Here’s a question – have you ever come across situations where you’ve lost out on a project simply because of your location? Here’s another – does location matter?

Something happened to me recently that I questioned how important location is when searching for work. I sent off an application, and here’s a summary of the response I got back.

Firstly, a concern about how I would ‘fit’, being from somewhere that wasn’t London.

Then, while they liked my work, there was a ‘lack of names’ to relate to.

OK, so there are really two separate issues there, and I have to say that while I was perhaps a little surprised that he’d highlighted those specific issues, it isn’t anything new to me – in fact, I’ve come across this problem a few times over the years.

You see, when you’re based outside of a city location, like I am, it can be very hard to be taken seriously beyond the locality of where you are. Sure, a lot of the projects I take on tend to be from businesses within the confines of Shrewsbury, Shropshire, and the Midlands. It’s no coincidence – I’m willing to bet that a large proportion of people who hire me are searching for local designers. Those types of businesses prioritise designers who know the local market and can deal with their projects on a personal level.

While some familiar brands are in Shropshire and the Midlands, many are headed up by corporate offices in London or European cities. This means that when (and if) they hire design agencies, they source them from those areas – they’re not going to consider us here in rural Shropshire. That does mean that there are naturally a limited number of ‘big brands’ that I could work for.

Is that fair, though? How is it affecting our bottom line? Are designers like us missing out on the big fish because of where we live?

Again, does location matter?

There’s a tendency to assume that graphic designers only work for local businesses and that they’re well placed to do that because they know the local market, they’re familiar with the area and the people who live and work there.

Of course, there are definite benefits of hiring a local designer – it’s always nice to meet up face-to-face, speak on a personal level, blah, blah… but hang on. We live in a digital world, where (as the whole covid situation showed us) we can use online tools like zoom to speak to each other very easily.

We can share files and documents at the click of a mouse, and we can even go ‘old school’ and pick up the telephone.

So what’s up with all this ‘hire local’ stuff? Is it really so important?

In my view, no. The work I do for my clients is not really affected by where they are in the world. Sure, there are some differences, but none of them is detrimental to the project’s outcome. Yes, it’s nice to meet clients in person, but there are ways around it, as I mentioned above. And in the end, as long as I am able and willing to communicate well with my clients, then any kind of problem can be worked through very easily.

Working remotely – pros and cons

Many designers are happy to stay within their communities when they’re looking for work – and that’s not a bad thing. As a designer, it’s great to connect with local businesses and work on branding and website design projects – it’s where the majority of my bread-and-butter work comes from.

There’s a big world out there, so many unique brands and organisations that could be a match made in heaven for the type of design you offer. But sometimes, you might crave more than that. So, what are the benefits of seeking out projects from further afield? And how can you approach those businesses who doubt your ability to deliver because of your location?

Benefits of being a local designer

• Meeting in person develops a mutual working relationship more quickly
• Knowledge of the local market can help understand the required outcomes of the project
• Ability to work with smaller, bespoke businesses and see the benefits of your work personally

Benefits of designing for larger companies further afield

• Less opportunity for scope creep, as there are not so many personal contact points
• More lucrative projects from companies who have bigger budgets
• Chances to be involved in more engaging, long-term projects in different industries
• Additional opportunities to get the kind of projects to enhance your portfolio

Over to you

What are your thoughts on this subject? Are you a designer who has been rejected for projects based on your location or something else? Or do you work within a city where you outsource to designers in more rural areas? What’s your experience?

Social media marketing is a notoriously difficult beast to master, not least for graphic designers. Gone are the days when everyone was on Facebook, and there were no other platforms to entertain, let alone tricky algorithms to worry about. Today, we’re faced with a whole boatload of different options to choose from – but even if we know where to focus, do we really know what we’re doing, and how to actually get people to see us? Most of us can feel so overwhelmed by it all to the point that we end up just stalling and getting nowhere (please say that’s not just me!). Are we just overthinking this – is social media even worth it for us as graphic designers?

I think by now, we’re all conditioned to embrace social media, not just as part of our marketing, but in our everyday lives. Everyone seems to be on it constantly, so when people urge businesses to get on board with it, and that social media is the one major place where we can make an impact, it’s hard not to believe them, isn’t it?

Perhaps a hard thing to admit, but nowadays, business is done online – traditional marketing, though it has its place, has taken a reluctant back seat. Online content is where it’s at, and where it’s likely to be for the foreseeable future.

So yes, being present on social media is a necessity for businesses. But you can’t be everywhere. How do you decide which platforms to be visible on? And what do you post, anyway?

The fear of comparison

Have you ever experienced this? You scroll through Instagram and see breath-taking posts from other designers, amazing images backed up by a perfectly matched piece of text that you know hits the sweet spot for SEO and is adorned with hashtags that are going to appeal to just the right people?

Yeah, me too. All the time. And it’s paralysing. I can’t possibly match up, right? So I won’t bother. I won’t put myself out there, and let people see how thoroughly mediocre I am. 

But hang on – isn’t that just your impostor syndrome getting the better of you? What if we flip it, and let those posts inspire us instead?

Comparison can be a dangerous thing. It can also give us a marvellous insight into what works for other designers online. Instead of falling prey to jealousy, could you analyse what’s happening? Look into the post – why does it appeal? How are people responding to it? And most importantly, how can you emulate that through your own work?*

(*Note – I’m not suggesting imitation or copy here, but letting the ideas and concepts inspire you.)

What’s your objective?

When I’ve researched the best social media platforms for graphic designers, one of the answers that seems to come up a lot is ‘go where your ideal client is.’

OK, I get that. It makes sense – if you are trying to purely use social media to get leads (never a bad tactic) – but another way to look at it is ‘what do I want from my social media?’

I don’t necessarily want my posts to be all about getting people to buy from me. I want to show my work to the best audience possible. I want to raise opinions and conversations around what I do. I want to connect with an audience and share my story a little bit. Thinking about it – when I look at social media posts, I’m most inspired by those posts that speak to me on a creative level – not those that are trying to get a sale out of me.

This kind of ties in with the question ‘which platform?’, because you’ll want to not only consider where your potential buyers hang out, but more so where your audience hang out. They’re not always the same thing.

I suppose the key is not to just connect with people who might buy from you, but also with the kind of people who are in your own industry. I’m talking about other designers, creative agencies, and the types of people who might enjoy sharing your content and talking about you, and with you. If people can relate to you and engage with you, then those who are looking to buy will learn to trust you through recommendations.

A numbers game?

Like all types of marketing, it’s largely a numbers game – the more times people see your brand, they’ll become familiar with it and are more likely to buy from you. Unlike traditional marketing though, you have other factors to consider. Because social media posts have such a short life span, it’s important that you create posts that grab people’s attention enough to stop them from scrolling and to read what you have to say. And you have to do that often – which (sorry) means posting a lot of content, regularly.

People see your social media posts first, so that’s the place to focus on getting noticed by new audiences – and the place to build trust with them.

So, is it worth it?

I think yes, it’s absolutely worth getting it right. Something else I’ll mention too is that any social media platforms you use should ideally lead people back to your website – people will still want to see concrete proof of what you stand for before they buy from you, and they will do that from first seeing your posts, and then looking at your website.

I hope this article was useful. I’m off to see what I can find to post on my Instagram now…

There have been a couple of quite significant rebrands in the news recently – you’ve probably seen the arguments going on around the BBC one, and then there’s the one in which the Facebook brand has been encapsulated under the new ‘Meta’ umbrella.

I’ve worked on a lot of rebrand projects over my career. And yes, a lot of the time, the businesses I’ve done them for have had good reasons for doing so. Sometimes, they’ve grown to a point where they can afford something a bit nicer and a bit more appropriate for the direction they’re going in. Sometimes, they want to attract a different type of clientele. Sometimes they change direction and want to express who they’re becoming.

But how do you know when it’s time for a rebrand? When is it right to do it, and when should you leave it? What does it mean to rebrand, anyway?

I thought today that I’d share my insight on it from a graphic designer’s experience. Maybe it’ll help you decide what the best thing for your business brand is, and how far you should go in updating your branding.

What is branding, anyway?

More than just your logo, your brand includes everything that identifies you. Things like the colours you use, the style of your images, the fonts you use, even the tone and voice you use across your marketing.

Often, I’m asked by businesses to sort out their website – and while I believe that having a decent website for your business is a crucial part, it’s just as important to consider how the elements you select on your website will translate to other places. The colours and fonts used on your logo should be a big part of your web pages, your social media, and your print marketing, so that when people see your content, they instantly know it’s you. That’s what good branding does.

A bit about your brand name

Of course, your business name is also a big part of your branding – and one that often gets overlooked. I won’t dwell too much on it here, but it is worth a mention – as part of your branding, the name you choose should ideally give at least a hint of what you’re about.

When is it time to rebrand?

Following on from what I just said, if any element of your current branding fails to convey who you are, what you do, and the kind of person you’re trying to attract, then that’s a pretty good hint that you need to rethink your branding.

Some questions to ask might be:

• Is my current branding old-fashioned, outdated, or failing to attract new customers?
• Does my current branding hold a certain ‘reputation’ that no longer fits with what the business is about?
• Has my business evolved and grown in such a way that my current branding looks a bit off/amateur?

You might be in a position where the core of your branding works ok, but some elements of it need updating. Don’t feel that you have to have a total overhaul in order to get what you need. Sometimes you just need a refresh of your style, but the colours and tone you use could be fine. Consider what works, and what doesn’t.

7 steps to rebranding

1. Look carefully at your current branding, and make a list of what you love, and what you don’t. Be critical, and think about how things look to an outsider – perhaps even ask some people to give their opinions (but not so many that you get tied in knots!).
2. Look at your competitors. Write down some elements that you like, and how it compares to your own branding. Think about who their customers are – are they similar to yours? What do you think attracts those people to your competitors?
3. Approach a designer – if possible, set up a meeting to talk about your vision for your rebrand. This is an important step, because designers are well versed in branding, and can give you great advice on what works, what’s contemporary, and how things could work within your particular business.
4. Set a realistic budget and timeline with your designer so that you can meet your objectives.
5. Plan your launch – use the opportunity to remarket your business so that as many new people as possible see what you’re about. Don’t be shy about it – celebrate your new branding for maximum impact.
6. Measure and monitor – identify any glitches where further improvements might be needed.
7. Remember; change is never easy, but sometimes it’s an essential part of your business growth and evolution.

Are you thinking about rebranding, or do you have questions about your current branding? Give me a call – I’d be happy to help.

I have recently been reflecting on the changes I’ve seen happening in the design industry over the past months, and how lockdown has brought about shifts in the way we work, and the habits we’ve formed. Yes, it’s been a hard slog for many of us, but now that we’re beginning to operate at a much more normal level again, I’m hoping that some of those new habits will stick. Perhaps you think that’s an odd thing for me to say, but I’ve seen some good stuff come out of this crisis.

Let me explain what I mean…

The pre-covid design landscape

A while ago, I wrote an article about how bad designers are at forming communities, and how my agency, being situated in a small market town, can sometimes feel a little isolating. I think that a lot of creative industries suffer the same affliction – we’re notoriously private individuals, aren’t we? Perhaps a little introvert by nature, and so we shut ourselves away in our own creative bubble.

Part of that extended into other areas too. We were not only sensitive about our communication with other agencies but also with other people seeking our advice – from the businesses we served to the graduates who asked for our support. I’m not saying that applied in all cases, but I witnessed it quite a bit (it was one of the reasons I decided to try and get some of those barriers lifted by starting my own local design community).

Maybe it was just a rut we’d got ourselves stuck in. Maybe it was just habitual. And we might find ourselves sliding back into that mindset – but I’m not so sure it will happen. I think we’ve been through too much, and that some of the new ways we seem to have adopted along the way will become the norm as we go into 2022.

So, what’s changed?

It might be that many of us were forced to work from home during the lockdown, or that we had a lot more time between client projects, but I’ve found that the urgency of projects has eased considerably. Whereas before, I had quite a few projects where the client would stipulate that they needed it done ASAP (meaning ‘drop what you’re doing and do this now’), many of my recent clients have been much more chilled, had more time, more willing to work to realistic deadlines.

The people I’ve been working for over the past few months have seemed much more relaxed generally – more communicative, and more willing to help. I’ve seen evidence of it within online communities too –some of the bigger agencies are more willing to reach out and give advice, to smaller fledgling agencies, and graduates just breaking through.

I guess that we’ve all experienced how frighteningly easily things can break down – it has made us feel vulnerable and helped us to realise that we do in fact need to pull together as a community.

The human touch

For a while – even before covid was a problem – we’ve been seeing a slow and subtle movement that has possibly been led by social media and the rise of online communities. We’ve been taking much more notice of ‘the person behind the brand’, and this has meant that more and more businesses are giving a personal service, rather than being just another corporate body. We kind of expect it now, because it allows us to build trust and likeability.

Perhaps that has been pushed further still over the past year or so. In our isolation, have we learned that we need to connect with people again?

My predictions for 2022

I have to admit, I like this new landscape. I like that those agencies that I’ve spent my career admiring have become much more approachable; more human. And I really hope that the sense of community we’ve learned to enjoy as a collective of designers carries on.

It’s important to remember that people need other people, and that’s no less true within the creative industries. We’re not in competition. We can offer each other so much more, by way of support, friendship, and opportunities to learn from each other.

I’d love to hear others’ thoughts on this. If you are just starting on your path, or have been part of a bigger, or growing agency for a while – what changes have you seen? Have you changed the way you work, or who you work with? Reach out and let me know.

As creatives, we all do it, don’t we? We are naturally curious creatures, and as such, we just can’t help but look around at what other designers are doing. That might mean noticing posters in the train station on the way to work or getting design-envy over a book cover or magazine spread or piece of packaging on a shelf.

The thing is, we’re surrounded by other designers’ work, and we can’t help but analyse it. It’s normal to have moments where we compare our skills with others – and that can be a very healthy thing. It can keep us on our toes, help us try out fresh ideas, and encourage us to be better at our craft.

But nowadays, we live in a digital world, where we are not only casual observers of other people’s design but also force-fed it every minute of every day. We see it every time we check our social media pages; we see it on websites and pop-ups and emails and digital newsletters. Right now, many of us are in danger of suffering from a very recent phenomenon; “comparison fatigue”.

OK, so maybe it’s not entirely a new thing, but it’s certainly a lot easier to be exposed to it than it was in the past. I’d like to explore that a little. Because as the title of this article suggests, comparison can be healthy, but it can so easily become an all-consuming, paralysing thing that stops us from being our best.

Should we be checking out our competition or avoid doing that altogether?

Why we might compare

We don’t - and shouldn’t - work in a vacuum. Outside design can inspire us and influence us to break out of our comfort zones and try new things. Purely from a design perspective, a little comparison can fire us up.

Knowing what the latest trends are, how they work and who they appeal to lets our clients know that we have a handle on modern design. And one of the ways we do that is to look around at how other designers are doing it.

It can also be useful from a business viewpoint. Like it or not, most of our clients don’t want to be given old-fashioned or outdated designs. For them to sell their products, it’s vital that they are able to appeal to the masses – and (perhaps, unfortunately), the masses want what’s ‘right now’.

If you’re set on making money from our business, then even in your own branding, you have to be able to balance your appeal to your audience with your own individual identity. Yes, you want to stand out and be recognised, but you don’t want to be so ‘out there’ that your branding is off-putting.

It’s impossible to avoid comparing ourselves to other designers, and while we need to realise that it’s useful to know what they’re doing and how they’re doing it, it’s also important to know when to draw the line…

Being ‘you’

I’ve been doing this for a lot of years, and I still find myself looking at what other designers are doing and thinking, “should I be doing the same as them, or them, or them…”. It’s a trap that many of us fall into from time to time – I think that’s pretty normal and most definitely human. We’re conditioned to ‘fit in’, aren’t we? Right from the days of wearing school uniforms and sitting in neat little rows on the classroom carpet, our lesson starts early. To be liked and accepted, be like the rest.

Perhaps that’s why it’s become normal to compare ourselves so much. We are almost afraid to break out of that mindset, so we seek validation that we’re ‘doing things right.’

But hang on – isn’t it true that the clients who hire you to create their websites, their branding, their brochures, etc., choose you because they like your style and how you do things? So, if you were to do the same things as your competitors, then why on earth would businesses choose you over them? They’d have no reason to, would they?

Sure, you might look at what other designers are doing with a pang of envy, but the thing to remember is that the people that buy from them are not the same people who buy from you. Your clients want something that only you can offer, but if all you’re doing is mimicking another designer, then why shouldn’t they choose them? They are, after all, the genuine article.

This translates not only into your design but the way you do business and conduct yourself. There have been plenty of times when I’ve questioned my own decisions – should I have remained with my last agency? Did I do the right thing by going it alone? Should I have done what X did, and would I have ended up being as successful as she is if I had?

Again, it’s common to feel that way. But trust your own instincts – they’re usually right. Everyone’s path is different, and the fact that somebody else looks like they’re doing better than you isn’t always the truth. And I’d be willing to bet that by following your own way, you’ll find that there are plenty of people who admire what you’re doing and are thinking, “should I be doing that?”.

Our concept for the Emergency Services Self-Help wellbeing app ‘OPPO’ has been awarded silver in this years Creativepool Annual 2021 competition.

The Creativepool Annual showcases the ‘most’ people and companies who have achieved creative excellence in the past year. In its sixth edition, the Creativepool Annual 2021 is a chance to celebrate creativity as we all ease back into a new normal, with a global mix of agencies, brands, and individuals participating in the 2021 competition.

Project write-up

Oppo: A colleague or friend; ‘an old oppo of mine’. Origin the 1930s: abbreviation of opposite number. SEVERN looked into the issues faced by emergency services, initially focusing on the police service in particular.

Research found that public awareness of police mental health could create targeting in some situations, as emails get deleted, and leaflets get binned. The app is designed to work like a personal diary to self-monitor stresses and pressures. It logs working hours and moods at any given time. Users can add notes to say what triggered any changes. Oppo can build up a user profile based on their inputs and offer tips on how to self-help.

Judges Comments

“A well designed and well-conceived app which could help to break the stigma of seeking help and taking time to consider and protect mental health within the emergency services. Perfect to create as a discreet app which people can use on the go.”

Miranda Hipwell

Our book documenting a day in the life of the Market Hall in Shrewsbury has been awarded bronze in this years Creativepool Annual competition.

The Creativepool Annual showcases the ‘most’ people and companies who have achieved creative excellence in the past year. In its sixth edition, the Creativepool Annual 2021 is a chance to celebrate creativity as we all ease back into a new normal, with a global mix of agencies, brands, and individuals participating in the 2021 competition.

Project write-up

Designed in 1965 by the award-winning architect David du Roi Aberdeen, the Brutalist style Market Hall building in Shrewsbury causes much contention. This record of the day-to-day from inside the landmark building reflects the people who use it. Tony’s team wanted the design to be dripping with references to the Pevsver synopsis; “clean lines and simple forms; vertical black fins in an echo of close studding”. The strong, clean vertical lines outside are brought through to the layout using narrow full-length columns, stark white space and the Compacta typeface from 1963 with its industrial appearance, a popular genre in the early 1960s, used throughout.

Judges Comments

“Beautiful photography, smart layout and well-crafted typography that work together to evoke the architecture of the building and the 1960s. Overall, a lovely piece of graphic design.”

David Alexander