Whitbread D. The Design Manual (анг.яз.)

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Presenting a design

The designer should repeat the brief, succinctly reminding

clients of their requirements.

Describing where concepts have come from and how

that relates to both the brief and the target audience’s

expected reactions—both emotive and rational responses—

should set the scene for presentation.

Some silence on initial viewing allows clients to weigh

the brief and to view the design, going over the introductory

remarks in their head. Discuss any comments and details

as they arise.

Often it is valuable for clients to take a design away

without making any decisions. A contact appointment

should be made so there is a clear decision period. This

may be determined by the production schedule.

Design justification/rationale

Rationales should be incisive and concise, but thoroughly

cover the original brief. They should explain the thinking

behind the design solution.

A rationale should describe effects, not speciﬁcs. When

discussing colour, it should describe feelings/effects in

palettes, not descriptions of the actual colours, which can

plainly be seen. Regarding text, it should not mention

speciﬁc typefaces (unless they are corporate faces) but it

may describe the impression that the type gives. It should

describe the effect of the layout, not the dynamics—words

like ‘traditional’ and ‘strong’ describe symmetry, ‘dynamic’

and ‘modern’ or ‘contemporary’ describe asymmetry. In

regard to image selection, it should explain why the image

was chosen, relating it to the content or the feel of the

document/item as requested in the brief. In short, it should

not be full of design jargon.

The rationale is often attached to the rough on the back

or, better still, on the inside ﬂap, opposite the rough.

READ MORE ABOUT IT

Anistatia R. Miller and Jared M. Brown, Graphic design speak: A visual

dictionary for designers and clients, Rockport, Gloucester, Mass., 1999,

ISBN 1 56496 602 X.

290 Production

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The design process

A design project will start with a full deﬁnition of the

project and its context for the originators of the project.

That is, it will outline where the project sits in relation to

other activities of the originator or client. This is discussed

at an initial brieﬁng and is often followed by a period of

research and analysis that further deﬁnes the project.

The next part of the process involves idea generation

that will seek to cover all aspects of the project but is really

a technique of gathering options. These are referred to as

scribbles and thumbnails. They are often annotated with

production notes. From these deliberations and ideas,

roughs or visuals are developed.

The roughs are presented to the client for approval

before ﬁnalising the design. In the case of publications,

there might be just a cover and two pages to show how the

interior pages might look. Sometimes there will be more

than one rough for consideration at this stage.

On approval of the rough, there may be another stage

where the design is developed further to take into account

all the nuances within the project and create comprehensive

visuals or ﬁnished roughs. After presentation, when these

are approved, the production phase begins. Production

entails the ﬁnalisation of all artwork and preparation of the

job, prooﬁng processes, and ﬁnal approval before printing,

embellishing, ﬁnishing and distribution (for print) or alpha

and beta testing and uploading (for electronic publishing).

There should always be an evaluation of the ﬁnal

product and consideration of whether it met its objectives

as outlined in the brieﬁng meetings and any developments

throughout the process. This may identify areas future work

might need to consider.

291

Wim Nijhuis and Theo Boersema in

Visual Information for Everyday Use,

discuss the design process in terms of

a cycle of:

q Problem identification and

definition

q Analysis and observation

q Synthesis and reasoning

q Simulation and testing

q Evaluation and decision on

viability and usefulness

q Acceptance of the design or

iteration of the process to

improve the design

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Briefing

A brief is like a list of client wishes or requirements. It is

not a solution—rather, it deﬁnes a problem. Some clients

supply a written brief and back-up material about their

organisation or product. Other clients give a verbal brieﬁng

when prompted by the questions at a brieﬁng meeting.

A working title that will serve as a recognition title for

both parties is needed, and a thorough description of the

job. What is the reason for the job? Maybe it’s a public

relations exercise. It could be educational, instructional or

advice about a public safety issue. In some cases, such as

annual reports, it is a statutory requirement as well as a

public document.

There may be external requirements of it. For example,

if it is to be tabled in Parliament, it must be in B5 portrait

format, as all Parliamentary papers. Also it will probably

have a category number that describes the requirements for

its production level. See the AusInfo Standards leaﬂet for an

explanation of the classes.

It may be part of an existing series or the beginning of a

new series. If the series already exists, samples of the series

style should be supplied for reference at the brieﬁng. Digital

ﬁles or job ﬁles on the series should also be tabled or

handed over to the designer, in order for the continuation of

the series to be successful.

Discuss the audiences for the project. It helps to list the

most important reader to the least important. Readers may

be students, members of the media, children, the aged,

businesspeople, parents, members of Parliament, industry

leaders, unionists, public servants, taxpayers, and so on.

Consider ultimate distribution to gain an understanding

of how the audience will receive the message. It may be

available free or for purchase; on the Internet, hand-

delivered or by mail; available at the newsagent or post

ofﬁce; by phone telesales; advertised on television or radio;

subscribed to or sold over the counter; or any combination

of these.

Imagine how it is likely to be used. Most people will

scan or skim it, some will read cover-to-cover, some will

only read summaries, and some will use it as reference.

Is there a single, most important message the audience

should receive? There should also be a short description

of the sort of material involved and the viewpoint that is

being expressed.

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CHECK LIST

A brief

Documents:

q Client details

– contact names, direct phone

numbers, fax numbers and

e-mail addresses

– full legal name of the

company

– postal and street addresses

– background information

about the organisation, its

industry and competitors

– Web site URL (for further

background information)

q Project description

– name, usage

– sizes, quantity

– price/budget

– any preferences/limitations:

colours, images, corporate

standards, existing materials

– launch date/deadlines

q Marketing objectives and

strategy

– target market description:

age, sex, social group,

occupation, location

– benefit to buyer/user

– distribution method

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Discuss the feel, look or tone of the communication.

Should it be light or heavy? simple or complex? quality,

earthy, lavish, playful or traditional? In addition to these

considerations, what aspect/s of corporate personality—

innovation, tradition, care, progress, high tech,

friendly—need to be projected?

A corporate style manual that speciﬁes logo usage,

typefaces, colours, editorial preferences and design formats

should be available for the designer.

Discuss format/s that are expected to be used and

whether there is room for variation. There may be existing

contracts for supply, for example, that make deviations from

the format difﬁcult.

Sample text should be available, even if only in rough

draft. If not, is there an indicator of the expected amount of

text and how it will be supplied? If it is supplied on disk,

formats and programs should be discussed. Also, note

whether the text has been or will need to be edited.

Existing images and identiﬁers might also be supplied

or available, so it helps to discuss how they will be supplied

and in what formats.

Preferences for colour, design style and type style should

be discussed, and it is handy to have samples of designs

that are liked and disliked.

Some individuals and organisations have a commitment

to using recycled stocks and environmentally friendly

processes, and these need to be discussed upfront, so that

appropriate decisions can be made.

There may also be special instructions that will enable

the design to work into projects in the future. For example,

ﬁlm poster artwork is often used for video covers and CD

covers, press advertisements and wide-screen advertise-

ments. These are all different formats—vertical, horizontal

and square—so there is a production complication.

What is the deadline? In discussion, is it realistic?

Maybe the desired timing requires some trimming of the

expectations, or a considerable overtime budget.

Finally, what is the budget? Can the described job be

completed successfully for that amount? Does it include

print costs, programming, replication, distribution, design,

illustration, photography and technical time, or are there

other budgets for some aspects of the job?

This meeting can become quite lengthy. It may be

divided into stages in order to cover all the issues. It will

largely depend on the nature of the task.

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Contracts

Usually a designer will prepare a contract in letter form as

part of an initial proposal which at this point may or may

not include any design work. The contract will cover a job

description, fees, scheduling, copyright, conditions and any

other agreements.

There will often be two copies, one for the client to keep,

and one the client will be asked to sign and return. It is

standard practice to initial each page.

It is also standard practice for a designer not to com-

mence work until the return of that agreement.

There will often be a statement that the estimate is valid

for a limited period of time, usually 90 days to a year.

Payment is usually made on invoice within 7, 14, 21 or

30 days, as agreed at the brieﬁng or in the contract. There

may be staged payments worked into the production

schedule. Depending on how payment is to be made, there

may be payments on completion of each stage or hourly

rates plus expenses to date.

Some designers will request payment of a commission-

ing fee of between 10% and 50% of the total job cost before

commencing the job. This is often the case when there will

be many subcontractors to be paid by the designer.

Rates

A client may request that all production, including printing,

ﬁnishing and distribution, be included in design fees, or

may just buy the design and negotiate the production

separately.

A client should expect to pay for:

r brieﬁng and liaison meetings (except the initial contact

meeting)

r design and research

r preparation of an initial proposal including competitive

submissions

r preparation of roughs

r materials used

r corrections at client request

r print brokering and handling of subcontractors (often

there will be a 5–10% handling fee for this)

r job recording

r any changes to the job

r any work completed even if the job is halted

r any further security requested

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r any additional proofs prepared at client request

r all costs of commissioned authors, editors, photogra-

phers, calligraphers, illustrators, ﬁlmmakers, sound

recordists and programmers, including art direction and

brieﬁng time

r any photography, illustration, ﬁlm footage and sound ﬁle

usage fees

r rush work or overtime requested

r any price increases for materials or suppliers that occur

during the production period

r additional expenses arising from the assignment

including any travel expenses.

Production experimentation will often be cost-shared,

but this needs to be agreed at the outset.

A client will not usually pay for:

r initial contact meeting

r coffee and hospitality

r corrections where the designer is at fault

r the ﬁrst proof at each stage

r overtime or rush work due to the designer not perform-

ing as promised

r work not performed at the halting of a project

r training sessions

r waiting time (unless caused directly by the client)

r ﬁlling in time sheets (except job record)

r cleaning up the workplace

r computer back-ups.

Discuss ownership, since copyright rests with the creator

unless speciﬁcally assigned. Usually copyright is considered

to have been paid for the particular use negotiated with the

job, and any use beyond that—including reprinting—needs

to be renegotiated.

Illustrators and photographers own the originals of their

images and need only supply them in transparency or

digital form for use in the job, unless the original is

speciﬁcally purchased and reproduction rights negotiated.

In effect, a client is buying the right to reproduce an

image, not the image itself.

It is usual for designers, illustrators and photographers

to reserve the right to reproduce material produced for a

client as samples or advertising material or to enter into

competitions. They will normally credit the client as the

The design process 295

Rates

Rates vary and can be charged as

follows:

q Hourly rate + materials

q A flat fee

q Varying hourly rates for different

types of work:

– creative—normally charged

at a higher rate

– production

– meeting time

q Varying hourly rates for different

staff:

– seniors—normally charged

at a higher rate

– juniors

– technical—covers upkeep,

upgrade and maintenance of

technology

or a combination of any or all of the

above.

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source of the commission and, in the case of award entries,

if selected, the client will often be recognised with a

certiﬁcate of achievement as well.

Any ideas, designs or illustrative material rejected by a

client are considered to be the designer’s property (unless

rights are negotiated and purchased) and may be used by

the designer freely.

Conditions

The designer has a duty of care to protect and return to the

client in original condition any property or materials

required in the production of the job. The designer, though,

is not usually responsible for the loss, damage, destruction

or unauthorised use of such materials by others.

Designers are not usually liable for the failure of other

suppliers such as printers, manufacturers, reproduction

houses, photographers, illustrators, authors, editors or

indexers, but this will depend on the arrangements made

initially and contractual agreements.

Usually, if the designer has outsourced directly to

designer-chosen suppliers and is charging a brokerage/

handling fee, the designer will be liable for the failure of

those suppliers.

Where the client has chosen the suppliers and is dealing

directly with and being billed directly by those suppliers,

the client is more likely to be liable for the failure of

those suppliers.

Scheduling

Normally, the timing of the various phases of the job, the

production schedule and the payment schedule are agreed

at acceptance of a proposal.

At any stage, if the schedule is broken, for whatever

reason, the original timings will often need to be renegoti-

ated and rescheduled.

When circumstances change and the client wants the

work ﬁnished sooner, any additional costs (for overtime or

queue-jumping in production) are passed on directly to

the client.

296 Production

DOING IT SMARTER

Job record

Designers and clients should each

create a job record in a file or job bag

with details of the following:

q Briefing

q Proposal, contract and schedule

q Various approval stages

q Any correspondence: e-mail

printouts, faxes, letters

q Any contact: briefly noting

telephone calls and the dates

and attendance at any meetings,

recording decisions and any

changes to the task

q Research material and drafts

q Style book: style sheets,

templates, roughs, samples,

colours

q Suppliers’ names and contact

information

q Any quotes/estimates

q Time sheets

This will enable easy documentation

if required, but will also make it

easier for someone else to be briefed

quickly if the job is passed to another

person at any stage.

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