#defining client needs

[mediadesignladay]

My last assignment after feedback below!

[tiarydegrate]

Defining Client Needs: Week 1 Activity Post

Defining Client Needs is a course that I have looked forward to before even enrolling into Full Sail University. Sure, I have had an extensive background in design, but anyone can design something. Not everyone can successfully tackle the business aspects, however. Not everyone can visually communicate a compelling story. Not everyone can be innovative. Not everyone can sell a product.

There are a number of components that drive successful media campaigns. While many aspects have the ability to vary from project to project, understanding a client’s need is one that can never be ignored. This is because the root of media design is to provide convincing content to targeted audiences. For this reason, media campaigns rely heavily on the client-designer relationship. Possessing a strong client-designer relationship is crucial to every aspect of the branding, designing, and media campaign output.

In order to successfully tackle the core characteristics that I must attain throughout this course, it is vital to understand the purpose of my time in graduate school on a holistic level. In watching the video archive for this week, I learned a number of useful tools that will positively influence my graduate student experience. The first thing that I want to highlight is criticism. I chose criticism first because it has been a concept that I have not received too well for a great bit of my life. I have always been told that I’m one of those people who “can’t take constructive criticism.” As horrible as that sounds, I am not afraid to admit that it had been true. I grew up as a perfectionist, and for a while, I assumed that if I hadn’t done it right, I had done it wrong. There was a period in my life where everything was black and white. To me, not receiving positive feedback or affirmations meant that I had done something incorrectly. This is probably why I grew to love design so much. Here in this world, there was no right or wrong answer. There was only perspective. Colors. Creativity. Stories. Inspiration. That is what initially drew me towards this career field: the ability to color outside of the lines.

I strive to be the best in everything that I do. In most cases this means being able to receive constructive criticism. Still, just hearing the criticism is not enough. I understand that in order to be a great, innovative, and professional media designer, I must learn to absorb criticism and utilize it. In this industry, criticism will come from all angles. On the one hand, I must be able to understand the criticism from mentors, clients, or co-workers. With this criticism, I must actually possess the ability to apply it to my work. On the other hand, there will be a ton of criticism from people who may not like or agree with my work. In these cases, it might be my job to focus instead on the people who do.

Another important thing that I gained from the video archive was the emphasis on research. Sure, research is being presented as the “backbone” of graduate studies, but it is also a critical component that I will forever have to utilize as a designer. As a designer, there will never come a time that research will not be necessary. As a part of my graduate journey, I will need to utilize research to reach innovative conclusions. It is also important to validate my thinking (and support my decisions), enrich my knowledge as a professional media designer, further develop my expertise, and dig deeper into the references that I utilize so that I may discover more from other experienced professionals. Research also allows me to elevate and rewrite concepts that have already been presented.

Every skill obtained during my graduate journey will ultimately enhance my ability to think critically, expand my creativity and ability to supply innovative work, and strengthen my ability to problem solve.

With all of that being said, I do still have a few questions and concerns that have the ability to impact my future success. These questions are as follows:

1.     How do I gain a better sense of self & obtain the confidence that will allow me to accept constructive criticism?

2.     How exactly do you differentiate between criticism that is helpful and criticism that is useless and must be ignored?

3.     What are some limitations that past Media Designers have experienced?

4.     What makes a Media Designer successful?

Action Plan

Vision & Expectations of the MDMFA program: As I illuminated in my last course, I initially thought that I would be doing one thing: enhancing my graphic design skills. The Mastery: Personal Leadership & Development course proved me wrong, however. This journey would be a lot more than enhancing my art skills. I quickly learned that it would require an extensive amount of personal reflection, research, critical thinking, analysis, and graduate level problem-solving. As I think of my time in the media design program, I envision me consistently stepping outside of my comfort zone. As it was suggested, we must be innovative and do more than what is asked. I never really had a problem with being an overachiever, so this should come easily for me. I expect to constantly push the boundaries and provide innovative content. I also expect to go above and beyond in an effort to consistently challenge myself. I have already been noticing how much I enjoy my decision to choose Full Sail. I have approached each week with so much excitement that I expect to continue reaping the benefits of finally doing what I love! I see myself growing on a personal and professional level. I also expect to have a clearer vision of exactly what career path I would like to take after graduating. I want to have a mentor, and I also want to have already started my lifestyle blog. My level of commitment is bursting at the seams. In my last course, we received the suggestion of “tricking” ourselves into believing that assignments are due a day before they actually are. I initially thought it was a brilliant idea but have been thoroughly surprised with myself! While part of me wants to believe that I took that suggestion, I know that a lot of my diligence and deep-seated commitment comes from the fact that I truly enjoy what I am doing. I am always super excited to see my assignments for the week and grow even more excited to work on them. I have had a number of personal things going on in my life, and honestly, my undergraduate self would have taken time off. I have no desire to do that here. Each day, I grow more and more amazed with myself. Even in spite of the challenges that life has thrown me, I still have a deep desire to get my school assignments done. Also unlike undergraduate me, I am actually able to turn off my problems and focus on the assignment. See, I am growing a TON on a personal level throughout this journey. And it’s only month two.

<<< Action Plan Goals >>>

Utilize Effective Customer Needs Analysis checklist by Strategyn

Study the Job Map from Strategyn

Apply each week’s material by designing something new

Learn how to improve my client-designer relationships

Determine what platforms and media to use based on client desires

Read What Customers Want by Tony Ulwick

Accept criticism and apply it to the following week’s assignment

My long-range goals as a professional media designer:

1.     Constantly challenge myself; never settle for minimum effort.

2.     Always strive to communicate on a DIVERSE level.

3.     Strive to challenge the boundaries of what is socially acceptable.

4.     Re-write how our society views differences in race, culture, religion, sexuality & gender

5.     Create the most BADASS lifestyle blog, lifestyle Magazine & lifestyle brand.

6.     Provide the information that many lack on living a holistic & healthy lifestyle.

7.     Include affordable and diverse options.

8.     Accept criticism; work on growing a thick skin.

9.     Never question myself! BE ME! Stand firm. Be confident.

10.  Learn how to back up my decisions and provide reasonable evidence & support.

References below

Adams, S. (2017, May 31). What is Graphic Design? Retrieved February 04, 2018, from https://www.lynda.com/Graphic-Design-tutorials/What-Graphic-Design/614734-2.html?srchtrk=index%3A1%0Alinktypeid%3A2%0Aq%3Awhat%2Bis%2Bgraphic%2Bdesign%0Apage%3A1%0As%3Arelevance%0Asa%3Atrue%0Aproducttypeid%3A

[hdelossantos-blog]

Defining Client Needs

In the course Defining Client Needs, we made posters for a fictitious performance of Shakespeare’s play, Romeo and Juliet.  During this process, we discussed not only technical aspects of designing layouts in inDesign, but also how to pitch our designs to potential clients.  “Designers often find themselves explaining aesthetic decisions with formal design or typographic principles” (O’Grady, p. 89).  Because design principles are often not learned by non-designers, it is important to be transparent about the research process behind our decision making, so that we can make a convincing case to our clients with demonstrable material and evidence to support our choices.  

When designing promotional materials for clients, we must keep in mind to whom our clients are marketing their product, and what kinds of expectations those customers may have. It’s important to be able to put aside one’s own personal tastes and focus on the efficacy of the designs and how their various elements might be perceived by their target audience.  By conducting research on our clients’ brand identities and primary demographics, we can create designs that are better suited to each client’s individual needs.  

Text-only design, studying how to use typography effectively.

Exercise posters, based on designs by Nigel French.

Final Posters with original designs.

Three “Take-Aways” From This Course:

“The most important issue is a good idea. Once you've arrived at this, a great layout will make it powerful and clear” (Adams).

“It's your duty as a designer to ... create work that is dynamic and exciting but could only be made by you” (Adams).  

“A well-designed poster is a piece of art that people will want to hang on their walls long after the event itself is over” (French).

References

Adams, Sean (October 31, 2013).  

Graphic Design Foundations: Layout and Composition.  [Video].  Retrieved from: https://www.lynda.com/Design-tutorials/Foundations-Layout-Composition/135095-2.html

French, Nigel (March 13, 2009).  

Designing a Poster with InDesign CS4.  [Video].  Retrieved from: https://www.lynda.com/Illustrator-tutorials/designing-an-event-poster-hands-on-workshop/741-2.html

O’Grady, Jennifer V. and O’Grady, Ken (2009).  

A Designer’s Research Manual: Succeed in Design by Knowing Your Clients and What They Really Need.  [E-book].  Retrieved from: http://ce.safaribooksonline.com/book/graphic-design/9781592535576

[queenscholar-blog]

Defining Client Needs

It is important to know what your client needs to elevate their brand and to know what it is that they want. Defining the needs of the client involves research (O’Grady, 2009, 89-90). To research properly, the designer needs to have an area conducive to supporting creative impulses. Since “Taste” is subjective, the designer needs to be able to cater to the client and their projected audiences to gain more clientele, etc (O’Grady, 2009, 89-90).

The importance of articulating the value of the service or product can mean the difference between having a client come back for more design work and finding someone else. When presenting to a client, the designer needs to be able to articulate the meaning behind the elements used among other things. In completing this course, I have further learned the value of constructive critique and research as pertains to my field. I look forward to taking the next step.

Three main takeaways for this course would be: 1) Research is important. Without research, I have no way to better understand my clients and their needs. 2) Deadlines must be met to move forward. Without meeting deadlines, I lose ample time to properly and creatively meet standards. 3) Constructive Criticism is key to elevating one’s designs. Approaching design from different angles allows for it to evolve.

References:

OGrady, J. V., & OGrady, K. V. (2009). A Designers research manual: succeed in design by knowing your clients and what they really need. Pg. 89-90.

[heathertolerfso]

Mastery Journey Reflection: Defining Client Needs

In this course I was finally able to learn the principals of Typography. I was able to learn that I can do what the client wants, even if I feel it arbitrary or low value, while also adding my touch to it. Finally I learned about research. 

The act of design entails many things. It’s not just about creating and delivering a slick, dope, and complete design, it’s about solving a problem through your work. Defining the needs of your clients is an important part of your work as a designing. The act of research is crucial to the design process.

Our text refers to research as aiming our creative impulses properly (O’Grady, 2009). I have worked on many projects where lack of research on my part and the client’s wasted substantial time.  Doing the due diligence of research will help to transform the results a client is given in the end. 

In a recent client interaction, I showcased a male version of the unilome for woman owned yoga studio. Showcasing the male unilome was a fluke. I didn’t realize there was a different versions of symbol. Ultimately I figured it our throughout the presentation and then argued to keep it. The only thing I can think of is what if I did my due diligence? What if there was purpose to my decision and not just a fluke.

Projects:

Week 1: We were tasked to create a dynamic black and white, no frills poster for  Much Ado About Nothing. This project was to show our knowledge of the Typography tutorials.

Week 2: Two projects, three sketches, and NPS. We were tasked to slightly improve on the original designs of the Romeo & Juliet posters below. We were also tasked with creating an original National Park Service Poster.

Week 3: I personally was encouraged to stretch myself, get out of my own box. This time around I went with an obviously modern poster, an avant garde one, and a classic look.

Week 4:: My favorite poster is the modern poster, the one on the left. I chose to return to the color red, crimson specifically, to keep a level of romance and mystery flowing with he poster. 

[slmcpeak-blog]

Media Design MFA, Defining Client Needs

When defining client needs, one of the first things that needs to be understood is what the client wants to achieve, what challenges they face, who their competition is and what their business goals are. After understanding what needs to be achieved the next step is to understand the target audience. By understanding the consumer, you will know who the product will eventually end up being purchased, viewed and used by. Identifying the consumer’s mindset and how they view and feel about products leads to a better design solution that benefits the clients return on investment. “The reason we do this is really to help clients solve a business problem. And when they come back afterwards and say that their sales increased 40 percent because of the design we did, we think we did a good job.” (Chase, 2008, Creative inspirations, 1:32).

 As a designer it is your job to make sure that you effectively communicate not only to the audience but to ensure the client is confident in the path and approach you have taken. To ensure this experience stays positive make sure to articulate and regularly communicate with the client. As you progress with the project, show the client the design approach and explain what your showing them. Make sure to articulate in a manner in which they will understand. As a designer, different lingo or jargon might be used. While another designer might understand this language the client might not or might not believe that it is important.  Don’t make the client feel inferior by using terms they are not associated with. “Thus designers often find themselves explaining aesthetic decisions with formal design or typographic principles. Clients may well view these choices as arbitrary (remember, they don't know the difference between Helvetica and Arial).” (O'Grady, V., & O'Grady, J. V., 2009). Ask the client for descriptive feedback, address the concerns and move the project forward.

Three Main Takeaways from Defining Client Needs:

1.     The first takeaway is learning about creating a persona that lets you delve into how and why the product is used and understood. Designing for the audience is the goal not designing for what they think the customer wants. Targeting the audience to the specific consumer starts the actual understanding of the brand. Using a tool called a psychographic map allows for the creation of a persona that represents the customer along with their desires, likes and dislikes. "We want to have a specific person in mind, not a general person, not a woman from 26-32, a specific woman who has got a name, who has got a job, who has got a history, she lives somewhere, she does certain things, she reads certain magazines, watches certain shows, we want to know her inside and out." (Chase, 2008, Branding, 3:31). Creating the persona targets the appeal to the consumer, not for the designer who might feel the design and packaging is to their personal taste.

2.     When working with typography, I usually stay away from text that is overly large or a heading that takes up too much of the page and feels overbearing.  For this class I pushed myself out of the comfort zone and created challenge exercises that used extremely bold text and moved the text beyond the limit of the page. "Bigger always gets top billing in those critical split seconds when your viewer first sees your project, so take care to calibrate your type size for maximum effect" (Saltz, 10/2013, Creating typographic contrast with size, 1:33). Below this post is the challenge exercise “Much Ado About Nothing” where I used text to maximize the visual impact without the use of images.

3.     The third takeaway is going back to some basics; sketching.  It’s easy to skip this step and move directly to the computer mostly because moving items around in a design only takes a click and drag. This can sometimes lead to the trap of not realizing how many designs idea you might actually develop. Sketches allow the designer to quickly put ideas down on paper, refine them later or dismiss the ideas that won’t work. They don’t need to be masterpieces but they do need to convey enough information to work from when the designer takes the step to move to the computer design. “Making thumbnails can help you weed out the bad ideas from those that have some merit and it's only these potentially good ideas that you need to pursue when you sit down with computer and software.” (French, 2009, Creating Thumbnails, 0:23).

References:

Chase, M. (2008, September 04). Creative Inspirations: Margo Chase, Graphic Designer. Retrieved October 26, 2016, from https://www.lynda.com/Design-Documentaries-tutorials/Introduction/685/38830-4.html

French, N. (2009, March 13). Designing a Poster. Retrieved October 31, 2016, from https://www.lynda.com/Illustrator-tutorials/Welcome/741/47201-4.html?org=fullsail.edu

O'Grady, V., & O'Grady, J. V. (2009). Designer's Research Manual: Succeed in Design by Knowing Your Clients and What They Really Need. Retrieved November 18, 2016, from http://ce.safaribooksonline.com/book/graphic-design/9781592535576

Saltz, I. (2013, November 25). Foundations of Typography: Hierarchy and Navigation. Retrieved October 24, 2016, from https://www.lynda.com/Typography-tutorials/Foundations-Typography-Hierarchy-Navigation/133327-2.html?org=fullsail.edu

Defining Client Needs Projects:

Foundations of Typography, Challenge Exercises, Much Ado About Nothing

Foundations of Typography, Challenge Exercise, Grand Canyon

Sketches for Romeo and Juliet Poster Concepts

Final Romeo and Juliet Poster Layouts

[christenrobinson]

Sample Typography project

[christenrobinson]

Defining Client Needs

Defining Client Needs

This month’s course focused on understanding how to define a client’s needs and effectively communicate this understanding through the use of typography, hierarchy, scale, color, layout, composition, and interpretation. The Foundations of Typography presented by Ina Saltz on lynda.com introduced me to the world of Typography and its many uses and interpretations. As Ms. Saltz states that Typography is all around us, it wasn’t until viewing this video that I actually took this statement into consideration. Soon after viewing this I found myself carefully considering my own use of Typography with various project assignments for school as well as for work. I looked at everything from resumes to project posters.

Samples of my work will be linked in a separate post**

As the course continued, we explored design critique and how to use it effectively to become a better designer, as well as to ultimately serve the client in the best way possible. Three takeaways that were important to me from this course were: (1) to practice subtractive design when creating forms to reduce clutter by eliminating any visual element that doesn’t contribute directly to visual communication (Designing Useful Documents, nd). This helps to keep the document user friendly and keep the user focused on the content they are using with clarity. (2) to be bold and not boring with your design. In lynda.com’s Foundations of Layout and Composition with Sean Adams, he encourages designers to push the limits within reason to keep designs exciting and intriguing. He provided a useful tool called the golden section and taught me how to use it to help guide my composition and layout to ensure the most effective design results when placing graphics and text for everything from posters to business cards. (3) that no matter if you’re pitching and idea to the boss or delivering a speech at a conference, an engaging presentation will help you reach your audience and emphasize your message (Seeley, 2013). Justin Seeley’s Designing a Presentation gave great examples on how to improve your presentation to keep your audience focused and intrigued while getting your message across.

Resources

Designing Useful Documents. (nd). Designing Useful Documents. Retrieved from https://assethub.fso.fullsail.edu/assethub/525WK4DesigningUsefulDocumentssm_5d00d312-587b-4fb9-9e10-14a581082c70.pdf

Saltz, I. (2013). Foundations of Typography. Retrieved from https://lynda.com

Adams, S. (2013). Foundations of Layout and Composition. Retrieved from https://lynda.com

Seeley, J. (2013).  Designing a Presentation. Retrieved from http://lynda.com

Best, K. (2006) Design Management: Managing Design Strategy, Process and Implementation. Switzerland. AVA Publishing SA.

Biederbeck, T. (2011) The 4 Essentials of a Design Critique. Retrieved from https://www.mohawkconnects.com/feltandwire/2011/04/13/the-4-essentials-of-a-design-critique

McDaniel, C. (2011) Design Criticism and the Creative Process. Retrieved from https://alistapart.com/article/design-criticism-creative-process