by krd | Sep 18, 2023 | Design, Workflow
Let’s talk about measurements. In engineering, manufacturing and scientific applications, measurements deal in thousandths of a millimetre, or smaller. Mechanical engineers use digital Vernier calipers, outside micrometers, pitch gauges and feeler gauges for precise measurements. These can measure up to 1/1000 of a millimetre.
For graphic design that will be printed, we deal in millimetres. For design with a digital outcome, the units are pixels. Printers use outside micrometers to assess the thickness of paper. At the intersection of graphic and product design, microns come into play. The need for precision in our industry is pivotal in ensuring the accuracy and professionalism of our work.
In graphic design, even the slightest deviation from the intended measurements can result in errors in printing and binding, or significant visual discrepancy in online applications. Whether it’s creating a print design, a web layout, or a logo, precision ensures that the final product aligns perfectly with the designer’s vision and adheres to the client’s requirements. Accurate measurements also contribute to the overall consistency and coherence of a design, which are crucial factors in maintaining a strong brand identity.
When briefing projects, clients should provide clear instructions. This may require supplying a specification sheet for both web and print advertising, pop-up banners or promotional items. It may mean delivering a sample of items to the designer or printer to be measured for packaging and point-of-sale. This is then used in the creation of a dieline either by a printing company using a CAD system, or by the designers for simpler projects. The client may be working with architects, engineers, or a signage company. They will have CAD drawings, and these should be supplied to the designers. Consultation is key in all instances.
Occasionally for practical reasons, the client may need to measure a product or point-of-sale display. Our suggestion is this is usually best as a two-person process. Someone should hold the ruler straight against the item and someone else take a photo, clearly showing the edges and where the markings on the ruler line up.
by krd | Jun 15, 2023 | Career, Creative, Design, Marketing
Visual storytelling starts for most people with picture books when they’re children. Images form an integral part of the story message. The images and text combine, creating evocative messaging to resonate both intellectually and emotionally.
Visual storytelling is the essence of graphic design. Graphic designers take information and present it in a way that makes sense, tells a story. In today’s media landscape, visual storytelling is increasingly complex, with various mediums to communicate through. Effective and cohesive visual storytelling must work across print and digital media, including static and video or animation formats.
With a more complex environment, and an increasingly crowded marketplace, it is important for brands to create consistent, engaging and relevant visual material. To be able to cut through the white noise, a brand must stand out with unique, compelling visual stories.
Imagery – especially video – can convey much more in a few seconds then a headline ever could. Video stories are dense communications, while also being simple for a viewer to decode. Consistent branding and brand story allows for a whole ethos to be communicated through a short video, viewed in context. The viewer needs to bring less knowledge to the interaction.
Entertainment value
Successful and engaging visual storytelling leans more heavily towards emotions and entertainment than product information. An example KRD worked on is the #LikeABosch campaign for BSH Home Appliances – where videos created by the Bosch Gobal team combine humor and product interaction to create engaging social media advertising material. The campaign also allowed for still imagery to be taken from the videos to use across various print and outdoor advertising sites for consistent visual storytelling. The #LikeABosch campaign was produced in Germany, and adapted by KRD to local market requirements. Global campaigns for BSH have flexibility for in-country modification.
The #LikeABosch messaging is a parody of “Like a Boss”, which itself is a parody by comedy hip hop troupe The Lonely Island, of a song by hip hop artist Slim Thug. The campaign draws upon the comedy credentials of the parody it is parodying – so has layers of meaning and cultural reference which go a way to explaining the more outlandish ‘stunts’, like the toddler with a bottle throwing it into the dishwasher. If you want to see the original parody, there are clean and explicit versions available on YouTube.
Visual storytelling has the ability to reach multi-lingual audiences, as it is not reliant on words. The #LikeABosch campaign was produced in many languages worldwide which meant that the humor was conveyed as a whole – however there are enough sight-gags to still be entertaining without sound and language.
By using parody, the #LikeABosch campaign was able to capitalize on trending themes, and stand out in a crowded marketplace. At the same time, the humor of the clips stands alone for audiences who are not familiar with the existing parody.
Visual storytelling is at the core of what we do as graphic designers. It is not limited to motion graphics, or story books. Every piece of graphic design work produced is a vehicle for storytelling – communicating a message. Video marketing allows us to add layers to the messaging that may be limited across other mediums. How effectively this message is conveyed is the measure of successful visual storytelling.
by Kym Ramadge | Jun 6, 2023 | Design, Design History
by Kym Ramadge, June 2023
This is Part One of a subjective list of European museums and galleries I have sought and enjoyed for their art, architecture, curation, interpretative signage and ambience. Some focus on design history, some on the cutting edge. Some combine historical collections in contemporary buildings where the viewer has the best of both worlds. Design is a broad theme and covers, graphic, industrial, photography, textile, applied arts and technology.
As an Australian, the joy I’ve had experiencing European culture first-hand has been both awe-inspiring and humbling. I fully appreciate the opportunities I’ve had and would encourage all design students and graduates to maximise this aspect of travel at their first opportunity. Viewing artwork, objects and all forms of design, in person is unbeatable.
A well-travelled, European client of ours once defined it as this: ‘Australia and New Zealand are unsurpassed for landscapes but if you want to see the finest cities, go to Europe. Each localities have their strengths, and we should embrace the positive of where we currently are.’
Many of these choices to visit were influenced by material studied in the history/theory component of my graphic design degree at the former Phillip Institute of Technology (incorporated into RMIT University, 1992 during our final year).
An over-arching theme is the recognition of the continuity designers are part of. We are formed and guided professionally by previous generations, even if we are not aware of it. The museums and galleries discussed here all curate and display the talents of skilled artists, designers, craftspeople, architects both historical and contemporary.
The Type Archive
http://www.typearchive.org/
I was fortunate to meet Susan Shaw and tour The Type Archive in January 2019. The pivotal trove of typographic and print knowledge collected here is difficult to distil into a summary.
From the TA website:
The Type Archive is home to the art of printed words. We hold an amazing collection of letterpress fonts in metal and wood which celebrates the joy of printing: the craft that has served as the fundamental basis of modern civilisation and graphic design. While modern type foundries are entirely digital (Monotype.com) the Type Archive’s collection spans the nearly 600-year period when the foundry cut letters in steel, drove them into brass blanks, and cast lead type from them in molten lead.
Unfortunately, the TA is unable to stay at its present location. According to the website, the collection is to be moved to the SMG site at its National Collections Centre near Swindon.
The SMG plan to conduct oral history interviews to ensure the Monotype skills are recorded for the future. Once this is resolved, I highly recommend a visit. Appreciating the history of typography is imperative for all designers.
Type Archive photographed by KR, January 2019 in Lambeth, including hot metal type and Monotype machinery.
Victoria & Albert Museum
https://www.vam.ac.uk/
The Victoria and Albert Museum is a must see, both for the temporary exhibitions and the permanent collection. One tip for any European museum is to get to the top floor first and work your way back down. This can be a way to skip the overly crowded sections near the front doors.
From the Victoria and Albert Museum website:
Henry Cole, the V&A’s first Director, declared that the museum should be a “schoolroom for everyone”. Its mission was to improve the standards of British industry by educating designers, manufacturers and consumers in art and science. Acquiring and displaying the best examples of art and design contributed to this mission, but the ‘schoolroom’ itself was also intended to demonstrate exemplary design and decoration. The story of the design and construction of the V&A’s buildings, and of the personalities who guided this process, is one of persistent vision and ingenuity, amid the changing artistic, political and economic circumstances of the last 150 years.
The curation and interpretative design at the Victoria and Albert Museum is inspirational. Everything from the colours chosen on the walls, to the exhibition layout, to the signage, the building, to the objects themselves is compelling. I cannot single out one particular favourite area here.
The main part of the Victoria and Albert Museum is free for all to visit. So, you can visit as many times as you like without museum fatigue. Temporary exhibitions can involve an entrance fee. Check the website for current information.
The V&A building interior is as much a part of the collection as the objects themselves!
The Courtauld
https://courtauld.ac.uk/gallery/
Located in Somerset House, the Courtauld is awe-inspiring. The scale is intimate, and the collection of Impressionist, Post-Impressionist and Fauve paintings is one of the world’s greatest. The Courtauld also features temporary exhibitions.
Bookings are required, check the website for current information.
Museum of Brands
https://museumofbrands.com/
Quirky, nostalgic museum located in Notting Hill. Showcasing 150 years of consumer culture. Not all the brands will be familiar to Australians, however, the sheer volume and the division into eras makes this unmissable for designers or pop culture aficionados. The fonts, colours, period styling, printing methods and embellishments, all add up to a 3D design extravaganza.
The museum runs temporary exhibitions as well as archives and other resources for our industry.
From the Museum of Brands website:
More than fifty years ago consumer historian Robert Opie began to unravel the fascinating story of how consumer products and promotion had evolved since Victorian times. By 1975 Robert had enough material to hold his own exhibition, The Pack Age, at the Victoria & Albert Museum. In 1984 he opened the first museum devoted to the history of packaging and advertising in Gloucester.
In the early 2000s, the collection needed a new home. With the help of global brand agency pi Global and founding sponsors Cadbury, Twinings, Vodafone, Diageo, Kellogg’s and McVities, the Museum became a charity in 2002 and opened in Notting Hill, London.
After ten successful years, the Museum had outgrown its building and in 2015 relocated to a larger site nearby, just around the corner from the world-famous Portobello Road Market.
The relocation project added new galleries, event spaces and garden. Support for the project has come from founders including Diageo, DS Smith, the Garfield Weston Foundation and the John Lyon’s Charity.
Paris, France
Paris is of course, teeming with museums and galleries. The well-known ones are of course, covered elsewhere and well worth the crowds.
For a much-less crowded space, I recommend:
Musée des Arts et Métiers
https://www.arts-et-metiers.net
This is a museum with the following categories: Scientific instruments, Materials, Energy, Mechanics, Construction, Communication and Transport. This is under the industrial design history category.
Various parts of the collection, a testament to research, ingenuity, precision, detail and creativity, all photos by KR.
Musée Marmottan Monet
https://www.marmottan.fr/en/
The Marmottan Monet is highly recommended. Not only are Monet’s paintings exquisite to see in this carefully curated and lit space, the interpretive signage is outstanding and includes footage of Monet painting late in his life. Further, the Marmottan has an incredible collection of Middle Ages art, including illuminated manuscripts. As part of our graphic design degree, in our history/theory component, we studied the fine detailed art of the illuminated manuscript. To see them firsthand is to appreciate the beauty and its contribution to typography.
Musée de l’Imprimerie et de la Communication Graphique
(Museum of Printing and Graphic Communication)
https://www.imprimerie.lyon.fr/en
This is possibly one of the geekiest design and printing museums to visit. Anywhere. It contains the history of printing and ends up with the Apple Mac including original DTP software packaging for Quark Express. Tucked away in a back street of the oldest part of Lyon, this is unmissable for anyone interested in the history of graphic arts. A fraction of what is on show: a replica Gutenberg press, amazing poster collection, original hand-bound leather cover books and hot metal type.
Museum exterior courtyard, leather-bound book and original Apple Mac Classic with laser printer, all photos by KR.
Musée des Confluences
https://www.museedesconfluences.fr/en
Breathtaking architecture situated at the confluence of the River Rhône and the Saône, this is a science and anthropology museum. Every aspect of this is worth visiting, the exhibits are artfully curated, knowledgeable and all components of design is carefully considered. The views from the building of the rivers and Lyon are a travel highlight for any visitor.
Musée des Beaux-Arts de Lyon (Museum of Fine Arts)
https://www.mba-lyon.fr/en
Housed in a former Benedictine convent, this museum focuses on Fine Arts. The building is beautifully restored and the Ancient Egyptian collection is impeccable. If interested in numismatics, the coin collection here is France’s second largest. There is also a large collection of Modern Art, plus an Art Nouveau room. All exhibits are displayed in world-class layouts with thoughtful design.
From the Musée des Beaux-Arts de Lyon, all photos by KR.
Johann Gutenberg sculpture in Vienna, photo by KR.
Vienna, Austria
For graphic designers, Vienna is potentially destination number one in terms of the modernist design instigated by the Vienna Succession. As a bonus, on the walk between the Wien Römermuseum (Roman museum) and St Stephens Cathedral, a sculpture of Gutenberg is tucked just off Rotenturmstraße.
Essay worthy, this is a brief overview: the Vienna Secession was an influential art movement founded in 1897 in Vienna, Austria. Led by artists such as Gustav Klimt, Josef Hoffmann, and Koloman Moser, it aimed to break free from traditional academic art, embracing modernism and promoting the integration of art into everyday life.
MAK Vienna (Museum of Applied Arts)
https://www.mak.at/en
From the MAK website:
The MAK is home to an unparalleled collection of applied arts, design, architecture, and contemporary art which has developed in the course of 150 years.
Established in 1863, the MAK Vienna, or the Museum of Applied Arts, been a pioneer in showcasing applied arts from around the world. The museum’s collection spans over five centuries, encompassing an array of disciplines such as textiles, ceramics, furniture, and graphic design. Its extensive collection not only celebrates the achievements of renowned artists but also serves as a source of inspiration for contemporary graphic designers. The MAK Vienna is not just a repository of artifacts but a living testament to the ever-evolving nature of design.
The MAK houses huge collection of graphic design works we studied at university. There is also the quirkiest collection of chairs. Another superb architectural building and setting.
MAK Vienna, all photos by KR.
The Vienna Succession
https://www.theviennasecession.com/
The Succession building was restored after World War II. There are a number of Gustav Klimt works on display here. For me, the building itself was the key. The combination of modernist lines and the intricate entrance combine beauty and functionality. The colours are harmonious. There is no doubt in my mind that this building and the Bauhaus represent significant markers in my design journey. I made a point of photographing it early in the morning.
Published on LinkedIn here.
by krd | May 3, 2023 | Creative, Design, Design History
Creativity takes many forms. Any human endeavour to produce something that didn’t previously exist, is a form of creativity. You may think that creativity in two dimensions is limited to original arts like drawing or painting, however, design that serves a commercial purpose is also creative.
Many designers are labelled ‘creative’ their whole lives by family and friends. As a branch of the creative arts, graphic design and by extension, graphic designers are creative people. Creating within parameters – of varying stringency – can be extremely rewarding. Like a visual artist who creates a series of monotone works, limitations can in fact enhance and focus elements of design.
Designing with parameters: form follows function
When working with limitations, design is no longer simply creative or decorative, but rather, forms a solution. A well-engineered bridge is a creative masterpiece. Something we find both useful and aesthetically pleasing. The interplay of creativity and functionality is more evident in industrial and civic design works than in graphic design, which for the most part deal with surface design. That is not to say it is lacking in graphic design. A shape that is not ‘read’ as part of a main communication may not simply be decorative, but rather a device to direct your eye to the order a piece should be read. Or to create visual balance to that your eye is not distracted from what is to be read.
The shorthand for this is ‘form follows function’, which is a mantra that influenced generations of modernist architects and designers. The statement was instigated by the Bauhaus founder, Walter Gropius. The object shape is intrinsically linked to the object function. This is a truth at a basic level, a knife looks like a knife, as it is used to cut. Once you expand this thought to more complex objects, it is less clear cut. If people responded to this theory alone, houses would be almost completely utilitarian. A blanket would just be a plain piece of cloth. Instead, minimalism is a design aesthetic choice, as is any number of stylistic choices – Victorian, Art Deco, Mid-Century Modern, Scandi, the list is extensive, if not endless.
Evolution of craft industry to commercialism
Historically crafts have informed design. Before the industrial revolution a blanket would be either knitted, woven, or sewn from old clothing. Each item created would be unique to its maker, and sometimes, like in case of tartan – unique to a family group. Various regional communities developed their own popular techniques and designs, which over time become traditional.
Craft and commercialism were linked even before the industrial revolution, when craft guilds provided professional services like embroidery or weaving, guaranteed to a high standard.
Craft from a hobby to an influencer
The act of crafting by traditional methods can be an enjoyable activity for creativity and self-expression. Craft combines the act of design and manufacture, resulting in a unique product. The aesthetic of a finished craft project can also be used in large scale manufacturing, for example – a mass produced quilt which mimics the design of a traditional quilt. This brings the finished craft aesthetic into the commercial realm.
The influence of craft on commercialism is not always so immediate. Craft may also influence design indirectly, or with more subtlety. A styled photograph featuring hand-crafted quilts might be used in product photography to associate a furniture brand with a crafted, bespoke, hand-made aesthetic. This same craft aesthetic may have influenced the design of the upholstery. Or perhaps a brand of tea wants customers to associate their tea with warm, cosy living rooms, so their advertising photography features this same hand-crafted style.
Crafts, creativity and commercialism become quite circular once a particular design aesthetic becomes established as a recognised style. To paraphrase The Devil Wears Prada, fashion starts from the top, designers and craftspeople, and disseminates through life to become a style.
by krd | Apr 14, 2023 | Creative, Design, Illustration
Graphic design is a profession with eclectic influences. There are strands from fine art, from pop culture, from all forms of media, throw in history, aligned occupations, a dash of experimentation and wide-ranging interests from outside commercial work. Constant curiosity about the world is vital to keep imagination firing and updated on industry trends. Each designer will have their own set of topics, ideas and activities that intrigue them.
We highly recommend student and entry level designers have a broad range of interests to visually energise their thinking. It might be as simple as a daily walk through a park to experience the weather and its ever-changing patterns. It is important never to limit your visual horizons. All designers should aspire to life-long learning.
Niche collections
Designers from all professions are known for quirky personal collections. Some may seek out obscure album cover art. Some hunt around for historical packaging of one specific product category. There are collections of original Penguin book covers, matchbooks, Matchbox® cars, hats, shoes, figurines, menus from cafes, postcards, watches, and jazzy tea pots. Literally as broad as the limitations of time and budget. The important take out, is always seeking and curating, learning about the world beyond daily parameters.
Wide ranging artistic activities
Creative outlets are not limited to collecting. Some designers apply their skills to cooking, making fancy baked goods or complex recipes, admiring the culinary art of chefs. Some will collect and grown bonsai, immersing themselves in the intricate patterns and small cuts required. Fine art painting, printmaking, illustration, calligraphy, and life drawing are also popular. Many designers will take up gardening, starting with a few pot plants and increasing the scope throughout their life. Visiting art galleries, museums, architectural landmarks are also high on the list of engaging activities.
Music and musicians
A cursory search will demonstrate the close and inextricable link between all forms of music and graphic design. The interchange is obvious, and the trove of cover art is a testament to this. There are many celebrated musicians who studied at art school, and in particular, graphic design, prior to their musical careers. Charlie Watts and Ronnie Wood from the Rolling Stones, David Byrne and Jerry Harrison from Talking Heads, David Bowie, Pete Townshend and Freddie Mercury, to name a few. In turn, many designers have music as another creative pursuit. For example, playing an instrument, joining a band, or going to gigs, not to mention, listening to music while working.
Non-commercial work
If you question a designer, many will have a non-commercial outlet for their personal projects. This is the space where their creativity can run free. We are going to share some of ours here.
Kym Ramadge / Design Director: in my spare time I pursue fine art photography, primarily working in black and white, focusing on long exposure, minimalism, detail, texture, and pattern. First introduced to photography during high school and codified during tertiary studies, in the last 10 years have reached obsessive levels of interest, as time permits. Working as a professional graphic designer has meant collaborating with many talented commercial and landscape photographers. I’ve learnt something from each of them along the way. The difference with my personal work is, I am not under pressure to get the shot on the day, I can take my time, refining, re-shooting and re-visiting locations. Working primarily with digital, I have also joined the current Zen wave, slowing down and again shooting 35mm film. I was humbled to have three of my images commended in the 2022 Mono Awards.
500px.com/kymramadge
Instagram.com/kymramadge
Emma Echter / Lead Designer: in my spare time I alternate between illustration and quilting. During the Melbourne lockdowns, I invested a lot of time honing my illustration skills. As a young girl I dreamed of being a professional illustrator – creating illustrations for all my school projects. I started quilting about 15 years ago, and quickly fell in love with it – it is tactile, versatile and when hand-pieced, portable. Quilting is a way of illustrating and creating graphic patterns that is as close to 3-dimensional artwork as I can get. The next step in my creative journey is to find a way to combine illustration and quilting, and with the availability of digital fabric printing, the possibilities are endless…
Instagram.com/boldarcher.au
Instagram.com/emmae_illustration
by krd | Mar 9, 2023 | Career, Creative, Design, Marketing, Resources, Web Design, Website, Work
Developing a new business website is exciting. It’s the digital home for your business. Just like a real shopfront, you need to be sure that the foundations are secure.
Developing a website can be a little bit of a chicken and egg situation. It is literally not there until you add the content. Once you add the content, it springs up almost like magic. This isn’t strictly true – there is a lot of thinking, planning, and building that has to take place to make sure everything is in the right place and is searchable and logical to a visitor.
Plan your user experience
Content needs to be planned in a way that makes sense to a visitor. Think of them as a virtual customer in your real shopfront (if you are a retailer). What is the customer journey?
How can we mimic that experience online?
What do people expect from a website in your industry?
How can you incorporate standardised features to smooth the experience for your customers?
This should be discussed thoroughly with your designer – being so close to your business or idea, it can often be difficult to see where new user questions may be. Your designer can look at your business with fresh eyes and place themselves in the role of customer to help configure your site plan.
Organise your content
Once you have your structure in place, gather images and write content. While websites use low res images for speed, provide your designer with high resolution images that they can crop and optimise as required. If you are struggling to write the content, engage a copywriter – a professional may be more affordable than you think. The site plan you have created will be helpful to know how many text segments are needed, and how long they should be.
Generating traffic
Once you build it, how will people find it? Search engine optimisation is an art and science. Be sure that your content is well written and useful. Publish content of value and don’t add fluff pieces to bulk out the site. Become a source of useful content for your industry.
Incoming and outgoing links are useful to add validity to your content. Incoming are particularly useful to becoming a ‘trusted source’ within your industry. Add content and update regularly so your content does not become stale – don’t create another abandoned blog. Set a realistic schedule for new content and plan ahead.
Consider starting a news section where you can publish updates – think content that you might publish on social media. This way, you have control of the content, and are not dependent on social media platforms to showcase your brand. If a social media platform ceases to exist, you loose all the content and engagement you generated, unless you have it on your website too. You can also direct people to your site, where they are less likely to be distracted by other offerings on a social media platform.
Make sure your URL is memorable and accessible – add a link to your email footer, to your social profiles, anywhere you communicate. Then when you integrate analytics to your site, you will be able to see how people are accessing your site and tailor any future marketing activities accordingly.
Editing and future-proofing
One of the best things about websites is that they are not static. You don’t just finish them and walk away. Connect up your analytics and see what content is performing. If something isn’t getting the traction you want, change it. Engage with your site, update whenever something changes in your business – by keeping it current and relevant you are more likely to engage your visitors.
Be sure to keep any CMS software you use up to date. One of the most popular CMS systems we use is WordPress. WordPress is open-source software – making it free to use – but it is constantly evolving to improve and to combat malware and hacking. Keep it up to date to reduce the risk of your site being hacked. Also, backup your site regularly so that if anything goes wrong you can restore it quickly and easily.
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