Midwest Inspiration by edrummond01

Midwest Inspired Written & Designed by Elizabeth Drummond Art 580/Spring 2019 Kansas State University Professor Daniel Warner

FORWARD

PHASE I

discussion & discovery

STEP 1 skip the computer & get a sketchbook

STEP 2 clarify objectives & establish parameters

QUESTIONS FOR THE DESIGN CLIENT STEP 3 begin gathering & set the tone

MIDWEST INSPIRED MOOD BOARD

PHASE II

PHASE III

STEP 1

development & distillation

start sketching . . . no investing

present solutions & be flexible

SKETCHING STRATEGIES

PRESENTATION TIPS & TRICKS

STEP 2 edit . . . & alter . . . & edit . . . & alter . . .

STEP 3 begin gathering & set the tone

MIDWEST INSPIRED TESTING PHASE

STEP 2 finalize system & organize assets

SUCCESSFULLY DISTRIBUTE DESIGNS STEP 3 pass it on & stay in touch

A SPECIAL THANK YOU

So, we’ve got a job to do. We are graphic designers, digital creatives, and problem solvers. Whether we work at a large design firm, or a small non-profit, or maybe we are working independently without a team as freelance creatives. Perhaps we’ve been asked to design a logo, or a mobile app, or maybe a book layout or a startup company website. Most of these undertakings (along with many more) drastically differ in final execution, however they often share a similarity that we are all too familiar with; the creative process. While the minutia of the process may vary, the landmarks of design development are similar in many ways. There is a rhythm to the development of good design; a rhythm that when followed can produce design that is both aesthetically pleasing and structurally sound across a variety of platforms and applications. Without an established creative process, the development of design can be inconsistent, inflexible, or fail to address the objectives in the most lucrative way. The creative process is an absolute must, and while this may seem obvious enough, what I believe to be less obvious is what the creative process looks like when it’s executed productively. Each of us has learned strategies and techniques along the way from 6

educators, designers, and peers alike. We have been encouraged and groomed to develop a creative process that works for us, but that also helps us achieve our design goals in the most successful way. But sometimes, it’s easy to forget the importance of each step of this process when new ideas start flowing. I often find myself working on the computer way too early in the process, designing things that I’m not ready to execute in the most lucrative way. Then I have to backtrack and reorganize my approach so that when I’m ready to start designing, I’m doing so fruitfully, and with purpose.

So, this is my creative process, organized into three phases with three steps in each phase; it is simple and efficient. While each step of this process may not work for every task, it is a solid foundation for any creative process to be built upon, and flexible enough to allow for adjustments along the way. My primary goal was to emphasize and revel something that often goes unacknowledged for its significance and value. The final execution of any task is only a part of the story; the creative process that took place preceding the resolution is where the meat of the story lies. A raw and authentic narration of the journey to that final execution, and visible proof that the final execution was developed in our minds and not taken from elsewhere. It’s also important that we as creatives have a process that works, and one that we can count on to keep our objectives at the forefront while also inspiring us to push the aesthetic boundaries and expectations of design. As design applications and platforms expand and our role as designers shifts again and again, a sound creative process will keep us grounded and focused, while continually challenging our potential as designers, digital creatives, and problem solvers.

After realizing my lack of organization was stifling me as a designer, I was motivated to improve my approach to the creative process. With guidance and advice from many practicing designers and digital creatives, I was able to visually map out the creative process from beginning to end; a process that I believe works well and keeps me organized and focused. Additionally, I collected a wide range of suggested techniques and strategies from said designers that are especially helpful during the creative process that can be used to stimulate new ideas and concepts when feeling uninspired or stuck. Finally, there is also a collection of concepts and advice for designer/client relations; creative breif building, presentations, and file sharing that i believe are imperative in the ultimate success of a project. 7

This first phase is probably the most critical of the three phases... and in my opinion the easiest to overlook. This phase consists of very little actual design work, but instead the preliminary stages of research and gathering for the design task at hand. We as problem solvers have a responsibility to obtain as much knowledge as possible about a task before we execute .

“Defining our goals is a #1 priority! We can’t design profitably if we don’t know who and what we are designing for.” Voltage Design Studio Kansas City

PHASE I

This is step one, and the one step that can make a difference in the quality of creative output later on in the process. The act of writing, sketching, and even doodling activates our brains in ways that aren’t possible during conversation, observation, or even typing. There is something pure, raw, and organic about doing things with our hands, especially in a world where very little is done by hand now-a-days.

Having a sketchbook instead of a computer to begin a project is the best way to turn on the metaphorical tap for new and innovative ideas, and the most productive way to collect a wide range of ideas quickly and with little fuss or investment. It should be used throughout Phase I and into Phase II as a creative process journal; a place to record data, write lists, collect textiles and samples of inspiration, and begin the sketching and ideation stage.

“Get a sketchbook. Get several, and use them often. Take them with you everywhere because you never know when inspiration might find you. Don’t miss the chance to record a good idea before you forget it.”

Michael Braley Braley Design Lexington, Kentucky

PHASE I

Step two is a supremely critical one and should be carried out with the intent to extract everything about the business or entity requesting design services. This is the time for conversations with the client, establishing their wishes and desires moving forward. It’s crucial to identify the who, what, when, where, and why of each facet of the project to fully accommodate their expectations and motives for the future.

Client X (the one with the new business) has chosen a name for the business along with some color suggestions for the business identity. They need a business card, a letterhead and stationary set, invoices, a website, a social media presence, and t-shirts. These are all examples of parameters and will help the designer get organized in their approach along with providing landmarks to build a realistic design time line upon.

For example, Client X needs a brand logo and identity established for his start up business. A designer must take the time to find out who the client is, what services or products they provide, who they want to be in the future, and what makes them significant? What sort of message does the client wish to communicate, and what type of experience does the client want to ultimately provide for its customer base? The client’s objectives are now the designer’s objectives, and it’s up to the designer to translate those objectives into a visual identity.

“We research, interview and trend. We rub elbows with the clients and collect ideas to fertilize our creative minds.” Willoughby Design Kansas City, Missouri

Along with clarifying the objectives, there must also be a sense of organization when establishing the parameters of a design project. A designer must immediately identify as many parameters as possible. These parameters provide a designer with structure and purpose and they dictate the direction the creative process should travel in to meet the main objectives.

• • • •

What is your company/organization/product/service name? How long has your company been established? Can you describe your business? Why was your company started in the first place and what was the motivation?

• If you had to describe your business in one word, what would it be and why?

• • • • •

Who are your main competitors? What sets your company apart from the competition? How do your competitors market themselves? What services or products do you provide? How big is your company? (number of employees? revenue?)

• What are the strengths of your company? • What are your weaknesses? • What are the long-term goals of the company? Where do you see your company in 5 years? 10 years? 30 years time?

• What are the values and/or mission statement of your company?

• • • • •

Who is the primary target audience? What is the target audience’s age group? Are they mainly male or female? Where do most of your audience live? What is the average household income of your target audience?

• Are there any new markets you’d like to break into? If so, what would they be and why?

• If your customers had to describe your company in one word, what would it be and why?

• How do most of your customers find out about your company?

• How do you plan to communicate with your target audience?

• • • • •

What is the current logo? What do you like and dislike about the current logo? Why are you looking to change the logo? What do you want the new logo to accomplish? Do you have a strapline or slogan that goes along with your logo?

• What words describe how you feel when you look at your current logo and branding?

• What three attributes would you like your target audience to think of when they see your brand?

• Which of these words is a better fit for your brand? Traditional or modern?

• Which of these words is a better fit for your brand? Friendly or corporate?

• Which of these words is a better fit for your brand? High end or cost-effective?

• Which of these words is a better fit for your brand? Consumer or Trade?

• What colors or color palettes do you like and why? • Where will the logo be mainly used? Print, web, etc.? • Are there any elements from the existing logo that you’d like to keep and why?

• In your opinion, what defines a successful logo? • Are there any restrictions to consider when designing the new logo?

• Is there anything that must be included, like existing brand elements, words or icons?

• Looking at other people’s branding, what logos do you like and why?

• Are there any logos you particularly dislike and why?

• Do you have a budget in mind for the new logo? • How many revisions or concepts would you like to see? (consider how many you can offer – this varies from designer to designer)

• Do you have a deadline that needs to be considered? • Who will be the internal decision makers on this project? Giving feedback and approvals? (Stress to the client that the less decision makers, the better!)

• Will there be anyone else involved in this project? • Any third party sub-contractors or other agencies/freelancers?

• How frequently would you like to meet? Weekly? Monthly?

• Is there anything else you’d like to add that we haven’t already covered?

• Finally, what would you like the final work to produce? • What materials would you like to see as a result of this new logo?

• Would you like a ‘brand guidelines’ package for future reference?

PHASE I

Step 3 consists of a great deal of research. After preliminary discussions between designer and client have happened, it’s time to begin researching to further stimulate design development. It’s imperative to be knowledgeable about every element and nuance of the business or entity, and also be highly knowledgeable about what already exists. This can help a designer not only avoid design similarities, but also help identify what the existing designs might be missing that can used as an advantage.

ensure that the objectives are being addressed while the wishes of the client are being fulfilled. Frequent updates go a long way to ensure that everyone is still on the same page. The development phase that comes next will heavily rely on the success of the discovery phase; has it been thoroughly explored and successfully executed to extract enough information for the design process to gravitate towards? Sometimes, it will take several client/designer conversations to extract everything needed to move forward, but once there is enough information, the development phase will begin organically and feel like the next logical step.

Client X is one of many similar businesses in the area. The designer should research the surrounding area businesses, paying close attention to the aesthetics, consistency, and overall message and experience provided by the competition. These details will once again help the designer establish clear parameters for which to build the design development upon.

“We like to invite our clients to start a Pinterest inspiration board. This can provide a platform for communication about aesthetics and allow them to feel

At this point, enough data should be collected to begin developing and setting the tone for which the entire design will be based on. The data should clearly point the design development in a particular direction while simultaneously diverting it from others. There should be consistent communication during all the phases of the creative process to

included in the process from the start.” Whiskey Design Kansas City, Missouri

This phase is when the magic happens; where problem solving meets creativity and the designing and visual translation begins. That sketchbook from Phase I should eventually be full of visual cues, lists of word associations, doodles, concepts, and anything else that was recorded that could prove to be a resource later on in the creative process. It’s

important to stay in the sketchbook through the first part of Phase II; it’s a much faster way to start ideation and preliminary designing; these ideas should remain somewhat fluid and loose, and there should be lots and lots of variations. Alterations of even the smallest of details can make a big impact on the entirety of a design.

“We divide and categorize the information gathered from the first phase to create a variety of directional paths. These concepts are then cross-examined, combined with each other, and ultimately manifested into visual representations. We are always aiming for innovation and creativity but are also refining that in combination with concepts that have been embraced in the past to hopefully develop something new.” Bernstein—Rein Advertising Kansas City, Missouri

PHASE II

Step one is an exciting time for a designer, and personally one of my favorites. That sketchbook should be full of information that will prove to be invaluable during this step, and throughout Phase II. Sketching and ideation should be quick, and gestural in order to keep up with our brains ability to produce ideas so rapidly. Expect this step to be messy and less focused; this freedom will invite innovation and unique articulation. There is absolutely nothing wrong with sketching out ideas that might not work, just don’t invest too much time into anything at this stage. There will be plenty of time for refinement later, for now it is about developing a wide range of directions to pull from during step 2.

Client X doesn’t necessarily need to be a key component of this step, or this Phase for that matter. This is primarily for the designer to sort through the details and begin translating the data into a visual presence; problem solving and creativity merging. There are an infinite number of design directions to pursue so this step is used for recording a large and diverse collection of concepts for which to build a more fully developed idea upon later.

“Try not to envision what the final design might look like. This can unconsciously force you to make different design choices, which could then obscure additional creative solutions.” Carpenter Collective Design Studio Kansas City, Missouri

HIERARCHY Overemphasize different elements and concepts to structure and organize the visual information and direct the eye on a specified path across a design.

SCALE Explore with the size of elements and concepts. From microscopic to over exaggerated and everywhere in between, this strategy provides each element an opportunity in the spotlight, changing its context in each iteration

METAPHOR Explore metaphors that relate to the design and the objectives. This can inspire obscure or funny ideas, but can also change the tone and point of view.

OOPS Find some design concepts with errors in them, and use those errors as a new starting point, changing the role those errors play in the final execution

TOOLS Rather than only using the sketchbook and pencil, explore other mediums and tools to develop concepts. These outside explorations can always be photographed and added to the sketchbook later. Using different instruments will naturally inspire new solutions and a different perspective.

LISTS

ILLUSTRATE

When developing concepts, it’s wise to build from a list of words and ideas that have been generated during the discussion and discovery phase. This provides a structural direction for each concept to pursue.

Rather than develop with photography, switch it up and use illustrations instead. This can communicate a human touch, a sense of process, and an adolescent quality.

SIMPLIFY Don’t be afraid to edit back to significantly less complex designs. It’s true, less is actually more.

SPACE Build space and breathing room around the main design elements; even exaggerated or asymmetrical space can be communicative and striking.

ELIMINATION Find something in the design that appears more than once, or something that you are especially drawn to, and eliminate it from the design to ensure that your voice isn’t driving the design by itself.

OPPOSITES Put two or more contrasting ideas, concepts or elements together in a composition to change their relationship with one another. These unique combinations create contrast and emphasis.

DISTILLATE Remove as much as possible from the design while ensuring that it continues to communicate the desired message. This method of simplification can inspire unique visual translations that appear less literally accurate and more essence suggestive.

CONSISTENCY

FOCUS

Carefully choose an element and apply it to multiple areas of the design. Ensure that the element is purposeful and adds dynamism and not just merely decoration.

Develop a series of sketches and ideas where the focus changes in each. This will facilitate a thorough exploration of each elementâ&#x20AC;&#x2122;s role in the design and help identify their hierarchical position.

SPIN

DROP OFF Push elements off of the design plane to realign their hierarchy and emphasis. Unfinished elements, typography, and images provide a different context than if they are a complete unit in the composition.

Spin, rotate, and reflect elements of the design to create a dynamic compositions with an intriguing uniqueness and a strong visual presence.

MONOCHROME Limit the design to only one color, or a b/w palette. This will challenge the elements in the composition to stand out in other ways. Without color, hierarchy must be established in another way.

OBVIOUS Explore the most obvious design solutions. Even though these might not make the cut, the purpose behind their development is to simply eliminate them from possibility by creating proof of their effectiveness.

PHASE II

This step is when most designers start to transition from the sketchbook to the computer. Step 1 was a time for ideation, now step 2 is the time for refinement. Any idea with promise should be further explored during this step, and not in just one way, but in a variety of ways to exploit all of its potential. Sometimes this method of exploratory freedom can produce happy accidents and unique solutions that would otherwise be missed opportunities without this determined and sometimes exhaustive exploration.

“This particular part of the creative process requires a keen eye for details and slight nuances that can make a big impact on a design. Typography and color both play a substantial role in setting the tone, so it’s

As the transition to computer continues, certain concepts will notably fail right away. Sometimes the translation from paper isn’t quite the same, and that is to be expected. However, sometimes the computer’s capabilities far exceed those of pencil and paper, so it can be enticing to try new ideas on a new platform. As this editing/altering step continues, so should the everyday reminders of the objectives. During this step I myself can get lost in the capabilities of the computer and get sidetracked or disengaged from the end goal. Consistent reminders like verbal cues and mood boards can be extremely helpful in keeping the creative process focused and fruitful during every step.

important to edit with context in mind. Don’t forget the original objectives.” Katy Powell Freelance Designer Kansas City, Missouri

PHASE II

As a designer explores a variety of options, some ideas will begin to emerge as more lucrative and aligned with the client than others. These are the ideas that will need further development; the ideas that meet and even exceed the expectations established alongside the objectives. These ideas obviously need to also be aesthetically stimulating and meet the criteria for the parameters that have been set and reset along the way.

Client X has stated that they want the following: a logo and brand identity, multiple business cards, stationary, invoice/correspondence templates, a website, a social media accounts, and employee uniforms. All of the final design contenders need to be tested on each platform. If adjustments need to be made to a design for one platform, are the adjustments compromising the design, or the consistency across different applications? If a design doesn’t work on every platform, or if there is a disconnect in consistency or message, then it might be time to revisit the creative process to see what modifications can be made to improve the overall experience.

Once there are a handful of design ideas, it is appropriate to test these ideas in their natural setting and with their intended use. This will ensure that during the client presentation in Phase III, the ideas presented have been tested for flexibility, legibility, and effectiveness. All designs must be tested before they can be successfully executed to ensure that the overall experience is precisely what the client wants. As the problem solver, the designer must be able to communicate why the designs are the best suited and can’t do so without proper evidence to provide for the client. The client will feel much more confident in the final choices if the designer is also confident.

“Ask a diverse group of people for feedback. Let them play on the new website, and physically handle the business cards, or view the logo on a variety of ephemera to get an accurate and authentic response.” Voltage Design Studio Kansas City, Missouri

MIDWEST INSPIRED

MIDWEST INSPIRATION MIDWE INSPIRED 34

INSPIRED I N S P I R A T I O N

MIDWEST INSPIRED 35

and sometimes a designer will have to continue a project feeling as though the best direction wasn’t chosen by the client. This is a harsh reality for a designer; but if this process is done correctly, and there is consistent communication with the client throughout, then the final designs should more often than not be a success in everyone’s eyes.

This final phase is one where the client and designer come together again, hopefully to finalize design directions and exchange assets and instructions. This phase will be less about designing and more about editing and adjusting to meet the needs of the client. With that in mind, a designer must be sensitive to the client’s vision while also providing guidance about final design choices. There must be compromise,

“As a recent design client, I felt that during the first presentation, the design company that we were working with was very thorough and detailed. They provided us with several visuals to better understand our brand in it’s natural setting, and that was very telling of the design and it’s success. All three options were presented with equality and enthusiasm, and if they had a favorite it wasn’t obvious at all. We asked for some changes to be made to our favorite of the options, and they were very accomBarbara Fox Trust Operations Officer Midwest Trust Company

modating and flexible. They worked with us very closely, with weekly updates to keep us in the loop and part of the process the whole time.”

PHASE III

Presenting ideas to a client can be tricky and should be approached with care and understanding. Sometimes it can take a client time to develop an appreciation for a design so it’s important to provide as many answers as possible about why those designs are a success. I find that presenting three choices to a client helps satisfy everyone; a concept that is the client’s choice, a concept that is the designer’s choice, and a concept that is more neutral, but pushes design boundaries and stands out as the “wow” concept. This can help a client feel as though their voice was heard and might be more open-minded about the other directions being presented. The designer should be able to execute all three directions but will probably feel strongly about one in particularThis is to be expected and completely okay as long as there is a more neutral option presented to provide balance in choice. Whether a designer presents two, or three or seven design directions, all of them need to be sound enough for all applications, and meet the objectives established during Phase I. It’s possible that the client will like certain aspects of more than one design and want to combine; and it is the responsibility of the designer to either make those adjustments or explain why those adjustments won’t work. Hopefully, the designs presented have been thoughtfully executed to be flexible and adaptable, and adjustments come easily if they are necessary.

As final changes are made, communication between client and designer needs to remain fluid so that these final steps are executed with accuracy and confidence. Changes should be seen by the client to ensure that the direction is desirous and there are no discrepancies. The back-and-forth may seem tedious, but it will ensure that when the designer hands over control to the client, the client won’t be tempted to make modifications that compromise the design’s integrity. Everyone must be on the same page to ensure overall success. Client X has a vision, the designer has a vision, and somewhere in between there are other directions that could satisfy both client and designer. While Client X might have a vision that isn’t realistic, it is important to still give them a voice. Acknowledging their vision with a developed idea will help Client X feel a part of the process. Alongside that, presenting Client X with additional options that still possess some of their wishes, but explore other techniques or translations is critical. It shows Client X that the designer has invested time in their business, and can problem solve in more ways than one. This versatility and flexibility will be useful during the next step when final editing and altering most likely will occur.

Many times, a client will genuinely not be able to understand or follow the workings of an idea if the design is not in context. The client needs to see the designs in action and in a utilitarian role where they can visually connect with its purpose and intent. If the client has requested a logo, than apply that logo to a variety of collateral to display its versatility and impact. If the client has requested packaging, they will appreciate physical prototypes rather than a two-dimensional platform; it needs to be built and provide an accurate experience. If the client has requested any digital designs, than they will benefit from seeing those interactive designs on their intended platform with accurate dimension and resolution.

A designer should be completely confident in each direction they present. If the presentation lacks confidence, than the client will notice, and translate this to a lack of confidence in the entire project. A designerâ&#x20AC;&#x2122;s confidence will reassure the client that what they are seeing isnâ&#x20AC;&#x2122;t guesswork, but instead the product of a thoughtfully considered and professional approach. If there is any doubt, it should be left out.

Practice the presentation several times before. Practice for peers, coworkers, family, friends, or a cat. It needs to feel natural and routine by the time presentation day arrives. There will inevitably be interruptions and questions along the way during the presentation and it is easy to get off track if it lacks organization or direction. Practice pacing, the introduction and conclusion, and how to interact with the visuals at critical moments. Invite feedback and take suggestions from the impartial audience.

A designer is also a problem solver, and is hired to solve an entity or business’ visual marketing and identity needs. During a presentation, the conversation should be solution driven, and each design and element should be fully engaged in the resolution. The client needs to feel confident that the designs, while aesthetically pleasing, are also strategically built and activated to serve a greater purpose. The client will generally care less about typography and color, and more about why those choices communicate their business message. It is best to steer the presentation in a direction that keeps the designer driving, and the client a passenger.

The client will ask lots of questions and might make comments throughout the presentation. It’s important to be ready, so there should be concerted effort to prepare before the presentation. The client might want to know why a certain color is used, or why images have a specific effect. They might want to know why things look slightly different from platform to platform, or why certain elements function the way they do. If the designer has done their research and designed with a purpose, than these questions will be simple to address.

Whether there is one, two, or several design directions, the designer should give each direction and concept its own presentation tone and give each presentation a catchy, functional-centric name. Every concept should have a name that provides a clear line of sight from what the client is seeing in the design all the way back to the objectives and strategy. If the concept doesn’t have a name, then it’s just aesthetics. 43

PHASE III

Client X might not have much if any experience with properly utilizing a package of designs. Without guidance and explicit instructions about each element and application, it could turn into a real mess. The designer must groom Client X, and invest time with either him, or whomever is designated to take control once the package has been handed over. This investment will help secure the integrity of the designs, and help Client X feel confident about taking creative control.

Once a final direction has been agreed upon, it is time to start collecting everything for distribution and launch. This step is like design housekeeping. The final design direction has numerous layers of identity, assets, elements, etc. So, the designer needs to start organizing everything to eventually pass along to the client. If there is a website or a social media presence to launch, then those dates should be set to coincide with the distribution of design assets to the client. As the designer, you need to help the client understand each element of a design and how to use it properly. A color palette, typeface guidelines, and design application instructions are necessary to ensure that when the client moves forward and uses those designs, they use them in the most productive way. The best-case scenario is that a relationship has been established, and any application in the future will be executed by the original designer. But if not, then it is up to the designer to help guide the client forward.

â&#x20AC;&#x153;I like to use Dropbox to share the final design folder with the client. It needs to be organized with subâ&#x20AC;&#x201D;folders and everything labeled clearly.â&#x20AC;? Kyle Breckard Freelance UX Designer Kansas City, Missouri

Any online file sharing system will work well for this type of file transfer. Using this method provides an unlimited amount of space for the files (which is essential), and it generates a soft transition of ownership. Doing this ensures that not only can those designs be distributed onward in an organized way, but if the client returns to the original designer, those files are ready for use and familiar in setup.

itâ&#x20AC;&#x2122;s best to create one large .Ai file that houses all files on a series of art boards. This keeps everything in one place. Be sure to include all variations, and organize things so that individual assets or specific attributes can be found easily. Everything should be labeled and include application instructions if necessary. This file will be large, but worth the time to build.

If there are files intended for print, then they should be exported to individual .pdf files. These files are compressed and produce accuracy in type and color for output integrity.

if a logo was designed, not only should it be in the large .Ai file, it should also be exported into a high resolution .png with a transparent background. Several variations will need individual .pngâ&#x20AC;&#x2122;s for each, keeping the background transparent to create files that are seamlessly applied to other sources with ease and clarity.

If there are any web-based graphics, they should be built, edited, and saved as .psd files when distributed to the client. The client can then access every layer in a file and can make changes if necessary.

Individual textures and patterns should not only be in the original .Ai file, but they should also be organized into individual .jpg files for quick use in other applications. These types of elements are very versatile, and can be used in diverse ways, so they need to be easily accessible and ready for use.

RASTER IMAGE TYPES .gif .indd .jpeg .png .psd .tiff

image or animation file thatâ&#x20AC;&#x2122;s compressed to reduce color and image information ultimately reducing the file size multiple layered file that is editable and used for layout design on books, booklets,w stationary, postcards, etc flat, compressed image file with a solid background and varying degrees of compression capabilities similar to a .gif but with more color depth and vibrancy multi layered editable file that has layers of information that can be linked to other files to create a network of assets compressed image files with extremely high quality

VECTOR IMAGE TYPES .ai .eps .pdf

multi layered file with fully editable layers, objects, and vector graphics image file that can use both vector and raster image data that displays accurate resolution no matter the size image file that adaptably displays all graphics, color, type, etc. accurately

PHASE III

When the package of assets, elements, and design guidelines have been collected, it is time to pass them on to the client. A meeting between designer and client at this time is the best way to communicate how to move forward with the designs; much more effective than sending them via web. The designer should care enough about the wellbeing of those designs that they are willing to explain the importance of their integrity and use. If everything has gone

smoothly, then hopefully a relationship has been cultivated that will continue into the futures of both the client and the designer. Itâ&#x20AC;&#x2122;s important to stay in touch with the client and remind them that their services are always available for any and all future design needs. This serves many purposes; it encourages future employment for the designer, it gives the designer creative control over how those designs are used in the future, and it conveys professionalism and dedication to the client, which can go a long way.

This book was only possible because of the time and devotion dedicated to my endeavor on the part of many professional designers and key players in the Kansas City creative industry. Thank you to everyone for your patience and contributions for the purpose of developing a resource for other creatives, and reminding me why I love this job so much. The people.

Carpenter Collective

Angela Snyder

Willoughby

Michael Braley

Voltage

Bill Gardner

Bernstein-Rein

Kyle Breckard

Fireline Designs

Katy Powell

Laurel Reddy

Force Five

Matthew Gaynor

Mervi Pakaste

Susanna Smyth

Daniel Warner