How to pick the best Graphic Designer

1. You need to like their work

This may seem obvious but it happens. A client picks a designer based on a referral but doesn't take the time to look at that designers work. Every designer has a style and it's important that the client and the designers style is a match. If you love the designers work, you'll most likely be thrilled with the work they do for you.

2. They need to be organized and prompt

Designers and creatives have a reputation for being a little flakey. So when you're in initial talks with a designer make sure they are on time for meetings, that they don't reschedule and that they show up prepared. Things like communicating with the client, meeting deadlines and informing the client when and if things are going off track will make or break a project. Making sure your designer is organized and prompt is key.

3. They need to be excited about the project

New projects are exciting! If your designer doesn't seem thrilled with the thought of new work, maybe it's not a great fit.

4. They should possess a sense of urgency

If the client hasn't responded to edits or initial drafts and this is going to effect the deadline, the designer should be on it, 'Just wanted to follow up', 'I wanted to make sure you received the revised', etc. The designer needs to be actively working towards meeting your deadline even if you're the one holding up the process.

5. They need to 'get' you

Some people just 'get' you, if a designer seems confused about what you do or isn't quite understanding they might not be the best fit. Someone who's a good fit will ask great informed questions, they will have worked within your industry or learned enough about it to be clear.

6. They need to be experienced and confident

You can tell by a designers portfolio if they're experienced with projects similar to yours, you can also tell by asking questions. An experienced designer will be able to talk through ideas, design and production with ease, they'll be able to confidently make recommendations in a way that makes you feel comfortable and feel like you're in capable hands.

7. They need to have relationships with vendors

Having great relationships with vendors is a must, there are all different types of vendors with different specialties and knowing who to partner up with to produce the best possible product at the best possible price is an advantage that experienced designers have.

8. They need to be able to problem-solve

There are many problems that arise in projects: design problems, client problem, vendor problem,  production/quality problems or logistical problems. Being able to confidently handle them, come up with creative solutions and communicate to all parties involved in a way that makes everyone feel comfortable is an important skill to have.

9. They should be clear communicators

Clear communication is so important, as a client if you feel confused about what is happening and when it's happening you're going to lose confidence. Designers should be clearly communicating what is happening, when it's happening and what the next step is.

10. Both the client and the designer should be comfortable with each other

If you feel intimidated by your designer or your designer is feeling intimidated by you, either party might not be communicating everything that needs to be communicated. If that's the case, it's not the best relationship. It's not a guarantee that you won't have great results but it could lead to that. There needs to be open lines of communication on both sides, if the client hates the work, they need to say it, if the designer is confused by some feedback, they need to feel confident enough to let the client know so they can get clear. 

Save Money through Gang Run Printing

In a previous post we covered the differences between offset and digital printing. In general, offset printing produces higher quality products and produces more consistent results when it comes to color. One of the downsides is, it's more expensive for smaller quantities. The main reason offset can be expensive, especially for smaller quantities is the set up charges, to set up a press for a single job is pricey, but once you're over that hurdle it's much more economical than digital printing. The solution: Gang Runs.

Gang Run Printing is when you run several jobs together on the same paper stock thus eliminating multiple set up charges. Several on-line printers produce materials based on this model allowing them to offer low prices on common materials (i.e. Business Cards, Brochures, Rack Cards, Door Hangers, Posters, Greeting Cards etc.). My two favorites are JakPrints and Moo. I've worked with JakPrints many many times and they do great work, have great customer service and offer quite a few paper options.

If you're working with a custom printer, you can still set up your own Gang Run with some careful planning. Take a look at your entire year. Which projects use the same paper? Which ones could be grouped together based on timing? Approaching projects in this way can help save you thousands in set up charges.

Script Typefaces I'm Loving Right Now

Using script typefaces is a great way to infuse a huge dose of personality into a design piece, but with so much character it's pretty easy to select the wrong one or one that doesn't feel appropriate. Below are 6 script typefaces I'm loving right now and where I'd use them.

Sant'Elia Script

The Sant'Elia Script font family comes to us from Yellow Design Studio in Madison, Wisconsin. There are a variety of weights and distress levels to choose from in this family. The thinner weights feel contemporary, clean and have a bit of a handwriting feel to them. As they get thicker and more distressed they take on more of a rugged feel. I love the thinner weights for casual invitations and the thicker weights for farm-to-table, organic or locally sourced cafés or restaurant materials.

Wanderlust

Wanderlust is a brush typeface and is SO beautiful. Because it has been hand-painted it has an earthy, organic feel to it. Extremely feminine, Wanderlust works fantastically with a watercolor treatment and would look great in a logo on a book cover or as an accent font. Although two lines of text look great in the quote above I wouldn't use this for copy any longer than that. Script fonts in general are a little tough on the eyes so a touch is all you need.

Heroe

Part Italic, part Script, the Heroe family is just beautiful. It comes in a variety of weights and styles and has a very classic and elegant feel to it. It would work well on anything in that vein: Fashion, Weddings, upscale Products, etc. I could see it used in Invitations, on a book cover, as a fun typographic treatment in a magazine, in a logo. It's a really multi-purpose typeface and could be used in many different ways.

Rolling Pen

Sudtipos is the Font Foundry responsible for creating Rolling Pen and like the countless other typefaces they've created, this one is pretty great. I'm not a huge fan of capital letters when it comes to most scripts, they tend to make fonts feel dated, so I prefer Rolling Pen all lower case. It's fun and casual and works great in logos and typographic treatments. Think of situations where you need to use a script typeface for a short word that needs to fill a wide space, Rolling Pen is the perfect solution.

Local Market

The Local Market font family is more than just a few weights, it's a kit. The whole family consists of 1 script, 5 display fonts, 1 set of icons, 1 set of labels and a free set of illustrated words and banners. The typefaces work great together and creates a handcrafted, earthy feel. This kit would work perfectly for businesses based on hand crafted or homegrown items: Ice Cream Shops, Farmers Markets, Coffee Shops, Farms etc.

LiebeLotte

I'm a sucker for thin weight scripts and LiebeLotte is a simple and very pretty script. It's modern but has a bit of a casual feel to it so I would tend to use it in more casual environments. Because it's so thin, you can use it at large sizes without it looking too clunky. It would work great on posters, t-shirts, large format pieces, typographic treatments, etc.