“We are paying for 4 colours why aren’t we using them?”
“Why can’t you cram more photographs in?”
“Can you add more fonts?”
“This looks pretty plain…”

I’ve wrote before about being appropriate. Did you know that the more design elements we use in a piece detracts from the overall message? Did you know that one of the most boring and esthetically displeasing fonts in the world (no offense Courier) is one of the best for overall comprehension? Readability?

I know… I know… You want it to look interesting so people will read it… People don’t look at boring stuff do they?

Let me tell you something; a good designer can make your ‘thing’ pretty, but a great designer will make sure your ‘thing’ communicates and is understood. You need to realize the more you force a designer to add colours, swooshes, photos, fonts, bars and embellishments, the more you strip the ability of someone to comprehend what you are asking them to do or what you want them to know.

Do not mess with the focus and concentration of your donors. Ask for one thing. Get the point across as quickly and and as simply as possible. Every single design element should be there to help support the message.

Often the things that seem the most boring are the most effective.

PLEASE NOTE: if you are getting this in your email box, first off, thanks for still being a subscriber but i ask that you resubscribe over at http://blog.agentsofgood.org/ where we are publishing new posts. thanks a lot!

I, like many others knew about SOFII. I was a registered user and once in a while would check it out if I had some time to kill. I LOVED the idea behind SOFII.
To have a online, living and breathing museum of fundraising that I could access anytime – FOR FREE! – was almost too good to be true. And in a way it was.

I found it largely unusable. [EDIT: To clarify this statement, I found that due to varying navigation and overload of links and images, SOFII, for me, was hard to use as a tool.]

Kimberley described SOFII to me as “a fundraising conference every day“.

SOFII founder Ken Burnett describes it as: “…an archive, a historical record, a repository of wisdom, tips and insights and also hopefully a stimulus to new innovation too. It’s much more than just a stimulus to new ideas though, important though that function is.”

SOFII is a great idea in theory but in practice, was it working?

Ken Burnett acknowledged it might be working, but it could work far better. A redesign and overhaul was on the table for 2009 and I knew I wanted to be a part of that.

Full disclosure – I knew to have my name attached to a project as important as SOFII would be fantastic. To be able to work closely with Ken to help redefine and re-imagine a site like SOFII would be a great communications and design challenge and, I hoped, would expose the work my firm is doing to fundraisers from all around the world.

I offered up the skills and experiences of my partner Mark Haak and I to Ken, and hoped they would let us help.

I knew that the most important thing, the make it or break it moment of the new SOFII would have little to do with design and more to do with its functionality.

The content on SOFII is, in a word, phenomenal. The problem is how to find it. There are so many links and graphics on every page it is difficult to know where to go to find what you want.

The current site also has a search function but it still requires a bit of work to find what you might be looking for.

So we knew from the “get go” we had to make the site functional, clean up the navigation and design and build in stronger search functionality.

The other thing I wanted to do is give SOFII a new logo that hopefully better represented the spirit behind the site.

I remember an early conversation with Ken. It was important that he knew we were both on the same page about what we wanted from the site, and to make sure he fully understood how we were approaching this redesign.

A philosophy,that obviously wasn’t ours, but we preach to our clients all the time is: WE put the donors at the center of everything we do – which means – we make sure whatever we are designing or writing or asking for is appropriate to that audience, will make sense to them, and puts their needs ahead of everyone else’s.

As I explained to Ken – we were approaching this rebuild in a VERY user-centered way. It needed to work for the user.

So starting with form of the site we broke it downtown into, what we felt were the most important elements of the site and presented this wireframe to Ken and Carolina Herrera.


We knew that most people were coming to the site to look at the exhibits and maybe catch up on the latest news.The search functionality was front and center – it had to be. We wanted people to find the things they might be looking for from anywhere they were on the site.

Trying to organize the exhibits in a way that might be obvious or intuitive to the user was largely one the biggest communication challenges. Especially as we started looking at how exhibits were classified. But ultimately, upon the relaunch and testing by users like you, we will know if we succeeded or not.

My brain was also working on the logo.

I remember I was sitting in a session by Kimberley MacKenzie at Fundraising Day in Toronto this past spring, where she was presenting a session about SOFII. And while listening to her talk and the feedback from the audience (about 95% of whom had never heard of SOFII), my brain kept repeating one statement.

Inspiration leads to innovation.

Of course, it says that there on the SOFII main page:

But to me, the inspiration needs to come first right?

I doodled a couple ideas at the conference which I later mocked up and sent to Ken to consider.


After circulating to some of his SOFII ambassadors, the feedback was that the light bulb just wasn’t cutting it.

The logo needed to say inspiration and without going into a long drawn out ramble about the process we came up with a few more solutions.

Which lead to the selection of the final logo.

So once we had our wireframe approved we moved onto the design. Again, our desire was to keep the site functional and to hopefully make sense to the user as to where they need to go to find the things they might need.


Ken really pushed us to make sure the images on the exhibit pages could be displayed as big as possible so we revised the layout of those pages.


Upon approval, it was time to move onto programming and migration. This whole site rebuild would not have been possible without the incredibly hard work and dedication of our programmer Dean Reeds from Open Web Group.

As we often do, as we started migrating the content from the existing site into the new site, Dean made many video tutorials of the “how-to’s” so he could train Carolina on how to insert new exhibits and articles moving forward, and fortunately due to Dean’s hard work, that process is as simple as creating a word document.

Here are a few more screen caps of the site:
Site map:

Create exhibit:

Articles:

So what’s next?

SOFII has been on a bit of a fundraising drive because there are costs associated to running a site like this. And if you have a moment take a look at this video and then contact Kimberley if you would be able to give something to keep a resource as important as SOFII up and running and moving forward.

We are hoping to relaunch just in time for the new year. I was speaking to Sean Triner this past week about a selecting a few of the current users to act as beta testers to find any cracks that might still exist when it goes live and after the testing is complete, and we’ve made our final tweaks we will be releasing SOFII 2.0 out to you and the world.

A site like SOFII has a lot of potential for growth, and we have some ideas already for version 3.0 which will continue to make it a one of a kind and massively important resource for any fundraiser in the world.

Obviously, if you haven’t already, go to sofii.org and register as a user. Then send it to 10 people you know in our sector and ask them to join.

The success of this site will always require the support of its users. Users like you.

Thanks for your help and support.

No, I jest. This isn’t for real. In “real life” we would never ask a pool of lawyers to do work without proper compensation would we?
This is a issue that I feel really strongly about. The issue of spec work. (I written about it here before as well.)
Sadly, I hear about this issue far too often in our sector and as a creative person who values what I, and my creative colleagues offer to this sector – I take exception.
And let’s not confuse pro-bono with work being done on speculation.
I do a lot (too much) of pro bono work – where I either offer my services at no cost to the charity or I am asked to offer my services for a specific task.
Compare that to a charity or business looking for designers, or writers or whoever, to provide a service for free and if they like it, maybe they will pay for it.
I really want to ask you – please do not do this.
That means no “contests” for new logos, or “open calls” for web site redesign ideas…
This is a great site called NO! SPEC which I invite you to check out for further education and reading.
Poster by Chad Behnke.

EDIT: I posted this post over at the Communication Arts group on LinkedIn and have been astounded at the comments that have been pouring in. The consensus seems to be it would take an industry of people to say no to see this type of work go away but sadly, I think that there will always be those who try to take advantage of those desperate for work. I plan on posting this in some of the Fundraising groups in LinkedIn. I don’t expect the same level of commenting but would love to hear from you about this issue nonetheless.

I leave you with: (some of this sounds way to familiar to me…)

Direct mail letter tip: Tell a real story & weave it throughout your entire letter.

Direct mail tip: Mixing typeset w/handwritten teasers on outer envelope can boost response.

Direct mail tip: For your next No.10 envelope mailing, test using No.11 or No.12 against it.

Direct mail tip: Place the name of the person signing letter above the corner card on carrier envelope in courier typeface.

Direct mail tip: When using No.11 or 12 carrier envelopes, make sure you also use larger carrier window.

Direct mail letter tip: “You” & “Your” most important. And type “I” instead of “we” most of the time. Keeps it a 1-to-1 communication.

Direct mail letter tip: Occasionally use 1-sentence paragraphs for emphasis. Even 1-word paragraphs are great.

Direct mail letter tip: Hook your paragraphs together with “connective” words – ex: And But Then Why – to build & keep reader moving.

Direct mail letter tip: Try using “handwritten” marginal notes in blue or red ink.

Copywriting tip: Read your draft copy ALOUD & anywhere u stumble, revise & smooth it out.

Direct Mail letter Tip: Write about a real live person — NOT just your mission statement or programs.

Direct Mail Tip: When using hand-written copy — be sure to keep it short (hard to read otherwise).

Direct Mail TIP: Giving a deadline date for reply can boost response, but give a believable reason for it.

Thanks John for these great tips. I look forward to doing a part 2!

Having your handwriting turned into a font allows me to create art that looks like it has really come from the hand of the ED or whoever you want.

I’m sure you are starting to get a sense of the possibilities.
And Chank has been gracious enough to make a special deal (only $149 US) for my readers and followers right here: https://www.chank.com/gofontyourself/
Thanks a ton Chank! And keep up the amazing work.
Hopefully once you have your font in hand, you’ll come to me to show you how to use it most effectively!
(And by the way, check out the rest of his font design too!)

IKEA, famed makers of cheap Swedish furniture change font on their catalogue from Futura to Verdana. Thousands of designers moan everywhere. IKEA basically tells them to shut the hell up and stop being such babies because most “normal” people, aka non-designers could give a rat’s butt about what font they use.

Hm.

So who cares right? I’ve argued this point before – no one really cares what size your logo is, what font you use, that you are rebranding your business (did I mention I am doing that?) or that you have a brand new website.

Do you know what your donors, clients, customers care about? How are you better for me today then yesterday. How are you better, cheaper, faster, more relevant than before?

Hm.

So the designers – why are “we” getting all worked up in a sweat? Because we like to think stuff like fonts matter. Futura is sleek and elegant – Verdana is 100% PC ugliness… no class, no nothing. How could a worldwide company like IKEA who obviously see the importance of clean, elegant and – sometimes cheap – design, not see why so many would be up in arms.

So – the question remains – does design matter?

I say yes, of course it does. But it only matters SO much. And it matters when it is relevant and appropriate.

Case in point. Direct Mail: Designers HATE direct mail. Especially for charities. Why? We know that more often than not, boring, white #10’s with a logo and maybe a return address work. We know that courier will still whup some serious butt when in a letter. We often know that using two colours over four is just as good. I remember being chastised at a gathering of “art directors” when I mentioned I designed direct mail for charities. Like I was lesser of designer than they were.

It’s HARD to be this good -if I may… By understanding the rules of what makes the medium of direct mail successful makes me a good designer. And it makes the design I do matter. It makes the pack do better. But it only plays part of the role as we know.

Design matters – but only when it’s done with your audience in mind. And how many designers can say they design with the end user in mind? I hope you can.

I was flipping through an old issue of Advancing Philanthropy (I’m a little behind on my reading!) when I came across a great side bar article called “Your Campaign’s Visual Messages” by Edward Fierro.

He reminded me that the visual language/message is the design. You have the words and you have the design. The design can be determined and driven by a graphical or visual identity – commonly and incorrectly referred to (by some) as your “brand”.

I strongly suggest that having even a simple graphic identity helps define who you are as an organization. The guide could/should contain your logo, colour scheme and typography (fonts). It may also contain types of images that are appropriate for your charity, different versions and formats of your logo, design templates for certain materials like letterhead and brochures and anything else that will help anyone creating a message on behalf of your organization stay consistent in your design.

Fierro writes, “The visual language is particularly useful in developing campaign communications because it offers opportunities to define both an institution and a cause and is ideal for making the many parts of a fundraising program easily understood as practical and emotional messages. In concert with written and spoken campaign material, graphic identity provides the structure, familiarity and navigation needed by the target audience.”

He goes on to point out that your graphic identity creates recognition and is memorable in ways that the written word is not. It also helps build confidence and loyalty.

Your well thought out graphical identity will help you with that.

You should expect, no matter how large or small your charity is, that your designer or agency provide you with some bare bones identity guide as part of your new logo design.

And with that guide in hand, it will help you define your visual language for all of your marketing materials.

It’s also an appropriate topic because later this week I will be having a discussion with a client about what makes an effective outer envelope.

Design is completely subjective which makes it hard sometimes to gage its effectiveness. What one person loves, another will hate. That is the beauty of it. Some people love Van Gogh, some like Monet – but they were both brilliant painters nonetheless.

So what makes design effective? To me the short answer is: results.

Effective design will ask someone to do something and they do it. Let’s also bare in mind that design plays only a small part in the drive for results. The ‘piece’, be it a direct mail package, poster campaign, drtv ad, etc, needs to be where it’s audience might be, at a time when they might be watching or looking, appropriate and relevant to their lives, and then, hopefully the design will say something to them that matters.

This is a big subject and what is effective design for a direct mail outer envelope will be different for a web site. And through the next weeks I will try to address some of those different vehicles.

The bottom line here is that effective design is not always pretty (though hopefully it is). Effective design is about being appropriate to your audience and asking them to clearly do something – one thing. Give a donation now! Come to our event! Come out and show your support! Volunteer today!

Effective design is about reaching out to your donors or audience and connecting with them. Effective design is about moving someone to do something maybe they hadn’t considered a moment before. Effective design makes your message understood.

Will my interpretation of the effectiveness of a design be the same as yours? Of course not. But effective design, or design itself is not about one solution. There are many solutions to any design challenge. The difference is, you have hired me for my solution.

And hopefully it will show in the results.

If the brief or objective was clear and I’ve done my research properly and have actually put some real solid thought into my concepts, I should be in front of you presenting 2-4 black logo concepts and hopefully, after I’ve gone through them with you, you will say – “this is going to be a difficult choice”. And it so it may seem once you first see them, but once we talk them through a bit more, and get a chance to sleep on it – there tends to be a clear winner. One that really stands out to you.

My absolute worse case scenerio are the words “let me show this to my board.” Then I know I am in deep trouble. At the risk of going into a side rant about boards of directors, there is a reason why some of my colleagues offer discounts to their discounts to NOT involve your board. Simply, if you have a board of 3 people or more, that is 3 or more totally different needs, perspectives, bias’s, ideas, etc that are now going to weight in on these poor little logos  – and they will not stand a chance. “Can we…?, Can you…? What if ‘we’…? Why don’t you…?” etc, etc. Bye bye all those hours of time, effort and money – welcome to Compromiseville, second stop, Dullsville… Ok, ok… maybe I’m being a little tough. Bottom line is – you know what they say about opinions – everyone has one and every one will be different.

So, hopefully we’ve declared a clear winner in our concepts! Hoorary!

The next challenge comes with some final art direction and looking at colour combinations.

Usually when developing concepts, I am just trying to get an idea to work. I’m not worrying about the spaces between the type, how the ascenders look, is the leading too tight. I just want the idea to come through. But now is the chance and time to art direct the logo to visual perfection.

Type is a funny thing. In the old days they used to use wood or metal type (some places still do!) and they could control the amount of space between the letters (kerning) or between the lines (leading). The type or fonts we use on our computer are set at a typeface default and a professional will take the type to correct these defaults to make sure each letter dances well with the letters next to it. This kind of teaking can make a massive difference in how the logo looks.

Once the type is cleaned up and looks just the way I want it, I might look at cleaning up any visual I might have used. I try to keep visuals very simple in their shapes and level of detail. Anything can look good when it blown up to fit on your monitor but how does it look when it is printed 0.5″ x 0.5″ in a local newspaper that is using a LPI (lines per inch) of 75? You need to remember that as you work through the logo. That skinny serif or gorgeously detailed illustration is NOT going to cut it and the print guys will want some blood – especially if you try to use it reversed out of a solid tone.

So the type is great, the visual is all cleaned up – it all works. Do a double check and print it off very tiny and very large. Put it up on the wall and look at it from 15 feet away. Turn it upside down and backwards – are there any spaces that don’t look right? Some part of the the type which just stands up like a piece of hair that won’t lay flat? Does it look like a black blob? Make sure it works. And if it does, then we can start to think about and work with – hoorary! – colour.

For charities, I present the final logo as a black only version. If this logo looks amazing in black – then adding colour will be like adding a piece of parsley to a plate. It’s a garnish. Important but not necessary.

I present a black version, a one colour version, a two colour version and a four colour version (a cmyk variation using the spot colours for reference). I also design some reversed out logos using the same spot colours.

I have mentioned this before. For your one colour and two colour versions, please make sure that the designer, or you- if you are the designer, have used a dominant spot colour. Because if I have to work with your gorgeously designed logo and you used PMS 1215 and 7486 – someone is going to pay. Use at least one dominant colour. Always and forever.

I present final logo ideas to the client and upon the approving nod of the head, send all versions that the client will ever need in a electronic file. As a client, you should be asking for your logo saved in a few formats and for both platforms. An Illustrator eps file with all type concerted to outlines – a black verison, one colour and two colour variations (and cmyk), as well as any reversed out options. You should be getting all of those versions saved a rgb jpgs and tifs as well. You should know the name of the font that was used and should get a final pdf of the final variations. I include my name, font and pms information on my illsutrator files so the next designer will not have to guess if the client does not know.

If you, the client has asked for it, I may even design you a styleguide that shows you all of the ways a designer can use your logo (and also the ways they cannot), but may design up some templates for you to use as reference for business cards, letterhead, envelopes, powerpoint presentations, advertisments, websites and so on.

I am hoping that if I’ve been hired to do this very important job with you, that we can discuss managing and designing the other sorts of brand support materials you will want and need.

I hope this explains why a logo (designed by any professional) will not cost you $50 or less. Our processes may differ, but most designers are following a similiar route to give you a clean, professional, creative and thoughful logo to represent your organization.

I know what you are thinking – ’so what does this cost’? And my first question for you is – what is your budget? I won’t speak for all designers, but please don’t call me if you answer is “$50!”.