part of an on-going evolutionary process of exploration and development, and thus serve
only to mark and represent a particular stage in my abilities and understanding.

Current on-going experimental drawing includes very large scale drawing, based around the human figure,
which are very different in character from the pencil portrait and flesh figure drawings which are featured
here.
Meet the Artist:
INFO: http://www.d-kele.com

Kele Dobrinski
Im Kele Dobrinski. I have a traditional Advertising background in Art Direction & Design, and have spent
time working with agencies Cutwater (3 years), TBWA/Chiat/Day (1 year), Venables Bell & Partners (2
years), and Goodby Silverstein & Partners (4 mos.), as well as project work with many others.
Johnson & Johnson
Band Aid: Score

Winning hurts. Band Aid.

Advertising Agency: JWT, Sao Paulo, Brazil

CCO: Mario DAndrea
Creative Director: Roberto Fernandez
Art Director: Filipe Cuvero
Copywriter: Fbio Leo, Christian Fontana
Photographer: Rgis Fernandez
Account Director: Luciana Rodrigues
Account Supervisor: Rafael Freitas, Priscila Arakelian
Viking Fertilizer:
Mango, Coconut

For faster fruiting.

Advertising Agency:
McCann Worldgroup, Bangkok, Thailand
Chief Creative Officer: Martin Lee
Creative Director / Copywriter: Santi Suwanvalaikorn
Art Director: Naree Leungvititgoon
Production company: Visionary Group
 Brainstorming

Tips and
Techniques
for Free-
lancers
Brainstorming is the secret weapon
of every freelancer and entrepre-
neur. It helps us recall everything
we know about the subject and any
related ideas to it. Whether we real-
ize it or not, brainstorming is at the
root of every venture we undertake,
be it a product, project or something
as simple as a blog post.
Theres a reason freelancers swear by the powers
of brainstorming. A single brainstorming session
can create new and creative ideas that either make
you more productive or help you find a solution to
your problem. Its a great way to extract all the
information you have and what you need to know
more about. It allows you to notice connections and
patterns in the information and helps you create an
outline.

46 | ISSUE 02 | GRAPHIC DESIGN AND DESIGNERS

Mind maps
Mind mapping is the easiest and most popular form of
brainstorming. Theyre especially effective if youre brain-
storming on your own. A mind map is a graphical repre-
sentation of all your ideas linked to and arranged around
one central idea, problem or topic. There are no rules to
it apart from jotting down everything that comes in your
head. Your mind map can be hierarchical or in a tree
branch format. You can either do mind map on a paper
or use an online program like Mind Meister which lets you
save, import and export your mind maps and comes with a
free version as well.
Brain dumps
Brain dumps are the most fun. Take a piece of paper or
open up your word processor and start writing everything
that comes to mind. Theres no rule saying it has to be re-
lated to the project. If youre brainstorming logo ideas for
a client and find yourself thinking about lunch, note down
what you want to have. Trust me, its much more produc-
tive this way. Otherwise, youll be stuck trying to come up
with logos while your mouth is watering as youre thinking
about food.
Collaboration
If you find yourself stuck for ideas, talk to someone and in-
vite them on board for the project. Get them to brainstorm
with you and compare notes. More often than not, your
brainstorming partner will pick up something you might
have missed, find a correlation or come up with a unique
angle that you wouldnt have thought of on your own.
If you dont want to partner up on the project, thats fine.
You can still get them to collaborate with you for brain-
storming as long as you return the favour.
Reverse brainstorming
Reverse brainstorming can work in two ways. The first is
to visualize the result you want to achieve and then work
your way back to the start. For example, if you want to
write a blog post, then depending on how you write, your
reverse thinking timeline will look something like:
- Respond to comments
- Publish post
- Format post
- Write post
- Create an outline of the post
- Write title
This technique helps you concentrate on areas that you
may take for granted and highlights anything that you
might have missed. In the example above, you might real-
ize that you didnt pay attention to the formatting of the
post and now know that you need to do.
The second way is to ask yourself the opposite question of
what youre trying to achieve. First, ask yourself How do I
achieve these results? and then ask How do I achieve the
exact opposite?
Lets take this blog post for example. When brainstorm-
ing the ideas for this post, I wanted to make this post
exceptional. So I asked myself How can I make this post
amazing? I drew up a blank. I spent an hour looking at
my outline for this post trying to figure out how to make it
amazing.
Then I decided to ask myself How can I make this post
mediocre? The answer was staring me right in the face
for both this question and the one above. I could make this
post mediocre by simply explaining the tips and techniques
for brainstorming and not giving any examples and not
showing how to use these tips.
Group sessions
Group sessions are great for getting past ideas that have
you stuck. If youre stuck at a particular section of your
project, a group brainstorming session can be your ticket
to clarity. The people in your group bring their own experi-
ence and knowledge that will help you find ideas for solv-
ing your problem.
Its not necessary for the group members to be from the
same field as you. As long as they have a rudimentary
understanding of what youre trying to solve, their ideas
can be invaluable.
Sometimes, even input from someone who has no idea
what youre talking about can help. Encourage them to ask
questions and propose any idea that comes to their head
even if it seems silly. Having a novices perspective on your
problem may just be what you need to find a solution.
Ask Questions
Asking questions is a great way to come up with ideas
and answers to your problems. Use prompters like what,
where, who, when, and how. Suppose youre creating
a website for a dentist, ask Who is the customer? The
answer will be, people who have problems with their teeth.
Next, ask, What kind of problems do they have? To which
youll answer Toothaches, cavities, dentures, etc and so
on until you have all information you need.
Set A Time Limit
Setting a time limit is a great technique if youre pressed
for time or havent been able to brainstorm successfully.
It forces you to focus and come up with as many ideas
as it can in the given time. The duration of the time limit
depends on you. The limit has to be short enough to instil
a sense of urgency but long enough to allow you to record
all your ideas. If youre trying this technique for the first
time, start with 10 minutes. For bigger projects, break your
tasks down in small chunks and then brainstorm them one
by one. This way you wont feel overwhelmed by the sheer
size of the project.
SWOT Analysis
A SWOT analysis is an analysis of your projects strengths,
weaknesses, opportunities and threats. Doing a SWOT
analysis will give you a clear idea of what you have, what
you need, what you can capitalize on and what you need
to improve.
How do you brainstorm and what is your favou-
rite brainstorming technique?
GRAPHIC DESIGN AND DESIGNERS | ISSUE 02 | 47
 20 things that
drive web
developers crazy

The relationship between visual designer and
web developer can be a fraught one. Rafael

Mumme, senior client-side developer at New
York agency HUGE, takes a wry look at where it
can all go horribly wrong...

Im going to be honest. The life of a what to do. (Will the visual designers
web developer is pretty sweet. We get please stand up?). And because they
paid to sit around an open plan office dont quite understand what we do,
all day solving problems that, if we sometimes we have to do things that,
werent getting paid, wed probably quite frankly, make us feel dirty.
do anyway.
Not to mention having to navigate PSD
We also work with people who, be- files so fiendishly organised that you
cause they dont quite understand would think they were created that
what we do or how we do it, regard way on purpose. (But thats okay, be-
us with a certain bootlicking awe. cause we like solving puzzles too.)
This does no end of good for our en-
larged sense of self-importance. So, visual designers, heres a list of
20 things that drive developers crazy.
Unfortunately, some of those people If youre not doing at least 15, then
are also the same people who tell us youre not trying hard enough.

48 | ISSUE 02 | GRAPHIC DESIGN AND DESIGNERS

1. Add rounded corners to every single element on the
page. While youre at it, add shadows and gradients too.
2. Use the same PSD as a starting point for every project.
Hide unused layers, but dont delete them. Make sure your
PSD is at least 100MB.
3. Use sIFR on every piece of text. Bonus points if you
choose a font thats very similar to Arial.
sanity into your work.
19. We should hang out more, so during QA dont use bug
tracking software. Come sit with us for an entire day and
point out changes you want made over our shoulders. Use
the opportunity for some impromptu design updates as
well.

4. Never use the same dimensions on elements. Give each

a different font size and colour (for black, use #000000, 20. And fi-
nally, this
#111111, #121212 ...).

5. Use a lot of breakout images with transparency. Web de-

velopers love graphics breaking out of boxes and columns.

is the most
Bonus points if you add text wrapping around images.

6. Add a modal window. At least half the site should hap-

pen in a modal window.

7. Add a Facebook Connect button. Its just a button. How

hard can it be to implement?
important
8. Hide important PSD layers. Later, tell the developer that
they missed a hidden element. thing: dont
learn any-
9. Create buttons with rollover, active and clicked states.
Then dont tell anyone youve done this. Create a separate
file for them and send it on at the last minute. We love

thing about
surprises.

10. Tell the developer about some fancy functionality you

read about somewhere on a blog. Then tell them to build

HTML, CSS,
it, because, if you saw it somewhere, clearly its possible.

11. Add a carousel. Oh yeah, and make sure its a full-

screen carousel.

12. Use Lorem Ipsum instead of real copy. And make sure
the reserved space is not big enough for real copy.
JavaScript or
13. Randomly merge PSD layers. Why not? (But dont
merge too many. Itll take you further away from the magic
100MB target).
browser is-
14. Name all your files final, plus a date and a random
letter (final-2010-12-01a.psd, final- 2010-12-01r.psd, final- sues. The less
you know
2010-12-02b.psd).

15. Dont worry about making changes once everything is

signed off. When were done with a page, send another,

about it, the

completely different version of it. And tell us that those
changes are necessary and essential for user experience.

16. Dont name or organise your PSD layers and folders.

17. If youre designing a form, forget about error and suc-

cess states. Well squeeze that stuff in somewhere. We
more impor-
love guessing your intentions.

18. When youre designing a website, dont invite any de-

velopers for brainstorming or design meetings. Make sure
tant we seem.
were the last ones to see the layout. Show it to the client
first, so it will be too late to introduce even a modicum of

GRAPHIC DESIGN AND DESIGNERS | ISSUE 02 | 49

Meet the Artist:
INFO: http://www.jgjones.com

J. G. Jones
J. G. Jones is an American comic book artist, known for his work on books such as Wanted and Final Crisis.
Meet the Artist:
INFO: http://www.mariotestino.com

Mario Testino
Mario Testino was born in Lima, Peru. In 1976, after completing his studies in Peru, he arrived in London to
pursue a career in photography.

Testino has become one of the worlds most well known and celebrated fashion photographers. His work
has been featured across the globe in magazines such as Vogue, Vanity Fair and V and he has crafted and
contributed to the imagery of leading fashion houses such as Burberry, Gucci, Versace, Calvin Klein, Dolce &
Gabbana, Salvatore Ferragamo, Estee Lauder, Hugo Boss, Miu Miu, Shiseido and Michael Kors, among many
others. As well as having published nine books of his work and edited one other dedicated to contemporary
art and artists from his native Peru, Mario Testino has had many successful exhibitions in galleries and muse-
ums around the world.
Meet the Artist:
INFO: http://www.naderbilgrami.com

Nader Bilgrami
Photographer
Meet the Artist:
INFO: http://rwpike.blogspot.com/

Rodney Pike
My name is Rodney Pike. Many in the art world know me as rwpike, which is my username at several of my
online portfolios and sites Im a member of. I have a lifetime of experience in Fine Art and Graphic Design
and Digital Illustration.

I offer Photo-Manipulated Illustrations of all sorts but I specialize in Photo-Manipulated Caricature Illustra-
tion, Humorous Illustration and Political Satire, perfect for magazines, books, etc. My clients include compa-
nies such as FHM Magazine, Tennis Magazine, Bauer Media and Miller Publishing Group. I am a member of
the ISCA and NAPP
Meet the Artist:
INFO: http://www.winkler-noah.it

Winkler+Noah
For Winkler+Noah, photography was the most fitting point of arrival for an artistic itinerary that they began
instinctively from childhood, exploring all the forms of expression that they encountered painting, drawing
and sculpture amalgamating them and trying out blends between different media.

This creative need for self-expression matured over the years, first becoming curiosity and then a strong will
to create and to photograph. After a professional detour as an illustrator and graphic designer, Noah met
Winkler and this acted as a detonator, producing a mixture fusing traditional photography with experimenta-
tion.
Meet the Artist:
INFO: http://www.pokedstudio.com

Poked Studio
Poked Studio is Jonathan Ball an illustrator and graphic designer living on a diet of pixel dust.

Inspired by lo-brow art forms such as cartoons, retro video games, urban art and cute monsters, creating
fantasy worlds and characters in vibrant colours and settings.
Meet the Artist:
INFO: http://www.mydeadpony.com

Raphael Vicenzi
Raphal Vicenzi aka My Dead Pony is a self-taught illustrator. His approach is therefore very personal and
mixes digital media, watercolour and furious doodles.

If at first the illustration seems fresh and light, a darker, more provocative undertone emerges afterward. His
style remains accessible and clients like Graniph, String Republic or Ride Snowboard have understood this.

His works have been published in magazines like Computer Arts, Advanced Photoshop, Rockpile, Idea Design
as well as in books about contemporary illustration like Illusive 2, Zeixs Illustration and Fashion Wonderland.
 Email Marketing:
Tips to Do it Well

Nowadays, with Internet spreading its wings all over the globe,
more and more people are switching from physical mediums
of business promotion to online marketing. Email marketing is
one of the best means of promoting your products and services
online. It is also one of the oldest sources of business-to-busi-
ness marketing used by virtually everyone.

A well planned effective email marketing campaign can help

your business products and services gain maximum visibility
and recognition, not only locally but all over the world. With
this direct marketing procedure you start getting quick re-
sponse once your email reaches your targeted customers.

66 | ISSUE 02 | GRAPHIC DESIGN AND DESIGNERS

The Importance
In todays world of cut-throat business competition, com-
panies and enterprises are making use of only the most ef-
fective means of business promotion, and email marketing
is one of these mediums. Businesses find email marketing
beneficial because of its ability to be highly adaptable to
todays constantly changing business world.
Other factor that adds to the inevitable importance of
email marketing is its aspect of being highly inexpensive
and affordable. It can also easily be built into existing
marketing systems of any organization seeking promotion
at international level. Moreover, online marketing can make
business promotion more efficiently, short, and real time in
terms of delivering something to your clients and custom-
ers.
Benefits of Email Marketing
Rightly executed email marketing can compliment all other
marketing initiatives and reap you many benefits, some of
which are as follows:
- Cost-Effectiveness
No matter how inexpensive the conventional mediums of
marketing and business promotion can get, they can never
be compared to the cost-effectiveness of email marketing.
Marketing collateral, like press advertisements, brochures,
flyers and posters require a significant financial outlay. On
the other hand, email marketing is live, constantly chang-
ing and is easy to implement, along with being inexpen-
sive.
- Global Approach
A good advantage of email marketing comes with the
globalism of the Internet. No matter where you are or
whom you need to reach, email marketing paves the way
to a global approach of business promotion. Borders are no
obstacles in email marketing.
- A Personalized Medium
Email marketing is a personalized medium of advertising
and business promotion. It enables you to create a special
bond with the prospects. Unlike other mediums of market-
ing and promotions, email marketing can be segmented
in terms of its target audience, meaning that you can split
people off into smaller, more focused lists. This too gives a
more personalized approach to your marketing messages.
- Gauge Results
Any marketing campaign needs to be gauged in terms of
its results and feedback from the target market. With email
marketing as a tool of business promotion, you can easily
carry out litmus tests on your target audience regarding
different campaigns.
You can accurately measure click-through rate, conver-
sion rate, how a person arrived at your website, and more,
through readily available tools on the Internet, and assess
the success of different email campaigns.
- Quicker Response Time
Another advantage of email marketing over the conven-
tional means of business promotion is that it has a quicker
response time. The average response time of email mar-
keting is one to three days at max and you get the most
responses on the first day itself, while a direct mail cam-
GRAPHIC DESIGN AND DESIGNERS | ISSUE 02 | 67
paign would take minimum two weeks to generate any
responses.
- Ease of Use
Email marketing comes with an ease of use for both the
sender and the receiver. Executing an email marketing
campaign is simple and anyone can do it without any ex-
tensive resources.
6 Tips to Do it Well
For every effective marketing campaign, doing it right
matters a lot. Following are certain tips which will help you
execute better and more effective email marketing cam-
paigns.
1. Pre-determine Your Campaigns Objectives
Before executing any campaign, its objectives and targets
need to be pre-determined in order to get the maximum
out of it. A general email marketing campaign can have
two basic objectives i.e. to strengthen customer loyalty
and ongoing relationships and to drive direct response of
the customers. Whichever of these two are your campaign
objectives, it is important that you plan it out and then set
it for execution.
2. Avoid Spamming
No matter how easy, affordable and responsive it gets, the
biggest hurdle in the way of a successful email marketing
campaign is the spam filters. When more and more people
started misusing email marketing, email service providers
all over the world introduced spam filters, which were a
great setback for this mode of business promotion. There-
fore, when the successful marketing practitioners realized
that peoples dislike to spam destroyed the customer loy-
alty they worked so hard to address the problem with best
practices that revolved around the aspect of permission.
Permission is best and the only authentic way to avoid
spamming in the process of email marketing. This may
sound a tedious process to you, however, in actual getting
permission is not much difficult. Offer something useful to
your customers (a coupon or special discounts, a research
related to your product or perhaps an informational news-
letter) in return as if the person agrees on receive your
messages and, often, to provide valuable personal infor-
mation.
Never underestimate the power of free and use the same
in taking customers permission for email marketing. When
you will give them something free, build the relationship
and then recommend products or services, they are likely
to buy from you and will stay loyal to your brand.
3. Opt-in Option
An opt-in option is a perfect way of taking permission and
carrying out an effective email marketing campaign. Add-
ing an opt-in form to your email marketing message is the
best practice in terms of marketing ethics and effective-
ness.
Considering the importance of an opt-in option, larger
organizations even go for a double opt-in option i.e. after
the receiver of their marketing message firstly enters his/
68 | ISSUE 02 | GRAPHIC DESIGN AND DESIGNERS
her email address to subscribe to their list, they send them
a confirmation email which contains a special link back to
their email marketing campaign, which verifies that this
visitor did indeed sign up to their mailing list. This way
they easily avoid spamming and their customers develop a
sense of respect for them.
4. Creating the Message
Once you plan out your campaign objectives and also get
permissions of your customers, the next step is to create
the actual message that needs to be sent out. There are
some points to be remembered while creating your email
marketing message:
- The subject line is the most essential element of email
message content. The subject line should always make
sense and should standout.
- Create the content of your message absolutely clear and
easily readable.
- Go for the inverted pyramid model of message construc-
tion i.e. start from most important information to less
important one
- Web readers have very less time and are always in a
hurry so keep your message short, to-the-point and ensure
its relevance.
- There are certain essential elements of an email message
content i.e. the to line and from line, the subject line, the
offer, the format, the body copy, the message category,
message personalization and targeting.
- Like the subject line, signature has a crucial importance
in an email message. Always include a signature at the
bottom of your emails, as it is a good way to attract more
traffic to your website. This signature should include your
personal details, your company details, and an opt-out link.
5. Testing the Message
Before sending out the actual campaign in execution, it
is better to test its different aspects with trial and er-
ror method. Try out different fonts for both content and
links, re-positioning images such as logos and buttons and
experiment with different emailing patterns (including the
greeting and sign off).
Send three different patterns of your email, compare their
click-thru stats and see which one works best. This way
you will be sending the right mix of content and images
that will attract more visitors, and ultimately more sales.
6. Develop and Maintain the Email List
As mentioned earlier, in order for your email marketing
campaign to be successful, it is important to be focused in
every aspect of execution. Similar is the case with email
list. You need to develop a proper and well-searched email
list for your campaign (probably of the people who are
interested or have opted-in for your marketing initiatives).
Also, email list is not a one-time thing. It needs to be
trimmed and maintained according to the circumstances.
Longer lists should be broken down into smaller segments,
targeting the consumer and personalizing the message.
Also, after every three months, shed off the people in your
list who do not rear or respond to your messages.
Conclusion

Email marketing is a fully grown and well-used tactic for

business promotion via emails. It is cost-effective, eas-
ily executed and gives a good impact to your campaigns.
Email marketing does not replace your other marketing
activities but compliments them extremely well. A well run
and good email marketing campaign can grow your cus-
tomer pool and add to customers loyalty.

Hearing from your brand repeatedly, with good content

reminds readers of your business value, especially if they
take your advice and find it works for them. Although email
marketing comes with lower risks and higher profitability,
however, this can only be achieved through proper plan-
ning and execution tuning into higher success rates for
your business.

Some email marketing examples

GRAPHIC DESIGN AND DESIGNERS | ISSUE 02 | 69

Meet the Artist:
INFO: http://www.mrgo.co.uk

Mrgo
Mrgo is a young designer from the south of England who can often be found scratching pen against paper
by candlelight in an attic, in a very much Anne Frank-esq manner, somewhere near Brighton. It is said that
your past makes you who you are today, and if that is the case then Mrgo is one hell of a man judging by
the last quarter of a century. It is reported that Mr Go doesnt need to blink, he just does it just to Fit in, a
tactic learnt from school to avoid bullying- Even though all of school only took him a week.
On July
1719, 2011
we bring you PUSH
Design Camp, Block
Island!

Greetings! We founded PUSH Work-

shops in 2007 to bring high-quality
workshops, salons and events to
creative professionals in our South
Norwalk location.
PUSH was founded in 2007 by Karl Heine, principal of cre-
ativeplacement and kHyal, President + Creative Director
of fiZz. The husband and wife team partner with masterful
individuals and companies to produce career-critical com-
munication design events and workshops.

PUSH is an ongoing series of handcrafted workshops,

salons and events developed to expand the learning op-
portunities of creative professionals at every stage in their
careers. From tips on typography and the lost art of letter-
press to rapidly evolving emerging interactive technolo-
gies. From creating a portfolio for success to techniques
that get your resume noticed. From how to present your
best self in an interview to mapping out a career shift
and more. PUSH provides the tools and training to keep
you pushing toward your goals.

In 2011, PUSH goes mobile with Design Camp on Block Is-

land. Revel in nature with like-minded creative profession-
als for three days of hedonistic play and design learning.

Stay tuned as we develop and solidify the schedule for an

intense three days of design thinking and workshops in a
breathtaking world of natural beauty. On the menu: wel-
come dinner by a master chef, typography in nature, plein
air painting, found object sculpture workshop, natural clay
spa on the beach and more!

http://push.
bigcartel.
com/
Meet the Artist:
INFO: http://weare.kittozutto.com

KittoZutto
KittoZutto is an art and design boutique comprising of Yana & Jun.

They combine fine art illustration with digital imaging, and the highly-detailed results are often best seen in
large formats.

Their hyper-realistic yet surreal illustrations are inspired by woman, fluids and nature.

Before setting up kittozutto they have worked in the field for more than a decade collectively, and have done
work for Adidas, American Express, BBC, Chanel, Coca Cola, Levis, Ministry of Sound, Motorola, Ogilvy &
Mather, Pioneer and Yahoo.
Meet the Artist:
INFO: http://www.davidmascha.com

David Mascha
David Mascha is a freelance graphic designer and illustrator living in Vienna, Austria. He works with special
emphasis on aesthetics and creative ideas with a high attention to details.

Beside showcasing on international fairs and exhibitions, he has been working for clients such as IBM, AT&T,
Gillette, Hennessy and K2 Sports. His work has bee
 Interview with:
INFO: http://www.perttumurto.com/
Perttu Murto
RESOURCE: http://abduzeedo.com/
I am a 23-year-old graphic designer from Finland. I have
been involved in graphics for almost 7 years and was also
recently selected as the Young Advertisement Designer of
the Year for 2007 in Northern Finland. My work has also
been featured in several prestigious design websites and
magazines.
1. First of all we would like to thank you for taking
the time to provide abduzeedo.com with this inter-
view. Please tell us more about your art and design
background and what made you become an artist
and designer?
It all begun when I bought my first digital camera, I think
I was 16 or 17 years old. Thats how I got my first touch
with Photoshop and boy I was sold when I saw what kind
of stuff you can do with it.
Anyway I kept photographing and playing with Photoshop.
There was a time when I played with Photoshop everyday.
When I learned more about it, I started to really get into
80 | ISSUE 02 | GRAPHIC DESIGN AND DESIGNERS
graphic design and art directing. I studied things about
typography, layouts, logos, branding and everything which
had something to do with graphic design. I really wanted
to know it all, haha. Years went by and I started to notice
that this is definitely what I want to do in my life.
It had become more like a lifestyle than a profession. At
the moment I study in Oulu University of Applied Sciences
Business and Information Management, majoring in Digital
Media. I am also working in an advertising agency called
Tymaa but Im always up to interesting freelancer proj-
ects as well.
2. Your work is pretty unique and full of creativity.
Where does your inspiration come from?
It really comes from everywhere, but mostly from music,
movies, other designers, cd-cover art etc you name it!
Sometimes I dont even know where it comes from, I just
feel like creating something what I think might be cool.
3. Could you describe for us your typical start to
finish workflow when working on a design?
It depends on the task and especially whether it is a client
job or a own piece of art. If it is a client job, the process
begins already in the client brief. After the brief you do
different kinds of raw layouts which correspond with the
clients brandbook and the target group of the campaign.
The raw layouts are presented to the client and the client
chooses the best one and he gives some comments about
it. Then youll start finishing the layouts in accordance with
the clients comments.
A personal piece of art differs completely from a client job.
When creating a personal artwork you dont have to think
about any target groups or take care of the customers
brand. The idea for a personal artwork can come from
anything and it can stay in your mind or sketchbook for
months and develop at the same time. Then, when an
inspiration hits, you can make it real. Nowadays I havent
really had time to do personal pieces of art because the
client jobs are taking so much time. Personal pieces are
really important so you can experiment and develop your
skills.
4. What are your tools of the trade, both hardware
and software?
HARDWARE: Sketchbook, pen, wacom, mac book pro, Can-
on 30D. SOFTWARE: Photoshop, Illustrator, Adobe flash,
Dreamweaver, Indesign.
5. What, for you personally are the pros and cons of
being a designer?
Pros: I can do what I want for living. I can be part of dif-
ferent projects around the world. I can give a face for a
brand new company. I can see my works in everyday life,
street ads, magazines, CD stores etc... Cons: It keeps me
very very busy sometimes. The deadline might be so short
that its impossible to put as much input to the work as I
want to.
6. How does your job as an artist and designer
influence your life? Do you feel that you see things
around you differently for example?
I like it. I see some things really differently than some
of my non-designer friends. For example when we are in
some coffeeplace I can check out a nice typography in a
sign or magazine and be like damn thats so cool, my
friends are usually like I dont get that... its just text,
heh. But I like it, I like how I notice all the details we got
everywhere around us.
7. What are your coming projects?
There are few personal projects I am working on, noth-
ing really to say yet... And of course there are plenty of
projects we are working on in our agency. Plus the school
stuff.. Its gonna be a busy year!
8. What are your favourite 5 websites, and why?
Pingstate.nu / A great Finnish design community!
Depthcore.com / The best artgroup around there, I love to
spend time in the memberpanel.
FFFFound.com / A lot of inspiration!
ReformRevolution / When I want to know whats new in
the design field.
Behance.net / A nice network for creative people.
9. Once again , thank you very much for the in-
terview. As a final word, do you have any tips for
upcoming artists and designers?
Be patient, work hard, work harder, chill.
GRAPHIC DESIGN AND DESIGNERS | ISSUE 02 | 81
Meet the Artist:
INFO: http://www.albertocerriteno.com

Alberto Cerriteno
Alberto Cerriteno is a Mexican illustrator & designer who lives in Portland, USA. Strongly inspired by urban
vinyl toys, alternative cartoons and the pop surrealism movement, Alberto Cerriteno has developed his own
very personal technique and style, having always present a delicate hints of traditional Mexican artistic influ-
ences in his management of rich textures and decorative patterns.

These contrast strikingly with the blending of desaturated colours and ink, sometimes featuring a vintage
coffee finish. His illustrations have been recognized by progressive art institutions such as Juxtapoz, Create,
Drawn!, The Little Chimp Society, Computer Arts, Communication Arts and IDN among others. He has also
been invited to participate in collaborative art projects all around the world in diverse solo and group gallery
shows.
Meet the Artist:
INFO: http://www.sandin.ba/

Sandin Medjedovic
Advertising, Web Design, Photography Sandin Mededovic is 26 years old art director, designer and graffiti
artist based in Sarajevo, BiH.

Also known by creative nom de plume Dream83. Focused on various different types of design and illustration
work including identity, print and conceptual visual interventions.
Meet the Artist:
INFO: http://sedibujantuits.posterous.com/

El Grand Chamaco
The Grand Chamaco born in 1982 in Los Ramones, municipality of Nuevo Len. He spent his childhood
afternoons playing with crayons while snacking dried meat with sauce and lemon. Is an orphan and spent
his childhood and adolescence with his maternal grandfather, who walked in the direction of drawing and
painting activities
Meet the Artist:
INFO: http://palehorsedesign.com

Pale Horse
Hailing from Tampa Bay, Florida, Pale Horse is the moniker and studio space of illustrator & graphic designer
Chris Parks. Since opening the doors, Pale Horse has had the opportunity to create artwork for companies
like Hasbro, Sanrio, Iron Fist, Bernstein & Andriulli, Dean Guitars, Globe Shoes, Hart and Huntington and
many others. Pale Horse also actively hosts and participates in various gallery exhibitions throughout the US,
Europe and Asia.
Meet the Artist:
INFO: http://www.denada.de

Andreas Krapf
Digital Art
Illustration
Character Design
Meet the Artist:
INFO: http://www.handmadefont.com

HandMadeFont
We are an Estonia based design company HMF (HandMadeFont). It was founded in 2008 by Vladimir Loginov
and Maksim Loginov.

We specialize in developing unique, untraditional fonts. We take inspiration from everything that surrounds
us. On this website we offer completed fonts that you can buy and use freely. We would recommend you to
buy the whole collection. In that case, it will save you an substantial amount of money and will expand your
potential in visualizing Your own projects. Developed fonts are of such a high standard that they can be very
widely used, from business cards to an outdoor advertisement.
 Interview with:
INFO: http://epochdesigns.co.uk/forums
Lowpop
RESOURCE: http://abduzeedo.com/
Thanks for the opportunity of having you here. I re-
ally like your work. So, tell me a bit of how did you
start and discover that you wanted be a designer?
Well, its been a long road to get there... I screwed up
school, was kind of a lost and violent teenager, and also
passionate by street art, and photography. i was taking
my lessons in sort of graffiti fonts, and always stealing the
teachers markers and else ( i apologize for that, really :p ).
And then i stopped school, and stopped the whole thing
too. I started to play guitar, several hours a day, and when
i had my first serious rock band, from the first hours i
wanted to participate to the visual stuffs. And its how it
came back. I had my computer ( an old crappy shit ), a
photoshop 7.0 version, and later bought a digital camera.
And i spent nights, trying to learn on my own the rules of
design, what to do, what NOT to do, why this font works
better or not.. And it took me a long long time, i wasnt
aware of the tutorials or else. And anyway, never really
94 | ISSUE 02 | GRAPHIC DESIGN AND DESIGNERS
liked to learn with lessons , i always think its better to
learn everything on your own, even if its quite longer... Its
like in music, you study everything you hear, you swal-
low it, slowly digest it, but when it comes out , its your
own shit. And from the day i realized i was spending much
more time on photoshop or any other design softs than on
my guitar, i thought thats what you wanna do .
How do you come up with those amazing ideas and
effects? Tips on how to create those effects?
Wow. Thats quite of a good question i never asked myself.
The fact is : Im kind of a tortured mind, every second of
every minute theres something in my head, something im
thinking about, worrying about, forgetting about... So its
a complete mess in my head. Hard to handle sometimes.
And my ideas come the same way. Ive never been in the
street thinking hey ! im gonna take a pandabear and a
beautiful lady, put a yellow background and some of this
some of that In my way of thinking its a bit restricting.
And i know i have a bad way of work : i just open a new
empty photoshop document, seek the internet for ele-
ments, and go. But its the way it works for me. Even if,
thanks to my friend Kawo, i tend to change this way of
working, for a more professional way. So my ideas come
from everywhere and nowhere at the same time, from my
mind or from the street, anything..
And tips to create effects ? Damn, i dont know, try every-
thing in your softwares, even things that would make you
think no way, it cant work and youll see, sometimes, it
works great. And never stop to watch nature, everything is
in nature, its one of the design rule i prefer.
Tell us a bit of your career? Favorite project you
worked on? Toughest project?
My career is so so new ! ive started to work in july for
wonderful people i met when i moved on Lille ( North of
France ), still thanks to my friend kawo. I kinda have to get
my ideas straighter, more accurate, more focused. Cause
its a fresh new world for me, and i have to make my place
in it. So i cant say i have a big career for the moment, but
its cool this way, i need things to go quietly at the begin-
ning. And two weeks ago, i became creative director for
Epoch, a brand new collective that will, i hope, make some
noise !!! My favorite project is the one at the moment, i
work with a band called Skip The Use, theyre one of the
greatest bands ive seen, and i have to design every visual
piece for them, its a real pleasure. And its also the tough-
est one, i want something perfect for them, and it takes
time ! And, advertising time, im available for any commis-
sions !
idea of shutting down everything, go at a desk, and draw,
paint, cut, anything. But i dont take time for that.. Soon, i
hope. Its been two years i use photoshop, one for illus-
trator ( learned it at school, very useful tool ). And i also
know Indesign well, and Quark Xpress too. And im work-
ing on After Effects when i have time, cause its really fun
to make your things move ! ( but.. Being good at AE is a
full time work... )
What about your hardware?
I mainly work on a 17 laptop cause i often have to move,
but its powerful enough for everything i need. Well...
almost... But i also have a PC with the good old windows
XP on it, i think im gonna leave it only if it dies cause it
works well. And if i have to buy something soon, its gonna
be a 24 imac. This thing is incredible, and the screen is
outstanding. Im not a huge geek in computers, but i guess
what i use is enough.
Again, thanks for the opportunity of talking to you.
One last question: Any advice for designers out
there, who, like me are willing to improve their
skills and become a master?
Youre welcome. Im nobody in the world of design for the
moment, so its a great chance for me to be interviewed
here... And so thanks to you ! And im still a padawan in
design, so i guess the best advice i could give is listen to
the advices of the masters ! haha ;o)
Lowpop can be found at:

Who are the designers you like and inspire you? http://www.myspace.com/iamlowpop
And what sites do you visit, or what do you do to http://epochdesigns.co.uk/forums
get inspiration?

Damn, there are so many... Since ive discovered how

internet can bring talents to your door, i cant stop watch-
ing folios and sites... Im a huge huge Fan of Takeshi
(TKSH), this guy is just so brilliant, and his style begins
to be simpler and simpler, i love it... I wanted to drop his
name particularly cause thats one of the first that made
me say wow . Theres also Neil Duerden, who is just
a f**kin master in what he does. All his pieces are just
perfect. Craig Shields is a killer, Nelson Balaban due to his
age makes you feel washed up.. And there are so many... I
have books, magazines, plenty of those, full of talents and
inspiring things, theres no limit.. Even your friend who just
caught photoshop on the internet and destroyed a picture
can be inspiring.. For the sites i visit : plenty of blogs, i
have discovered abduzeedo a year ago, and still visit it,
DeviantArt is a huge huge community.. its a no end list, i
also visit fashion sites, photographers folio, EVERYTHING
related ( or not ) to what i like..

Tell us about the apps you use? How long have you
been using them?

Well well well... I use photoshop a lot, its really the main
tool. Even if i use illustrator on the side, or even Cinema
4D sometimes, its always to import elements in a photo-
shop documents. I feel more comfy this way. And i bought
myself a huge huge amount of paintings, pencils, papers,
cissors, from all sorts, that i wanna use soon. I love the

GRAPHIC DESIGN AND DESIGNERS | ISSUE 02 | 95

Meet the Artist:
INFO: http://www.max-kostenko.com

Max Kostenko
I work with the largest agencies all over the world, develop characters and draw illustrations.
Peta: Baby, Passion

Advertising Agency: Y&R, Chicago, USA

Chief Creative Officer: Bob Winter
Creative Directors: Pam Mufson, Jeremy Smallwood
Art Director: Jeremy Smallwood
Copywriter: Pam Mufson
Illustrator: Rudy Hall
Felis Awards: Box

Advertising Agency: Oyku, Turkey

Creative Director: Ozer Ozbey
Art Director: Cavit Isici
Copywriter: Ahmet Okan
Photographer: Bahadr Tanriover
Graphic Designer: Ahmet Klc
Account Executive: Mutlu Cag
Tips For
Choosing A
Graphic Designer
Graphic designers come in all shapes and sizes, freelancers, large design agencies; designers that have just left college
and designers with decades of experience. Choosing the right type of designer will play a big part in you getting the right
finished result for your project. You may have a brochure that needs to be re-designed, a banner for an exhibition, maybe
it is much larger; an advertising campaign that needs some seriously creative outside the box thinking how do you
choose the right designer?
Who do you use for the project?
Are All Graphic Designers The Same?
No, not all graphic designers are the same. All are differ-
ent, with different design skills, industry experience and
creative flair. Some graphic designers focus on packag-
ing, some on brochures, some on outdoor advertising etc.
Some designers focus on different themes of design such
as artwork, industrial, nature, landscape etc. Depending on
the sort of project that you have would determine the sort
of designer that you need to talk to.
Is a Local Graphic Designer Better?
Well, lets reverse the question; would you be happy work-
ing with a graphic designer that is a 4-hour drive away?
Or even a plane ride away? What happens if you want to
meet up and chat over a new project? The phone is great,
and e-mail is also good; however as only 10% of commu-
nication is verbal then some points may be missed if the
contact is not face to face.
Well, it does depend; some companies are very happy to
work with graphic designers that they never see, maybe
the graphic designer is in another country. Some busi-
nesses will only work with a graphic designer that is in the
same town as they crave that personal contact.
There is a big benefit in having that face to face contact
100 | ISSUE 02 | GRAPHIC DESIGN AND DESIGNERS
with a graphic designer as you can both look at and
discuss the project in a focused manner. If you deal over
the phone/e-mail the designer may be multi tasking your
project with others (and not giving yours the 100% focus
that is needed).
Long Term or One Off
Depending on what sort of project you are considering,
would have an impact on what sort of graphic designer
that you choose to work with.
If you have a one off project that is not going to require
any follow up, then location may not be as much of a gov-
erning factor when it comes to building a relationship and
making the project clear to the designer. An example could
be a one off brochure or poster a project that is not go-
ing to have repeat work.
If you have a number of projects that do require a certain
level of understanding, market research and design syner-
gy, then a meeting would certainly be helpful in conveying
this to the designer. An example could be an advertising
campaign, which may require continuity with the designs
adapting them gradually throughout the campaign to com-
municate a subtle message.
This then follows on to something else, which also plays a
factor in the selection process:
Experience Does the graphic designer know to compare prices, to ensure that you are not overpaying
your product/market/industry? (but choosing a designer based solely on price is unwise).
If you are looking for a design partner (to work on a long
term project/campaign), then this will be a factor that will Inspiration
play a key role in how effective the finished result will be
and what results will stem from it.
I hope that this article has challenged you to think hard
about the sort of graphic designer that you choose to work
If you have an important advertising campaign, or a cor-
with. There are literary hundreds of thousands of graphic
porate brochure; then having the right design and text is
designers around, thousands of good ones, hundreds of
crucial if it is going to prompt the right response.
great ones, but not many that would be spot on for your
project.
Designs that work well in one industry may not work well
in another; equally the content has to be targeted to spe-
cific industry sectors. This can only be done by having ex- Closing Thoughts
perience and knowledge of how that market place works.
Working with someone local is always good as it does
Price Not always the be all and end all. bring the benefit of being able to build a relationship (and
There is no getting away from it, price is an important relationships are key in building good business links).
factor and all companies are looking to save money where Choosing a graphic designer based on their skills and expe-
possible. rience is probably more important, as the finished product
is likely to be superior and to get the results that you are
No-one likes paying too much for something; however hoping for.
quality does come at a cost. Top businesses have great
designs due to using top designers. Indeed they may have
paid a premium but they did get a great end result.

It is possible to get a great deal, however the problem with

getting a cheap design, is that it can look cheap.
We all know that you do get what you pay for, so it is good

GRAPHIC DESIGN AND DESIGNERS | ISSUE 02 | 101

Gender affects a
Graphic Design Project

Is HE
right or
is SHE
wrong?
One thing I admire about graphic designing is that there
is no dearth of talent and flair in this field. Regardless of
the gender, the graphic design field is crammed with both,
male and female, talented graphic designers. But social-
izing with a gathering of both male and female designers,
I have observed some variances that relate to the human
gender.
Characteristics of Female Graphic Designers:
Let us start by first discussing the common traits
of female graphic designers and how they have
an affect on graphic design projects:
1. Organized & Punctual
In my opinion, the best habit of a female graphic designer
is punctuality. In comparison to male designers, females by
nature are more organized and disciplined. In most cases,
you will witness the workplaces of female graphic design-
ers to be more organized and structured, unlike their male
counterparts who (including myself) are generally disor-
ganized. If youre working with a female graphic designer,
you can rest assure that your work will be done on time.
2. Equal Attention to Every Project
The next trait of a female graphic designer is that she
will give equal attention to all her graphic design proj-
ects. Since females are known to practice the concept of
equality more than men, they make sure to treat each of
their clients equally. Irrespective of the size of the graphic
design project, a female designer will not prioritize them.
Instead she will give fair share of attention to all projects.
3. Tend to Panic
Speaking in relative terms, women are more emotional
and finicky than men. From what I have observed, female
graphic designers are a perfectionist. Their satisfaction lies
in perfection and for that they can be extremely finicky
about the details of the design. They can be irritating at
times as they are eager to get each and every element of
the assigned project. Although, it is a good practice to ob-
tain feedback from the clients beforehand but being overly
finicky can frustrate the clients at times.
4. Easy to bargain
As I mentioned in my earlier pointsfemale graphic
designers are relatively more emotional than their male
counterparts. This is why they tend to have a soft corner
for their clients as well. Although you may think this is a
good thing to be considerate but it has its own drawbacks.
A friend of mine once narrated me how she slashed her
fee halfway down after her client sobbed in front of her
whining about his financial problems. My point here is that
female graphic designers are relatively easier to bargain
with since they can be convinced emotionally.
Reading the above mentioned positive & negative characterstics of male/
female graphic designers, do you think that gender has any influence on a
graphic design project? Being a client, have you ever thought whom you
want your project to doa male or female graphic designer?
Characteristics of Male Graphic Designers:
If you think that I was biased in describing the
female graphic designers, wait till you read the
male side of the story. Like I said, both genders
have their pros and cons that influence a graphic
design project. Here are a few traits of male
graphic designers:
1. Cool-Headed
The first thing that you will observe in male graphic de-
signers is the level of patience and endurance. Men are
relatively more cool-headed than their female counterparts
when it comes to enduring client criticism. Like I said,
women are more sensitive than men hence they tend to
lose patience when criticized. Although this is not 100%
true but I am sure many of the clients will agree with this
difference.
2. Lazy Procrastinators
This is one point that Im sure most of the male graphic
designers will agree to. You must be wondering women
are also lazy, but as far as I have observed, male designers
tend to postpone tasks relatively more than their female
counterparts. Dont know if its a male specific trait, but
men can be awfully lazy at times. They can pass on a
minimalist design just to meet a deadline. But this doesnt
mean that all male designers are indolent and sluggish,
rather you will find more incidences of procrastination with
men.
3. Rational Minded
Like I mentioned in the female section of the post, women
are emotionally more sensitive than men. Contrary to that,
men are more rational and logical than women. They will
prefer using their brains more than their heart. Everything
they do will hold a logic behind it. They dont let their
emotions control their decisions while working on a graphic
design project. Hence, the point of easy bargaining isnt
true for male graphic designers.
4. Easily Distracted
I have to admit something herewhile working on a clients
project, I have several such tabs open on my PC that are
irrelevant to my work. I get easily distracted by the social
media and instant chat with friends. At first I thought it
was only me, but after observing many of my male design-
er friends, it seems as though distraction is a trait more
prone to men. You will also find male designers easily dis-
tracted by sports, news and other activities while at work.
GRAPHIC DESIGN AND DESIGNERS | ISSUE 02 | 103
Wine Pinnes
We love the illustration
on the label that repre-
sent the history of the
Heroic warrior the wine
was named after. The
colors indicate the type
of wine it is.
From the year 167 bc river Neretva was the north western
border of Roman Republic in Balkans and also the border
of Daors tribe who enjoyed a certain kind of autonomy
within the Republic. Their main city and trade center of the
region was the large fortified settlement called Daorson or
Daorsi or Daorsum. Pinnes was a warrior and Daorson was
his hometown. He died defending his city back in year 43
bc; his helmet, which has become the symbol of Daorson,
was found on the main door of the Acropolis in 50 cm thick
layer of ash, pierced by a spear which inflicted a deadly
wound on him.

Winery Vino-Daorson was created by gathering true lovers

of wine and viticulture within the winemaking and viticul-
ture cooperative. It produces wine only from the autoch-
thonous grape varieties Zilavka and Blatina.

Designed by SM-ART
http://sm-art.ba/
Meet the Artist:
INFO: http://be.net/FabriceLeNeze

Fabrice Le Nezet
Sculpting
Directing
Design