Meetup.com was chosen as the vehicle for encouraging this activity because it seems to strike the right balance between professional and personal interests, has a large following, is an acceptable price to start your own Meetup.com group and has a reasonably intuitive interface. This is the write up for the Designers’ Forum:

This group is for designers, film makers, graphic artists and animators in the Chester area. The focus is on creating a support network made up of freelancers and company employees who enjoy meeting other people with a similar interest in designerly activity of different sorts.

The next meetup on 12 September at Telfords Warehouse [2pm] is all about how we use the web as professionals and for personal inspiration:

A colleague of mine at Loughborough University, Syd Pace, is responsible for co-ordinating the Diploma of Professional Studies for students at Loughborough Design School. He is keen to promote collaboration and partnerships with industry in order to provide third year design students with opportunities to develop professionally relevant skills. Whether you are a student, production manager in a manufacturing company, service provider of some sort or a design consultancy it is worth paying attention to the mutual benefits of getting involved with student placements from somewhere like Loughborough Design School.

1. How did the DPS scheme start and what are its key aims?

As of 2010, the scheme has been running for about 15 years. I introduced it and wrote the regulations based on existing good practice at Loughborough University Engineering Departments. The regulations have evolved over the years, but the aims of the scheme have remained the same. Initially, we invite potential sponsors from industry to create competitive interview opportunities for students during the second year of study. The scheme aims to match student career aspirations to sponsor expectations. We also monitor a student’s progress throughout the year by way of visiting them at their chosen company.

2. What are the benefits to the a) student b) company and c) University?

Benefits to the company are numerous. A student can bring to the workplace the skills of managing projects undertaken in years one and two and an understanding of design processes developed from their academic studies. Also, students bring fresh blood with fresh ideas and new approaches. In some cases Company reputation may be enhanced through working with one of the top universities in the UK.

If you want to look at the benefits to the student – well, the evidence is clear. There is a maturity and a further appreciation of how the theory we have been teaching them is applied in the real world. After being given responsibility, surviving pressure and experiencing the delight of seeing their work being successfully applied by professional designers, engineers and marketing staff they return to Loughborough able to deal with projects on a new level. These are students who have been given a contract, asked to deliver and who have been treated in an equivalent manner to professional members of staff within the organisation.

The University stands to gain from this kind of scheme by being able to demonstrate strong links with some of the big players in industry such as Boots, Triumph, Stanley, Reebok, Bosch and many more prestigious companies. Partnerships help academics to keep in touch with what is really happening inside organisations involved in product design and manufacture and keep Loughborough’s design education at a high standard.

3.What has the general response to the scheme been?

The number of students on placement has grown steadily over the years, we currently place about 70 students despite the so called recession. Some employers have taken a student almost every year since the scheme began and we have a hard core of satisfied sponsors. Other placements are generated entirely from students own initiatives and from the growing body of graduates employed in the design sector. An indication of the success of the scheme is provided by the fact that many students feel that their extra year exposing themselves to an ‘industrial education’ really does add value to the theory and practice they study within the University.

Feedback we have received from employers has been extremely positive. With some of the top companies in the UK willing to take back students on placement each year and when we consider the achievements of the well rounded designers we receive back – we know the scheme is a success.

a useful member of the team – his input has enabled the business to move forward with new processes - Team Leader BAE Systems

an exceptional performer with energy and applied enthusiasm — professional young man with tremendous potential - Head of PFI, E-oN

a constructive and valuable member of the predevelopment team – able to undertake any task the team require of him – dealing with purchasing, marketing and production
– Team Leader Bosch Garden Products

Students also find the scheme valuable:

very beneficial to understanding design for manufacture — a high level of responsibility was good and made me feel a valued member of the company

I have had my own project to run from concept work to talking with manufacturers.

Overall a fantastic year. I never thought I would benefit so much from an industrial year. Having so much responsibility has made me grow up rapidly.

Conclusion

If you or your company would like to be involved with the Diploma of Professional Studies scheme then please contact Mrs Sue Johnson at Loughborough University at the following address:
s.johnson@lboro.ac.uk
01509 228319

Download the Diploma of Professional Studies PDF

Ubiquitous Internet Access

Whilst iPad users and other media techies would love to live in a world with ubiquitous internet connection and immediate updates where ever they may be, we are still a way off this due to cost and technical capability – which makes a journey on the London Underground feel like a retro flashback to those pre 90′s days when mobile phones either did not exist or could only be found in cars. So, why are we still using print and not investing in creating a free, universal internet connection for all to download and consume content? Well, in short – it is still difficult to replace the trusty, versatile, battery-less, relatively low cost book, magazine or journal with an electronic equivalent with such desirable tactile and convenient features, though modern internet browsing products such as Smartphones, iPhones, Kindle and the Netbook are becoming less expensive, lighter and thinner. Advertising, printing photographs or creating physical bound books will continue to be a viable option for many businesses or authors for the foreseeable future.

Personally, I do not invest a huge amount of time and effort into print design as it does not fit with the business model I have for creating new leads or promoting projects. However, I do have 2 business card designs for different situations – one with a focus on my primary design business and the other with a focus on the network of portfolio, blogs and social networking sites I use such as YouTube and Flickr. I also designed a printed brochure to promote my business back in 2007 which I still use and refer to for some of my previous work.

Greenbarnes Ltd, a client of mine, uses a variety of promotional formats including a large amount of printed advertising and so I asked director Mike Barnes a few questions about his perspective on print – with particular focus on promotion of a business or product.

Effect of your work

One thing that is more difficult with printed promotional material is the ability to gauge the effectiveness. How many people saw your article, promotional photography or call to action and directly made a move? How many people even read the page the article was on? This is where internet technologies are much more useful – a writer or advertiser will have access to information related to who saw the page the information was on? what browser they used? the city they were in? what pages they came from and how many people moved on to other pages and after how much time?

Another client of mine, picture framing company Gesso and Bole Ltd, use print in a slightly different way – print is part of the complete product rather than the means to selling or advertising. I caught up with Jim Anderson and asked him a few questions

Smelly Internet?

Another factor is the limited interactivity or media that paper will allow – though it does allow olfactory senses such as perfume samples, the smell of a quality paper or where the internet does not. Internet advertising allows for animation, audio, video and the ability to be tucked away, to suprise or to provide sequential information within a small space.

The basics

OK, taking this to an intellectual low – can you roll up an electronic ‘Guitarist Magazine’ digital subscription and place it in your back pocket like the paper equivalent – ready to read later on a lazy Saturday afternoon by the river? Not really, though some might like to try it. If you find that annoying fly sitting on the window [the one that's been buzzing around all afternoon] – do you hit it with the iPad, Smartphone, or the paper newspaper?!

“Spec” has become the short form for any work done on a speculative basis. In other words, any requested work for which a fair and reasonable fee has not been agreed upon, preferably in writing.

This practice has become popular because many companies erroneously view it as a quick and easy way to get the best ideas from designers. Unfortunately, requesting speculative design is a poor business decision because it caters to the lowest common denominator of design. It also forces designers to engage in the poor design practice of making snap decisions.
- no-spec.com

The Business of Business

I would agree to a certain point with the no-spec team view on this but not entirely, and there is more to add. The problem with this method is that the energy, experience and time that is required to come up with even a reasonably professional design needs some kind of reward equivalent to the energy put in, after all, the business of business is business as they say.

The no-spec team imply that snap decisions automatically lead to poor design – not always! Any level of professional visual input is valid and useful even if it explains to the client what they don’t want or their reaction is that a design is inappropriate. Also, a client may use elements of a design either consciously or subconsciously that contribute to the final solution by providing influence – this may of course not be directly obvious or attributable to the originator of the idea. This is the fundamental problem – ideas from even fairly lightweight designers have some value and may even subconsciously steer the company’s identity, product or website in a way that leads to massive success that would never have been there without that freebie!

To be honest, sometimes the only way to learn is the hard way and over 8 years of self employment this has only really happened significantly once with a company who will remain nameless. A large project looking at online document storage put out a challenge to several designers and selected the best from a group. Not only did this take 3-4 hours of my time to produce ideas with clarity and reason, I also attended an hour long meeting with a 3 hour round trip. This was all getting a bit much before i knew it and a simple concept had now turned into a full days work with no pay. Lesson learned.

Don’t Frighten Them Away

The way to avoid this image of the obnoxious designer is not necessarily by badging-up your site with a NO-SPEC “brightly coloured alarm-bells ringing” badge or agressively demanding a signature on a contract before you will even speak to them, but almost to side-step the issue of speculative design altogether by discussing design work with potential clients in a general sense when you meet them. Examine their reaction to you and do not be afraid to ask for a limited budget to prove your worth to them in a bite sized mini-project from which they are given a set of quality ideas and continue working with you without having initially commited all of their budget to an unknown creative type. If you sense they are looking for speculative work or something for nothing then they are to be avoided or at the very least test their reaction to your reasoning as to why they should pay for your time even on a trial basis. Personally, I always request between 6-10 hours work with a client for my bite size trial period which to be fair is slightly easier job with my portfolio in existence.

Limited Portfolio?

If your problem is that you need to get on the design ladder to get your portfolio moving and you are starting in your design career then you may be tempted by speculative work, “design competitions” [often an alternative way of describing 'freebies from designers'] or freebies! Occasionally these may bring success but more often they bring frustration to both parties. Here are a few thoughts that may help:

• Consider consulting your previous educational establishment at what ever level this may be and see what sort of companies they may have contact with.
• Try to establish a trade off between the real-world skills you have to offer and the rewards you may receive – even if this is simply working for a well known respectable organisation for a few days in return for a slice of their reputation and experience [though caution is required here as work experience on a basis of more than a couple of weeks is a minefield also!]. I would normally recommend this very early on in a design career – school or university level but not much beyond that.
• Sometimes your payback is exposure and promotion – but do ensure that you will receive this to the extent that you expect it by clearly establishing with the client what is reasonable to expect and getting a copy or photograph of the end product! Personally, I only reserve this type of payment for situations where I was informally involved in visual creativity. For example, I recently took some photos of my friend’s kid’s karting race at a local circuit for fun and something to give my friend to remember the day. A magazine called me to ask me if they could use a couple of them in an article they were publishing about the event – I was happy to do this as selling these images on something like iStock would be difficult because of the many privacy and corporate laws that exist for selling an image [eg no logos, no people without model release forms etc]. So, the agreement was that they must include my website in the photo credit which could generate traffic and potentially have a monetary value.
• Be clear on what you can offer and honest about your skills along with a willingness to have your client or work experience at the centre of your world – ie want to succeed.

The way I deal with my tax obligation is, I believe, an optimum, no fuss way to ensure accuracy in my record keeping whilst reducing my accounting fees to a minimum each year. Here’s how I go about it:

Find the right accountant

I work with an individual Chartered Accountant specialising in Small to Medium Enterprises [SME's] as he has an understanding of running his own business as well as dealing with companies of my size. He is honest and follows guidelines for keeping books strictly which is important for ‘peace-of-mind’ when submitting a tax return – if the books are audited then there is no need for concern that there may be hidden penalties or drawn out negotiation with the Inland Revenue.

What is particularly good about the guy is the fact that he will go through my accounts with me – demonstrating where he has corrected  minor mistakes but also giving me a different tutorial year-by-year as to how the presentation of my monthly spreadsheets could be improved. He is also very helpful during the rest of the year when I [very occasionally] call him if there is a  calculation or record I am not sure about.

OK, enough of the discount friendly compliments to my accountant.

Create your own spreadsheets

Essentially I have two options – pay for an accountant to sort out all of my receipts and records then calculate tax or supply the books with spreadsheets and receipts completely ready to be checked and submitted as a final estimate. I have chosen the option to create my own spreadsheets and log my own expenses which has a few benefits:

1. Learning and practicing good book keeping skills
2. Greater monitoring in detail of monthly income and expenditure
3. Reduction in accountants fees

As a Sole Trading Freelance Designer it is easy to create, maintain and submit accounts as there are no staffing considerations [except payment to other freelance programmers or designers who must then account for this in their own records]. There is also non of the extra maintenance that comes with owning a Ltd or Plc company. It’s all very easy to maintain and manage.

Pay promptly

Hate late payers? So do I and accountants definitely are even less impressed. Iusually  respond to any invoices that are sent to me within 48 hours and at the most within 1 week whether there are 28 day terms or not. My advice would be to pay your accountant within 1 week of receiving your bill – just to impress them with your reliability – this has rewards in that your accountant will know he can rely on your commitment to him and therefore he or she will [usually] commit time and advice in return.

The fact is, I’ve just written about Joe Biden and his health reform – I’m not the only one by a long way and there are many t-shirt designs to prove my point – also, David Cameron and his comments about Twitter and Joy Division’s re-released single. These apparent faux pas may be genuine but maybe not. Remembering that these people have reached the top of their game and experience many different types of public presentation – verbal and written to the mass media audience, it SHOULD come as a surprise that these mistakes are made. After all, these people will have PR and marketing people working for them 24 hours a day and sometimes the only way to get yourself noticed is to behave outrageously or out of character because this is the sort of news that people are interested in – serious public figures acting in fallible or indiscreet ways.

Nothing happens by mistake?

The question is – were these actions planned or not? In most cases I would suggest that nothing happens by mistake and that these mistakes are carefully orchestrated to keep the agenda afloat or at least keep the web talking about it and therefore raising the online profile of the subject matter via YouTube, Twitter or other social media. There can be an associated monetary or political value to this raised profile in obvious ways.

So, how should this apply to you as a company director, academic or even designer? Well, I would suggest that you don’t immediately publish your own agenda, promotional advertising or university paper with a raft of strategically placed foul language, ‘in jokes’ or deliberate mistakes to shock your reader but see these as examples of curious events that lead to wider coverage because of their unconventional nature. That is all. It is all about the wider coverage and [potentially] the way some of these examples may or may not have been carefully orchestrated.

If a blogger wants to get noticed within their subject area then the challenge is to write something about a subject that goes against or intelligently challenges the understood norm. The key here is writing on a very sophisticated or intelligent level and yet presenting an argument clearly and accurately but then bringing the reader round to another agenda or point of view in more subtle ways – which may simply be by allowing user comments to reflect the other part of an arguement. A YouTube video that recently went viral is Mental Designers Graphic Designer Vs Client video that represented comments that every designer had heard from potential clients at some point in their career – this is not so much following the apparent mistake examples already given but is a clever way of shocking people to get the message across – a message that contains many levels of angst and truth.

My print colours do not match the screen

Understand that the colours you see on the screen are not necessarily completely accurate in terms of what you will get at the end of the print design process. This is mainly down to the difference between the way colour is created on screen and the way colour is created on paper: on CRT or LCD monitors, the monitor combines Red, Green and Blue light [RGB] to produce colour using very small pixels and any tiny, barely visible gaps between the pixel elements are black whereas the common process of printing with Cyan Yellow Magenta and Black [or Key as it is sometimes known] [CMYK] uses a combination of inks printed at various angles to give the impression of colour tone – all space between the distributed ink is white. Different input and output devices dealing with colour all have a different gamut – ie the range of colours a device can display or print, and the effect of the material or technology used to present this colour also has an effect.

Screen vs print

A screen’s gamut is usually much bigger than the printer’s gamut and this must be accounted for when dealing with images for print. The human eye has a much larger gamut of colours that can be viewed – monitors and printed material can only ever represent a reasonably small proportion of the colour available to us in the natural world.

Adobe users have the opportunity to set their colour spaces for local [eg US, European or Asian] printer technologies in the settings for Photoshop, Illustrator and InDesign providing a reasonably accurate environment for the images to be imported, processed and saved in suitable colour spaces – though Adobe’s colour engine requires considerable calibration and testing.

I am not the designer. What can I do?

Calibration Hardware

Buy yourself a piece of hardware for calibrating your monitor [and if you can stretch to the expense, your printer too]. See the Design-Design article Why Bother Calibrating? This will give you a fairly accurate starting point though personally my X-black Sony VAIO seems to overcompensate black and therefore shadows are slightly heavier than they should be – watch out for this sort of inaccuracy.

Colour Management – the printed photo method

Unless you have been trained in Colour Management then the most appropriate course of action would be to calibrate using a special image from your printers – my current choice of printer provide a test image on their typical gloss and matt stock and request that people manually set the colour of their monitor or graphics card to match the printed image with an image on screen. In cases where you can use a test image then this is recommended because, if you can get a ball park colour value from using a calibration device, then adjust manually so that what you see on screen matches the lithographic print, you should never be disappointed [though may never see 100% perfection either! - but that's a very tall order]. Ensure that your colour management policies are set to off when you calibrate. For further information please see the Why bother calibrating? article.

Colour Management – the Adobe method

If you find that this process is not yielding the results you want [though if you constantly use the same printer then it is probably best to use the first method mentioned for increased accuracy], then try setting your Adobe software to the appropriate region settings for example in European countries choose EUROPE  GENERAL PURPOSE 2 and ensure that Preserve Embedded Profiles is set for RGB, CMYK and Greyscale. This is a catch all method for ensuring that files are reasonably accurate, though if you really want to improve colour accuracy then read this incredibly detailed document from Adobe if you dare!

Does the printer understand your design?

When I’ve finished designing and I am preparing the file for print, I usually create proof files in the form of low resolution JPEGs to send off accompanying the file – this helps to ensure that your vision of the document boundaries, colours and content is communicated clearly and that changes in the PDF between your computer and the print unit’s machine can be identified.

If you feel it is necessary to clarify the print job further then it would be recommended that a physical proof is sent to the printers. This may indicate how pages fit together, where perforations are located or where there may be problems in the PDF. These proofs should be annotated. Usually printers have received all sorts of documents containing all sorts of problems with vectors, bitmaps and colour models eg screen colours as opposed to print colours and so are often experts at identifying potential print issues – I just don’t rely on that knowledge as print is so expensive.

I recently completed a car sticker job for a client. The client was surprised at how much detail I wrote in the accompanying email as I made a list of assumptions of how the process would occur and asked important questions that needed consideration. Assumptions included the understanding that all text would be cut out of the stickers rather than another sticker placed over the top in white – the client did not know that the colour of the car body is white and that this will be expected to show through in text areas. Also, I was concerned that the 4-piece logo items would need some sort of template in the application of the sticker to ensure all parts were accurately spaced – the print guy told me that there was a special coating on the stickers to allow easy application of several elements in the right place. It is really worth getting into the fine detail before money / time / effort is spent.

Turnaround

Never underestimate the time that a printer requires to complete a job – printers run to a carefully planned and priced schedule and will not be able to deviate from this as it would affect their pricing model. In many cases the client can pay a premium to receive the printed material such as stationery within 2-3 days. For example, RCS, the print company I use, have an 11am deadline for the receipt of print and from that point, it is classed as day 1. Within day 1 payment must be made for the job to run within the time guidelines.

It is worth looking at the variety of print options available to the client – RCS offer an economy turnaround time which is twice the normal turnaround but can make savings on the overall cost of the job by 10% – 15%

Colour Proof

Printers can provide a proof of the artwork but this will come at a price. A chromalin or laser copy can be generated which will provide around 85% – 95% accurate representation. It is worth finding a local photocopy shop with industrial quality laser printers to speed up this process but do your research and testing first to ensure that the results are reasonably accurate.

Savings and Offers

Check to see if your printer has special offers and pass these savings on to your client. This always brings a cheery smile to the clients face and shows him or her that you are a loyal designer!

I recently created a short news item for the Drawing Research Network called 6 Digital Drawing Experiments. This was essentially a collection of some of the research I had done into drawing and online experiments. When I say research, I mean the kind of informal searching for new and interesting design related websites I find by subscribing to design related RSS feeds through Google Reader and other paths and other related sites this may lead me to – I regularly scour the web for new and inspiring methods of digital drawing to learn from.

Why give free advice?

Why did I volunteer to freely spend this time providing others with content? Well, its simple and can be explained in 3 points that apply to blogs, forums or simply commenting upon someone elses work:

Reference. There is nothing like getting your head around a topic and clarifying your thoughts by writing them down – especially when there is potentially a large readership should the web community decide it is of value. The article is written both for my own benefit and the benefit of others interested in this area too.

Status. Do people rate what I have written? Well, maybe they want to see more of the same quality and may click on my own sites to see what else I do in the field of design – therefore this is an investment in potential future clients as well as impressing current clients who want to see that you are actively keeping up with what is going on in the world.

Community. Are there others out there who want to form collaborations, swap ideas or share similar information? By contributing to relevant blogs you can help connect with others.

What guidelines should I apply to my contributions?

Quality. Only create articles that you know are accurate, informative and contain a reasonable level of detail on the subject you are describing – ask yourself “What do I expect my readers to gain from this article? What insight or new information am I bringing to them? Could I assist presentation by using video or images or should the text be the only medium to convey the message. This sounds like common sense but there are many blogs out there full of very bland uninformative articles. Simplicity is good – over simplifying the content is not good.

Quantity. Establish an approximate and suitable typical interval between your articles. I typically leave around 2-3 weeks between each article on this blog as I feel it is healthy to stop and think about design objectively at these intervals. I learn and I hopefully help people to gain insight from my experiences and knowledge.

Objectivity. Having a personal agenda, opinion and direction is good but watch what you say online as this can be misinterpreted or simply not understood – at worst you could gain a bad reputation or simply be ignored altogether. I always assume I am talking to one of my clients meaning that my focus is upon helping them to understand a design related concept, acting professionally and ultimately gaining their respect.

Where to start?

The best way to START contributing is to STOP. Stop and look around at the way others are contributing and the types of contributions they are making to online conversation. This is useful for gaining an idea of what readers find valuable, the conventions for writing for different audiences and for forums or Twitter rather than blogs [or other typical web technologies] and the typical style of content. Once you feel comfortable and passionate about contributing then go ahead. If you don t feel like writing a whole article you may feel inspired to write a short response in a comments box on the site.

Simcoemedia: I love playing with my new giant rotating tag-cloud. I’m happy when its tag-cloudy http://www.design-design.co.uk/the-cloud/

Simcoemedia: The Drawing Research Network is officially live and we need to keep up the momentum on new members http://drawing-research-network.org.uk

Simcoemedia: Here’s a useful piece of free web-based software for creating a wiki – http://www.tiddlywiki.com/

Simcoemedia: It’s been two years since I got this little gem from Havana in Cuba – http://bit.ly/cCmYyf – definitely a favourite.

Simcoemedia: [ThemeForest] Dany’s Blossomsoft WP theme looks great for a wide range of design and corporates. Thanks for letting me know about that one.