tothepoint - brand stories by to the point

weâ&#x20AC;&#x2122;re tothepoint

about us

Our ethos, as our name implies, is all about clear, concise communication. This has real value in today’s business environment, where organisations are constantly competing for attention in an increasingly crowded marketplace. We help our clients differentiate themselves through innovative branding and marketing materials that provide real business benefit. • Design

Consultancy established in 1991 • Independently owned • 12 full-time staff • Top 100 UK design consultancy • Clients range from start-ups to corporates • We consider the environment in all that we do

contents

Our branding experience and digital media expertise guarantees a consistent local and global presence, reaching, informing and ultimately influencing your audience, whether internal or external.

From a simple identity and web presence to corporate interactive and video presentations, we provide technologically appropriate solutions, designed to excite, clarify and strengthen your message, ensuring you get the results you want.

Client Richardsons Capital LLP / Palazzo Dorottya

Q A

How did we create interest and excitement about a luxury development in a depressed global Dummy copy to go inmarket? here

By selling a lifestyle that communicated the ultimate in luxury living and creating innovativecopy salestomaterials to reflect this. Dummy go in here

Palazzo Dorottya / creating a luxury brand

making a statement / exterior signage & lighting

window graphics

making an entrance / interior signage

materials that sell the lifestyle / marketing literature

materials that sell a lifestyle / marketing literature

innovative interactive sales tools / iPad sales tool

link: Palazzo Dorottya iPad sales tool demo

built in search facility to encourage sales / website

visit: http://www.palazzodorottya.com

Carillion and Richardsons / St Martinâ&#x20AC;&#x2122;s Quarter

Q A

How did we convince the community and retail sector of Worcester that a previously run-down area of the city should change beyond all recognition?

By creating a brand that was both sympathetic to the cityâ&#x20AC;&#x2122;s rich history and manufacturing base, whilst forward thinking in its application and marketing materials.

a brand for the community

informing the public and retail clients / hoardings

commissioning local artists / main entrance to development

commissioning local artists / rear gateway to the development

bespoke innovative lighting and signage solutions / lamposts and flags

commissioning bespoke signage solutions

selling the opportunity to potential retail clients / retail brochure

a website communicating the unique retail opportunity / website

visit: http://www.stmartinsquarter.co.uk

St Martinâ&#x20AC;&#x2122;s Quarter / concepts

St Martinâ&#x20AC;&#x2122;s Quarter / concepts / internally lit totems

Carillion and News International / Newsprinters

Q A

How did we instil a sense of pride for staff and independence for News Internationalâ&#x20AC;&#x2122;s new automated, multi-million pound print manufacturing plants? Through a culture change programme that included workshops with staff and management, naming, identity creation and development of the brand, from print to the innovative workplace environment.

Newsprinters

application of the brand

wall graphics

Reid Architecture and 3D Architects / 3DReid

Q A

How did we manage the merger of two leading architectural practices, ensuring both staff and clients were positive about change? By providing a clear, consistent communications strategy and tool kit, helping them achieve staff retention, a top 10 position in UK practices and an increase in recognition of their creativity.

3DReid / a merger that is greater than the sum of its parts

staff / reassurance staffcommunication communication / reassurance

client communication / a bigger, better company

signage that reflects stature

an architectural website like no other / sharing information

visit: http://www.3dreid.com

clear, simple guidelines

literature templates literature templates / targeting different sectors

As p a ma gene whe As p one take

CBRE

Q A

How did we brand the new UK head office of the world’s largest real estate company, to reflect its stature and positioning in the marketplace?

By practising the art of ‘less is more’. An exercise in ultimate restraint was essential in order to create an environment that exuded quality and gravitas.

making an entrance / signage

exterior signage / interior lumisty signage / animated lighting installations

visit: iColour Tiles animated lighting

wayfinding / glass manifestations / wall graphics

Sean Hanna Salons

Q A

How do you elevate a stereotypical hair salon brand to a luxury high street retail brand that reflects the quality and art of cutting hair?

By creating a new identity and applying a consistent visual language across all their salons and brand touchpoints.

EDF Energy

Q A

How did a way-finding project ultimately improve staff morale in a neglected and declining sector of the energy industry?

By engaging with staff, we revised the brief and produced two books celebrating 40 years of staff camaraderie as well as delivering effective signage.

40 year celebratory book

signage and interior wall graphics

EFG Asset Management

Q A

How did we differentiate a division of a traditionally conservative financial institution whilst keeping it on brand?

By creating unique graphic iconography and design principles that reflected the core strengths and aspirations of the business division.

first impressions

honeycomb / a structure that provides maximum strength

quarterly review

creating a literature hierarchy

corporate folder

powerpoint presentation

data visualisation and powerpoint

Land Securities

Q A

Why did Land Securities choose us to be on their design roster with their reputation for commissioning only the most creative design agencies?

Because we share the same vision in terms of creative led design solutions with equal emphasis on quality, attention to detail and innovation.

literature

exhibitions

display

case bound books

‘‘

British Science Association

Q A

How did we change the perception of the British Science Association from a traditional organisation to one that is approachable and forward thinking?

By creating a brand that instantly communicates the organisation’s role as the public face of science, which is friendly, accessible and dynamic.

branding

launch invite

launch showreel

visit: launch showreel

guidelines

.............................................................................................................................................................................................................................................................................................................

British Science Association Brand Tool Kit .............................................................................................................................................................................................................................................................................................................

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890!@£$%^&*() Century Gothic Medium

Century Gothic Bold

BRITISH

SCIENCE

ASSOCIATION

13th &14th July 2006

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science communication conference

Font Usage

Master Logos

Positional Guides

Sub Brands

Colourways

CREST Awards

Image Usage C0,M100,Y0,K0

C100,M0,Y0,K0

C50,M0,Y100,K0

C0,M0,Y100,K20

Brand Toolkit Contents

Brand Toolkit Use of typography and white space

Brand Toolkit Flexibility of the identity

The creative use of typography and white space is also an essential part of the brand and the balance of the fonts from the light to the bold should be considered when laying out documents to add a focal point, draw attention, or act as a clean typographic feature. Similarly the logo graphic (splash device) can be used in conjunction with titles as a means of adding impact.

What makes a science story newsworthy

BRITISH

SCIENCE

ASSOCIATION

13th &14th July 2006

01 Contents ........................................................................................................................................... 02 What is a brand? ........................................................................................................................................... 03 An impactful brand ........................................................................................................................................... 04 Flexibility of the identity ........................................................................................................................................... 05 Consistency with existing marks ........................................................................................................................................... 06 The use of colour – primary palette ........................................................................................................................................... 07 The use of colour – secondary palette ........................................................................................................................................... 08 Recommended and restrictive usage ........................................................................................................................................... 09 Differing format requirements ........................................................................................................................................... 10 Positioning of the logo ........................................................................................................................................... 11 Logo misuse ........................................................................................................................................... 12 Font usage ........................................................................................................................................... 13 Use of typography and white space ........................................................................................................................................... 14 Use of imagery ........................................................................................................................................... 15 Charity endorsement ...........................................................................................................................................

science communication conference

Example 1 A typographic feature Bold vertical type adds intrigue and encourages orientation of the document as does the logo itself

Ever read a science story and thought you could do a better job at the reporting? Or perhaps you have had a bad experience of the media and want to regain your confidence?

Hosts include: The Times The Guardian BBC Radio

Spend 3-8 weeks on a BA Media Fellowship placement working within a media organisation. Improve your writing skills, producing accurate, well-informed pieces about developments in science. Experience how science becomes news and become a better communicator yourself.

For further information and the online application form visit: www.the-ba.net/mediafellows

Application deadline: 31 March 2008

BRITISH

SCIENCE

ASSOCIATION

Example 2 Titles with the splash The title of a publication could be used together with the splash device for impact and to re-emphasise the brand

Example 3 Creating balance Large volumes of text should be set in light whereas pull out copy could be set in medium or bold

...................................................................................................

The identity has been designed with flexibility in mind so that the core elements remain and, through the variety of use of these elements and the introduction of colour, there is true versatility.

The British Science Association Identity ...................................................................................................

The new brand brings together all the disparate elements of our organisation under one overriding umbrella whilst allowing flexibility for each area of activity to have its own personality and freedom.

Example 4 The use of white space The use of white space is an essential part of the identity. When using type and imagery always consider white space to add clarity and cleanliness to the document

The British Science Festival Identity ...................................................................................................

CREST Awards The CREST Awards Identity ...................................................................................................

Brand Toolkit Consistency with existing marks

Brand Toolkit The use of colour – secondary palette

Brand Toolkit Font usage

In order to bring some consistency between the new brand and existing marks such as ‘National Science & Engineering Week’ and the ‘Crest Star Investigators’ we have incorporated some minor tweaks to both these marks that are negligible to the naked eye but which brings them both into the same typographic family.

Existing Badge Logo

VESTIG

Secondary/Festival palette In addition to the Primary colour palette, we have produced colourways for the British Science Festival. This range may be used for graphic elements as well as selecting one for the event logo itself, (which could change colour each year if preferred).

New Badge Logo Same Graphic, different font (Century Gothic)

Crest Star Investigators ..................................................................................................... ....................................................................................................................................................................................................................................................................................

Secondary/Festival Palette

..................................................................................................................................................

The British Science Association font is the family of Century Gothic which incorporates light, medium and bold.

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It has been chosen for its clarity, modernity and slight quirkiness which perfectly reflect the nature of the new brand.

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Century Gothic Light ..................................................................................................................................................

Century Gothic Medium NATIONAL

..................................................................................................................................................

SCIENCE &

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ENGINEERING WEEK

To minimise the impact on existing identities that have either only recently been implemented or are very popular with their present target audience we propose minimal typographic changes that are acceptable to all parties

Existing Logo

PMS Process Magenta C0, M100, Y0, K0 R236, G0, B140

New Logo Same Graphic, different font (Century Gothic)

PMS 021 C0, M50, Y100, K0 R247, G147, B30

PMS Process Cyan C100, M0, Y0, K0 R0, G174, B239

PMS Cool Grey 9 C0, M0, Y0, K50 R147, G149, B152

PMS 606 C0, M0, Y100, K20 R216, G200, B0

PMS 368 C50, M0, Y100, K0 R140, G198, B30

Century Gothic Bold

..................................................................................................................................................

Important note. The colourways above can be used as alternative colour options for the British Science Festivel logo itself.

National Science & Engineering Week .....................................................................................................

Brand Toolkit Recommended and restrictive usage

Brand Toolkit Positioning of the logo

Brand Toolkit Use of imagery

...................................................................................................

Dependant on usage the identity has a: i) recommended size ii) minimum size iii) restricted size

Recommended size Usage on items such as A4 brochure covers and where the organisation is promoting itself. For larger format usage, such as posters, you should scale up proportionally.

You will see that the restricted size identity is modified from the original and is stacked to allow for greater legibility of type.

The logo is saved at 100mm width, so that at 50% it will be 50mm. 50mm ...................................................................................................

Minimum size Usage on items that have size restrictions, such as business cards and small press ads or in situations where the organisation is endorsing a product.

Exclusion zone No graphic elements, other logos or text should touch the logo or come within a clear zone measured as 10% of the logo width. In the example shown here, the logo width is 50mm and the exclusion zone is 5mm all round.

28 mm ...................................................................................................

10mm

...................................................................................................

50mm 5mm

Restricted size Only to be used as a last resort where severe constraints do not allow the usage of the minimum size logo.

5mm

Positioning of the logo is determined by whether the product is being endorsed by the British Science Association or promoting the organisation. A5 Media Fellowship Flyer Promoting the British Science Association If the product concerned is promoting our organisation then the logo is positioned either top left or top right. The logo to be used in this situation is the 50mm ‘recommended size’. British Science Association endorsing the product If the product concerned is being endorsed by the British Science Association then the identity is positioned either bottom left or bottom right. The logo to be used in this situation is the 28mm ‘minimum size’. The images presented are just examples of how you can use the new logo

A4 Crest Awards Folder

CREST Awards

A5 Science Festival Cover

What makes a science story newsworthy

british science festival

LIVERPOOL 6-11 SEPT 08

Ever read a science story and thought you could do a better job at the reporting? Or perhaps you have had a bad experience of the media and want to regain your confidence?

Hosts include: The Times The Guardian BBC Radio For further information and the online application form visit: www.the-ba.net/mediafellows

Application deadline: 31 March 2008

BRITISH

SCIENCE

ASSOCIATION

British Science Association endorsing the product Bottom left or right

www.the-ba.net/crest

Promoting the British Science Association Top left or right

rise to the challenge

In keeping with our brand’s core values, which are to engage people with science and to make the subject of science more attractive to the public, the type of imagery used should fall into one of the following three criteria: 1. Science and everyday people In order to change the perception of science as being elitist and removed from the general public, wherever possible we should endeavour to communicate how the subject of science impacts on everyday life. When this is not possible or feasible then choose one of the remaining two criteria.

rather stern faced individuals we recommend wherever possible to show the more human face of science at work with the emphasis on believable people.

1. Science relating to everyday people

....................................................................................................................................................

2. The human face of science

.................................................................................................................................................... 3. Adding drama

3. Adding drama Alternatively choose imagery which adds drama either from the subject matter or the viewpoint from which the image is taken.

2. The human face of science Because most images that exist of scientists at work involve ....................................................................................................................................................

Legal & General

Q A

How did we help Legal & General Investment Management communicate its core services more clearly to its varied clients and audiences?

By designing and producing materials that are specifically targeted to its particular needs whilst also reflecting the strength and stability of the organisation.

fund brochures

core services brochure

Pevara

Q A

How did we name, brand and market a completely new and niche financial software product within a highly competitive international marketplace?

By creating a memorable name with meaning, a brand that sets it apart from the competition and then carrying this through both print and screen based channels.

a name with meaning

literature

website

The Francis Crick Institute

Q A

How did we promote The Francis Crick Institute to tens of thousands of visitors arriving at St Pancras station en route to the London 2012 Olympics?

By creating an interactive environment of hoardings and â&#x20AC;&#x2DC;busking scientistsâ&#x20AC;&#x2122; to engage the captive audience queuing outside the station.

hoardings / a captive audience outside St Pancras station

The Francis Crick Institute hoardings

opposite St Pancras station

street entertainers

Yahoo!

Q A

How did we invigorate the interiors of Yahoo!’s global locations whilst reinforcing the brand and providing a sense of regional pride

By providing thought provoking solutions that either highlight inspirational regional traits or Yahoo!’s core business USP ‘choice’

Yahoo! Rolle headquarters / interior graphics

Yahoo! Paris / interior graphics

Calvin Klein / Warnaco

Q A

How did we make Calvin Kleinâ&#x20AC;&#x2122;s London headquarters reflect its rich retail history to visitors whilst at the same time stimulating and motivating staff?

By using large format graphics and manifestations to communicate the milestones in the companyâ&#x20AC;&#x2122;s history, products and its inspirational founder

Calvin Klein / Warnaco

toilet / toilet /

male

female

disabled toilet

shower canteen copier

toilet / male

shower

toilet / female

disabled toilet

brand story

Calvin Klein / Warnaco

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digital media

Q A

How do we determine what form of digital media will meet your needs best and achieve maximum return on investment?

By having dialogue, understanding your sector, your audience and the competitive landscape, we ensure the medium suits the message.

websites To view websites click on the imagery

1. Palazzo Dorottya

2. Visit Bankside

3. Pevara

4. EPSRC, Impact! World

5. 3DReid

6. Montagu

motion graphics To view animations click on the imagery

1. Showreel

2. Moneycorp

3. Eurostop

4. Newsprinters

5. British Science Association

6. The Technology Partnership

our branding process

We tailor our approach to suit each individual client but having a clearly defined process ensures appropriate and effective solutions.

1> 2 > 3 > 4 > 5 Evaluation where are you now?

The brief where should you be?

Creation how far will you go?

Delivery what do you need?

Management who is in control?

We need more than a written brief and current materials. Through meetings, research and contact with the key stakeholders, we will gain a deeper understanding of your business, from company background to vision and aspirations. This can require workshops and interviews as well as competitor and customer research.

Your vision and our design thinking are at the heart of our approach. Based on our evaluation we will challenge any preconceived ideas and develop the brand strategy, ensuring it is achievable and sustainable. This strategy will be agreed in partnership with you and forms the basis of the brief and the goals that we will set to bring your vision to life.

We believe in pushing the boundaries but know that our concepts are for you and not our portfolio. We recommend developing ideas across three levels: safe, step change and cutting edge. All approaches will be creative and appropriate but will aim to differentiate your business from the competition.

Following development and agreement of a creative approach we will plan, agree and develop the deliverables. We will also advise on other brand touchpoints that may be outside the current remit but of benefit â&#x20AC;&#x201C; from designs in the workplace environment to promote staff buy-in, to a generic digital presentation of the key messages to engage both customers and staff.

Establishing clear but flexible guidelines and templates will ensure a freshness is retained but consistent brand execution needs to be controlled. Keeping guidelines simple will ensure they can be managed and are used, both internally and externally. Your brand should engage, inform and inspire but also be organic to adapt to changing circumstances. We can remain on hand as brand guardians to consult, support and even evolve your guidelines to meet any new requirements.

key staff

Simon Hutton Managing Director

Kevin Cox Creative Director

Ben Jackson Head of Digital Media

Glenn Wood Senior Account Manager

Penny Davies Account Manager

Simon set up tothepoint in 1991 and has led the business to its Design Week and Marketing top 100 ranking. He studied media and production design for four years at the London College of Printing, gaining an honours degree. He has worked across a range of sectors always looking for new challenges and ways to help clients differentiate themselves. He has a hands on approach, consulting and working closely with some of our long term accounts including 3i, CIPR, Moneycorp, Land Securities and Schroders. He enjoys all aspects of communications – from signage strategies to corporate DVDs – but his strength lies in identity and branding. With over 25 years of experience, ranging from initial research through to design and finer details of a project, Simon ensures work is creative, appropriate and effective.

Kevin studied Graphic Design BA (Hons) at Chelsea School of Art, and has over 20 years design experience, primarily in the branding and corporate literature sectors. Whether it’s brand creation and implementation, report and accounts, or creating entire marketing campaigns, his strategic approach to design and copywriting skills ensures that concepts have a strong rationale and are appropriate for the target audience. As well as designing, he appraises key client work, challenging some of the approaches and restrictions, pushing for more effective communications and ensuring value for money and return on investment are achieved. Clients include Legal & General, 3DReid, EPSRC and 3i, with recent work for the ICAEW and The British Science Association.

Ben got his BA (Hons) in Graphic Information Design at Falmouth School of Art and has been working in design and interactive media for over 15 years. He has extensive experience in brand creation and also the implementation of ideas and content across all types of media. Key projects include a cycle initiative website for Transport for London, branding and website design for 3DReid, and identity animations for Moneycorp, Newsprinters and The British Science Association. He can manage both designers and programmers alike and can translate often unintelligible technical speak into plain English. He also has many years experience of working in broadcast television and has created video title sequences for TV shows aired on BBC, Channel 4, Channel 5, and Discovery as well as working on corporate video and DVDs.

Glenn joined tothepoint in 2005 and is the day-to-day contact for his accounts, ensuring all parties are kept informed of project progress, scheduling, budgets and in seeing the job through to delivery of materials required. Glenn brought with him nine years of experience in the design field, from architecture and graphic design to account management. He has worked on a wide and varied range of accounts and brings a strategic approach to several of our key accounts. He’s used to large scale branding projects using mixed media and ensuring consistency is achieved across all materials. His approachable and dedicated nature, coupled with his experience and knowledge, make him a key member of the project team.

Penny joined ttp in 2011 as account manager/copywriter and is responsible for day-to-day management of projects and writing our e-news and blog. With a background in PR, she has six years’ experience delivering strategic communication and marketing strategies, including brand identity, reputation management, corporate rebranding, stakeholder engagement and internal communications. Penny brings excellent copywriting and editing skills to ttp, turning complex ideas and technical copy into simple, engaging English, whilst ensuring content is on brand and audience appropriate. Her experience across B2B, corporate and consumer accounts including construction, architecture, HR and retail enables her to deliver a wide range of projects, from initial concepts to delivery.

simon@tothepoint.co.uk

kevin@tothepoint.co.uk

ben@tothepoint.co.uk

glenn@tothepoint.co.uk

penny@tothepoint.co.uk

our approach to projects and accounts

Our Account Managers oversee all stages of a project, from brief to delivery, to ensure quality, brand consistency and that timeframes are all maintained. Clients also have direct access to the designers, from the Creative Director for major projects to specific designers working on implementation. The following is an outline guide to our project management process. Briefing In advance of a briefing meeting, tothepoint would ask for a written brief, the client’s company or divisions, profile or brochure, any relevant literature or websites and a list of any key stakeholders and/or competitors if appropriate. This allows us to prepare any relevant questions in advance. One of the directors and an account manager would be present at the briefing meeting, often accompanied by a designer from the team who would be working on the project. The brief should include a full history of the proposed project, the strategy and objectives including the key messages to communicate, the target audience and whether there are any particular guidelines to follow. We will question and define objectives by asking what is the context of the project? Is it the first piece in a series? Should it fit in with existing pieces of design? Will it form the start of a campaign and should other pieces be considered at the same time? A clear brief is essential to ensure we fully understand the client and audience needs. We can then create appropriate and effective communications.

We are happy to help in developing a brief, including researching your audience and requirements, and setting the strategy and objectives. Budget Based on the client brief, we will submit an estimate to show a detailed break-down of our fees and the stages required. If the brief changes, the budget is updated as required and approval sought before work commences. In this way the final invoice will match all approved estimates with no surprises. This budget sets the parameters for the level of design and implementation we believe is required. Client guidance on available budget is always helpful in setting these parameters so we will not design a concept around original photography or illustration if there is no budget available for this. Our long term client relationships have been built on trust and an open working partnership. Customer liaison Account managers will keep in touch with clients throughout the project life cycle through meetings, telephone calls and email. Contact reports following meetings are provided within 24 hours and weekly management reports are provided each

week to ensure the client is aware of stages, schedules and budgets. Account Managers and the Creative Director meet weekly to discuss and schedule work so that there is shared knowledge of projects. Schedules, budgets and time is input into our ‘traffic’ job management system which all staff have access to and input time so cost can be managed in real time. Brainstorming Once the brief is agreed we will hold a team meeting, involving all available designers, as the brainstorming stage to come up with a range of ideas and approaches that are suitable for progression by the selected team. Our process The following indicate a generic process for a new print or digital project. Key approval and feedback stages would be agreed at the outset and a timeline produced in written or gant chart form using ‘traffic’. Not all stages are always required. Stage 01 Research and briefing Stage 02 Brainstorming/concepts Stage 03 Development of ideas Stage 04 Optional client research Stage 05 Implementation (copywriting, photography, illustration, final layouts,editorial and quality control) Stage 06 Authors changes Stage 07 Artwork/programming Stage 08 Test proof/proofing/testing Stage 09 Final print/digital solution Stage 10 Development and supply of template if required Stage 11 Review – learning and success

risk and contingencies

Risk management is an essential component of managing a project, which if agreed and employed properly can bring excellent dividends to the project through the reduction of production and technical risks. It is a systematic process that involves the original assessment of risks associated with the project, the implementation of changes to the plans of the project if the risks involved are too high, and the transference and mitigation of high risk areas. For those areas of risk that are acceptable it means the development of appropriate contingency plans. Risk management, however, is not an event but a process and the identification, analysis and tracking of risk is continued throughout the life cycle of the project. However, whilst risk management is undoubtedly important in projects, prioritising too highly the risk management processes itself could potentially preclude a project ever starting or completing. This is especially true if other work is suspended until the risk management process is considered complete. Therefore risk analysis is always considered in conjunction with the overall aims of the project. If a project’s value is dependent on a high level of risk then this level of risk must be considered acceptable. Our risk analysis and management is a mixture of judgement and pragmatism.

At the outset of a project the account managers, and often directors, will assess risk issues and then monitor these and any future risks during the project, ensuring suitable contingency plans are in place. Examples are time constraints; overseas third party deliverables; complex print requirements; new technologies; weather etc.

Back-up of work All work is backed up to our main server, from here it is stored on a separate storage device using ‘Time Machine’ (enabling us to retrieve multiple versions of a document). It is also backed up to DAT rotated tapes on a daily basis – previous days are kept offsite.

Clients are always informed of risks and advised regarding alternative plans. In the event of a problem arising, with client approval, we would implement contingency plans and alternative solutions to cover risk areas. Examples of pre planning are: availability of staff or suppliers for weekend work, alternative third party suppliers, suitable insurance in place, back-up locations etc.

Setting up arrangements We do not have a formal client contract, but assume by signing a clients contract, this will suffice. All projects are estimated in advance and on formal approval, work will commence. We have included our standard terms and conditions for your reference, but understand any client contract, subject to any agreed variations, will take priority.

It is essential to constantly monitor level of risk and update plan accordingly.

terms of business

Estimates are based on the clients brief and the specifications indicated. Provided the project goes ahead on this basis, these costs become fixed. However, changes to the agreed specification before and during the project, or any client modifications and requests for additional work not budgeted for, may incur additional charges. These will be identified and discussed with the client before proceeding. Our fees are fixed for one month from date of estimate. For print, paper prices fluctuate and as such are subject to change up to placing of an order. Confirmation Written confirmation accepting our estimate or a purchase order is required before work can commence, quoting our estimate number. Approvals The client will be required to approve and sign off designs, copy, artwork and proofs before final printing can begin. tothepoint (ttp) will take reasonable precaution to ensure accuracy of text and visual materials, but ultimate responsibility for sign off lies with the client. Deliveries ttp will make every effort to ensure all delivery deadlines are met and goods are received in good order. However, ttp accepts no responsibility for any loss arising from third party delays or damage.

Invoicing Fees and our supplier costs will be invoiced on completion of a project or at stages if the project is likely to continue for longer than one month. Payment terms is net 30 days. ttp reserves the right to charge interest on outstanding accounts at 2% above bank base rate. If a project is discontinued for whatever reason, all fees and our supplier costs will be payable in full for the work completed to date. All queries regarding invoices should be brought to our attention within 14 days of receipt of invoice. VAT VAT is added at the appropriate rate. Publicity ttp reserves the right to publicise work produced for the client other than when contractually bound not to do so. ttp requests all printed literature designed by ttp to have a discreet reference number for digital archiving and a design credit to avoid passing off.

Liability ttp will not knowingly infringe any third party rights and assume that all material supplied by the client does not infringe third party rights. ttp restricts contractual and general law liability to the amount received under the contract and liability in tort to the amount recoverable under insurances from time to time. Confidential information There is a mutual obligation by all parties concerned to preserve confidential information. Copyright The copyright of the client selected/used designs originated by ttp will be transferred to the client on full payment of our fees and costs unless otherwise agreed by a usage licence. Copyright of designs that are not selected/used remain with tothepoint unless otherwise agreed. Copyright and usage fees for photography and illustrations is subject to separate agreement between the client and ttp and/or the artist.

references

client references

client testimonials

The clients listed on this page have agreed to provide references or discuss work that we have produced for them.

More testimonials from our clients can be found by following the link below: www.tothepoint.co.uk/about/testimonials

David Reid, Head of Communications and Stakeholder Engagement, EPSRC t: 020 7215 6107 david.reid@epsrc.ac.uk Printed collateral, displays, campaign collateral and a range of digital media

Many thanks for all your work on this website â&#x20AC;&#x201C; it has exceeded my expectations which were extremely high in the first place and that is an incredible achievement both for ttp working together with our in-house team. David Reid, Head of Marketing & Communications, EPSRC, Swindon

Clare Kingston, Freelance Communications Consultant, former Head of Communications, The Physiological Society t: 07967 738758 clare.kingston@gmail.com Branding, printed collateral, displays, campaign collateral

Not only have TTP been brilliant in delivering a fantastic new brand identity and design on budget, they have been great fun to work with too. Refreshing a brand in a member organisation can sometimes be a tricky process but Jim, Mark and the team have produced a contemporary look that is still sympathetic to our roots as an established scientific organisation. They have been a pleasure to work with and our Members love the new designs. Clare Kingston, Head of Communications & Public Affairs,The Physiological Society, London

Joe Baines, Head of Business Line Marketing, 3i, London t: 020 7975 3584 joe.baines@3i.com Branding, brand guardianship, printed collateral, displays and strategic consultation. Elspeth Graham, Commercial Director, CIPR t: 020 7631 6918 elspethg@cipr.co.uk Identity, branding, printed and digital collateral and report & accounts James Selby, HR Manager, News International, London t: 020 7782 7108 james.selby@newsint.co.uk Internal branding, internal and external facing printed collateral and a range of digital presentations.

They understand the essence of our communication strategy and continue to be proactive in the development of material necessary to retain and grow our membership. Ann Mealor, Head of Marketing & PR, CIPR, London As a leader in our industry, we produce a wide range of literature, from case studies to high-end thought leadership reports. Each piece needs to answer a specific creative brief as well as reflect our identity. tothepoint have a strong understanding of this balance and continue to produce work that is forward-thinking and communicates successfully with our specific audiences. John Scott, Marketing Manager, 3i, London I should like to thank you for all the excellent work you have done for us on the Acas Annual Report and the Summaries. Everyone who has seen the proofs has said how good it looks. Your unfailing patience and cheerfulness when we have messed you about with changes of plan and short deadlines and your willingness to sort things out with the printers for me has made our life so much easier in dealing with this. Lesley Loughran, Senior Press & Marketing Officer, Acas, London

fee structure

Job Title

Hourly rate

Daily rate

£125 £100 £100 £80 £70 £70 £60

£1,000 £800 £800 £640 £560 £560 £480

Director Web/Digital Media Senior Designer Designer Design Artworker Account Manager Copywriter (guide fee) All these rates exclude VAT

How are these reported to our clients? We operate a Filemaker Pro database called Traffic for our job book and all other management requirements. Project numbers are allocated for each new job. This is used on our estimates and as the reference number on all archived work. If the specification changes or extra work is required, this estimate is updated and re-submitted for approval prior to work progressing. In this way final invoices match approved estimates. Messengers and deliveries are extra as required. Cost savings We will always look for ways to achieve solutions that offer the best value for money, not only through design and implementation, but also through careful purchase of print or digital solutions. For volume clients who spend in excess of £150,000 on fee income per annum we would negotiate our rates. Typically this would be a discount of 10% on higher rates and 5% on our lowest rates. This would not apply to third party costs. Where we add value and outsource?

Photography We commission and art direct photography but also have a small photo studio area with lighting and a high specification digital camera that is used successfully for projects where budgets are limited. Specialist illustration We often illustrate projects in-house and these images have been used for the final project or we will commission and art direct appropriate illustrators. Print We buy from a range of printers from budget / trade printers outside London who produce a good standard of print but may need slightly longer lead times, to high quality Report & Accounts specialists who understand regulated deadlines. We will also print manage your printers if required. Specialist editorial services We work with clients on content, tone of voice and structure. For full copywriting services we have a range of writers who we select according to specific projects and market sectors – fees start from £480 per day. Research We do undertake our own research but also work closely with several market research agencies and can involve them on specific projects as required.

for further information

Simon Hutton Managing Director simon@tothepoint.co.uk Kevin Cox Creative Director kevin@tothepoint.co.uk tothepoint 5 Maidstone Buildings Mews, 72-76 Borough High Street, London, SE1 1GN, UK t +44 (0)20 7378 6999 f +44 (0)20 7378 7399 www.tothepoint.co.uk

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Now that youâ&#x20AC;&#x2122;ve experienced a small sample of how we have created and managed the brands for these clients, we hope you can spare 30 minutes to explore what we could do for you. Please call or email Simon or Kevin to arrange a suitable time.

thank you