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@studiojubilee
New website!
We’ve launched a new website. You can see it here: http://studiojubilee.com.
Making brands more persuasive
Naming a product, service or business can be one of the most challenging problems for new brands and startups. Where do you start? Is it best to choose something unique and unheard of, or is it better to go for something familiar?
There are endless variables in what makes a good name, but one of them is concentrating on what the name sounds like:
In 2010 there was a study by Lev-Ari and Keysar that involved groups of participants reading dozens of unfamiliar proverbs, one of which was 'woes unite foes'. A second group read a non rhyming version: 'woes unite enemies'. Same meaning, different word, and a different sound.
Interestingly, the study found that when proverbs rhymed, they were deemed as more persuasive than proverbs that didn't. Now we're not suggesting that every brand name you think of should rhyme, but it shows that thinking about sound and pronunciation is really quite important.
In addition to how it sounds, it's also important to choose a name that is easy to pronounce. In the same study, participants were asked to evaluate reports on two fictitious Turkish companies. One report was for the company 'Artan'. The second company name was given the less easily pronounced name (for English speakers at least) 'Taahhut'.
The participants of the study gave much more weight to the report from Artan, despite the two reports containing identical information. The only variable was the name of the fictitious company.
So, what does this tell us? Firstly, it shows that we judge things by their names, whether consciously or unconsciously (see this recent video from ambivalent Katie Hopkins about judging children by their names, and read about the heuristics and biases at play). It also shows the extent of the judgements we can't help to make: The study demonstrates that if we were in the situation of choosing between buying into two similar brands, the name of the brand, and all the related connotations that gives, is going to be a major deciding factor. Stimuli that are easier to process (and therefore more memorable and effective) are perceived as being more familiar, more pleasant, visually clearer, less risky and more truthful.
With Chinese businesses pushing into Western markets, a lot of brands have have to adapt or change their brand name to make them more pronounceable, easier to remember for Americans, and actually less Chinese (because of the stigma still attached to 'Made in China'). Chinese brands also tend to prefer acquiring existing American firms (with their established reputations and resources). A recent survey shows that 94% of Americans cannot name a single Chinese brand.
The differences in language and culture between American and Chinese businesses can result in some interesting translations. Some American companies have decided to use literal translations, such as Apple (苹果: Píngguǒ: apple), Microsoft (微软: Wēi: micro. Ruǎn: soft) and Volkswagen (大众汽车: Dàzhòng: public. Qìchē:car). Others have decided to use phonetic translations, such as McDonald's (麦当劳: Màidāngláo: Mài: general term for wheat, barley, oats, etc. Dāng: to serve as, or to be used as. Láo: to work). Most companies however opt for a combination of both, which means brand names sound more or less the same in Chinese as English, and use Chinese characters that have a positive meaning and can also describe the brand. Examples of this method include: Nestlé (雀巢咖啡: Quècháo kāfēi: Què: sparrow. Cháo: nest. Kāfēi: coffee.), Coca-Cola (可口可乐 : Kěkǒukělè: Kěkǒu: delicious. Kělè: happiness.), and Mercedez Benz (奔驰: Bēnchí: Bēn: run fast. Chí: go quickly). The Hutong School website lists more examples of translated brand names.
When names trip off the tongue, whatever language you speak, they're more memorable, more persuasive and more effective. Whether you're a startup, or an established multi-national, it pays to think about your brand's name carefully.
The Cathedral Effect
We all probably know that the space and environment where we work is really important in how we feel, and that it plays a pretty big role in our productivity. But there's more to the design of our surroundings than purely the objects we have in them, or how the space is decorated.
The Cathedral Effect describes the relationship between the perceived height of a ceiling and cognition. Or in other words, the height of the ceiling affects how we think.
Studies have shown that high ceilings promote abstract thinking and creativity, whereas low ceilings promote concrete and detailed-oriented thinking. It's really quite impressive when you think about it; depending on the nature of the problem/work, ceiling height can either undermine or enhance your problem solving.
Participants in studies have reported that their mood feels 'freer' in high-ceilinged rooms, compared to more 'confused' in low-ceilinged rooms. A reason for this might be to do with priming: The stimulation of certain ideas in your memory enhance cognition regarding associated or interconnected ideas. So, high ceilings prime 'freedom' and therefore enhance thoughts that you associate with being free.
Lidwell et al, in the book Universal Principles of Design, give some really good examples of how we can use ceiling height to enhance our thinking and productivity: For creative tasks like design, we might favour studios with high ceilings, whereas for detailed-oriented work like surgery, operating theatres with low ceilings would be better.
Retailers can also use The Cathedral Effect to alter the behaviour of their customers: Shops where customers need to use their imagination, like home improvement or DIY, favour high ceilings to help creative thoughts develop. Shops or venues that want customers to stay inside for a long time, like a casino, tend to have high ceilings. In contrast, fast food restaurants prefer a quick turnaround, so can use low ceiling heights.
Although it's not practical to suddenly alter the height of the ceiling in the place you work, the Cathedral Effect is worth remembering. Perhaps trying a different space for a few hours, if you have some creative problem solving to do, could help?
Contour bias
Contour bias is a straightforward principle and something that we naturally recognise and use everyday, but probably usually unconsciously.
Humans have an innate tendency to favour objects with curved contours over objects with sharp angles or points. Research shows that when our brains recognise sharp angles, it activates the amygdala; a region of the brain associated with processing fear and emotion. When brain activity is measured, the amygdala activation is directly proportional to the degree of sharpness in an object.
So, studies show that we strongly prefer rounded objects over angular ones. Take lots of technology products, especially anything Apple designs: curved contours on the hardware, with rounded corners and transitions throughout the software. Knowing that we prefer or respond more positively to contoured objects, Apple is ensuring we feel comfortable when using their products.
But this doesn't mean designers should make everything rounded, in fact, quite the opposite is true. Angular and pointy objects can be used to provoke thought and engage our attention — just think of traffic signs that intend to warn us: They've been deliberately designed as triangles.
It's worth pointing out that contour bias is certainly true for emotionally neutral objects (a website, a mobile phone or a car for example), but when an object carries emotion (like a sharp knife or rounded baby's face), that emotion tends to override the effect of contour bias.
As designers, the lessons we take from the idea of contour bias are to consider using contoured forms or shapes to make positive first impressions, and carry a friendly tone of voice. Conversely, we're able to recognise when it might be more appropriate to use angular and sharp shapes to attract attention to something and to provoke an instant response.
These ideas can be applied to the whole spectrum of design, whether graphic design, products design or architecture for example.
Sometimes it's just about making something feel right.
Branding a gastropub...
You may have seen on our website that we designed the Hare & Hounds brand identity. The Hare & Hounds is a newly reopened upmarket pub with stunning views over the Bath countryside.
To launch the repositioning of the Hare & Hounds to an upmarket gastropub, we developed a strong identity from scratch to emphasise the history and location of the pub. The design had to be focused on the specific new clientele the pub was aiming for — something too contemporary or minimalist would be out of place.
At the time we applied the new identity from everything to exterior signage to lovely looking doormats.
An important feature of the project was the identity guideline document we wrote for the brand, so that all new materials would be consistent. It's the details and flourishes that really make the difference.
Recently, the Hare & Hounds has introduced its fantastic new ale. This photo shows you how the identity we designed has been applied to the pump:
Also, the pub also has a newly built website, which looks fantastic and is perfect for its visitors:
You can see more images of the branding we did for the Hare & Hounds on our website.
Gamification: what is it & should we use it?
Gamification is a bit of a buzz-word at the moment. It seems like if you're not already practicing it, you should be. But what actually is gamification, and can we learn anything from it?
Well, it's nothing really new, and as Kevin Werbach highlights, the whole phenomenon can be pretty much summed up by Mary Poppins [1964]:
"In every job that must be done, there is an element of fun. You find the fun and ‘snap’, the job’s a game"
On the opposite side of the spectrum, in a paper written by Sebastian Deterding et al, gamification has been defined by:
the use (rather than the extension)
of design (rather than game-based technology or other game-related practices)
elements (rather than full-fledged games)
characteristic for games (rather than play or playfulness)
in non-game contexts (regardless of specific usage intentions, contexts, or media of implementation).
So let's look at a somewhat extreme or obvious example:
In this video, a pretty standard bottle bank has been turned into an arcade machine. By introducing elements characteristic for games like music, lights and scoring, the public were encouraged to use the bottle bank much more.
So what's actually happening here? Why are we more likely to engage with something if it shares characteristics with games? Here we've taken a set of principals of gamification, and added few examples of how we think they're used day to day.
1. Feedback
A natural human trait is to respond to feedback in someway — whether positive or negative. When we do something and receive positive feedback (be it a reward, a smile, a point or a verbal well done), we are encouraged to do it again. An example of this principal being used is the idea of 'up-voting' on comments boards or forums: if you like what someone has written you can vote for it to be moved up the board. Here, not only are we receiving feedback in real-time, we're given the power to feedback to others.
2. Choices
Classic games, at a fundamental level, give players a choice; whether to turn left or right, to jump or to crawl, buy a hotel on Mayfair or house on Old Kent Road. In real life, we're given choices all the time: Waitrose uses a scheme of giving money to charity, and customers are given the power to choose who receives the money: With each transaction, customers are given a green token (with an equivalent monetary value), which they can then deposit in a 'bank' of their choice — there's a separate slot for each charity in the scheme. It's likely that every charity will end up with more or less the same amount of money, so why does Waitrose bother with all this? Because it's a way of actively engaging their customers, who feel (at a somewhat unconscious level) empowered and good about what they've done. Having to go through the process, especially the final choice, is very game-like, so is therefore an essentially 'fun' experience.
3. Progression
A lot of money is invested by businesses to test when users stop engaging with their service or product: the drop-off point. The result is elements being introduced to stop the drop-off and encourage engagement (sometimes referred to as loop engagement). So in a game like Monopoly we're given £100 every time we pass go. It encourages us to spend and it keeps us in the game. Lots of websites and apps feature some sort of progress bar: a visual reminder that we've got more to do: to finish a tutorial, to finish our profiles or to complete our transaction at the checkout. As all of these six principals are interlinked, and feedback encourages our progression: Badges are used to reward us on websites like Codeacademy and eBay, and stamps are used on loyalty cards at cafés and restaurants.
4. Levels
A huge proportion of games use levels as a major element of engagement: Once you've completed a level, you're faced with an even more challenging level. It's this notion of challenging ourselves that engages us. Most supermarket customers get money-off vouchers if they shop at supermarkets and use loyalty cards. A common type of voucher is 'when you spend £X you'll get £Y off'. And more often than not, if you manage to spend say £60 to get £6 off your bill, one of the next vouchers you get will be £7 off a £70 shop. And so it goes on, almost turning into levels in a game. Once the challenge has started, if you're able to achieve the first goal, there's always another level to tackle.
5. Social
Games are intrinsically social: we tend to either play games with others, or share our successes on league tables, forums and social media sites like Facebook and Twitter. And businesses need to be social too: on the web we're often encouraged to 'like' something on Facebok, and to share what we've just bought or completed on Twitter. Shops hold open-evenings and events to encourage social gathering and peer interaction. Popular brands create a social environment (on and offline) to generate a buzz and encourage engagement.
6. Habit
The most successful games are ones that have users who play more than once; when playing the game becomes habit. And the same goes for business too: the most successful organisations are the ones that have users engage with them repeatedly. And one way you can ensure people do that is to make the process fun, to use all these six principals. A great number of games take advantage of our natural habits, like hunter/gather techniques in games that are used to acquire badges or weapons or points. And shops do this too; we love getting points and points on our supermarket loyalty cards. We become obsessional with using the same product and the same service providers over and over again. It's not always because they're the best, it just means sometimes they're the best at understanding our behaviours.
A great example of a business that uses all six principles of gamification is Nandos: The ever-popular restaurant runs a stellar loyalty card scheme, where you get one stamp per visit. After three stamps you are rewarded with a free 1/4 chicken (or vegetarian meal). After six stamps (three more visits) it's even better and you're rewarded with 1/2 a chicken. If you manage to get four more stamps (ten in total), you've won the game: A free whole chicken is yours. That's progression encouraged through feedback, a huge number of choices split into levels, motivated by social competition and rivalry between peers, and the whole process becomes habit: A recent survey showed that the average restaurant in it's 'fast casual sector' has an average 'revisit intent' (definitely or will probably visit again) of 69%. Nando's score is over 80%. Nandos is so popular in the UK that during the London riots of 2011, there was a Nandos Defence League set up to protect the restaurants from rioters. That's loyalty that most businesses can only dream of.
So, gamification is important in business, and it does seem like it's something we can all introduce, if only in a small way, into our own businesses and organisations. It's about understanding human behaviour and our psychology.
If you'd like a chat to see how we can help you, send us a quick email: [email protected]
Julie Verhoeven
We were commissioned by Bath Spa University to design a print advert for the latest Bath In Fashion 2013 brochure.
Bath School of Art & Design sponsored the renowned fashion designer and illustrator Julie Verhoeven as part of the event.
We wanted to design a visually simple advert that cuts through the busy pages, whilst retaining the essence of Verhoeven's vibrant and flamboyant style. Pushing the University's brand guidelines, we combined a warm pattern with carefully set type to create an engaging yet approachable ad.
A pyramid of needs for design, branding and business
It's likely that you've already heard of Maslow’s hierarchy of needs: a psychological theory from 1943 proposed by Abraham Maslow, which describes the pattern that human motivation generally moves through. And although Maslow didn't visualise his theory, it is now nearly always explained using a pyramid:
The premise of Maslow's theory suggests that the most basic level of needs (the bottom of the pyramid) must be met before we desire (or focus motivation upon) the next or higher level needs.
In his book 'Designing for Emotion', Aarron Walter applies the idea of Maslow's hierarchy of needs to web design, remapping the pyramid like so:
But more than just web design, it's easy to see how the five categories or layers of this pyramid can be applied to design, branding and business across the board, regardless whether on screen or in print:
Functional: the most fundamental 'need' of users is that the design works — that the print is good, the sign fits and the website works.
Reliable: it's no good if the design works once. For users to be able to trust and for the design to be successful, it needs to function well every time it's needed.
Usable: an all too often overlooked layer. Users have to be able to use the design for it to work. This could be sufficiently readable type size in a manual, intuitive website navigation or having step free access to a station platform.
Pleasurable: the icing on the cake. Nobody wants to engage with design that's not interesting, fun, calming, thought provoking, exciting, humorous, clever...
So to make design pleasurable (the ultimate goal perhaps?), we have to get the basics right: making the design work, dependable and actually being able to engage with it.
It's all fundamental really, there's nothing groundbreaking here. But whether you're a designer, a business owner or a startup, it's really easy to become preoccupied with the fancy details and flourishes — who wouldn't want to make sure things look pretty and polished? Unless you've got the basics sorted though, you're wasting your time.
Take any one of those first three layers away, the chances are the pyramid will collapse.
The Spotlight Effect
The Spotlight Effect refers to our tendency to think that other people are watching us more closely than they actually are.
Have you ever had a stain or your top or a hole in your trousers? It can feel like absolutely everyone around you has noticed. But, they probably haven't:
One set of studies by Thomas Gilovich had a student put on a yellow shirt with a photo of Barry Manilow on the front. Then, the participant was asked to walk in a room filled with fellow pupils. When asked, the participant greatly over estimated how many people would notice the shirt — the estimate was over 50% of the class. In reality, just fewer than 20% of their classmates noticed.
The idea of egocentrism really explains The Spotlight Effect: Our entire existence is seen from our own perspective; it's built from our own experiences. Other people see the world around them from their own perspectives, and have other worries and thoughts. What's incredibly important to you in a given moment probably hasn't even registered on everyone else's radar. We use our experiences to evaluate other people's thoughts and behaviours, leading to inaccuracies and skewed opinions.
So, for our self-consciousness and day to day worries, The Spotlight Effect is a positive thing — we don't have to worry so much.
But, what about if you're trying to promote your business or service? It wouldn't be leap in thinking to consider that because you know why your service is better than your competitors', or you understand exactly what your business offers potential clients, you assume everyone else does too.
Sometimes, especially with a business — whether a long established company, or a start-up, it's all too easy to forget other people's perspectives; to forget that it's imperative to communicate effectively who you are and what you do, to both existing and new clients.
So, we think that it's worth stepping back. Try and see what other's see. Maybe your website's design could be cleaner or structured more naturally? Perhaps your identity could do with freshening up for 2013? That same local advert or flyer could probably be updated and improved.
Responsive web design
Responsive web design is really important today, with the number of devices we now browse the web on increasing all the time.
It's a quite simple way to ensure your potential customer or client gets the best online experience they can. In short, your website responds to the type of device and the size of the screen or browser window that your customer is using, and adjusts the layout and design appropriately.
If you visit our website, and adjust the size of your browser window from big to very small, you'll see the size and layout of the content changes.
There are endless websites and articles about what responsive web design is, and why it's important. Here are a few: 1 / 2 / 3.
But what we wanted to share with you today are a few statistics about mobile internet use, and why it's imperative that your website looks as good and is as easy to navigate wether you're looking at it on a desktop or an iPhone. That stats are based on the US market, but they translate worldwide:
• 91% of all US citizens have their mobile device within reach 24/7
• 25% of internet users visit on their mobile phone only
• 61% of customers who visit a mobile unfriendly site are likely to go to a competitor's site
• 70% of all mobile searches result in action within 1 hour, whereas 70% of online searches result in action in 1 month.
(Source)
Some of those figures are quite surprising, aren't they?
If you think your website needs to be more flexible for today's users, why not have a chat with us?
Finding a solution to a complex problem
We came across an organisation called ColaLife the other day, and thought it'd be worth sharing it with you: It's a very clever idea, it's a for a great cause, and it's a brilliant example of finding an effective problem to a solution: Design thinking.
The problem: In developing countries such as Zambia, Uganda and Tanzania, 1 in 9 children die before their fifth birthday from preventable causes. Most die from dehydration and diarrhoea. After raising money to buy anti-diarrhoea kits and other medication, the hardest part of an aid project is the distribution. It's wildly expensive, slow and unreliable.
The solution: Instead of asking the question 'how do we deliver aid to these countries' and trying to lower costs of new distribution channels, ColaLife asked 'who already supplies these regions?'
And here's the answer to that question: You can buy Coca-Cola virtually anywhere in the world — including the developing regions. ColaLife, an independent non-profit organisation, is working with Coca-Cola to open their distribution channels to carry 'social products' and medicines along with their own products.
One of the cleverest parts of the story is the design of the packs of medicine. The kits are manufactured to maximise the space of the crates and boxes Coca-Cola use to deliver their bottles of drink. The kits, called AirPods, fit into all the gaps between the bottles, meaning that Coca-Cola don't have to distribute any additional crates. The packs are easy to use, are tamper-evident proof, and reusable.
This great project is already helping to transform the lives of children and young people around the world. The idea is so simple, but it really works. It's a perfect demonstration of how incredibly complex problems can be solved with some simple but effective thinking. In a way, it's how designers think day to day when working with clients: Looking at what our clients' problems are, and finding sometimes novel solutions to solve them.
The pack has been nominated for the Design Museum's 'Designs of the Year' awards 2013, so hopefully you'll see more about it soon.
You can find out more about ColaLife on their website.
Peripheral vision in branding
We all know about peripheral vision: the part of our vision that occurs outside the very centre of our gaze.
In evolutionary terms, people who noticed a threat coming from their peripheral vision survived to pass on their genes.
But, in everyday life, it's easy to forget how important these two parts of our gaze are:
Researches at Kansas State University showed people photographs of common scenes; a kitchen or a living room for example. In some images, the outside or periphery of the scene were obscured (tunnel vision). In others, the central part of the images were obscured (central scotoma).
This is the interesting part: When the central part of the photo was missing, people could still identify what they were looking at, just from the peripheral. On the other hand, when the peripheral part was missing, they couldn't identify a living room from a kitchen.
Now, this example may be drastic – most of us are fortunate enough to be able to use all of our vision. But, when we consider design and branding in a wider sense, it's worth considering the peripheral: It's easy to concentrate on the centre of your customers' gaze, but it's worth remembering all of the other visual elements around the edges that make up your brand and its identity.
Branding: Being different
‘The whisperer is louder than the shouter’
It’s all down to contrast: As a studio, we use contrast everyday when designing — contrasting various elements of the visual language to create the most engaging, visually appealing, and most effective design. Contrast of tone, colour, scale, form, symmetry; the toolkit of contrast is seemingly endless.
As humans, we are engineered to recognise patterns. A break in a pattern becomes contrast, and this is how we make everyday decisions: where to shop, where to eat, what to buy, and so on. These pattern breaks tend to be ever visual or cognitive; difference in experiences and memories.
If you're a business owner, you want potential customers to choose your brand over your competitors. In short, you want to stand out.
There are lots of ways to achieve difference or contrast between your brand and another. There are countless business books and blogs that talk about finding your point of difference — watch an episode of Dragon’s Den and count how many times you hear the need to find your USP (unique selling point).
But there’s no point having a unique product or service if you look like everyone else. Just because Coca-Cola is probably the most popular fizzy drink in the world, it doesn’t mean every other fizzy drink brand is red.
It highlights the importance of having a great and bespoke visual identity for your brand. When your brand’s identity clearly contrasts with others (as your business is different to everyone else’s), your potential customers will easily identify it and remember it. Good quality design and branding that manages to use cognitive, as well as visual contrast, means you’re not only going to stand out, you’ll be able to influence people.
When you’re in a group of people at a meal or party, as everyone competes to be heard, they get louder. As everyone becomes louder, nobody is heard. If people realise you’re being quiet, they’ll start listening to you, becoming the break in the pattern: the contrast.
If you think your brand identity could do with standing out a bit more, or if you just want a conversation, we’d love to hear from you.
Feeling Blue
We all know how important colour is in life: It has the power to effect our behaviour, way of thinking and our associations. This is why it's such an important aspect of what we do in design, branding and communication. We're designers and we love colour!
But, we've recently come across some research that, anecdotally, suggests colour can actively cut crime and perhaps even prevent suicide:
In 2000, Buchanan Street in Glasgow introduced a new improved lighting scheme which replaced the old warm yellow streetlights with new blue lights. As well as actually looking really nice, reportedly, the number of crimes in the area noticeably decreased.
Glasgow isn't a unique case either: In Japan, a country notorious for its high suicide rates, the Keihin Electric Express Railway Co. replaced platform lighting on eight platforms and railway crossings to blue. In 2007 alone, there were 640 suicide attempts, and since the blue lights were installed there's been none.
Nobody really knows why blue lighting is having such an effect as there hasn't been any substantial research yet. Some possible reasons could be that the light colour is new and unusual, so people act more cautiously in the area.
Also, we tend to associate blue (especially blue lights) with the police and law enforcement, which may unconsciously have an effect.
Prof. Tsuneo Suzuki of Keio University thinks the effects of blue lighting could be due to people not being used to it: “There are a number of pieces of data to prove blue has a calming effect upon people. However, it’s an unusual color for lighting, so people may just feel like avoiding standing out by committing crimes or suicide under such unusual illumination."
Now, we're not saying that everyone should replace their street lighting to blue, or that the colour blue can solve crime and suicide. But, it is really interesting, and it does show how important it is to consider what your choice of colour is saying about you.
Red + blue: Chromostereopsis in design
Chromostereopsis is a visual illusion of perceived depth in a flat two-dimensional colour image – usually red and blue. It's easiest to see this illusion of a computer screen – typically red objects appear closer to you than blue objects.
There's lots of research about chromostereopsis, but the common theory (provided by Einthoven) is that 'The phenomenon is due to chromatic difference of magnification'. Put simply, blue rays are refracted more than red rays.
The red/blue contrast has been used by painters for centuries: Goethe wrote about receding and protruding colours in his book Farbenlehre, or Theory of Colours.
Applying this phenomenon to graphic design and branding might seem obtuse at first, but it's worth considering how comfortable certain colour combinations are on our eyes. For instance, as the illusion is more obvious on screen, it's probably best to avoid the red/blue combination in web design for text, menus or buttons. It just gives you a headache really quickly.
There are countless big brands that use the colour red and blue as the basis of their visual identity (especially in the US and GB): Tesco, Domino's, Pepsi, Mobil to name a few. These brands use the contrast of the two colours to produce impact and something unapologetically bold.
The London Underground Roundel is a good example of a slightly more refined application of the red/blue contrast. The symbol needs to be seen above the clutter of the city, so the bright, vivid colours are perfect. The perceived protruding red circle acts as the attention grabber, then you see text on the blue strip: Although it's just made up of simple shapes, and the text is easy to read, it's the red/blue combination that does all the work in engaging us.
What does your profile picture say about you?
The Face-ism Ratio is all about the prominence of someone's face in an image (in relation to their body). Depending on how much of either you show, it's likely you will get perceived very differently.
An nice example would be your Facebook profile. How much of your face can be seen, compared to your entire body? Have a look, it might be saying something about you that you didn't realise:
Studies show that close-up images of the face are perceived as being more intelligent, dominant and ambitious. However, if the entire body is seen, the opposite is true: we put an emphasis on that person having physical or sensual attributes.
The distance from the top of the head to the lowest point of the chin is the numerator, and the distance from the top of the head to the lowest part of the subject's body becomes the denominator.
Unfortunately, but predictably, research shows that the media tends to feature more on men’s faces and women’s bodies. And throughout history, different societies showing facial prominence of men has been much higher than that of women. This, researchers believe, could help reinforce the many negative stereotypes of women.
What does your profile picture say about you? Do you think it's worth changing it to be perceived more intelligent, or more sensual?
Client/designer relationships
Most of the time, the relationship between clients and designers is good and healthy (for us, anyway). But it is a bit of an odd relationship, and can take a while to get used to on both sides.
Michael Beirut discusses this idea in one of his 79 Short Essays, explaining that the the client/designer relationship is sometimes hard to define because we're used to relationships that are defined by hierarchy: parent and child, student and teacher, employee and employer, and so on. But how does the hierarchy stand in design? Is the client at the top of the tree because they're employing (paying) the designer? Or is the designer at the top because they have more knowledge of the subject and better know how to help?
We're in the same camp as the esteemed Michael Beirut: the client/designer relationship is best when it's a partnership. We tend not to work for our clients, we try to work with them. When things are evened out a bit, it inevitably ends in a better outcome: As a studio we produce better, more compelling work, and the client has design that they're happier and more comfortable with. Not only that, the designs are nearly always more effective – working hard to engage, communicate and persuade.
We'd love to work with you! Have a look at our website and get in touch with us.