OUGD602 - Postcard Designs

6A2 / 6C2 / 6D2.

As a part of my branding, it was decided to create postcards featuring examples of my work which could then be sent out to studios and agencies in a pack. In order to make the postcards functional as actual postcards which the studios could potentially keep for themselves or send on to other people, the back of these use the standard postcard format, with lines for an address and a space for a stamp on the right hand side along with a blank space on the left hand side on which the receivers can write their message. The designs also feature a box which holds my personal branding logo and colour schemes, along with my name and two links, one to my Instagram and one to my website which will help the receivers to find more examples of my work if they so wish, along with contact information. The idea of making these functional and including elements of my branding means that if these do get sent on to other people by the receivers then my information will continue on in the hope to reach more than just the people I sent them to.

For the front of the postcards, I chose an array of different projects to feature in order to show the breath of my creative practice, limiting each pack to four or five designs so that the receivers have to look further in order to see more of my work or more from a certain project.

How they would be used in context:

These packs will be held together using a simple strip of card also featuring my logo.

OUGD602 - Terms and Conditions

6B2.

Terms and Conditions: Legal advice for creatives:

Terms/Service Agreements:
- Write in a manner that everyone can understand, signed by both parties before starting work, outline what you are going to do, how it will function.
- Legally binding as long as you have evidence of it and have shown it to someone, ideally signed by both parties involved.

Task - What do we think should be put into a terms/service agreement?

What should be put in a Terms/service agreement?

- Schedule parameters.
- Work hours or days.
- Schedule or timeline - flexibility? Hard and soft deadlines?
- Client responsibilities - handling of the project, assets, etc.
- Client representative.
- Client approvals - when will they be scheduled into the process?
- Client changes.
- Samples and credit - stock images, music, license agreements - make usage clear/client liable for any extra charges associated with using third party sources.
- Credit - will your name be attached to the work? Logo? - good for creative press.
- Delays and termination.
- Consequences of non-payment.
- Usage - what media will it be used on? This allows you to build value into a project rather than just handing over a piece of branding and allowing the client to use it as they wish since this would incur a loss of money.
- Duration.
- Location.
- Electronic files - who's going to store it? Where? Length of storage? - always back up! Include storage in cost of quote, retrieval fee.
- File requirements.

10 things every creative should know (Freeths LLP):

1. Know the value of your work.
Research what other people are charging for similar services and, if possible, on what terms. Each sector will have its own standards and familiarising yourself with those will ensure you are a competitor, but also not underselling yourself.

2. Protect your work and your brand.
Copyright, trademarks, patents and licensing are there to protect you. Get a lawyer to read any contract you get sent to avoid getting underpaid.

3. Know your client and what they want.
Ensure you know who you are working for and even where they are based. Sometimes you may never meet a client in person, but it is essential that you know exactly what they want and ensuring that you can deliver it. Time, style, format, location and other factors all play a factor in your ability to deliver. Scope it out properly in the contract before you start the work.

4. Who owns your work?
Make it clear to the clients if you want to retain the right to share your work on social media, etc. Don't assume you own what you create. If you are contracted or employed to create designs or content, chances are what you produce will be owned by whoever contracts you, but you should always read the small print.

5. Non-disclosure agreements.
Non-disclosure agreements (NDA) are commonplace when working in commercially sensitive and highly competitive areas. Although they can be fair and reasonable, sometimes they can be very restrictive and go far beyond what is intended. You might be required to sign one before you start work.

6. Don't agree to something without thinking about it first.
If you feel like you are being hounded, take a step back - probably a dodgy deal. Don't be pressured into making instant decisions. Although there are time pressures, you need to know exactly what you are signing up to.

7. Never sign something without reading it and understanding it. Even the small print.
When it comes to your work and your business, you have a duty to yourself to familiarise yourself with what you are signing up to. If something isn't clear, seek clarification and have any contract amended first.

8. Consultant, contractor, employee or worker?
Register for self-assessment tax, even if you are a freelancer (GOV website). The capacity you are engaged in can make a huge difference to what rights you have. What makes this even more difficult is that the label you are given might not always match the true nature of the working relationship. As well as legal implications, it can also affect your tax status. You should know your rights any any obligations before you commence any work.

9. What to do if someone steals your ideas/designs.
Breaches of copyright, passing-off and theft all have legal consequences, but correcting the breach can be costly. However, there are a range of less expensive, easier to access options in lots of cases. Beware of making groundless threats or you might be on the receiving end.

10. Get to know a friendly lawyer.
A good lawyer can offer more than legal advice. They can be a good sounding board, offer perspective and give you a sense of what is right and wrong. Building a relationship with someone who can advise and guide you is important from the start and even more important as your brand and business grows.

OUGD602 - Updated CV (Information and Design)

6A2 / 6C2 / 6D2.

Implementation of Personal Branding Across Physical Material:

Updated CV (Information and Design):

From my initial CV it was decided this needed to be updated in terms of information provided, as well as its design. Mostly this has stayed the same in its format and design style, however in order to match my business card and letterhead designs, it was decided to incorporate the small illustrative symbols made for these onto this CV also to make the contact information clearer and give the design a small element of playfulness that matches the rest of my personal branding material. Some information was also updated, such as my Instagram handle which has changed since creating my initial CV, as well as adding an extra project down under experience (Creative Convos event branding), and my full education history.

How it would be used in context:

OUGD602 - Letterhead Design

6A2 / 6C2 / 6D2.

Implementation of Personal Branding Across Physical Material:

Letterhead Designs:

As part of my self-promotion material, it was decided to create a letterhead for any mail which I were to send out to studios and agencies, as well as potential clients in order to make these letters more personalised and create an element of consistency amongst personal branding across both social media and physical material. It was thought that making a small element like this personalised meant that the letter would stand out amongst a pile of other mail and letters, in particular, due to the element of colour which the receivers would potentially engage with more knowing it's not just an ordinary piece of junk mail. Two banners were created for this letterhead, one which features at the top which includes my logo to instantly make it clear to the receiver who I am, and another smaller one which features at the bottom which includes all my relevant contact information, utilising the symbol illustrations created for my business cards as an extra element of consistency. It was thought that having a banner on both the top and the bottom of the letter creates a more balanced letterhead design which would potentially keep the engagement of the reader until the end of the letter, as well as creating a structured hierarchy of information.

How it would be used in context:

OUGD602 - Creative Convos Branding - Collaboration

6D2.

Collaboration:

Due to the nature of this brief, it was thought that the development of the branding for the Creative Convos event would work better if a team were put together to work collaboratively. Based on my strengths as a designer and what the branding required in its production, I was chosen to join the existing team of two, along with three others. Whilst the brief was rewarding in itself, it did not come without it challenges and valuable experiences. The fact we were all chosen to be a part of the team based on our strengths and what the branding required was a good strategy and something which should be considered in the future when thinking about collaboration, since this allowed different aspects of the branding to be distributed evenly amongst the team with better results in each aspect if being developed by someone with the appropriate skills and interests. This also meant that the team size allowed for everyone to bounce ideas off each other and offer feedback throughout the development process. However, in some cases this was found to work the other way in that everyone had so many ideas it was sometimes hard to work with everyone's ideas, which meant producing a lot of initial developments and some compromises to find out what worked the best.

Throughout the process there were also some communication issues, with team members like myself not being made aware by other team members about changes they decided to initiate, which made the task of completing work to certain deadlines a lot harder. This showed how communication is key to any collaboration and in future I should plan out my time to factor in problems such as this without the risk of not having work completed by a specified deadline. Taking lessons from HAWRAF's google drive, if this were a paid client job, any issues such as this should incur fees since the brief would have to be extended meaning more work and wasted time which could have or needed to have been spent on another client brief.

In conclusion, when collaborating...

- Play to people's strengths and interests in terms of their creative practice.
- Remember to discuss all changes with the team since these changes may also be applicable to other areas of the design development.
- Discuss ideas, ask for feedback.
- Plan time effectively to factor in potential problems which could affect the smooth running of the project (if a paid client brief, create a business plan which incurs fees for such problems).
- Find a good team size, a good balance.

OUGD602 - Final Business Card Designs

6C2 / 6D2.

Implementation of Personal Branding Across Physical Material:

Business Card Designs:

Back design.

Front design.

How they would be used in context:

OUGD602 - Business Card Design Development

6A2 / 6C2 / 6D2.

As part of my self-promotion material it was decided to design business cards which could be handed out at any future networking events and potentially sent out in packages to various studios and agencies. These can also be placed out beside my work at the graduation end of year show for any creatives to pick up if they feel like would ever be interested in working with me. The back of these business cards were the first to be developed. It was decided to play on the design of my CV within these, using a portrait format and placing my logo at the top with my details underneath, using the same colours schemes and typefaces as my CV and other personal branding in order to continue to create a consistency across all media and material.

In order to make the contact information on this back side of my business cards clearer, it was decided to create a set of symbols to place next to each contact method which, again, played on the style of my personal branding being more illustrative in style. It was found when experimenting with the use of these symbols in the design that the initial centred type alignment did not work as effectively. For this reason, this was manipulated to be left-aligned with the pink contact box in order to work better with the symbols which now feature in a column and make this information seem more structured.

Initially these symbols were experimented with simply using black outlines to keep the design fairly minimalistic, however it was thought that these symbols could be made more playful in changing their colour and style to the same as my logo, utilising pink with a black outline. It was also thought that this use of colour made the symbols stand out better and therefore also clearer to identify what the different contact methods are.

In order to make the symbols slightly more consistent, the size of the mail symbol was changed in size in order to be a similar size to the rest of the symbols. This also meant that the negative space between the symbols and the text were also consistent, which continued to help the structure of these business card design developments.

In addition, although the initial use of the pink contact box played on the design of my CV, it was thought that this was unnecessary to include since the whole purpose of business cards is to hand out all your contact information to people easily therefore people will understand this purpose without the need to write the word 'contact' on the cards themselves. The new addition of the symbols also helps the receiver understand the contact information better without the need for this box. Therefore, further developments got rid of this box and replaced this with a simple line in the same style as that used in my logo in order to break up the information slightly, creating a simple hierarchy as well as continuing to be consistent with my other personal branding. This design was also experimented with inverting the colours in an attempt to create variety amongst business card designs, however it was thought this colour variation did not work as effectively in helping information stand out since the yellow on a pink background seemed to dull the colours.

In developing a design for the front cover of these business cards it was decided to create a variety of different designs in order to make these seem more playful and play on the idea of describing myself as multi-disciplinary and an all-round creative. A further set of illustrations were created for this idea, one illustration being a computer mouse to communicate the idea of myself as a designer, a pencil to communicate myself as an illustrator and a print squeegee to communicate myself generally as a creative, in particular my interest in print. These took the same minimalistic style as the symbols used on the back of the business cards and used three shades of pink to work with the yellow background, continuing to play on my personal branding logo. These illustrations were created into patterns to create structure and creativity in their design rather than simply having one of each on each card.

Another idea was to utilise the same illustration created for stickers that could be placed on packages and mail sent out to studios and agencies featuring two hands exchanging a letter, communicating the idea of networking associated with business cards.

A further idea was to use bold typography rather than image to communicate my multi-disciplinary approach as a designer, describing myself on my CV and initial website as a 'graphic designer, illustrator and all-round creative', manipulating this into the typographic composition 'Design. Illustrate. Create.' For these developments, the text utilises the same typeface used for the contact information on the back design of these business cards, as well as utilising the same colour scheme as my logo with a black shadow that makes the type stand out. Different variations of this design were experimented with, such as separating the words with the line stroke featured on the back and in my logo and cutting off parts of the type.

Other variations based on this idea of using typography to communicate my creative practice further manipulated type styles, this time utilising the same typeface as used for my logo itself which is a more traditional serif style compared to the initial developments. It was thought this may produce better consistency with the back cover design since my logo is the most prominent feature on that side, however it was also thought that perhaps this type style is not as legible in the bold way it has been used and perhaps does not stand out as much as the first typographic developments. However, on the first typographic developments, the black shadow may have to be made more minimalistic to match the more subtle shadow featured in my logo.

OUGD602 - Implementation of Personal Branding Across Social Media

6C2 / 6D2.

Personal Branding - Implementation and Strategy:

In order to show consistency amongst all my social media accounts for design, it was decided to develop extensions of my personal branding which could be implemented throughout these. This was then also considered would ensure that I am easy to search and recognise if the branding is the same throughout all accounts. For instance, for LinkedIn, it was decided to change my profile picture to an image of my personal branding logo. In order to match this, it was decided to produce a banner for the covering photo, featuring an illustration of someone exchanging a letter, using this to communicate the idea that I am happy to network, talk and collaborate, whilst this also gives an initial insight into one style of my work, being more illustrative and 'hands-on'.

Two variations of this banner were made, utilising the different colours of my logo. However, it was decided to utilise the yellow background version, since it was thought this worked more effectively to match the logo and produce more consistency with this and amongst other socials.

The same approach was taken for my design Instagram. Based on workshops into how to document your work effectively, it was decided to completely start again on this account, deleting all previous posts, since it was thought that these were not a consistent format and did not prove to be that engaging. Whilst this 're-vamp' was in preparation, it was decided to utilise the same banner as used on LinkedIn across the first three tiles of the Instagram profile as a placeholder to show anyone looking at my profile that something is in the works, potentially causing a bit of interest/mystery and engagement, rather than having it blank. Having this image stretch across three tiles to form a banner on my profile page, it was thought this too would potentially cause some initial engagement with my profile, since to view the full image, people would have to click on my profile itself.

This three tile format was then implemented throughout further uploads, presenting each different project throughout three posts, which was thought would make my profile look more consistent and structured in its format, something which allows the audience to further engage with content. These posts were spread out, posting one each day, since it was considered that if it seems as though you are posting regularly, people will be more engaged with your account and content, and you will hopefully be more prominent on their timeline, so they have no choice but to engage. Smaller elements of my personal branding were, again, continued to be implemented throughout this approach, separating each line of posts through a different coloured background, which will be alternated using the colour scheme from my personal branding, such as yellow and black. It was thought this approach would also allow each project to stand out from each other through this contrast of coloured backgrounds.

In addition, the name of my account was changed to a name which was again thought to work better with my personal branding in the use of my initials. It was also thought that having this as more of my name would make it look more professional, and the account was changed to a business account which allows people and potential clients to contact me through my email address visible on my profile, as well as allowing me to view insights into my account activity. This tells me the types of audience who I am engaging, for instance age ranges, gender, and where they come from, what time and days my followers are most active, and the amount of people my work has reached. These insights therefore allow me to develop an effective strategy in deciding when's best to upload and what to upload in order to gain as much engagement as possible.

OUGD602 - HAWRAF Studio - Task Reflection

6A2 / 6B2.

Task reflection:

- Charge for concept pitching - if you put the time and work into pitching an idea then you should get paid for this also, even if your concept does not get chosen to be developed on, otherwise this is lost time and money for work you have done.
- Have a script for phone calls and interviews - use HAWRAF's discovery questionnaire as an example. Also think about those on the other side of the conversation, use language that everyone can understand, avoid confusion otherwise this may lose you a clients, etc.
- Press tips - get to the point straight away before they lose interest, use quotes from other people involved. This allows you to create a press release which is slightly different for different things, but you do not have to create an entirely new press release each time.

http://studio-index.co/
https://lovers.co/ (2 producers, 90 freelancers).
https://thecreativeindependent.com/guides/a-guide-to-working-with-clients/

AIGA: Eye On Design:
Starting A Successful Design Studio is A Lot Like Making A Really Shitty Quilt:

Shortly after founding HAWRAF, Carly took a business class. She said "On the first day of the class, the instructor had us form groups and make these shitty quilts. She gave us new materials to work with as we went, but what we didn't realise was that over time she was giving shittier and shittier materials, and then she started adding more people to the group who are all trying to weave different kinds of quilts. People started to get really defensive about their quilts. After a little while, she stopped us and asked what we all just learned. And she said, 'At the end of the day, your business will continue to get larger, you won't have the resources you want, and things will continue to get shittier and shittier and you'll have to make compromises... And there's only six ways your business can go: you sell for competitive reasons; you sell for financial reasons; you give it to your kids, who probably don't want it; you give it to your employees, and they probably also don't want it; you shut it down; or you die at your desk'. We chose to shut it down".

What they learnt from this:

1. Have a goal. Agree on it. Write it down. You and your partners might know this intuitively, but it you write it down then it becomes a reference point for when things get crazy.
2. Run your studio on the side while you get it going. "How do you get work? How do you get clients? The answer is relationships. And these take time to develop". All members of HAWRAF continued freelancing whilst the studio was being set up. A lot of studios that seem like full-time operations are really made up of a handful of people all working full-time jobs elsewhere.
3. Throw yourself into the early work - but look out for sharks. 
4. Establish a process. 
5. Creativity is never enough. Don't forget about the other jobs which are crucial to making a business work, like management, business development, and administrative tasks.
6. Repeat yourself. Part of establishing a process means you do it over and over again, refining and perfecting as you go. Creating a new process takes time.
7. Schedule creative time. Sometimes ideas come readily, and sometimes they don't. When you're setting a project timeline, you have to actively build in extra time for that. "We discovered that we needed to give ourselves more time to have that first conversation and then go off, take a shower, go for a run, read a book, and come back and share more ideas".
8. Schedule paid time off. As a founder, it can be tempting to work all the time, which isn't healthy or sustainable.

https://eyeondesign.aiga.org/starting-a-successful-design-studio-is-a-lot-like-making-a-really-shitty-quilt/

OUGD602 - HAWRAF Studio - Design as a Conversation (Talk)

6A2 / 6B2.

Carly speaking at Awwwards in New York (November 2018)
Design as a Conversation:

Talking about practice:

Noun.
1. The actual application or use of an idea, belief, or method as opposed to the theories bout such application or use.
2. Repeated exercise in or performance of an activity or skill so as to acquire or maintain proficiency in it.

As a studio, HAWRAF had so many ways of working and thinking they wanted to try out/ideas, beliefs, methodologies they wanted to put in action and see what works.
Make lists - always start with the concept - every year check back on the list with new ideas/iterations to make sure they're continuing to grow and evolve in all the ways they want to.

"A studio practising practice".
Core idea of the studio - anything can be interactive - the things you put out in the world should say something and they should invite someone to say something back.

Be transparent - HAWRAF believe that if they can be open and honest about what its like to start a studio then hopefully it'll make it a little bit easier for someone else also just starting out. For example, showing where all their clients come from/also done it by showing the process of developing their own process.

There's lots on the internet that give a false narrative of what you need/what it takes to be a designer. In an attempt to de-mystify that, they decided to respond to 26 briefs over 26 hours (1 per every letter of the alphabet). They created an application which generated a random word with its definition, and then they would make something in response to that word.
This became an exercise in trying out a lot of different ways of working together to better understand how they come up with good ideas and to figure out how each person works best/how can they work well together as a team and as a studio.
Each hour they would document the highs and lows so they could do it a little better the next time.
As a part of this process, they also created live streams of them working on the briefs - invite people into the process - when you do this, people tend to get a lot more invested in it and care more about the end result.
This was put into practice through their work for CW&T - label maker/serial no. that doubles as a hashtag so people could follow their process of making a specific product - aimed to drive more of an audience to their kickstarter and their work with the intention that if someone sees the process that goes into making their products, they will be more invested in (and therefore more likely to buy) the end result.

Good work or good money? - ask yourself if the project is worthwhile, make pros and cons.
Give people the tools (make them easy to use) - think about how a piece of work is going to exist long after you are gone. For instance, their tool they created for Brooklyn Symphony Orchestra which allowed them to create their own visuals which could then be applied to all materials, such as posters, tickets and visuals for concerts.

Set clear expectations - when you set rules and guidelines for how someone can act in a space then you make it easier for everyone involved/they are aware of what will happen if things do go wrong - hold each other accountable (trust), listen, and ask a lot of questions - create spaces for people to also ask you questions back, share what you know.

Do better.
"Do the best you can until you know better. Then when you known better, do better" - Maya Angelou.
"And the only way we can get better is if we listen to each others' stories. That we create spaces where people can share those stories so we can learn from them" - Haraldur Thorleifsson.
Practice does not make perfect, but it does make better.

https://www.awwwards.com/talk-design-as-as-conversation-from-partner-at-hawraf-carly-ayres.html

OUGD602 - HAWRAF Studio - Fees and Expenses

6B2.

Master Services Agreement:
Fees, Epenses and Taxes:

Unpaid fees - HAWRAF reserves the right to delay or stop work on any phase of the project if invoices are not paid in full and on time.
Penalties for late fees - amounts not paid will accrue interest if not paid within five days following written notice by HAWRAF to a client at a rate equal to 1.5% per month.
Third-party expenses - client will be responsible for payment of all out-of-pocket expenses incurred by HAWRAF in connection with a project, including, but not limited to, expenses arising from hosting plans, domain names, typography and licensing fees.
Travel expenses - client will reimburse HAWRAF for any pre-approved travel-related expenses including airfare, car rentals, taxi or other car services, hotels and meals.
HAWRAF expect payment in full at the onset of the project and an invoice is due within 15 days of the issue date.

Timing: Client Feedback and Approvals:

All feedback by the client on deliverables and revisions must be provided within 48 hours of HAWRAF's request. Any delay by the client in providing feedback may cause an increase in fees.
Changes in scope of work - decided whether the change is major or minor and charge a new rate depending on this.

What can be learnt from this?

From this information on contracting and other 'legal-stuff', it is considered that setting up a master services agreement is an important part for any new business (and potentially freelancers) working with clients in assuring that you have legal protection if any problem may occur. The fact that HAWRAF asked for payment in full at the onset of the project means that there is a limited chance they are going to lose money from clients which may occur if taking the approach where the client pays an amount at the onset and the rest at the end of the project. In addition, the fact they ask for feedback within 48 hours of their request also means they won't incur any potential losses of time and money in ensuring they can continue with the project in a timely manner and to potential specific deadlines.

OUGD602 - HAWRAF Studio - About, Rules, Idealisms and Working For Clients

6A2 / 6B2.

About:

HAWRAF was a design studio founded by Andrew Herzog, Carly Ayres, Nicky Tesla, and Pedro Sanches in 2016. They use design to apply new ideas, technologies, and methodologies to work for clients and themselves. The result can be brand identities, installations, activations, contemplations, websites, books, films, content, experiences, commercials, apps, sticker packs, or objects - but are always delightful, considered and invite the audience to interact in a meaningful way.
All four are alumni of the Google Creative Lab, where they collaborated on a range of projects from interactive web applications and physical installations. Other projects included humanising artificial intelligence and evolving the Google logo.
HAWRAF believes that the messages you put out into the world should invite others to say something back, so they create interactive communications that do just that. With a strong foundation in technology, advertising, and design, the studio focuses on concepting, designing, and developing interactive projects that engage people in new and interesting ways.

HAWRAF Rules/Idealisms:

1. Concept.
2. Never make work that is only aesthetically based.
3. Always be able to explain the decisions in the work we create.
7. Don't ever do something because that's the way its been done before.
11. Seek alternative perspectives.
12. Seek uncomfortability.
19. Be enthusiastic about the work we're doing or don't do it.
23. Ask why all the time.
24. Always learn.
27. Be medium agnostic (meaning work on a range of things through a range of mediums/platforms).
28. Never sell something we wouldn't use.

How do they decide what projects to take on? / Working with clients:

Should we do this project? A flowchart.

An interesting way in which the pros and cons could be explored for a project in helping decide whether or not it should be taken on - includes some of HAWRAF's rules and idealisms.

Discovery Questionnaire:

HAWRAF also carried out a discovery questionnaire with potential clients after it is clear that there is a possible project, but prior to sending a proposal. Ideally, it gives them enough information to decide whether to move forward with a proposal, and, if so, what the timeline and budget for that proposal should be. Whenever they can, they should try to introduce themselves at the end, after having the appropriate information to cater their story and offering the potential clients needs. Questions include:

About/team:

1. Who are you? What is your role?

2. How long have you been there?

3. How long has the company been around? What's its story?

4. How big is your team? What does the team look like?

5. Any other stakeholders or decision makers? What will their input look like?

6. How have you worked with vendors/studios in the past?

Goals/challenges:

1. What have you done so far? What has worked? What hasn't?

2. What are your challenges?

3. What are you trying to communicate?

4. How would you measure success for this project?

General:

1. Who are your primary and secondary target markets?

2. What's your budget?

3. Where is your funding coming from?

4. Timeline?

Brand:

1. Do you have an established brand?

2. Art direction? Photography?

Website/functionality:

1. Who is using this site? What for?

2. D you see this as a starter apartment, a 2-3 home, or a 10-year mortgage?

3. What does it need to do?

E-commerce:

1. How many sales do you do through your site per month?

2. How would you measure success for your site?

Tech stack:

1. Do you have a domain, and if not is there a domain you have in mind? Subdomain?

2. If you have a domain, where is it registered (follow-up, need info)?

3. Do you want to own the domain or do you want us to purchase and manage it?

4. Is the site already hosted? Do you want to host it or do you want us to handle hosting?

5. Have you used a CMS before? Which/preferences?

Outro:

Talk about themselves.

Capabilities Deck:

HAWRAF also created a capabilities deck which included the content: who they are, what they believe (1. Anything can be interactive, 2. People want authentic, meaningful interactions), capabilities, case studies, what others say, get in touch (contact information), the end (thanks). How we do it? - "full service studio" - list what they can do, clients they've worked for previously, examples of work they've made, what others say (show features in magazines, etc). Create edited versions of your pitch deck for specific clients/projects you are pitching for.

OUGD602 - Being A Professional (3)

6A2.

Exercise:
Find the worst possible piece of branding.

Now defend it:

The Detail Doctor is a car service company which gives your car the attention and detail-orientated service you'd expect. The logo has been designed to represent a car in need of a service, reflecting the types of services which The Detail Doctor can give by filling in the details and making it a fully functioning car again. In terms of type, Papyrus is a hand-drawn typeface and has been used in the logo to reflect the hand craft associated with servicing cars.

Now redesign it (in 20 minutes):

Ideas generation.

Ideas behind this redesign were that the logo should just incorporate mainly type to communicate the brand. In this sense, the typeface used was one with bold, condensed characteristics, paired with a black and red colour scheme which was considered is typically associated with sports cars and other car servicing brands. The addition of the cross has been incorporated into the type in order to make this more playful and use the symbol as representative of a doctor or medical.

Feedback: The red cross looks a bit like the St. George's cross. This could instead be changed to green in order to associated it more with doctors and the medical side of the brand's name.

The aim of this exercise was to show that selling ideas is just as important from a business perspective as generating them.