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VDIS10022 ADVANCED GRAPHIC DESIGN STUDIO Lecturer: Rachel Hawkins LECTURE 1: STUDIO SETUP & CLIENT EXPECTATIONS VIRTU DESIGN INSTITUTE

VDIS10022 Advanced Graphic Design Studio - Lecture 1 Studio Setup & Client Expectations

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VDIS10022 ADVANCED GRAPHIC DESIGN STUDIO Lecturer: Rachel Hawkins

LECTURE 1: STUDIO SETUP & CLIENT EXPECTATIONS

VIRTU DESIGN INSTITUTE

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What is

Design Studio?

A Design Studio can be defined as both a physical space or a more conceptual methodology for collaborative ideas development.

THE PHYSICALA Design Studio is the physical workplace for designers and artists either working as an individual, individuals working side by side or a group of collaborators. The space usually includes furniture and equipment appropriate for the designer to work extending to desks, work benches, computer equipment, meeting rooms and possibly large presentation boards and screens.

The size and convenience of the space depends on the type of the Studio. Freelance designers often have a small set up of their own, often at home, the smallest being within their apartment or bedroom. The ambiance of a Design Studio is often notable for its informality.

The number of designers working in a typical design studio may vary widely from a single individual

to up to 1000 members. In such large studios apart from designers the staff may also consist of other technicians and artisans engaged in illustrating, prototyping, engineering in addition to administrative staff.Some office/studio spaces are generic and clinical in setup which does not enhance the creative process while others embrace creativity and are built specifically to engage the designer, change perspective and create a comfortable and inspirational place to work. Freelancers and artists often surround themselves with collected material such as photos, clippings and other objects from which they can draw inspiration.

THE METHODOLOGY Design Studio methodology is at its heart, a collaborative brainstorming process that is based on the make up of the creative design team and in particular the social psychology and behavioral economics of the team.

The Design Studio Methodology applies to all disciplines and aspects of design or fulfilling the requirements of a brief.

Often, the brainstorming process is disorganized and the goals of brainstorming sessions are unclear. Often the results only reflect a small portion of possible outcomes and reflects those with the most power who have the strongest voice. This is especially common when an individual approaches a large complex brief.

Design Studio Methodology creates a conceptual environment where team members can explore ideas generation in answer to a given brief/problem. The process involves a rapid, collaborative process to generate ideas quickly across collaborators from multiple disciplines. Participants work in a team to articulate and refine a problem space, rapidly ideate possible solutions, sketch ideas, negotiate product features, and pitch solution narratives. Raw ideas are challenged, recombined, transformed and subsequently refined to produce fresh solutions to the challenges facing your organization.

The end result is a series of potential solutions that teams can then prototype and test with users.

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Must HaveTools.For a design studio space to function properly there is essential equipment and tools that are must haves.

MUST HAVESCOMPUTEREvery design studio needs the appropriate technology to support the designers work. This means having the best computers that are setup properly and purposefully. They need to be calibrated to the other devices in the studio and the lighting of the space.

SOFTWAREA professional design studio will use industry standard software that is properly licensed. Adobe Creative Suite is the current worldwide standard for graphic designers and an extensive suite of software.

INTERNET & PHONE CONNECTIONWhere would we be without the Internet. Make sure your clients can contact you by phone or email so it is easy and reliable for them. Working with unreliable or restricted Internet will make your life difficult so it

really is a must.

PRINTER/SCANNERYou will need to print regularly whether it be invoices or complex client changes. Likewise scanning miscellaneous documents is required for most businesses so you will need at minimum a basic device capable of these tasks.

EXTERNAL HARD DRIVEA design studios lively hood is the work it creates. Protect it by having reliable backup. An easy and inexpensive way to do this is to have an external hard drive to store client work safely.

MODEL MAKING AREAClients often find it hard to visualise a finished product and a mockup can help get the design over the line. This is why every studio must have an are dedicated to model making with scalpels, cutting matt, spray adhesive, double sided tape and a collection of papers and boards.

SKETCH/NOTE BOOKEvery designer needs a sketchbook to take notes on briefs, client changes and to explore their creative ideas and brainstorming visually. Carry your notebook with you everywhere.

PENS, PENCILS & OTHERKeep good quality pens and pencils on hand to draw in your notebook. If you draw more freely with pastels, then have them on hand too.

PANTONE COLOR GUIDESEvery design studio needs a Pantone Colour Reference book on hand as an industry standard requirement. These books are used to reference the use of Pantone colours but also help printers to match CMYK colour in print. They are expensive but necessary.

DROP BOX ACCOUNT/FTPSharing and sending artwork is part of daily design studio life. Therefore an FTP site for sharing files is required. There are several that are free for example yousendit.com and Dropbox.

COLLECTION OF SAMPLES AND INSPIRATIONAL MATERIALKeep a collection of print finishes and high end design collateral in the studio. You never know when flicking through it might trigger the idea you are after. It is also a great way of determining the paper weight and finish you want to your printer.

GOOD SUPPLIERSGood relationships with good printers and suppliers is a must for the successful realisation of your design projects. Your printers and programmers will bring your designs to life. The better your relationship with then, the more they will help you and work for you.

REFRESHMENTSGood nutrition is the key to a healthy and productive mind. Every studio needs access to refreshments.

MUSICTo keep focused and the creative juices flowing, some designers absolutely require music in their work environment.

NICE TO HAVEMEETING SPACEA meeting space for client briefing and presentations is really a must-have however having this space on site is a luxury rather than necessity. Having your own meeting space means you can control the energy of the environment, the refreshments, technology and lighting. This all contributes to your clients comfort and confidence in your work.

IPADThe iPad is a great tool to transport and present client work at presentations. They are light and are slick way of viewing artwork.

IPHONEFor a designer already using all Apple products it is a good idea to have an iPhone to sync your calendars, emails and contact details to make every day business easier.

WACOM TABLETDesigned for creativity - This innovative pen tablet combines Wacom’s finest pen capabilities with intuitive multi-touch gestures and gives you the precision and control you demand when using professional software and time-savers to speed your workflow. Pan, zoom, and navigate naturally with gestures on the multi-touch surface that also lets you create and access your own multi-touch shortcuts.

LIBRARY OF DESIGN BOOKSHaving a library of good art and design books at your fingertips is a luxury that can help you when the creative juices just aren’t flowing. Access to documented good design can also improve the quality and finish of your own work.

GOOD CAMERAA good camera on hand can be used to document the work you have produced for clients for your own portfolio or used in the artwork creation process when a client has a small budget. Either way, it is a tool that will never be un-used.

QUALITY PHOTO PRINTERA large format industry quality Photo Printer comes in handy on a daily basis for proofing artwork and making mockups. The luxury is being able to do this instantly without allowing time for commercial printers.

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Studio WorkSpaces

Exerts taken & appropriated from:Start Your Own Graphic Design BusinessBy George Sheldon

Almost all Graphic Designers do Freelance work at some point in their career. Often it’s a great place to start while you complete your study and hunt for your first job. The freelance work you complete is often the work in your portfolio that wins the job interview process.

Your Freelance Graphic Design business requires a work space. Depending on your business plan and what services you offer, you need a professional space to work out of whether it be a home office or commercial space.

THE SPACE NEEDEDWhether you decide to establish an office in your home or in a commercial space, you must consider your space requirements. This is where you will generate your work (and your income), so the work space must support this effort. In addition to allowing your creativity to flourish, the work space must be able to support the equipment you need. Your work space must include storage for supplies. Your office needs a workstation where you can work as a graphic artist. You also need space to operate your business. You will have chores associated with the daily operation, from paying bills to billing customers. You will

need the ability to conduct your own marketing campaigns to locate customers and work assignments. Often this is done at the same desk, so your desk will have to serve both purposes.

Consider if you will be meeting with clients in your office. If so you will need to include a conference table and chairs, as well the ability to provide light refreshments and toilet facilities.

Don’t overlook the space for the equipment you may choose to have. These include color laser printers and scanners, equipment such as light boxes, cutting tables, spray booths and storage space for paper, boards and other presentation materials are also a requirement when producing artwork for your clients.

Planning the office is necessary, but it should also be fun. Don’t overlook the little extras that make working in your space exciting: plants or photographs, music or posters. Whatever it is that helps you and your creativity, be sure to include it in your work space.

THE HOME OFFICEA home office allows you the freedom to work in a spare bedroom, dressed as you want, and when you want. You can work comfortably to the wee hours of the morning.There is no commute time. All the conveniences of your home are close by. The home office also creates a tax friendly situation, allowing you to deduct specific expenses. The home office eliminates the need to pay additional rent or increase your overhead costs. Many times, this is the reason why home offices are established by graphic designers to start with. A home-based graphic design office is not a deterrent to most potential clients. It is in fashion to have a work from a home office and it is seen as desirable by most.

Disadvantages of the home office include the inability to invite clients to your office to use meeting space. There is also little separation between work and home, allowing for frequent distraction. It is also difficult to host employees in a home office environment. There are also revenue service regulations to consider that depending on the location of your home, you may not be permitted to operate a business from your home.

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TALKING POINT - Post your response in the forumHave your ever or do you currently do Freelance Graphic Design Work? Tell us about it and your clients. What does your ‘studio’ space look like. Share a photo of your space in the forum.

MEETING SPACEA prime consideration for freelance graphic designers is the ability to meet withclients. For many design assignments, an initial meeting is crucial. Many Freelancersuse the client’s office for meetings. This is often an easy solution although it does taketime because of your need to travel. It also eliminates expensive office space, conference room furniture, and presentation equipment.

If your client base does not have office space, you need another alternative meeting place. Some graphic designers use shared office space or rent the use of a conference room. Some enterprising graphic designers become creative in getting the use of aconference room. One graphic designer has an arrangement with a real estate office. Occupying a spare office, the designer has full use of several different sized conference rooms. In return for free use of the space, she creates the real estate office’s large display ads for the Sunday newspapers.

COMMERCIAL SPACERenting or leasing commercial space is often something the freelance graphicdesigner considers. There are many factors. Setting up an office away from your home increases your overhead, and costs more to maintain. The monthly cost of office space is variable that often can have a big impact on the businesses bottom line. If you are seeking commercial space, try to find an office area that meets your business’s needs without emptying your bank. Office space is often needed for several graphic designers to work together, or for meeting clients. Often a less expensive space can be transformed into an environment that stimulates creativity. As a designer, creativity is a big part of your primary business. Your work space should enhance your creativity, and not stifle it. A brightly-colored, less formal design might work as the space you need. Lofts and warehouses often work well for graphic design businesses. They have the advantage of providing inspiring space for employees as well as potential prospects and clients. Location is important, but so are issues such as cost, usability, and condition.

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Fig14.4 Example of utilizing a dropped keyboard and a pressure-sensitive tablet. Digital Photography Best Practices and Workflow Handbook: A Guide to Staying Ahead of the Workflow Curve. P. Russotti & R. Anderson.

Fig 14.8 An easy solution is to prop up the laptop with something as simple as a three-ring binder.Digital Photography Best Practices and Workflow Handbook: A Guide to Staying Ahead of the Workflow Curve. P. Russotti & R. Anderson.

Studio Setup

Working as a graphic designer is a relatively low risk occupation however there are some aspects of Work, Health and Safety (WHS or OHS) that must be considered for best practice when setting up your studio work space.

ERGONOMICSTaking care of your body ensures you will be able to retain long term efficiency in your work environment. You should consider ergonomics as a fundamental element in your workflow. The goal should be to establish a working environment that promotes safety and increases productivity. We can do this by focusing on how we use our bodies.

Posture, movement, and taking the time to set up a functional, ergonomically correct work environment will ensure repetitive strain injuries are avoided.

Photography Best Practices and Workflow Handbook: A Guide to Staying Ahead of the Workflow Curve’ ergonomic “must dos” are:• Use common sense.• Ensure that the top of your

monitor is at eye level and directly centered in front of you.

• Position the monitor at arm’s length in front of you.

• Check that the level of your desk is approximately at your belly button.

• Have your elbows fall at a 90-degree angle, slightly below the desk surface, when you type. Ideally, your arm should be supported from fingertip to elbow.

• Make sure your chair armrests are level with your keyboard.

• Keep your feet flat on the floor.

Consider the seat length of your chair in relation to your height and size. If you sit cross legged or with one leg crossed over the other, be sure that your back is straight and that you have proper support for your spine. If you have two or more monitors you will need to consider how your head and neck move.

WORKSPACE CHECKLISTþ What is the pattern you use for moving

your head?þ Does the current setup force you to angle

your head and neck?þ What is the relationship between your

back, spine, neck, and head movements?þ Then add your keyboard, mouse, and

pressure-sensitive tablet.þ Pay attention to your movements and how

you feel after a long work session.þ Adjust elements until you can work

without pain, twinges, and annoyanceþ Some have keyboards that drop down

from their desk. These allow for height adjust ability, depending on the kind of work you are doing.

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Studio Setupcont.

OFFICE ENVIRONMENTThere are health and safety risks for office spaces that house printing, copying, and computer equipment. Discomfort or health effects may arise if machines are poorly sited, inadequately ventilated, poorly maintained or used by operators continually for long periods. There have been a number of recent studies on laser printer emissions showing they emit paper fibers, organic vapors and inorganic gases. Excessive dry heat can also build up if too many machines are placed in a small area, or where their use is frequent and ventilation insufficient. This can cause discomfort to the eyes, and the workplace can become too dry and hot. Excessive noise may also be experienced in such circumstances, or where the machines are old or poorly maintained. Clearing paper jams in printers and other duplicating machinery will expose users to hot or moving parts, sharp edges, pinch points, or exposed electrical parts. Modern machines should have such risks designed out and should turn off automatically upon opening of the machine. However, a machine must always be disconnected from the power supply before opening. Handling paper or collating copies are manual handling risks. Office workers may also experience headache and fatigue, and nasal, eye, throat and skin symptoms; chronic respiratory symptoms (cough, phlegm production, chronic bronchitis,

wheezing); and respiratory infections (common colds, tonsil infections, sinus infections, pneumonia) as a result of exposure to carbon-less copy paper (CCP), paper dust, and fumes from photocopiers and printers (FPP)

CHEMICALSEmployers must carry out assessments on all hazardous chemicals used in the workplace. If a hazard is identified, controls must be put in place according to the preferred order. That is to eliminate the hazardous substance, or where this not practicable, substitute it with a less hazardous substance. If this is not practicable, control methods such as local exhaust ventilation, and as a last resort personal protective equipment must be used. Employers must meet the exposure limits set for any substance used in the workplace.

Ozone: Photocopiers produce small amounts of ozone (an unstable form of oxygen). This odorous gas is irritating to the eyes, the lungs, the throat and nasal passages. Severe exposure can result in lung damage.

Selenium and cadmium: The photo-conductive material in photocopiers is usually selenium. Cadmium sulphide, zinc oxide and organic polymers are also used. Trace amounts of these materials can become airborne. However, under normal operation, the concentrations of these pollutants are well below those associated with health effects.

Toner materials: The main ingredient in the toner is carbon black. This is mildly toxic - though some impurities in toners may be carcinogenic. As currently manufactured, carbon blacks contain extremely low levels of impurities and do not warrant concern regarding health effects.

Liquid toners: Some modern toners are in a liquid form and so rarely irritate the skin, but exposure to solvents within them can dry and crack the skin, and mildly irritate the eyes. The same hazards apply to the various solvents used for cleaning duplicating machines. They also pose a fire risk if not stored adequately. Frequent contact with toner or other solvents may cause dermatitis or asthma.

UV Radiation: Ultra-violet radiation may also be released through the glass plate, but at very low levels. Modern equipment does not present a bright light hazard beyond short-term discomfort to the eyes, but it is recommended that the photocopier lid be kept down.

Other EMR: Electro-magnetic fields (EMFs) are produced by electronic equipment. It is recommended that workers should not stand by the photocopier when doing long runs (e.g. 15 minutes). If it is necessary to stand by, then at the distance should be at least 1 metre from the photocopier.

http://www.ohsrep.org.au/hazards/ohs-reps-@-work-plant-/office-hazards-photocopiers,-printers-etc#action

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ClientsClientsClients

MANAGING CLIENT EXPECTATIONS

Mismanaged client expectations can be unpleasant, costly and damaging to your reputation. So what is the best way of managing client expectations to stop them biting you on the backside?

A lot of work goes into attracting and retaining the clients we want to work with, so it is crucial to manage expectations from the beginning. A solid relationship can withstand bumps in the road and go on to grow even stronger for it. The foundation of a solid relationship is to connect with your clients on a personal level. Know their family situation, what makes them tick, how they spend their free time and what motivates them to do what they do.

Lack of communication can eat away at relationships, personal or business. Be proactive in communicating with good news and bad. Direct and transparent communication builds trust and helps you and the client to handle setbacks. Add to the value of your relationship by offering advice, direction, and input. An open dialogue like this can help establish the respect needed for better project management. You were hired

for your expertise and knowledge, and if you don’t share your point of view, there is a risk of becoming a “yes man or woman.”

It is important at the beginning of every project to agree on strategy, goals and timelines. This gives a clear understanding of what success is and how to measure it.

Create a document that outlines the scope of work to resolve any confusion about expectations and to avoid difficult conversations down the road.

Speaking of difficult conversations, most relationships will go south very quickly if you are not open and honest about budgets. To start, you must be realistic about setting a clear understanding of the budget required to execute the desired work. If you don’t address the client until you have an issue you will not only have an unhappy client, you may also find yourself eating the overages.

Pricing things up - fixed or hourly?When considering the cost of a project, you have to consider whether a fixed price or hourly rate would be more suitable. Fixed priced jobs are for those projects which are

relatively straightforward. However, if you come across a project that has too many unknowns and is too vague, it’s wise to suggest an hourly rate.

Be a good listener. Many clients are unsure of what they are trying to accomplish or not very good at articulating it. Following your gut instincts along with excellent listening skills are a must. One of the best ways to offset a client who communicates poorly is to repeat what you have heard and ask them to confirm the accuracy of details, which will ultimately impact expectations.

SPOT THE BADDIESA good way to manage client expectations is to recognise and avoid those potential nightmare clients in the first place. Spot the warning signs. If they say anything like ‘I want something like Google but as cheap as possible!’ or ‘It’ll only take you a day won’t it?’ or ‘I’m not sure what I want, can you decide!’, then that’s a pretty good indication that you should run away, hide in a cave for several years and don’t come out until you’re pretty sure the coast is clear.

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TheTenKeys

Exerts taken & appropriated from:http://www.flyingsolo.com.au/marketing/business-relationships/managing-client-expectations

THE TEN KEYS TO MANAGING CLIENT EXPECTATIONS1. Outline what you WILL cover

And do it in plain English. Don’t be afraid to use bullet points. They’re easy to read, easy to scan and easy to tick off.

2. Outline what you WON’T cover. Get rid of those frustrating assumptions; this will really help clarify exactly what you WILL include. Again, bullet points work well.

3. DON’T promise what you can’t deliver. It can be awfully tempting to take on a project you’ve never done before. But be honest with yourself and the client about your skills and capabilities. If you can’t guarantee you’ll deliver what you promise, don’t do it.

If you don’t stretch yourself, you won’t grow however don’t do it at the client’s expense.

4. No matter how tight the deadline is, under no circumstances should you start a project until both you and the client sign off on the scope of the job and you have all the required materials/files.

5. Give clear examples of what you can deliver. Don’t leave anything open to interpretation, particularly your product/service. Show your client an example of the high quality business cards you print or examples of previous work for other clients in your portfolio. Clients love holding something tangible so share hard copy print samples.

6. Use the client’s preferred communication method. Ask how the client prefers to communicate. It makes them feel important, valued and comfortable. So ask for your client’s preferences. But of course, only offer options you’re comfortable with yourself!

7. Follow up in writing. Tedious but essential! Follow up a verbal conversation or meeting with a concise email on what you’ve discussed. It doesn’t just document the conversation, it also gives you a chance to reiterate and show your understanding. Bullets, again, are just fine.

8. DON’T hide the unpleasant stuff. Be clear about your rates, how you handle late fees, increases in scope, image costs, printing & delivery costs and your terms of payment.

9. Stick to your scope. It is tempting to do more work to exceed expectations however this trains your client to expect this. Exceed expectations through the quality of work.

10. If you are unable to help a client with their needs then take initiative to recommend someone who can help. Your client will be blown away by your honesty and willingness to help.

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ExploreRealWorldStudios

Take a look at these videos that show different aspects of real world design studios. In particular, pay attention to the different team members, the working environment and desk setup of each department. What sorts of meeting spaces do they have.

TALKING POINT - Post your response in the forum.

Which video stood out to your personal interests and why?

Which studio environment appeals to you that you would like to work at and why?

BEHIND THE DESIGN WITH DESIGN STUDIO DRESS CODE

Go Behind the Design with the founders of NYC design studio Dress Code. See what drives their approach to design and how they’re adapting to the expanding role of graphic designers. See what motivates them and where they look for inspiration.

SANDERS - PRODUCT DESIGN & BRANDING STUDIO

We wanted to make a video about the Sanders studio, the designers that work here, and how we feel about what we do. Hopefully, this short film does that.

FST MARLOW STUDIO TOUR

fst is an integrated creative agency. We are free spirited thinkers and as your creative business partner, our sole purpose is to build, nurture and add value to your brand.

DAY IN THE LIFE: GRAPHIC DESIGNER

Maurice Woods is a graphic designer and founder of the Inneract Project, which provides free design classes for inner-city youth. As part of ConnectEd’s “Day in the Life” series, Maurice talks about his transition from basketball to graphic design.