Jeff Koke Design Blog

One of my favorite type of project is logo design. I’ve done over 100 logos since I began freelance work in 2000 — you can see 80 of them collected here. It gives me a bit of special pride when I see one of my logos “in the real world.” I have presented a few examples below.

Everyone has heard of “writer’s block”, the inability for a professional writer to get the right words down on the page. Designers experience a similar thing, that I call “Creative Block”. Sometimes it’s just something that happens on a particular day — I can’t get going on anything, and nothing I design pleases me. Other times, it’s a specific project that I’m stuck on and I end up frustrated and tossing out design after design. This usually happens on a deadline.

When I first started my own business, creative block terrified me. I felt paralyzed, knowing I had to get the project finished, but unable to start, or stuck at a certain point with no idea how to finish. I wanted to deliver projects that were both great and on-time, but creative block threatened either one or both of those. I was tempted to give up on some projects, and wanted to just call the client and tell them I couldn’t finish. My creative block could last a few hours, or a few days, and I never knew when it was going to happen. And the anxiety I experienced when it did happen made it worse.

Over the 11 years that I’ve run my own design firm, I’ve developed several strategies for getting through creative block and keeping my clients happy with great designs.

Learn to Recognize It: The first step to beating creative block is to see it when it’s happening, and to accept it. There’s a difference between simply struggling to come up with a good idea for a design, or having difficulty laying out content on a page, and true creative block where nothing you do seems to satisfy you or you can’t see any way to even get started. Pushing through a design difficulty is usually the right thing to do, but pushing through creative block is nearly impossible.

Don’t Freak Out: Anxiety is not a great tool for creativity. Creative block is going to happen, and it will sometimes happen a the worst time, under a tight deadline for example. When it happens to me, I acknowledge that I’m blocked and that I’m going to have to get the project done when I’m not, even if that means pushing a deadline, or pulling an all-nighter.

Do Something Else: The primary way to defeat creative block is to find something else to do that has nothing to do with design. Take a walk or a bike ride. Do some yard work or clean the house. Play a video game or read a good book. Take a nap. This is a lot harder than it sounds. My instinct at first was always to keep hammering at a design until something broke through, and taking time out of my work day to “goof off” made me feel like I was losing money. But the simple truth is that I can spend three hours pounding away at a project, trying things that never seem to work out, and afterward be no closer to a finished project, or I can spend those three hours not thinking about design, giving my right brain a chance to reboot and come back to the project refreshed and inspired.

Finally, Find Your Rhythm: It took me a while, but I eventually noticed that I tended to get blocked mostly in the afternoons, and I was generally more creative in the mornings. So I planned my design projects such that initial design work that required a lot of creativity would happen in the morning, and in the afternoon I focused on more mundane tasks, like making text corrections, answering emails, writing proposals or setting up project schedules. It’s all work that needs to be done, but it doesn’t require a lot of inspiration.

Ultimately, inspiration and creativity are not qualities that can be called up upon command. By staying calm and working around creative block and not trying to work through it, I can be confident that the inspiration will eventually come. When it does, it always comes back with a vengeance and I can deliver a design and project that I’m proud of and that will wow my client.

I’ve been working with Phoenix-based Calibrus to design the interface for their new iPhone application, Fanatic Fans.

The App lets sports and concert fans to research upcoming events, check-in and earn badges and rewards. There’s also the ability to chat with other fans before and during the event. I haven’t had a chance to play around with it much yet, but it looks pretty cool.

Take a look yourself at http://itunes.apple.com/us/app/fanatic-fans/id430832124?mt=8&ls=1

For a mild diversion, check out what I’m doing over at 25solos.com. My ambitious attempt to learn 25 of the greatest classic rock guitar solos ever recorded.

In a perfect world, every design that I produce would be mindblowingly great. Clients would swoon and cut checks for massive bonuses; industry groups would shower me with awards; and complete strangers would record viral YouTube videos extolling my virtuosity. Sadly, we don’t live in that world. While I’m extremely proud of the work I do, I can’t honestly claim that everything I produce meets the definition of great. This post discusses some ways I use to try to consistently get from “gets the job done” to “amazing”?

But first: what is great work? What defines it? Although it’s always going to be a subjective concept, I think something must satisfy three criteria for me to consider it great. First it must impress the client. I’ve done plenty of designs that I thought were outstanding, but for one reason or another the client rejected. I could sulk and mutter to myself that the client has no taste, but that won’t improve anything, nor is it likely to get me future work with that client. Pleasing the client has to be the primary criterium.

Second, it has to please me. I’m pretty picky about my own designs, and as much as I hate to admit it, there have been times when I sent a design off to the client, knowing that it wasn’t my best work. Even if the client is ecstatic with the design, there’s a nagging feeling that I could have done better, and that pushes me to excel the next time.

Finally, for me to consider a design “great” it has to be effective. All designs have a business purpose that needs to be met — create an emotional connection, prompt a call or email, encourage a visit, test drive, demo, or simply amplify a specific brand attribute. Even if I think a design is fabulous and the client is in love with it, it’s not great if it doesn’t do what it’s meant to do. and that is to fulfill a specific business objective.

So know that I know what great is, how do I get there with each design?

1. Understand the client. This is more than a basic understanding of the industry, it’s knowing the needs and motivations of the specific individuals that I am interacting with, how they fit into the organization, and what they are trying to accomplish both in the short and long term. I need to understand what sets their company apart from their competition, what marketing tools they’re most comfortable with, and where their weak spots are. If I know them on a deeper level, then I am much more likely to produce work they will love.

 

2. Push my Boundaries. There’s a temptation, especially when deadlines are short, to “phone it in” and produce designs that are decent and functional, but not special. To deliver greatness, I have to fight that temptation. Sometimes it means putting a design aside for a day or to and letting it percolate. Sometimes it means deleting every layer in a Photoshop file and starting from scratch. Inspiration doesn’t come on command, but it does eventually come, and when it does it can be the key to a great design.

 

3. Never Lose Focus. I always try to remember that great design not only looks good, it works. And it works not because it looks good, but because it has been designed to fulfill the business objectives that the client needs met. If it doesn’t meet those needs, it won’t matter how pretty it is. Great designs work, and that’s what make them great designs.

Ultimately, what I strive for is for my clients to tell their friends and colleagues, “he does great work.” If that’s happening, the rest will take care of itself. Let me know in the comments how you pursue greatness in your work.

When I am approached and given the opportunity to bid on a graphic design project, inevitably I am asked for samples from my portfolio. I am always happy to provide them, and to point them to my Web site where they can view more, but I wonder if they realize that my portfolio only tells a part of the story.  The samples allow a prospective client to gauge my design ability, but give no insight into my reliability.

Occasionally I get a request for references, but I find out later that most of the time those references are never checked (my willingness to provide them being proof enough, I suppose). But what surprises me is that while I hear many clients complaining about designers and firms that they’ve been burned by in the past, so few of them attempt to verify the reliability of the firm beforehand.

Why is reliability so important for a design firm? The simplest and most obvious answer is that most projects are not one-off isolated events. Many times, a project is simply a first phase in a longer campaign. If you turn out to be a flake, and don’t deliver what you promised on time and within the agreed-upon budget, you are likely not to be retained for the remainder of the campaign, regardless of the quality of your work. A stunning portfolio might bring a client in the door, but consistency and reliability will keep them coming back.

Your reliability is also directly connected to how often and how strongly your clients will recommend you to their colleagues. I get probably 90% of my new business through referrals, and if I started delivering late or going over budget, those referrals would start to dry up. I might not even know the reason why. The phone would just stop ringing.

And thus being consistently unreliable can cause a designer to develop a reputation as a flake, which can haunt them for a long time. In a field as crowded and competitive as graphic design and marketing, a good reputation is vitally important. If you feel you’re developing such a reputation, the best remedy is to become reliable fast. Here are three ways:

1. Schedule Realistically: Only you know how quickly you can turn things around, so be realistic about schedules that you develop. Clients are often impressed when I push back on a timeline that I feel is too aggressive. I’ve turned down lucrative projects that I knew I couldn’t get done it time because ultimately I would be blamed for missing the deadline.
2. Estimate Honestly: If you bid low to win a project and then hit the client with changes in scope and extra fees, they’ll usually pay it, but that will likely be the last money you see from them. Give your clients a realistic bid; try to work within their budget; and don’t accept projects that are below your threshold. You may lose a few to competitors who underbid you, but the ones you do get will be more likely to lead to grateful clients and more work (and the prospect may come back to you after the low-bidders flake out).
3. Do Whatever It Takes: Finally, once you’ve settled on a price and a schedule, do whatever it takes to get it done on time and within the budget. If that means, you have to stay up all night to meet your client’s deadline, then that’s what you do (and you’ll be more likely to plan better the next time). If it takes you longer than you estimated and you end up spending more hours than you’re getting paid for, chalk it up to experience and bill the client what you promised.

Reliability is not a substitute for ability, but ability by itself is not enough to establish a great reputation and keep clients coming back. How you deliver what you deliver is just as important, if not more.

I was digging through some old design projects and came across a logo design and brochure project for a company named Hattaway Communications. This project was one of the first I landed when I went out on my own in the Summer of 2001. I looked them up and discovered that Doug Hattaway has grown his business and is doing pretty well (see www.hattawaycommunications.com) — and they are still using the logo I designed for them. Even though I had little to do with their progress, it gratified me a little to see them still going strong.

I opened up the proposal that I had written for the project. I winced at some of the language — I was just figuring out how to write proposals and I think I went a little overboard. “I am confident that my services will be of tremendous value to Hattaway. Following is a proposal for initial services in what I hope will turn into a long-term relationship.” I laid it on a little thick. Nonetheless, I got the project, and it was a project that tided me over through some lean times.

Then I came to the schedule. The kickoff meeting was set for September 4th. The final approval of the brochure was to be September 28th. One date stood out to me in particular. “Final Logo Approved — Sept. 12″ It strikes me that I have no strong recollection that this was my client in September of 2001, but I can’t imagine that the final logo was approved on September 12. I’m pretty sure Doug was busy that day.

It’s odd and wondrous how looking at an 8-year-old proposal can remind me of an indelible event, and I can marvel at the success of a long-lost client, and somehow at the end of it all feel a little hopeful that this economy and this country may actually turn around.

Probably the worst way to get someone’s attention is to poke them. A sharp jab with the finger will certainly get someone to notice you, but the poke conveys no information about why you need their attention and is, frankly, kind of annoying.

A lot of the advertising and marketing I see, especially in the business-to-business sphere, seems aimed at simply getting attention, being noticed. It’s a poke — it’s usually vaguely annoying and it often the response it generates is either indifference or irritation.

The best advertising provokes a response. It makes the target of the advertising think and react. It’s provocative, not in a titillating or base way, but in a thought-provoking way that engages and inspires people to respond. Viral YouTube videos that get people talking and laughing, alternate reality games that blur the lines between game, promotion, and reality, and dynamic speeches and presentations at conferences are all good examples of marketing that provokes.

Here are some good ways to transform your marketing from poke to provoke:

1. Question Cherished Beliefs: Nothing provokes a response more than a well-reasoned, effective attack on the status quo. If your product or service does things differently, illustrate how it tears down walls and destroys the “old way” of doing things.

2. Force a Decision: In logic class, this is known as creating a false dichotomy, and it’s considered bad debating practice. In marketing, however, forcing your prospects to make a choice, and laying out the alternatives such that your solution is obviously the best choice is simply good provocation.

3. Invite a Response: Give your customers a way to interact with you, to let their voices be heard. Marketing should be a dialogue, not a monologue. If the method of response is clever and engaging, all the better. Build a compelling social media presence and provide multiple ways to connect with you (Twitter, Facebook, customer forums, etc.)

Provocation can backfire, of course. Sometimes the response you get is not the one that helps you, but even negative responses can give you insight into improving your campaigns. Most of the time, however, you’ll engage your prospects in a satisfying dialog and you’ll gain respect in their eyes, recommendations to their friends and colleagues and perhaps a little money from their budgets.

No matter where you fall on the “How much I like Disney” spectrum, you have to admit that Disney has a startlingly successful brand. When I told friends that I was going “to Disney” right after school was out for my kids, no one said “what’s Disney?” and the only question people asked was “Disneyland or Disney World?” — most people just assumed Disney World and they were right.

Disney has a successful brand for a lot of reasons, but I want to talk about the way they reinforce and strengthen their brand through the experience that visitors have at their Disney World collection of parks and resorts. I’m not a Disney astroturfer or cheerleader, but I can appreciate what they have done with their brand and pass along what I’ve learned from it in a marketing framework.

Here are the four main things that Disney does to consistently strengthen their brand:

1. Go Big or Go Home: Disney doesn’t do anything half-way. Their resorts are big and comfortable. The rides in the Disney theme parks take a theme and follow it through with well-produced introductory “stories” that introduce you to the ride while you’re still waiting in line. The ride itself might not be any more thrilling or complex that one you would ride at Six Flags, but the ride is much more engaging because of the entire story and immersive experience that is wrapped around it. There is a tendency in corporate marketing to “play it safe” — to find out what your competitors are doing and do exactly the same thing except using your own color palette. This strategy might keep you afloat, but it won’t turn any heads or make you a leader in your market. Don’t just give your audience the same ride as everyone else; engage them in an experience that they will remember.
2. Content is King: Disney has a ton of content and they use it in ways that are continually strengthening their brand. Your company probably doesn’t have 70 year’s worth of content to draw on, but if you’re inventive and tell a compelling story with your content, then the people you are marketing to will pay attention. One client of ours, Hyper9, developed a “character” — Hugh, the Alien — to engage their visitors and make them feel part of a larger world that exists separate from typical corporate marketing speak. As they grow their site and add new campaigns, they’ve found they are able to expand on the Alien theme in new and interesting ways.
3. Details Matter: Disney is great at details. From the styling of their resort hotels to the set dressing that surrounds their rides and park attractions, Disney excels at interesting and appropriate details. On one ride — the Tower of Terror — there is a open window into a bell-clerk’s office at the exit to the ride. The office is filled with period equipment and decorated flawlessly. I even peeked around the corner and discovered that the wall that faced away from the riders, which would normally never be seen, was decorated. That level of detail greatly aids in the immersive quality of the ride and gives riders things to discover upon multiple visits.
   
   In your corporate marketing, there are two ways to incorporate a detail-oriented framework. First, make sure your pieces are grammatically perfect, consistent throughout in fonts, colors and imagery. Nothing breaks a person out of an engaging experience more than a blatant typo or a misaligned paragraph. Second, add creative flourishes wherever it makes sense — graphical bullets instead of standard ones, decorative lines instead of flat and straight, callout boxes and drop quotes. All these small details will add up to an engaging experience and provide reasons for your prospects to dig deeper.




4. Be Engaging. Throughout the Disney parks, there are street performers who wander about, doing skits or magic tricks and engaging the participation of the park visitors. In Hollywood Studios, a director and his leads bring in extras from the crowd and shoot their feature, while in Tomorrowland, a robotic trash can follows children around and talks to them while they stare wide-eyed and wondering how it is done.
   
   Too often, corporate marketing is a one-way street. Brochures and direct mail pieces inform but don’t often elicit a response. Web sites can be more engaging, but most companies settle for brochureware sites that offer little in the way of true visitor interaction. The best marketing creates a dialog between a company and its customers. Develop a contest that rewards the best product suggestions; use social media to interact with your clients; invent an iPhone game that features your brand — there are so many inventive ways to engage your prospects. A little time, thought and imagination will help you discover them.

Let me know in the comments what you like or don’t like about Disney’s brand and how you’ve used these characteristics in your marketing.

Our lives are filled with stories. Great books, TV shows, plays, musicals and movies are all popular in our culture because of the stories they tell. Stories engage us, fascinate us, and sometimes teach and inspire us. The best political candidates have a “great personal story.”

Too many marketing campaigns that I’ve seen are based on features and benefits, rather than stories. A bulleted list rarely engages and inspires. A screenshot has no inherent drama. One of the reasons social media has become more and more popular with businesses is that it engages an audience in the story of your business as it unfolds.

So why don’t more businesses take their products to market with compelling stories? Because telling good stories is hard. Marketing professionals are rarely gifted with the same talents as good storytellers — a sense of character and motivation, a gift for drama and plot, the ability to create an engaging setting.

Here are some ideas for using good storytelling techniques to market your products:

1. Understand Your Audience: If you’re reading a young adult novel, and it opens with a discussion of theoretical physics, you’d probably put it down pretty quickly. Or if you go to a movie called Robot Invasion and it turns out to be a chick flick, you would lose interest and walk out. Delivering the right story to the right audience is crucial. You want your prospects to see your materials and think Yes! This relates to me!
2. Use Three-Dimensional Characters: The latest “laptop hunter” ads from Microsoft show how using what appears to be a real person involved in a genuine struggle (to find the right laptop) can create a compelling marketing campaign. Whether you use actual testimonials from your customers and clients, or you create compelling fictional characters whose motivations and experiences are believable, having great, relatable characters in your story is a must.
3. Provide Real Conflict: If your product is any good, it solves a real problem. Use storytelling to highlight in a meaningful way the pain that affects your prospects and show how your product delivers them from that pain. When the story gets to its satisfying conclusion, and your product has saved the day, your audience will appreciate it.
4. Deliver a Sequel: The best stories don’t end after the first installment. Keep your audience engaged by creating new scenarios, bigger drama and more powerful resolutions.

One of the ways we’ve put this theory to the test is by creating what we call “Hell and Heaven Slides” — PowerPoint presentations that use graphics, animation and text to tell a story. The first slide is the Hell slide and it shows the viewer how the world looks without our client’s product, and the second slide explains how that Hell is transformed into Heaven when our client’s product is introduced. It’s a simple concept that works because it targets the right audience, introduces relatable characters, and provides conflict and a satisfying resolution.

The next time you’re planning a marketing campaign, ask yourself: Is this a good story?