Your domain should pass the “radio test” – being easily spelled after hearing it once. Conduct trademark checks through UK IPO and verify availability on Companies House to prevent future legal issues. The right domain strategy combines simplicity with professionalism to establish immediate credibility with visitors.

Highlights

• Select .co.uk or .uk extensions for better UK search visibility and customer trust over generic alternatives.
• Choose a domain that mirrors your business name exactly for instant recognition and brand consistency.
• Keep domains under 15 characters without hyphens or numbers to improve memorability and professionalism.
• Conduct trademark and availability checks through UK IPO and Companies House to prevent legal complications.
• Register your domain for multiple years to signal stability to both customers and search engines.

Understand the UK Domain Landscape

When you’re establishing your online presence in the UK market, choosing the right domain extension isn’t just a technical decision—it’s a strategic one. The UK offers several options that each send different signals to your visitors.

The traditional .co.uk has been around longer than the newer .uk alternative. While both are widely recognised, .co.uk often carries more established credibility with older demographics. For domain registration, consider your audience’s expectations—younger users may find the cleaner .uk more modern.

Specialised extensions like .ltd.uk, .scot, or .wales can strengthen your regional identity but might limit perceived reach. Research shows UK domain extensions generally outperform generic options (.com, .net) in local search results and click-through rates for UK-targeted businesses.

Choose wisely—your domain is often your first impression! 🇬🇧

Anchor the Domain to Your Brand

Your domain name serves as the digital cornerstone of your brand identity, connecting every aspect of your online presence. Achieving brand consistency starts with selecting a domain that mirrors your trading name—or comes remarkably close.

When customers search for you online, the alignment between your business name and domain creates immediate recognition and trust. Don’t underestimate the power of domain anchoring in building a cohesive brand experience.

5-Point Domain-Brand Fit Checklist:

1. Does it match your trading name?
2. Is it consistent across all digital platforms?
3. Have you avoided confusing homophones?
4. Are common misspellings redirected to your site?
5. Does it work in both spoken and written contexts?

Build Trust Through Simplicity & Clarity

Beyond anchoring your domain to your brand name, the actual structure of your domain impacts how trustworthy it appears. Simplicity builds trust while complexity creates doubt. Your domain name becomes a cornerstone of brand consistency across all customer touchpoints.

When crafting your domain for maximum trustworthiness:

1. Keep it short – Aim for 15 characters or fewer to maximise customer recall and minimise typing errors
2. Avoid hyphens and numbers – These elements can make your domain appear less professional and harder to remember
3. Pass the “radio test” – If someone hears your domain once, they should be able to spell it correctly without asking
4. Choose clear over clever – Quirky spellings might seem creative but often confuse potential customers and undermine trust

Future-Proof with Legal & Technical Checks

Securing a domain name without proper legal and technical vetting is like building a house on uncertain ground—it might collapse at any moment. Protect your digital foundation with these essential checks:

• Conduct thorough trademark clearance through UK IPO and EUIPO databases to avoid costly infringement disputes later
• Check Companies House and Nominet availability to ensure alignment with your business registration
• Perform domain history analysis using Wayback Machine to uncover any questionable past uses that could harm your reputation
• Consider WHOIS privacy options—transparency builds trust, but balance this against personal data concerns

Don’t skip these steps! A domain that passes these checks won’t just function today—it’ll stand strong for years, giving your customers a consistent touchpoint they can trust and remember.

Domain SEO & Local Signals

Why do some UK domains rank better than others in search results? It’s not just about choosing a catchy name—your domain structure sends powerful signals to search engines about your business’s relevance and trustworthiness in local search.

1. .uk and .co.uk domains often receive preferential treatment in UK-targeted searches, giving you an edge over generic .com alternatives
2. Keyword-inclusive domains (like yorkshirewebdesign.co.uk) can boost relevance for specific search queries
3. Multi-year registrations signals stability to Google and may provide slight ranking advantages
4. Consistent NAP details (Name, Address, Phone) across your domain registration and website strengthen backlink signals

Consider registering defensive domains (.com versions or common typos) to protect your brand while strengthening your digital footprint. Registrar bundles might seem convenient, but separating your domain registration from hosting often provides better flexibility and control.

Check the Domain’s History Before You Buy

Just because a domain is available doesn’t mean it’s clean.

Some domains have been previously used for spammy link schemes, adult content, or low-quality websites—and those histories can come back to haunt you. Google may associate the domain with past penalties, making it harder to rank no matter how good your content or SEO is.

Before committing to any domain name:

• Use the Wayback Machine to check what the site looked like in the past. Has it been a legitimate business, or something questionable?
• Search the domain in quotes on Google (e.g. "exampledomain.co.uk") to find old mentions or backlinks.
• Check for spammy backlinks using tools like Ahrefs Backlink Checker or Moz Link Explorer. Look for links from low-quality or foreign-language sites.
• Use blacklist checkers like Spamhaus to see if the domain has ever been flagged for email or DNS abuse.
• Look at the WHOIS history with a tool like WhoIsFreaks or DomainTools to see how often it’s changed hands.

👉 Pro tip: If the domain has a dodgy past but you’re set on using it, you may need to file a reconsideration request with Google and actively disavow spammy links—a technical and time-consuming process.

Starting fresh with a clean domain is usually the safer route—especially for new businesses trying to build trust from day one.

Domain Buying Strategies & Budgeting

Choosing the right domain name isn’t just about creativity—it’s a strategic investment in your business’s future credibility and growth. A clear buying strategy and a realistic budget will help you avoid costly mistakes and secure a domain that supports your brand for years to come.

Understanding Domain Costs in the UK

• Standard .co.uk domain names typically cost between £10 and £15 per year for new registrations, with renewals sometimes slightly higher depending on the registrar.
• Premium domain names—short, memorable, or keyword-rich addresses, can range from hundreds to tens of thousands of pounds, depending on demand and uniqueness.
• Backordering an expired domain or using a broker can add extra costs, but may be worthwhile for high-value names.

👉 Budget tip: Many registrars offer multi-year deals, helping you lock in lower rates for longer periods.

Practical Budgeting Tips

• Startups: Consider allocating 3–5% of your marketing budget for domain acquisition. This ensures you have enough flexibility to secure a quality name without overspending early on.
• Established businesses: Investing more for a premium or highly competitive domain can pay off in long-term brand trust and search visibility.
• Plan for renewals: Remember, domain costs are recurring. Factor in annual renewal fees, which can be higher than the first year’s price.

Common Domain Mistakes to Avoid

Now that your budget strategy is clear, let’s examine what not to do with your hard-earned investment. Domain jargon can be confusing, but avoiding these pitfalls isn’t complicated.

1. Chasing trendy extensions – While “.io” might look cool, stick with recognisable TLDs that your customers actually trust (.co.uk, .uk, .com)
2. Keyword stuffing – “good-plumbers-in-london-cheap.co.uk” looks desperate and unprofessional, harming branding consistency
3. Neglecting renewals – Set auto-renewal for critical domains; competitors or opportunists can snatch expired domains instantly
4. Inconsistent naming – Using “SmithPlumbing.co.uk” while your social handles are “@LondonPlumbers” confuses customers

Domain Tools & Resources

How can you navigate the domain marketplace without wasting precious time or falling into common traps? Fortunately, several reliable tools exist to streamline your domain selection process and manage your digital real estate effectively.

Name Generation

• Lean Domain Search (Free) Instantly pairs your keyword with popular suffixes and shows only available names. leandomainsearch.com
• Namelix (Freemium) AI-powered suggestions with style filters (modern, short, brandable) plus built-in availability checks. namelix.com
• NameStation (Freemium) Keyword + industry tags, crowdsourced ideas, plus daily contests for fresh name inspiration. namestation.com

Availability & Registration

• Nominet WHOIS (Free) Official UK lookup for .uk/.co.uk availability, registration dates, and registrar details. nominet.uk
• WHOIS.com (Free) Global WHOIS search with quick availability checks and basic privacy options. whois.com
• Domainr Pricing Checker (Free) Compares registration & renewal fees across top UK registrars in one glance. domainr.com

DNS Management, Security & Privacy

• Cloudflare (Freemium) Free DNS hosting, CDN, SSL/TLS certificates and built-in DDoS protection. cloudflare.com
• IntoDNS (Free) Detailed DNS & mail-server diagnostics to spot misconfigurations before they bite. intodns.com
• SSL For Free (Free) Generate and auto-renew trusted SSL certificates (via Let’s Encrypt) for secure HTTPS. sslforfree.com
• WHOIS Privacy Protection (Paid add-on) Offered by most registrars (e.g. Namecheap, Google Domains) to mask your personal details.

Monitoring & Expiration Alerts

• ExpiredDomains.net (Free) Find expiring .uk domains, filter by age, backlinks, traffic and historical value. expireddomains.net
• Domain Monitor (Freemium) Tracks WHOIS changes, DNS updates & expiry dates; push alerts via email or SMS. domain-monitor.io

Aftermarket & Marketplace

• DomainTools (Paid) Historical WHOIS, DNS snapshots, reputation scoring and reverse IP discovery. domaintools.com
• SEDO (Paid) Buy, sell or auction premium .uk domains; escrow service included. sedo.com
• BrandBucket (Premium) Curated marketplace of brandable names—each listed with logo & marketing tagline. brandbucket.com

👉 Pro tip: If you’ve previously registered domains with different providers, transfer them into a single registrar account—so you have one dashboard, one auto-renewal setting and one bill to manage all your names.

Final Thoughts

Your domain name is more than a web address—it’s your digital handshake. By choosing a thoughtful UK domain that reflects your brand values, maintains simplicity, and follows legal requirements, you’ll build lasting customer trust.

Remember, a great domain works for you around the clock, guiding potential customers to your business. Don’t rush this decision; invest the time now to create a digital foundation that will serve your business for years to come.

Ready to turn that new domain into a high-converting website? Explore our Web Design Services for small businesses.

Local designers provide faster response times, personalised attention, and valuable insights into regional consumer behaviours. Their expertise in local SEO optimisation helps strengthen your community connections and brand visibility.

Discovering how a local partnership can transform your online presence reveals even more compelling benefits.

Key Takeaways

• Face-to-face meetings enable clearer communication, immediate feedback, and stronger relationships between clients and designers.
• Local designers understand regional market preferences and cultural nuances, creating websites that resonate with your target audience.
• Time zone alignment and proximity allow for faster response times and quicker project turnarounds.
• Personal relationships built through regular interaction lead to better understanding of business goals and long-term support.
• Local web design companies optimise websites for local SEO, improving search rankings and community engagement.

The Power of Face-to-Face Collaboration

While digital communication tools like Zoom have revolutionised the way businesses operate, the irreplaceable value of face-to-face collaboration in web design cannot be overstated. When you choose a local web design company, you’ll benefit from regular face-to-face meetings that foster stronger personal relationships and enhance the entire design process. These direct interactions allow for immediate feedback and real-time adjustments, ensuring your project stays aligned with your business objectives.

Working with local designers enables you to develop trust and transparency through in-person collaboration, leading to more innovative design outcomes. You’ll find that face-to-face meetings provide an environment where designers can better understand your client needs, ask detailed questions, and gather essential insights. This deeper level of engagement results in a more tailored web presence that resonates with your target audience.

Understanding Your Local Market and Audience

How well do you think a designer from across the globe can understand your local customers’ unique preferences and behaviours? Local web design companies possess invaluable insights into your local market, enabling them to tailor design strategies that resonate with your specific audience.

These agencies understand the cultural nuances and community values that shape your customers’ decisions. They’ll create websites that reflect local sensibilities while incorporating location-specific keywords from personal knowledge, to enhance search engine optimisation. By leveraging their deep understanding of regional demographics, they’ll develop personalised marketing campaigns that effectively engage your target audience.

You’ll benefit from their expertise in crafting content and features that address the distinct challenges of businesses operating in your area, ultimately fostering stronger connections between your brand and local customers.

Faster Response Times and Project Turnaround

Beyond understanding your local market, time efficiency stands as a major advantage when partnering with a local web design company. You’ll benefit from faster response times and real-time communication, as your web design team operates in your time zone and can quickly address urgent modifications or concerns.

In-person meetings facilitate clearer communication and immediate feedback, streamlining the approval process and accelerating project turnaround. When you need to discuss complex design elements or request revisions, face-to-face interactions eliminate potential misunderstandings that could delay your project. This enhanced collaboration guarantees efficient project turnaround and timely delivery of your website.

Local web design companies can maintain consistent alignment with your business objectives through regular, direct interaction, ultimately delivering a more refined final product that meets your deadlines and expectations.

Building Strong, Personal Business Relationships

Establishing strong personal relationships through local partnerships remains a cornerstone of successful web design projects. The ongoing support and investment in success that comes from these personal connections leads to more innovative outcomes, as your design team becomes intimately familiar with your business needs.

This deeper level of engagement guarantees that your web design partner remains committed to your long-term growth and success.

Enhanced Local SEO and Community Impact

When partnering with a local web design company, you’ll gain a significant advantage in optimising your website for local search engine optimisation (SEO), creating a ripple effect that extends beyond digital presence into tangible community impact.

Their local expertise enables the creation of tailored solutions that incorporate regional demographics and consumer behaviours, helping your website achieve higher rankings in local search results.

Final Thoughts

By partnering with a local web design company, you’ll maximise your digital presence while directly investing in your community’s economy. For West Yorkshire businesses in particular, working with D5 Media for web design in West Yorkshire ensures you benefit from local insight, personalised support, and a site that truly resonates with your audience.

Whether you’re launching a new site or refining your current platform, choosing a local partner helps ensure meaningful collaboration, market-specific insights, and enduring business relationships you won’t find anywhere else.

What is User Generated Video Content (UGVC)?

UGVC (User Generated Video Content) is video content created by consumers about a brand, showing real experiences and opinions. This authentic and relatable content includes formats like product reviews, tutorials, and personal vlogs, which help build trust among viewers and potential customers.

UGVC helps boost brand awareness, customer engagement, and sales. It also taps into the power of social proof, using peer recommendations to enhance brand credibility and influence purchasing decisions.

This user-focused approach to content creation allows brands to harness the creativity of their audience, resulting in a diverse range of organic, cost-effective marketing materials that resonate with consumers across various digital platforms.

Why is User Generated Video Content important for business owners?

There’s a common myth that User Generated Video Content only matters for large, consumer-facing brands with a big social media presence.

But this overlooks the significant impact UGVC can have on businesses of all sizes. In fact, 79% of consumers say that user-generated content heavily influences their purchasing decisions, no matter the company’s size or industry. Plus, adding UGVC to your marketing strategies can lead to an impressive 91.4% increase in conversion rates.

The key takeaway? UGVC is a powerful tool for boosting brand credibility and visibility across various business sectors.

Now is the ideal time for business owners to tap into this strategy, given its proven effectiveness and growing importance in the digital marketing world.

By using User Generated Video Content, you can significantly reduce marketing production costs while increasing consumer trust and engagement. After all, 93% of marketers believe UGC is more effective than brand-created content in building authenticity.

History of User Generated Video Content

The story of User Generated Video Content dates back to the early 2000s, marking a groundbreaking shift in how people create and consume media. You might remember when YouTube burst onto the scene in 2005, opening the door for anyone with a camera to share their videos with the world. It was like giving everyone their own personal TV channel!

As smartphones became more common, UGVC really took off. Suddenly, you could capture and upload videos from anywhere, anytime. Social media platforms jumped in, with Instagram launching video sharing in 2013. This move paved the way for short-form videos that you could easily watch during lunch or while waiting for the bus.

Then came TikTok in 2016, and it turned everything on its head! It revolutionised UGVC by focusing on quick, catchy videos that you couldn’t help but watch. Today, consumer-generated videos are a crucial part of marketing strategies.

In fact, 79% of people prefer user-generated content over brand-created content. It’s clear that UGVC isn’t just a passing trend – it’s here to stay and will continue to shape how we connect, learn, and make decisions.

How User Generated Video Content works

Looking at the mechanics of User Generated Video Content, it’s a dynamic process that lets consumers become content creators for brands they love. When you create videos showing your experiences with a product or service, you’re taking part in UGVC. It’s like being a brand ambassador, but with your own personal touch!

Here’s how UGVC typically works:

When you share your user-generated content, it can spark a chain reaction. Others see your video, trust your opinion, and might be inspired to create their own. This consumer-generated content builds brand awareness and fosters customer loyalty like nothing else.

Brands often encourage UGVC through user-generated video campaigns. They might ask you to create videos about how you use their product or take part in a challenge. By getting involved, you’re not just helping with video marketing – you’re becoming part of the brand’s story. It’s a win-win that brings brands and consumers closer together.

How is it different to other UGC?

User-Generated Video Content stands out from other types of user-generated content in several important ways. While UGC includes various media types, UGVC focuses solely on video content created by consumers about a brand. This focus on video makes UGVC a powerhouse for engagement, with 54% of consumers preferring video content from brands.

When you’re scrolling through social media, you’re more likely to stop and watch a user-generated video than read a long text review. These videos, often shot on smartphones, feel more authentic and relatable than polished brand-created content. It’s like getting advice from a trusted friend rather than a salesperson.

UGVC’s impact on purchasing decisions is significant, with 79% of people saying it influences their choices. This authenticity makes UGVC a valuable asset for marketing efforts. Whether it’s a product unboxing, tutorial, or review, these videos can boost brand visibility and trust in ways that traditional UGC might not.

How your business can benefit from User Generated Video Content

Now that we’ve covered what makes UGVC unique, let’s look at how your business can benefit from it. User-generated content, especially video content created by customers, can be a game-changer for your brand’s marketing strategy. The power of UGC lies in its ability to engage your audience authentically.

Imagine your customers sharing real stories about your products – it’s like having an army of enthusiastic brand ambassadors! This type of content positively influences potential buyers, as they’re more likely to trust their peers’ experiences. By incorporating UGVC, you’ll see a significant boost in conversion rates and community engagement.

Here’s how you can harness this power:

1. Encourage customers to share their experiences through video.
2. Create hashtag campaigns to collect and showcase UGVC.
3. Feature user videos on your website and social media.
4. Offer incentives for the best user-generated videos.

Action steps to get started with User Generated Video Content

Ready to kickstart your UGVC strategy? Let’s explore the actionable steps you can take to harness the power of user-generated video content for your business.

First, start by using social media monitoring tools to identify existing user-generated content related to your brand. This will help you measure current engagement and sentiment.

Next, encourage participation by launching contests or challenges that motivate customers to create and share their experiences through video. Make sure to provide clear guidelines to ensure quality and alignment with your brand message.

Don’t forget to engage directly with your loyal customers and employees. They’re a treasure trove for authentic content that can boost brand trust. Behind-the-scenes footage and personal testimonials can really make your brand shine!

Here’s how you can make the most of your UGVC:

• Feature it prominently on your website

• Share it across your social media channels

• Include it in email campaigns

• Use it in your content marketing strategy

Final Thoughts

User Generated Video Content is your secret weapon in today’s digital marketing world.

It’s authentic, relatable, and incredibly powerful. By embracing UGVC, you’re not just promoting your brand; you’re building a community around it.

Don’t be afraid to jump in and start encouraging your customers to share their experiences. Remember, every video is a potential testimonial that could influence countless potential customers.

So, what are you waiting for? It’s time to tap into the power of UGVC!

Key Takeaways

• Targeting Areas: Local SEO focuses on specific geographic areas, while traditional SEO aims for national or global reach.
• Search Focus: Immediate, location-specific needs are the priority for local SEO, whereas traditional SEO caters to broader search intents.
• Optimisation Priorities: Emphasis on Google Business Profile optimisation and NAP consistency is crucial for local SEO, while traditional SEO prioritises broader keyword strategies.
• Competition Levels: Competition is generally less intense in specific areas for local SEO, whereas traditional SEO competes on a global scale.
• Keyword Strategies: Local SEO relies heavily on location-based keywords and citations, whereas traditional SEO targets industry-specific terms and wider-reaching platforms.

Defining Local and Traditional SEO

At their core, Local SEO and Traditional SEO are distinct strategies within the broader field of search engine optimisation, each tailored to specific business goals and target audiences. While they share some common ground, their focus and methods differ greatly.

Traditional SEO, often called organic search optimisation, casts a wide net. It’s all about improving a website’s visibility on search engine results pages (SERPs) for a broad range of keywords. This approach is perfect for businesses aiming to reach a national or even global audience.

Local SEO is laser-focused on boosting a business’s online presence in specific geographic areas. Local search optimisation helps businesses appear in location-based queries, making it ideal for brick-and-mortar shops, restaurants, and service providers who serve local customers.

To put it simply, Traditional SEO aims to increase visibility on a global or national level, while Local SEO focuses on being discovered within a specific geographic area. Both strategies are valuable, and choosing the right one depends on your business goals and target audience.

Target Audience Differences

Geographic Focus

Local SEO’s primary distinction lies in its concentrated focus on targeting audiences within specific geographic areas, unlike traditional SEO‘s broader approach to reaching a global or national audience. This geographic targeting is the heart of local SEO, making it a powerful tool for businesses that serve customers in particular neighbourhoods, cities, or regions.

With local SEO, businesses can optimise their online presence to appear in local search results and local listings. This means when someone searches for “pizza near me” or “best dentist in [city name],” local businesses have a better chance of showing up at the top of the results. It’s like having a digital billboard right in your neighbourhood!

Traditional SEO casts a wider net. It’s great for businesses that can serve customers anywhere, like online stores or national brands. But for the local coffee shop or hardware store, it might not hit the mark.

Search Intent Variations

Beyond geographic targeting, another key distinction between local and traditional SEO lies in the search intent each approach aims to satisfy. Local SEO caters to users with immediate, location-specific needs, like finding a nearby restaurant or plumber. These searchers often want quick solutions and are ready to take action. Traditional SEO targets a broader audience, focusing on informational queries or long-term purchasing decisions.

Understanding user behaviour is essential in both cases, but the patterns differ greatly. Local searchers typically use phrases like ‘near me’ or include city names, showing their desire for proximity-based results. They’re more likely to convert quickly, often within hours or even minutes of their search. Traditional SEO users might spend more time researching, comparing options, and considering their choices before making a decision.

This difference in search intent impacts how businesses should optimise their online presence. Local businesses need to emphasise location-based keywords, customer reviews, and easy-to-find contact information. Meanwhile, traditional SEO focuses more on extensive content, building authority, and addressing a wider range of user queries.

Competition Level Differences

Examining the competitive landscape reveals significant differences between local and traditional SEO regarding target audience and market saturation. Local SEO often targets a smaller, more specific audience within a geographic area, while traditional SEO aims for a broader, sometimes global, audience. This difference in scope affects the level of competition businesses face.

For local SEO, businesses typically compete with fewer rivals, but the competition can be fierce. Keyword strategies for local SEO focus on location-specific terms, making it easier to stand out. On the other hand, traditional SEO involves competing on a much larger scale, with countless websites vying for attention.

Competitor analysis is essential in both cases, but the approach varies. Local businesses need to monitor nearby competitors and their local online presence. For traditional SEO, the competitor landscape is much broader, requiring a more extensive analysis of industry-wide trends and strategies.

Key Ranking Factors

On-Page Optimisation Differences

On-page optimisation techniques for local SEO and traditional SEO share some common ground but differ markedly in key ranking factors and implementation strategies. Both approaches rely on the strategic use of on-page keywords and well-crafted meta descriptions, but that’s where the similarities end.

For local SEO, it’s crucial to include location-specific keywords throughout your content, such as mentioning your city or neighbourhood. Also, optimising your Google Business Profile listing is essential – it’s your virtual storefront!

Traditional SEO casts a wider net. You’ll focus on broader, industry-specific keywords and creating content that appeals to a global audience.

Here’s a comparison of keyword strategies for local and traditional SEO:

Local-Specific Ranking Signals

Google’s algorithm for local search relies on a distinct set of ranking signals that differ from those used in traditional SEO. These local-specific factors are essential for businesses aiming to dominate the local SERPs and secure a coveted spot in the map pack (AKA the 3 pack). Understanding and optimising for these signals can significantly boost your local visibility.

Here are four key local-specific ranking signals to enhance your local SEO:

1. Google Business Profile: Keep your GBP updated, accurate, and detailed.
2. NAP consistency: Ensure your Name, Address, and Phone number are consistent across all local citations.
3. Review signals: Encourage satisfied customers to leave positive reviews.
4. Local backlinks: Build relationships with other local businesses and secure valuable local links.

Geographic Considerations

Geographic considerations are crucial in distinguishing local SEO from traditional SEO strategies. For local SEO, location relevance is key. Businesses need to focus on regional keywords that reflect their specific area of operation, incorporating city names, neighbourhoods, and even landmarks into their content and metadata.

Local SEO takes into account the physical location of your business and how it relates to potential customers. Google uses complex algorithms to determine which businesses are most relevant to a user’s search based on their location.

Traditional SEO focuses more on broader, national, or even global reach. It’s less concerned with geographic boundaries and more about general topics and keywords. For small businesses looking to attract local customers, leveraging geographic considerations in their SEO strategy is essential.

Content Strategy Variations

Crafting an effective content strategy requires distinct approaches for local and traditional SEO, with each focusing on different aspects to maximise visibility and engagement.

Topic Selection

• Local SEO: Focus on community-specific issues.
• Traditional SEO: Cover broader subjects.

Keyword Targeting

• Local SEO: Incorporate location-based terms.
• Traditional SEO: Use general industry keywords.

Content Formats

• Local SEO: Emphasise user-generated content like reviews.
• Traditional SEO: Prioritise long-form articles.

Distribution Channels

• Local SEO: Target local directories and platforms.
• Traditional SEO: Aim for wider-reaching outlets.

Measurement & Analytics Approaches

The measurement and analytics approaches for local SEO and traditional SEO differ considerably, reflecting their distinct goals and target audiences.

Conversion Tracking

• Local SEO: Focus on specific locations, like phone calls or in-store visits.
• Traditional SEO: Prioritise broader performance metrics such as organic traffic and overall website engagement.

User Behaviour

• Local SEO: Use analytics tools that highlight geographical patterns.
• Traditional SEO: Lean towards detailed reporting techniques covering a wider range of user interactions.

Campaign Optimisation

• Local SEO: Fine-tune based on location-specific factors.
• Traditional SEO: Focus on the bigger picture.

Attribution Modeling

• Local SEO: Involves both online and offline touchpoints.
• Traditional SEO: Typically has clearer online-only attribution paths.

Final Thoughts

Local SEO and traditional SEO serve different purposes but share core principles. While local SEO focuses on boosting visibility for businesses in specific geographic areas, traditional SEO aims for broader online presence. Both strategies require tailored approaches to content, keywords, and link building. The choice between local and traditional SEO depends on business goals, target audience, and market reach. Ultimately, a thorough digital marketing strategy may incorporate elements of both to maximise online visibility and drive relevant traffic.

When it comes to UI design, choosing the wrong colours can have negative implications on user experience, while choosing the right colours can positively impact user engagement and satisfaction. By understanding the meaning behind different colours, their emotional impact, and how they work together in a design, you can create UIs that effectively communicate your brand’s message and resonate with your target audience.

Key Takeaways:

• Colour psychology: Understanding the psychological impact of different colours is crucial in UI design as it can evoke specific emotions and influence user behaviour.
• Colour wheel: Familiarising with the colour wheel helps in creating harmonious colour schemes and understanding colour relationships for better visual hierarchy in UI design.
• Contrast and accessibility: Considering contrast and accessibility is important to ensure that text and visual elements are easily discernible for all users, including those with visual impairments.
• Branding and personality: Using the right colours can help to convey a brand’s personality and create a strong visual identity in UI design, influencing user perception and recognition.
• Consistency and usability: Maintaining consistent use of colours across a UI design ensures cohesive user experience and facilitates usability by providing visual cues and organisation.

The Basics of Colour Theory

When it comes to being a great UI designer, understanding the principles of colour theory is essential. The right choice of colours can enhance the user experience, while the wrong one can lead to confusion and frustration. In this chapter, we will look at the basics of colour theory and how it applies to UI design.

Defining Colour: Hue, Saturation, and Value

Colour is defined by three main characteristics: hue, saturation, and value.

• Hue is the purest form of a colour and is what distinguishes one colour from another.
• Saturation refers to the intensity or purity of a colour, with fully saturated colours being the most intense.
• Value, on the other hand, refers to the lightness or darkness of a colour.

Understanding these three characteristics is crucial when selecting and combining colours for your UI design, as they will determine the overall look and feel of your design.

The Colour Wheel: Primary, Secondary, and Tertiary Colours

The colour wheel is a fundamental tool in understanding colour theory. It consists of primary colours (red, blue, and yellow), which cannot be created by mixing other colours, and are used to create all other colours.

By combining primary colours, you get secondary colours (green, orange, and purple). These colours are made by mixing two primary colours together.

Finally, by combining primary and secondary colours, you get tertiary colours (red-orange, yellow-green, etc.), which are mixtures of a primary and a neighbouring secondary colour on the colour wheel.

Colour Temperature

Whether you’re just beginning to explore the world of UI and UX design or are well-versed in the field, the concept of colour temperature is a critical element in colour theory that you are likely familiar with. Colour temperature categorises colours into three distinct groups: warm, cool, and neutral.

Warm colours are characterised by their yellow and red hues, evoking a sense of vibrancy and dynamism. In contrast, cool colours, with their blue, green, or purple undertones, exude tranquility and serenity. Neutral colours, such as brown, grey, black, and white, offer a balanced and versatile palette.

The chosen temperature of a colour profoundly influences our psychological and emotional reactions. For instance, warm colours are often associated with feelings of enthusiasm, positivity, and innovation, while cool colours are linked to notions of serenity, relaxation, and balance.

Psychology of Colours in UI Design

Understanding the psychology of colours in UI design is essential for creating effective visual experiences for your audience. Each colour has its own unique psychological impact, and incorporating these principles into your design can significantly enhance the user experience.

Studies undertaken by the Institute for Colour Research indicate that individuals form a subconscious evaluation of a product within the first 90 seconds of exposure. Remarkably, 62% to 90% of this initial assessment is attributed solely to the product’s colour.

Emotional Impact of Colours

Colours evoke different emotional responses from people, and understanding this can help you make deliberate design choices. For example, red is often associated with passion, energy, and urgency, making it a popular choice for call-to-action buttons. On the other hand, blue is known for its calming and trustworthy qualities, making it suitable for finance or healthcare apps. Take into account the emotional response you want to evoke from your users and choose your colour palette accordingly.

Choosing the Right Colours for Your Audience

When selecting colours for your UI design, it’s crucial to consider your target audience. Different demographics and cultures have varying perceptions of colour. For example, while white is associated with purity and cleanliness in Western cultures, it symbolises mourning in some Eastern cultures. Your choice of colours should resonate with your target audience and align with their preferences and cultural associations.

Moreover, consider the gender and age of your audience. Research has shown that men and women perceive colours differently, and preferences may change with age. Tailoring your colour choices to your specific audience can help create a more engaging and relatable user experience.

Colour Schemes and Their Uses

Understanding different colour schemes and how to use them effectively in UI design is crucial for creating visually appealing and functional interfaces. By carefully choosing and combining colours that work in harmony, you can enhance the user experience and convey the right message to your audience.

Monochromatic Color Scheme

When using a monochromatic colour scheme, you are working with variations of a single colour. This can create a sense of harmony and simplicity in your design. Because all the colours come from the same base hue, they naturally complement each other. This makes it easier for you to create a cohesive and unified look. However, using too many similar shades can also make your design appear monotonous. It is important to utilise different tints, shades, and tones to create depth and contrast in your design.

Analogous Color Scheme

Analogous colour schemes involve using colours that are next to each other on the colour wheel. This creates a sense of harmony and is pleasing to the eye. By using this scheme, you can create a design that feels unified and balanced. However, if you rely too heavily on analogous colours, your design can lack visual interest and become monotonous. It is important to introduce contrast by using different hues, tints, or shades to avoid a flat appearance.

Complementary Colour Scheme

A complementary colour scheme involves using colours that are opposite each other on the colour wheel. This creates a high contrast and vibrant look in your design. By using complementary colours, you can create a dynamic and visually striking interface. However, it is essential to use complementary colours sparingly and balance them with neutral tones to avoid overwhelming the user and causing visual fatigue. You can also use tints and shades of the complementary colours to create a more subtle and harmonious design.

Triadic Color Scheme

A triadic colour scheme involves using three colours that are evenly spaced around the colour wheel. This creates a balanced and vibrant look. By using a triadic colour scheme, you can create a design that is visually interesting and dynamic. However, using three bold and vibrant colours in equal measure can make your design appear overwhelming and clash. It is important to choose one dominant colour and use the other two as accents or for smaller elements in your design.

Tetradic Color Scheme

A tetradic colour scheme involves using four colours that are evenly spaced around the colour wheel. This provides a lot of variety and allows for a wide range of color combinations. By using a tetradic colour scheme, you can create a vibrant and diverse design. However, using four distinct colours can be challenging to balance, and it’s essential to choose one or two dominant colours and use the others as accents to avoid a chaotic or overwhelming design.

Accessibility and Colour Contrast

When designing a user interface (UI), one of the most crucial aspects to consider is the accessibility of your design. This includes ensuring that all users, regardless of any visual impairments e.g. colour blindness, can easily and comfortably interact with your product. Colour contrast plays a significant role in achieving this accessibility. It affects the readability and usability of the interface, making it essential for you to understand how to implement effective colour contrast in UI design.

Understanding Web Content Accessibility Guidelines (WCAG)

Web Content Accessibility Guidelines (WCAG) are a set of recommendations for making web content more accessible. These guidelines provide specific criteria for ensuring colour contrast, ensuring that your design is accessible to users with various visual impairments. WCAG emphasises the importance of a minimum contrast ratio between text and its background, as well as between different elements on the page. By following these guidelines, you can ensure that your UI/UX design is inclusive and accessible to all users.

Tools and Techniques for Testing Colour Contrast

There are several tools and techniques available to help you test the colour contrast of your UI design. These tools allow you to analyse the contrast ratio of your colour combinations and ensure that they meet the WCAG requirements. You can use online tools such as WebAIM’s Contrast Checker and Colour Contrast Analyser to analyse the colour contrast of your design.

Additionally, you can also use browser extensions and plugins to test the contrast directly within your design environment. By utilising these tools and techniques, you can ensure that your UI design meets the necessary colour contrast standards, ultimately making it more accessible to all users.

Applying Colour Theory to UI Elements

When it comes to applying colour theory to UI design, it’s essential to understand how different colours can impact user experience and functionality. By incorporating the principles of colour theory into your UI elements, you can create visually appealing and user-friendly interfaces. To further your understanding of colour theory and how to use it effectively in UI design, be sure to check out the following resource: 

Text and Background Colour

When it comes to text and background colour, it’s important to consider both readability and aesthetic appeal. Choosing the right combination of colours can make your content easy to read and visually engaging. Your text needs to stand out clearly against the background, so consider using a high-contrast combination to ensure readability. For instance, black text on a white background is a classic choice for good reason, as it provides optimal contrast and legibility.

Buttons and Call to Actions

Buttons and call to actions are crucial elements in any UI design, as they guide users through the interface and encourage interaction. The colour of your buttons can significantly impact user behaviour, so it’s essential to choose wisely. Bright, eye-catching colours can draw attention and prompt action, while more neutral tones can create a sense of balance and professionalism.

Consider the psychological impact of different colours when crafting your call to actions, as colours can evoke specific emotions and responses from users.

Icons and Imagery

Icons and imagery play a vital role in visual communication within a UI. The colours you choose for your icons and imagery can help convey meaning and enhance user understanding. Pay attention to the colour psychology when selecting hues for your icons, as different colours can evoke various associations and emotions.

Consistency in colour choice for icons and imagery can also create a cohesive and harmonious visual experience for the user, contributing to overall usability and aesthetics.

Forms and Input Fields

Forms and input fields are essential components of most UI designs, and the colours used in these elements can impact user interaction. By using subtle variations in colour for input fields, you can distinguish different types of information and create a more intuitive user experience.

Consider using colour indicators or highlights to draw attention to required fields or to indicate errors, helping users navigate the form efficiently. Remember to also consider accessibility in your colour choices, ensuring that all users can easily interact with your forms.

Trends and Best Practices

Understanding the current trends and best practices in colour usage is crucial for effective UI design. By keeping up with the latest trends, you can ensure that your designs are modern and visually appealing, while adhering to best practices will help you create designs that are user-friendly and accessible to a wide audience.

Current Trends in UI Color Usage

One of the current trends in UI colour usage is the use of bold and vibrant colours to create eye-catching designs. This trend is particularly prevalent in mobile app design, where bright colours are used to capture the user’s attention and create a memorable user experience. On the other hand, minimalistic designs with a limited colour palette are also gaining popularity, conveying a sense of sophistication and simplicity.

Do’s and Don’ts of Colour in UI Design

When it comes to using colour in UI design, there are certain do’s and don’ts to keep in mind. Do consider the psychological impact of colours and how they can influence user behaviour. Use colours strategically to evoke certain emotions or guide the user’s attention. Don’t overwhelm your design with too many bright or clashing colours, as this can distract and confuse the user.

Final Thoughts on Colour Theory in UI Design

Ultimately, understanding colour theory in UI design is crucial for creating visually appealing and effective user interfaces. By grasping the principles of colour psychology, colour harmonies, and the roles of different colours, you can better communicate with your users and evoke the desired emotions and actions. This knowledge allows you to make informed decisions when selecting a colour palette for your UI designs, ensuring that your choices are not only aesthetically pleasing, but also meaningful and impactful.

By applying the principles of colour theory in your UI design work, you can create more effective and enjoyable user experiences. With a deeper understanding of how colours interact and influence perception, you can strategically leverage colour to guide user attention, create visual hierarchy, and establish a consistent brand identity. By incorporating these insights into your design process, you can boost the overall usability and effectiveness of your user interfaces, ultimately leading to more satisfied users and improved business outcomes.

The Power of Voice-Over

Voice-over is a production technique where a voice, not part of the narrative, is used in radio, television, film, theatre, or other presentations. The voice-over actor can narrate a story, provide information, or even portray a character. This technique is widely used in various forms of media, including news reporting, commercial advertising, and entertainment.

When you think of your favourite animated characters or the most impactful advertisement you’ve seen recently, chances are, a significant part of their appeal comes from the voice-over. The voice-over artists ability to convey emotion, build tension, and bring a unique personality to the characters is what makes these productions memorable.

In the context of business, voice-over can be a powerful tool for conveying your brand’s message, values, and personality. It can breathe life into your content, making it more engaging and relatable. This is where professional voice actors come into play.

The Role of Professional Voice Actors

When it comes to voice-over work, there’s a world of difference between an amateur and a professional. Voice artists have honed their craft over years, if not decades. They understand the nuances of tone, pacing, and inflection and know how to use their voice to convey a wide range of emotions. They have the versatility to adapt their delivery based on the requirements of the project, whether it’s a high-energy commercial, a dramatic film narration, or a soothing meditation app.

Professional voice actors are just that—professionals. They respect deadlines, deliver high-quality work, and are easy to work with (not always the case with a friend or family member). They have the necessary equipment to produce clean, clear recordings. They can take direction and are willing to make adjustments to ensure the final product meets your expectations.

Now that we have a basic understanding of voiceover and the role of voice actors, let’s delve deeper into the benefits of hiring a professional voice-over artist for your business.

Enhancing Your Brand Image

Whether you’re creating a business video, an animation, a podcast, or an interactive website, voice actors can significantly enhance the end product and your brand. They can bring characters to life in animations, maintain viewer engagement in videos, and provide a pleasant user experience on interactive platforms.

For instance, consider the impact of experienced voice acting in product videos. A well-produced product video can build trust between you and your customers, leading to longer relationships and repeat purchases.

The voice-over in such a video plays a crucial role—it’s not just about what’s being said, but how it’s being said. A professional voiceover can highlight the features of the product, evoke the right emotions, and persuade the viewer to make a purchase.

The voice actor can become the voice of your brand, providing consistency across different platforms and mediums. This consistency is crucial for building brand recognition and trust among your audience.

Ensuring High-Quality Audio

When it comes to audio content, quality matters a lot. Poor audio quality can be a major turn-off for your audience, undermining the effectiveness of your message. This is another area where professionals prove their worth.

Most voice-over professionals have the skills and equipment to deliver high-quality audio. They understand how to modulate their voice to suit different contexts, ensuring that your message is delivered clearly and effectively.

Moreover, professional voice actors usually have access to professional quality recording studios, recording equipment and audio editing software, which means that the audio quality will be top-notch, free from background noise and other distractions.

Saving Time and Effort

Creating a voice-over can be a time-consuming process, especially if you’re not familiar with it. It involves several steps, including script writing, voice recording, and audio editing. By using a professional voice-over, you can save valuable time and effort. The voice actor will take care of everything from script reading to audio recording, allowing you to focus on other aspects of your business.

Increasing Audience Engagement

Another significant advantage of hiring voice artist for your project is the increase in audience engagement. A professional voice actor can bring a script to life, infusing it with emotion and personality. This can make your content more engaging and relatable, capturing the attention of your audience and keeping them hooked.

For instance, if you’re creating an explainer video or marketing videos about your product or service, a professional voice actor can make the video more interesting and enjoyable to watch. They can use different voice techniques to highlight the important points, create suspense, or add humour, making the video more engaging.

Providing a Global Reach

In today’s globalised world, businesses often need to communicate with audiences from different parts of the world. This requires the content to be in different languages, catering to the linguistic preferences of the target audience. Here again, professional voice actors can be of great help.

Many professional voice actors are multilingual and can provide voice-over services in multiple languages. This can help you reach a global audience, breaking down language barriers. Professional voice actors are often aware of the cultural nuances and can adapt their voice-over to suit the cultural context, ensuring that your message is not only understood but also well-received by the audience.

Enhancing Accessibility

Hiring professional voice actors can also enhance the accessibility of your content. For individuals with visual impairments or literacy challenges, audio content can be a great help. A professional voice actor can narrate the content, making it accessible to these individuals.

Voice-over can also be used to create audio descriptions for visual content, providing a verbal description of the visual elements. This can make your visual content accessible to individuals with visual impairments, ensuring that they too can enjoy and benefit from your content.

Final Thoughts

Hiring professional voice actors can significantly enhance your business communication. From improving your brand image to ensuring high-quality audio, increasing audience engagement, providing a global reach, and enhancing accessibility, the benefits are manifold.

So, the next time you’re working on a video production or any other project that requires voice-over, consider hiring professional, experienced voice talent. It could be the key to making your content stand out and resonate with your audience.

Remember, in the world of business, effective communication is key, and professional voice actors can help you achieve just that.

One element of web design that can make a significant impact on the user experience is white space. In this article, we’ll explore what white space is, its importance in web design, and how to use it effectively to create an attractive and organised website that engages visitors.

What is Whitespace?

White space, also known as negative space, refers to the empty areas around content and design elements on a web page. It can be divided into micro and macro white space, and passive and active white space.

While some may see white space as wasted space, it’s actually an essential element of web design that can improve the legibility, readability, and overall UX of a website.

Where Did White Space Come From?

White space has been used throughout the history of design, with its origins traced back to ancient manuscript design. Monks and scribes used white space to create separation between different blocks of text, making the manuscripts easier to read.

In the early days of printing, white space was used sparingly due to the high cost of paper. However, with the rise of modernist design in the 20th century, white space became a defining feature of minimalist design.

Designers such as Dieter Rams and Massimo Vignelli embraced the use of white space, making it a key element of their design philosophy.

“Almost all the great American graphic designers have used white space as the significant silence to better hear their message loud and clear.”

Massimo Vignelli

Today, white space remains a popular design technique across a range of mediums, including print, mobile, and web design. Its ability to improve visual clarity and create a sense of elegance and sophistication has made it a staple of modern design.

Types of Whitespace

Passive and active white space, as well as micro and macro white space, are important subtopics to consider when discussing types of whitespace in website design.

Passive white space refers to the natural gaps that occur in design or typography, while active white space is intentionally added to guide a visitor’s eyes down the page or through a process.

Micro white space refers to the smaller gaps and buffers built around content, while macro white space refers to larger areas devoid of content.

Passive vs. Active White Space

You can guide your website visitors’ eyes and create a seamless UX design by intentionally adding empty areas to your page, known as active white space.

Unlike passive white space, which occurs naturally in design or typography, active white space is a deliberate addition to a website’s layout to improve its balance and flow.

It can be used to create visual hierarchy, emphasise certain elements, and direct users towards important calls to action.

Active white space can be a powerful tool when used correctly, but it’s important to keep in mind that too much of it can impair the legibility and usability of a site.

It’s all about finding the right balance between content and space, and using spacing strategically to improve the overall design. When adding active white space to your website, it’s important to consider the spacing around letters, words, and paragraphs, as well as the spacing around content or its container.

By doing so, you can create a visually appealing website that not only looks great but also makes your content a pleasure to read.

Micro vs. Macro White Space

Finding the right balance between the small gaps and larger areas that are devoid of content, known as micro and macro white space respectively, is crucial for creating an effective and visually appealing website that doesn’t leave visitors feeling like they’re looking for a needle in a haystack.

Micro white space is the negative space within or between visual elements such as letters, words, and paragraphs. Ample spacing around these elements can ensure that content is easily readable and doesn’t overwhelm the visitor.

On the other hand, macro white space is the larger negative space in the background of a website.

It can provide the perfect balance between content and space and ensure that the website doesn’t appear cluttered or confusing.

Macro white space can be used to create a visual hierarchy and guide the visitor’s eye towards elements on a website that are important.

By using both micro and macro white space effectively, a website can provide a seamless and engaging user experience that keeps visitors coming back.

What is the importance of white space in web design?

White space is a crucial tool in structuring and organising content in web design. It draws focus on key elements, such as CTAs, and improves text readability and legibility.

By making websites easier to use and creating a sense of elegance, white space can make your website “feel right” to your end user.

It structures and organises content

When structuring your website’s content, incorporating white space can help organise and visually separate different elements, making it easier for visitors to navigate and digest information.

Without adequate white space, your designs can appear cluttered and overwhelming, leading to a negative experience for the end user.

By introducing blank space around your content, you can create a clear hierarchy of information, guiding users through your website and highlighting key messages.

One way to effectively incorporate white space in design is to group similar content together and separate it from unrelated elements. For example, space could be used to separate your website’s header from its main body, or to create specific sections for different types of content.

This not only makes your site easier to navigate, but also helps to improve its overall aesthetic. When used correctly, white space can give your website a clean, modern look, while also improving its usability and functionality.

It draws focus on important elements

You may not realise it, but incorporating enough blank space around certain elements on your website can increase their visibility by up to 20%. This is because white space draws focus to the design element, making it stand out from the surrounding content blocks.

As a designer, it’s important to understand how to use space between elements and around them to create a visual hierarchy on your design project.

When you have a lot of information to present on a web page (often on the homepage), it can be tempting to cram everything together to save space. However, this approach can make the page feel cluttered and overwhelming to users.

By strategically implementing white space, you can make the page feel more balanced and give users a clear path, in order to help guide the user. For example, if you have a CTA (call-to-action) button that you want users to click, placing it in a section with ample white space around it will draw attention to the button and make it more likely that users will click on it.

It improves text readability and legibility

By incorporating enough blank areas around your text, it becomes easier to read and comprehend for visitors. This is because white space creates a visual break that allows the eyes to rest and focus on the text.

When there is plenty of white space around the text, it becomes easier to distinguish each line, word, and letter. This is particularly important for websites that have a lot of content, as it can become overwhelming for visitors to read if there is no visual break.

In addition to the amount of white space, letter spacing is also important for improving text readability and clarity.

By increasing the spacing between letters, the text becomes more legible and is essential for accessibility standards. This is because the increased spacing helps to separate each letter, making it easier for the eyes to distinguish them.

When letter spacing is too tight, the letters can blend together, making it difficult for visitors to read and comprehend the text. Incorporating enough white space and letter spacing can significantly improve the overall readability and legibility of your website’s text.

It makes websites easier to use

When a website has ample white space, it becomes more visually appealing and less cluttered, making it easier for users to navigate. This is because white space can help guide a user’s eye towards important elements on the page, such as calls to action or important information.

White space can also improve a user’s click confidence and accuracy. This is because when elements on a page are spaced out and given room to breathe, users are less likely to accidentally click on the wrong button or link.

This can lead to a more positive user experience and can ultimately improve a website’s conversion rates. Through the correct implementation of white space design, web designers can create a website that not only looks great, but is also easy to use and navigate.

Creates a sense of elegance

When it comes to creating a sleek and stylish website, adding a touch of sophistication with some ‘old school’ class creates a sense of elegance that can truly impress your target audience.

One way to achieve this is by using white space effectively. A website that is cluttered with images, text, and graphics can be overwhelming and difficult to navigate. On the other hand, a website that uses white space to create a sense of balance and harmony can be visually appealing and easy to use.

White space can be used to create a sense of elegance and sophistication by allowing the content and design elements to breathe.

It can be used to highlight important content, create visual interest, and improve the overall UX of the design. It can also be used to create a sense of luxury and exclusivity, as it suggests that the content and design elements are valuable and deserve attention.

When used correctly, white space can be a powerful tool in web design, creating a sense of elegance and sophistication that can truly impress your target audience.

Tips for Using White Space Effectively

Let’s talk about the best practices for incorporating white space in your designs. First, it’s important to consider visual hierarchy when positioning elements.

By using white space to group and separate elements, we can guide the user’s eye to the most important information. Second, grouping objects and content logically can help make the website easier to understand and navigate. Third, proper text formatting is key to ensuring readability.

And lastly, keeping the design clean and minimal can help achieve a balance between content and white space.

Consider visual hierarchy when positioning elements

Make sure you position your elements strategically with visual hierarchy in mind, so that visitors know exactly where to look first and what’s most important on your website.

Visual hierarchy refers to the arrangement of visual elements in order of importance, where the most important elements are given the most prominence. This is achieved through the use of size, colour, contrast, and positioning.

To create an effective visual hierarchy, start by determining the most crucial elements on your page and then make them stand out by using larger font sizes, bold text, and contrasting colours. Next, adjust the amount of space in your layout in order to separate these important elements from other content on the page. This can be done by increasing the amount of white space around the elements, or by using contrasting colours to create a visual break between them and other content.

By using visual hierarchy effectively, you can guide your visitors’ attention to the key elements on your page, improving their overall experience and increasing the chances of conversion.

Group objects and content logically

Now that we’ve talked about visual hierarchy, let’s move on to the next important aspect of using negative space in web design: grouping objects and content logically. This involves organising all the elements on your website in a way that makes sense to the user and enhances their browsing experience.

Grouping objects and content logically can be achieved through many techniques. One way is to experiment with white space to create visual separations between different sections of your site.

For example, you can use white space to separate your navigation menu from your main content, making it easier for users to find what they’re looking for. White space can also be used to group related content together, such as product descriptions and images, or to separate different steps in a checkout process.

By using white space to organise your website, you can help users navigate more easily and find what they’re looking for faster.

Implement proper text formatting

When you’re formatting text on your website, it’s important to consider the readability and legibility of your content so that users can easily understand what you’re trying to convey.

One way to achieve this is by implementing proper text formatting. This includes using sizes and styles that are easy to read, such as sans-serif fonts like Arial or Helvetica.

It’s also important to use a consistent font size throughout your website, to avoid any confusion or distractions for the user.

Another aspect of proper text formatting is using appropriate line spacing and paragraph breaks. This can greatly improve the user’s experience by making the content easier to read and digest.

It’s recommended to use a line spacing of 1.5 or 2, and to add a blank line between paragraphs to create a visual break. Additionally, using bullet points or numbered lists can help break up dense text and make it easier to scan for important information.

By implementing proper text formatting, you can ensure that your content is easily readable and engaging for your website visitors.

Keep the design clean and minimal

You want your website to be like a clean and organised closet, where everything has a place and there’s no clutter to distract from what’s important.

By keeping your design minimal and clutter-free, visitors can easily navigate and focus on the content that matters.

A clean design creates a sense of ease and simplicity, which is crucial to a well performing website. It also allows for ample white space, creating a balance between content and space that can make the website look more visually appealing and modern.

A minimal design doesn’t mean that you have to eliminate every element of your website. Instead, it means that you should approach your design with a critical eye, and only include what is necessary.

This includes using a limited colour palette, using readable fonts, and keeping your layout consistent. Remember, less is often more when it comes to web design. By keeping your design clean and minimal, you can create a website that is both visually appealing and easy to use for your visitors.

Conclusion: Use Whitespace To Build Better Websites

So, if you want to create websites that are easy on the eyes and effortless to navigate, incorporating whitespace is a must. Not only does it make your design more aesthetically pleasing, but it also helps improve the usability of your website.

By strategically placing whitespace around your content, you can guide visitors towards the most important information and make it easier for them to absorb and interact with your site.

Incorporating whitespace is not just about adding empty space to your design. It requires a thoughtful and intentional approach to ensure that it is used effectively.

By considering the hierarchy of your content, typography, and layout, you can create a design that incorporates whitespace in a way that enhances the user experience.

So, take the time to consider how whitespace can be used in your next project and see how it can help you create a website that stands out from the crowd.

Graphic design is the process of creating visual communications for a variety of media including print, broadcast, packaging, packaging, packaging, etc. The primary purpose of graphic design is to communicate ideas and information in an attractive manner that will appeal to the target audience.

Early design history

The first signs of visual communication

It wasn’t until after the invention of the printing press around 1440 AD that graphic design really began to develop, but the origins of visual communication stretch all the way back to the Stone Age.

The earliest known examples of visual communication date back to around 3500 BC. These were cave paintings depicting animals and humans. They were done by people who lived in caves and used firelight to illuminate their drawings.

Graphic designers have been around since ancient times. They were often employed by kings and emperors to decorate buildings and monuments. In fact, some of the earliest known examples of graphic design come from Egypt, where they were used to illustrate religious texts.

The invention of printing

Around 1440 AD, Johannes Gutenberg invented movable type printing. This was a major leap forward from previous methods of producing books, which were laborious and slow. It allowed people to read at their leisure, rather than having to wait for monks to copy manuscripts by hand.

How the industrial revolution evolved graphic design

Graphic designers were often hired by printers who needed illustrations for books, magazines, newspapers, posters, and advertisements. As printing became increasingly automated, the demand for illustrators declined. In the early 20th century, many artists turned to commercial illustration to supplement their income.

Influential art movements and people in graphic design

We start in late 18th, early 19th century France with a rather famous artist; Henri de Toulouse-Lautrec. Toulouse-Lautrec was an inbred alcoholic who died at the tender age of 36 shortly after being sent to a sanatorium. He is however commonly accredited ‘Inventor of the Modern Poster’ along with similar post-impressionist artists including Jules Chéret AKA ‘Godfather of the Poster’. ‘Post impressionism’ by the way refers to artists after Manet, a more traditional impressionist artist. Post impressionists still used real-world subjects, vivid colour & heavy brush strokes but tended to distort form and colour for expressive effect.

Though these artists are infinitely important with regards to the birth of graphic design, they cannot be held solely responsible. It was the industrial advancements made at the time such as printmaking & lithography that make graphic design what it is today. Ah, mass production what would we do without you?

Toulouse-Lautrec & Chéret may have been putting in all the hard graft back in the early days of graphic design but to them it was art. It wasn’t until William Morris an English textiles designer came along in 1891 that the term ‘Graphic Design’ was used. Morris ‘pioneered the distinction between fine art and graphic design’. Morris founded ‘The Kelmscott Press’ a major player in early British mass print production.

The Bauhaus Movement

The term Bauhaus is one of those terms that gets thrown around rather tediously. Anyone wanting to sound ‘creative’ or ‘arty’ has this term at their disposal. They are confident that anyone with enough patience to listen to them won’t understand its origins and they can walk away feeling all clever and ‘cool’.

When you drive through Germany you see the word everywhere. Simply put it’s just German for ‘building school’. (literal translation: ‘House of Construction’.) However, the Bauhaus creatives and their wannabe friends are often referring to is Staatliches Bauhaus. Originally in Weimar and founded by architect Walter Gropius. Staatliches Bauhaus ironically didn’t originally teach architecture but rather a ‘total work of art’ in which all art subjects eventually including architecture would be taught together.

Modernism

This brings us to the term ‘Modernism’. Bauhaus was founded after the first world war and all the left-wing Germans at the time rejoiced, celebrating the end of the German monarchy and a hell of a lot of conservative censorship which brought an influx of experimentation within the arts.

While modernism had already made an impact it wasn’t until the radical thinking that went on in Bauhaus Weimar and its tendency toward functionality and simplification and its acknowledgement of mass production that modernism would really affect the way people lived.

But what does this all have to do with graphic design? Still relatively new at the time Bauhaus Weimar was the first place graphic design was taught as its own independent subject and due to its hugely revolutionary teachings and strong roots in modernist culture, Bauhaus, figuratively speaking, married the modernist movement and graphic design.

So modernism: design that’s fit for a purpose. No unnecessary bells and whistles, if it’s a chair, it’s a chair, if it’s a building, it’s big and square because that’s how you fit the most rooms in. And if it’s graphic design; it’s legible, simple shapes, bold & straight to the point. Google and Airbnb are great examples of modernist logos.

Naturally, as a graphic designer, I usually try to avoid cliche’s however in this case I feel this is the best way to sum up modernism. Two of the greatest cliche’s of modernism are “Form follows function.” This is actually a misquote about architecture, but a design cliche nonetheless and “Less is more”.

So next time someone says ‘I hate modern art, it could be done by children or monkeys’ you just keep quiet and smile knowing that almost every man-made object in that person’s life is a direct result of modernism, it was sold to them using modernist graphic design and they’re actually referring to contemporary, abstract or surrealist art.

Kandinsky – Basic Design & Advanced Theory

A late-blooming Russian artist who didn’t even pick up a paintbrush or pencil until the age of 30. Kandinsky is renowned in the art world as being the first-ever truly abstract artist. I mentioned previously the common misconception that modern art ‘can be done by children or monkeys’, and that people that make such statements are probably referring to a more refined, obscure genre such as abstract art.

I must admit I’ve stood before an original Kandinsky piece in the Guggenheim and thought to myself ‘what on earth is this?’ – but that’s exactly it, that’s exactly the visceral emotive response I should have felt. The same response people had in 1922 when Kandinsky’s visions, his bold visual statements earned him the position of design and advanced theory lecturer at the Bauhaus.

Kandinsky’s teachings, books and theories are still studied today and while we may question his artistic works, it was Kandinsky who wrote the first groundbreaking theories behind psychology and visual experience. He is a pioneer in relating what is seen on a canvas, wall or page to how a human mind will react. This very principle is fundamental to graphic design.

Cubism, Constructivism & Suprematism

Kandinsky was from Russia as was the massively important artistic movement ‘Constructivism’, though it would be wrong to call Kandinsky a Constructivist artist. In fact, his abstract works have been described as an expression of Kandinsky distancing himself from Constructivism and Suprematism.

Constructivists believe art had to have a direct purpose, a message. It’s not hard to see how this had a profound influence on the development of graphic design. Artworks would be created to promote political messages, direct people to events and advertise products.

Suprematism, another Russian art movement focused on basic geometric shapes and the relationship between a person and that shape. You can really see the seeds of graphic design fundamentals such as logotypes, iconography and semiotics taking shape here.

While these strong, shape and purpose orientated art movements were emerging from Russia, abstract works and art focussed on geometry, planes, shapes and lines were also flooding out of France. Many would say Cubism is the most influential art movement of the 20th century and when we drop artists names such as Pablo Picasso, it’s not hard to see why.

Cubism is described as a representation of three-dimensional form, the artist depicts the subject from a multitude of viewpoints to represent it in a greater context. Cubism, Constructivism and Suprematism evolved together and all had a profound influence on how shape, geometry and colour provoke a psychological human response.

Dada & Surrealism

You might be seeing a theme here; the turn of the century brought many radical new art movements. Constructivism and Suprematism had roots in Futurism and were in the making before the first world war but were of course greatly affected by it.

Dadaism was a direct result of rebellion during and following the oppression of the first world war. As a result of the strict law and order opposed by World War 1, Dadaism aimed to reject logic and reason in favour of nonsense. The movement emerged from Zurich in Switzerland and had notable characteristics including plenty of humour, collage-style artworks and general far-left political messages.

In the early 1920′s, Dadaism evolved in Paris into Surrealism. Where Dadaism was focussed on absolute nonsense sometimes with a political undertone, surrealists claim their work to be largely an expression of philosophical movement. The works are characterised for the most part by paintings containing striking juxtapositions, elements of surprise and again, nonsensical imagery.

Brockmann

Joseph Müller Brockmann is one of my favourite graphic designers from history. Brockmann was a Swiss graphic designer and his work literally defines graphic design for me. He took Kandinsky’s geometric theories, Johannes Itten’s theory of colour, the influence of Bauhaus and early Modernism, the influence of Constructivism, Suprematism and Cubism and the collage making of Dadaism and (arguably) turned it into the first comprehensive body of graphic design works.

Graphic design as we know it today can be seen clearly in Brockmann’s work. His written works such as ‘Grid Systems’ and ‘The History of the Poster’ are invaluable graphic design handbooks still used thoroughly today. That is of course if you are passionate enough about your work to shell out £80 on a very concise little 41-year-old book. I’m proud to say I have a copy of ‘The History of the Poster’ sat beside me as I type.

Brockmann wrote these fundamental texts later in his career but it was his earlier involvement with the birth of Swiss Style or ‘The International Style’ that would earn him his throne in the hall of graphic design royalty.

Swiss Style or ‘The International Style’

Following the second world war, a certain aesthetic emerged from Switzerland. Dubbed  ‘Swiss Style’ or ‘Swiss Design’ the graphic design at the time was focussed on legibility, clarity, symmetry and form. It stressed an absolute and universal style of graphic design. In graphic design terms ‘Modernism’ is epitomised by the Swiss Style.

Armin Hoffmann

In order to explain exactly what Swiss Style is I’ll need to introduce you to a few legendary graphic designers; Firstly Armin Hoffmann. Hoffmann taught typography in his hometown at the Basel School of Design.

He has been described as “The best Typographic designer ever.” Typography is a vitally important part of Swiss Style, Modernism and graphic design as a whole. His style does not rely on colour for emphasis or theme, instead, it leans heavily toward the use of typographic hierarchy, size, semiotics and iconography. Hoffmann suggests a ‘trivialisation of colour’ led to this particular style.

Alexey Brodovitch

Brodovitch was the master of white space. He was an influential photographer, artistic director and editorial designer. Brodovitch drew inspiration from Surrealism, Dadaism and all the other strange kinds of art going around at the time.

Brodovitch’s most prominent role was that of artistic director for Harpers Bazaar. He designed the iconic Bazaar logo using the font-family ‘Didot’ which is now a standard for fashion magazines and any typography associated with fashion.

Paul Rand

A well known American graphic designer. Rand is best known for his corporate logo design. It’s not hard to see why his logo work is reflected in most modern corporate design. His work really does speak for itself. Yale, IBM and UPS  still use the logo’s he designed for them back in the 50′s & 60′s.

“He (Rand) almost singlehandedly convinced businesses that design was an effective tool. [. . .] Anyone designing in the 1950s and 1960s owed much to Rand, who largely made it possible for us to work. He more than anyone else made the profession reputable. We went from being commercial artists to being graphic designers largely on his merits”.

Louis Danziger – Graphic Designer

Helvetica

It’s well known that Helvetica is regarded as a graphic designer’s best friend, but why? Helvetica was designed to compete with ‘Akzidenz-Grotesk’ – a popular swiss typeface being used heavily by designers wanting to achieve that ‘Swiss Design’ aesthetic, which was becoming extremely popular with emerging companies in the USA. Helvetica was designed by Max Meidinger and Eduard Hoffmann in 1957 for the ‘Haas Type Foundry’ in Switzerland.

Originally called Neue Haas Grotesk, the typeface was renamed by Haas Type Foundry’s sister company (Stemel) to appeal to the American market. ‘Helvetica’ comes from the Latin for ‘Swiss’ – which explains its initial popularity. But what is it about the typeface that makes it so useable? Helvetica is a geometric font, it’s mathematically calculated in terms of letter spacing and form; this makes it a very tidy, neat font.

If you look carefully you’ll notice that all the letter’s terminals (the edges at the very ends of letters) are either horizontal or vertical, again, adding to the typefaces neatness. Helvetica is also designed, purposefully not to give any meaning through its form. So where a spiky font would give off connotations of danger or fear, Helvetica presents itself plainly, with no intrinsic message.

In the same way, Alexey Brodovitch decided not to use colour to give meaning, Helvetica gives the designer the option not to use typeface to give meaning, instead, allowing them to be more creative with size, image, semiotics, colour, composition and iconography. Helvetica defines Swiss Style and made the popular look universally accessible.

Postmodernism

As with every turning point in the history of art & design we see more rebellion, this time in the 1980′s with the birth of Postmodernism. Postmodernism is mostly a rejection of Modernism. The logical, legible, clean, structured aesthetic of Modernism is rejected by Postmodernism in favour of abstract form, peculiar shapes and crazy typefaces.

Unlike Surrealists and Dadaists, Postmodernists reject the style of their predecessor for a very valid reason, that it is impersonal, not humorous and simply not fun.

So where Modernists said “form follows function”, Postmodernists said, “function follows form”. They created things that they thought looked nice, exciting or interesting and dealt with their function later. It is their argument that graphic design’s purpose is to draw attention to a piece of work before instructing the intended action of said work.

Postmodernism certainly had an effect on the graphic world, it was the look of punk and anything ‘alternative’ today seems to take design inspiration from it. Ironic really that there is a pre-defined look for rebellion.

The digital age of design

1990 brought the birth of Adobe Photoshop (along with other digital tools) exclusively for Macintosh computers, ever wondered why graphic designers always use macs? Well, that’s where it started at least. 1990 also brought grunge, another rebellious cultural movement for which Postmodernism would give a big aesthetic hug.

David Carson

Carson is most certainly one of the most important, influential and well known post-modern graphic designers. He took the unconventional and theory challenging themes from Post-Modernism and applied them to the 90′s.

Carson was producing work and gaining recognition before the decade began but the emergence of grunge and the growing popularisation of skateboarding & surfing clearly influenced Carson’s work, giving him the style he is famous for and still works with today. Carson’s work with the magazine Ray-Gun could be described as style-defining for the 1990′s.

Elsewhere in the 90′s

I mentioned the birth of Photoshop, which needs no explaining regarding its importance to graphic design. A few other things happened in the 90′s, many of them difficult to talk about especially when mentioning designers themselves, it’s difficult to say how important someone is until some time has passed and we can look back in retrospect.

Grunge had an influence across the board, it was now fashionable not to care, looking a bit of a mess was in and organisation was out. This can be seen in things as un-grungey as the hit 90′s sitcom Friends. Look at that typography, wobbly, out of line, out of the grid, it simply doesn’t care.

The birth of the internet also had a great influence on design, with many graphic designers experimenting with web design and influencing its development and progression to today’s styles and conventions.

Apple’s influence on Design

The early to mid 90′s saw a dip in Apple’s popularity and subsequently their profits. In 1997 Steve Jobs came back to Apple as interim CEO and began re-shaping the product line. As the decade was burning out, in 1998, something big changed in the tech world.

Apple successfully turned their product line around. They released the first iMac, bought Macromedia Final Cut which would become Final Cut Pro, the standard for video editing software which we use here at D5 Media on a daily basis. This purchase meant Apple could also release Final Cut Pro’s baby brother iMovie which started their popular iLife and iWork products. But what did this mean for design? Jobs’ logic was very reminiscent of Modernism, things would be created to work, not just to look good. This is reflected in their logo change in the same year, before 1998 Apple sported the rainbow-coloured logo. To a non-designer, this may not seem like such a profound change, though this change would bring the next era of design.

Neo-Modernism

As I mentioned before, talking about recent history is always dangerous, especially in a subject such as design. Things are constantly changing, evolving and re-shaping, this not only has an effect on what we see now but how we interpret the recent past. A reflection of this would be the term ‘Neo-Modernism’, this is a debated topic but the theory I feel is the strongest.

After the 1980′s mayhem and early to mid 90′s carefree attitude we see a big change in design which is often called ‘Neo-Modernism’ or ‘New Modernism’. This change can be pinned to 1997 and 1998, Apple’s advancements had a huge impact on the design world in 1998 and 1997 saw the architectural evolution from Post-Modernism to Neo-Modernism.

Neo-Modernism is described as Modernism’s criticism of Post-Modernism. Reestablishing the logic, structure, design theory, colour theory of Modernism and taking it to new extremes. This aesthetic is the hyper-minimal style that is commonly regarded as ‘sleek’ and ‘stylish’ today. Logo’s, branding, type hierarchy and grid systems are back with a vengeance.

It’s difficult to pin this style to particular designers with it being so recent. I will however try to explain the current situation using designers I feel are the most influential; having influenced me. Though who can tell until the next generation of designers emerge and we can analyse their influences and come to some sort of conclusion on the whole ‘Neo-Modernism’ thing.

M/M (Paris)

A partnership was established in Paris, 1992 by Mathias Augustyniak and Michael Amzalag. M/M (Paris) are hugely successful graphic designers, art directors and advertising designers. Their style is clear, concise and beautiful (my opinion). It is a strong example of Neo-Modernism. M/M are key players in the creative world and have racked up clients including Les Inrockuptibles, Vogue Paris and Purple Fashion but are most famous for their work with musicians such as Björk, Madonna, Benjamin Biolay, Etienne Daho, Jean-Louis Murat, Mew and Kanye West. Their style encompasses and is inspired by graphic designers throughout the whole evolution of the field.

Neo-Modernism has been described as a criticism of Post-Modernism but I have to say, I would definitely call M/M (Paris) Neo-Modernists in the same breath as describing their Post-Modern influences. So not necessarily a harsh criticism but a re-application of Post-Modernism within Neo-Modernism. Their work has been celebrated in exhibitions in New York, London, Stockholm, Tokyo and of course Paris.

“An image never interests us as such. Its relevance lies in the fact that it contains the sum of preceding dialogues, stories, experiences with various interlocutors, and the fact that it induces a questioning of these preexisting values. This is what makes for a pertinent image. A good image should be in between two others, a previous one and another to come.”

M/M

Stefan Sagmeister

Another hugely influential modern graphic designer is Stefan Sagmeister. Having started his career at the tender age of 15 working for the Austrian youth magazine Alphorn, Sagmeister has had a long and healthy career adding names including The Rolling Stones, The Guggenheim Museum, HBO, The Talking Heads, Lou Reed and Time Warner to his portfolio.

Sagmeister lives and works in New York and has recently joined forces with Jessica Walsh, an award-winning multidisciplinary designer, together they are Sagmeister and Walsh, their work certainly encapsulates what I would call ‘Neo-Modernism’. Again, the best way to get a feel of their work is to simply look at it, having read and understood this brief history, it’s easy to see their influences and importance in the creative world.

“It is very important to embrace failure and to do a lot of stuff — as much stuff as possible — with as little fear as possible. It’s much, much better to wind up with a lot of crap having tried it than to overthink in the beginning and not do it.”

Stefan Sagmeister

Jonathan Puckey

To bring us right up to date I’d like to use Jonathan Puckey’s work as an example. Puckey is an innovator in the use and creation of design tools. Working from his studio in Amsterdam, Puckey’s works are striking, stylish and very in touch with modern trends. The notion of designs consisting of 50% artistic human input and 50% computer programs such as Puckey’s tools could be compared to the grid systems of Joseph Muller Brockman and the ‘International Style’. Both techniques involve intelligent design but suggest a uniform idealism.

Futurology

It’s quite simple to describe what futurology is and what futurologists do. They predict the future, in terms of design trends that is. An organisation such as WGSN employ futurologists to analyse design trends, history and patterns in order to accurately predict how the future will look in terms of fashion, product and graphic design.

Companies and designers pay large amounts of money to access this information and It is a common viewpoint that these organisations are so popular they have almost monopolised the future, whether this is good or bad is entirely subjective. WGSN for example produces extensive style, trend and colour forecasts which are then followed by the leading designers, high street stores and product developers. Their predictions are often very vague, speculative and outlandish which could be seen as inspiration rather than futurology.

Personally, I believe the aesthetic of the future is still being shaped in the same way it always has, futurologists are simply another element in the vast world of creativity. They do however provide a useful tool and insight into what everyone will be doing in the coming 4 years which is almost guaranteed.

Metamodernism & N.D.A

Two of the terms that keep cropping up in futurologists spheres are ‘Metamodernism’ and ‘New Digital Aesthetic’. Metamodernism is described as;

“A new name for a new world – Metamodernism. The movement, which is still in its early days, has evolved from both modernism and post-modernism. Expect it to define the decade ahead. With a romantic enthusiasm for the future, it is characterised by the push and pull between opposites, between contradictions and the seemingly incompatible.”

And N.D.A is described as;

“The way we look at the world is changing. As we spend more time viewing life through the prism of our iPhones, cameras, tablets and computers, the way these machines “see” and the way we see are becoming intertwined.  A machine does not differentiate between the animate and the inanimate, the beautiful and the ugly. This is influencing the aesthetic of design today.”

Bruce Sterling

From this, we can see how vague and unspecific these predictions are. Though we can still differentiate between the aesthetic of now and the one predicted by futurologists. This leaves it open for designers to interpret the information any way they see fit.

I’m going to work, in reverse order, through these top ten designers and establish just what it is that makes them so damn great and more importantly display some of their best works.

Who is Stefan Sagmeister?

In total contrast to number 3 on the list David Carson, I’ll have to try my best not to let my love for Stefan’s work obscure meaning and remain unbiased with a view to presenting a fair and clear picture of the Sagmeister success story.

Stefan is a designer, studio director, entrepreneur, artist, typographer, published author, educator and all-around art and design hero. According to the internet, the Austrian-born designer started his career at the tender age of fifteen, whether or not we can trust this statement is sketchy at best. In fact in his TED Talk ‘The Power of Time Off’ (below) Sagmeister describes his working career as starting at 25.

Stefan certainly however had a keen interest in design from an early age. This early participation in the industry at Alphorn, an Austrian magazine for young people, will have surely laid the path for the successful academic pursuits that followed. Unfortunately, this did not happen immediately, his first application at the undergraduate level to The University of Applied Arts, Vienna was rejected.

“Just about everybody was better at drawing than I was”.

Stefan Sagmeister

He enrolled in a local private school and was later accepted at the University. During this time Stefan worked on posters for the Schauspielhaus theatre group as part of the Gruppe Gut collective.

His style at the time did not represent his current methods, humour, nudity and borderline inappropriateness weren’t present until he moved to New York due to receiving a Fulbright Scholarship based on the merits of his work enabling him to continue his study at the Pratt Institute in Brooklyn. Sagmeister, in this period, famously designed business cards ‘that cost only a dollar’ as they were printed on a one-dollar bill.

Austria, at the time, was one of the few European countries with mandatory military conscription. Typically within the art and design world, Stefan was objectionable toward this idea and managed to serve his time contributing to community work in a refugee camp near Vienna. Following this period Sagmeister stayed in Vienna working as a graphic designer.

In ’91, Stefan moved to Hong Kong to work with Leo Burnett, the ad agency was looking for a typographer at the time:

“So I made up a high number and said I would do it for that.”

Stefan Sagmeister

One year later, Stefan famously designed a poster for the 4As Advertising Awards Ceremony, the poster featured a traditional Chinese image with four men showing their behinds. Stirring significant controversy with some ad agencies even pulling out of the ceremony entirely, Stefan’s favourite complaint read:

“Who’s the asshole who designed this poster?”

In ’93 Sagmeister decided to move to Sri Lanka and work from a beach hut, this only lasted two months before the design magnetic field of New York City got the better of him and pulled him back, halfway around the world.

As a student, Stefan had greatly admired the work of Tibor Kalman and subsequently had a great ambition to work at M&Co, Tibor’s world-famous studio. Stefan bombarded the company with calls and correspondence until they’d support his visa application. Interestingly here, Sagmeister’s first project was to design an invitation for a gay and lesbian task-force gala. He designed a large basket of fruit which notoriously caused M&Co staff a huge headache attempting to prevent the thing from rotting.

Perhaps an early incarnation of the idea for his ‘Self Confidence Produces Fine Results’ piece which Sagmeister fans will no doubt be familiar with. M&Co was closed just two months later when Tibor moved to Rome to work exclusively on Colors magazine.

Stefan Sagmeister founded Sagmeister, inc. Kalman had advised he keep his company small, just Stefan, a designer and an intern. A principle, though not to such an extreme, Stefan still swears by.

Like many small studios, building a recognisable presence started with a strong visual identity—something today’s businesses often achieve through intentional web design.

In the early days, Sagmeister had intended to exclusively work on design for music projects and more specifically, for music he liked. However, any designer, freelancer or creative professional reading this will know, that we don’t always get what we want when it comes to these things. His second project following branding his own company was branding his brother’s company, an Austrian jeans label named ‘blue’. Sagmeister, of course, designed a black and orange logo.

Unsuccessful in seeking his desired work through traditional sourcing avenues, Stefan settled for designing the cover for his friend’s album. ‘Mountains of Madness’ by H.P Zinker. The album went on to win the first of Stefan’s 4 grammy nominations, it featured a picture of a depressed-looking man but when the red transparent sleeve was removed, the image became a detailed green and red image of the same man screaming. The concept was inspired after Sagmeister spotted a young dyslexic girl using a transparent red sheet to assist her with reading her maths textbook.

A similar concept was later featured in the Peter Hall book ‘Made You Look’ about and designed by Sagmeister.

Winning a Grammy for album packaging design is a sure-fire way to open the floodgates to some very exciting music-based design projects. Stefan had really hit the nail on the head with the Mountains of Madness cover, in a time that was seeing the changeover from the brilliant art platform that was vinyl to the toy-like plastic-y ugliness of CD. The following years are undeniable proof of this with clients like Lou Reed, David Byrne and The Rolling Stones knocking at the door.

Since these works, as one can imagine, Sagmeister, inc. went from strength to strength. He did not stick entirely to his mission statement of only producing work for music that he liked but that is not to say he’s not picking and choosing his projects.

Almost everything Stefan Sagmeister works on is, in my opinion, a brilliant project, not just from a design perspective but from artistic, environmental, economical and social perspectives. His website states:

“We want the product or service to be worthwhile, i.e. have a reason to exist. …. We want to work with kind people.”

Since Mountains of Madness, Lou Reed, David Byrne and The Rolling Stones Sagmeister has worked commercially, on personal and cultural projects for clients including Aishti Department Stores, Levis, HBO Studio productions, Toto, AutoDesk, Adobe, BBH ad agency, Publicis ad agency, IDEO, Red Bull, BMW, Institute of Contemporary Art Philadelphia, Guggenheim Museum, Casa da Musica, NYC, Olympic committee, Museum of Modern Art, AIGA, Random House Publishing, Seed Magazine, The New York Times, .copy Magazine, NYTimes Magazine, Columbia University, School of Visual Arts, Massachusetts Institute of Technology, Rhode Island School of Design, Lou Reed/Sister Ray Enterprise, Universal Music/Jay-Z, Warner Brothers Records Inc, Atlantic Records, Rhino Records, David Byrne/Brian Eno, Capitol records, One Voice and Azuero Earth Project.

A massive contributory factor to Sagmeister’s success, however, is his personal projects, they allow us to have a deep insight into his mind. Sure a great designer will express some of their own opinions and ideas through all of their work, but most don’t really open up in the same way that Sagmeister does. His ‘Things I have Learned in My Life So Far’ series and the book by Peter Hall, subtitled ‘Made You Look’ containing dozens of exerts from Stefan’s diary are incredibly honest, open and transparent.

Stefan Sagmeister Posters

Sagmesiter’s work clearly has a definitive style, having said this each work is vastly distinguishable, a designers dream quality to say the least. He enjoys his work, is very opinionated on the field of graphic design and openly embraces every aspect of his life and the world around him in his work, he is open, honest and human. We see his mistakes, his low points as well as the astonishing highs of his works.

It’s difficult to pinpoint just one element that is responsible for his success, but if I had to pick one it would be the persona that is Sagmeister, I’ve never met Stefan, but I feel as though I know him inside out, my idea of him maybe entirely wrong but his greatest design achievement isn’t that of music packaging, nor a great poster, it’s branding. Branding himself.

Who is Paula Scher?

The only lady graphic designer to appear on this list and another New Yorker, Paula Scher is the principal partner at Pentagram, one of the worlds leading and according to this list, the most inspirational design firm in the world.

Paula Scher began her working career after graduating from Tyler School of Art with a bachelors degree in illustration. She moved to New York City to look for work and began her first job as a layout artist for the Random House children’s book division. After 2 years she obtained her first significant role at CBS Records (now Sony). At CBS Paula would churn out over 150 album covers a year, Paula herself admits that ’90% of them were bad’ which she goes on to explain was a good experience.

Wikipedia lists some of the most successful album cover designs she created during this time: Boston (Boston), Eric Gale (Ginseng Woman), Leonard Bernstein (Poulenc Stranvinsky), Bob James (H), Bob James and Earl Klugh (One on One), Roger Dean and David Howells (The Ultimate Album Cover Album) and Jean-Pierre Rampal and Lily Laskin (Sakura: Japanese Melodies for Flute and Harp).

In 1982, Scher left CBS to work on her own graphic design projects and in 1984 she partnered up with fellow Tyler graduate Terry Koppel to form Koppel & Scher. During the six years of their partnership, she produced identities, packaging, book jackets, and advertising, including the famous Swatch poster based on previous work by Swiss designer Herbert Matter.

In 1991 Scher joined Pentagram as a partner, where she has created some of her most iconic works. Scher’s work is recognisable, mostly, by its emphasis on and style of typography. Often, I would say, misplaced in the category of Post-Modernism. Scher herself describes this distinguishing feature of her work to be influenced by her environment. New York City is tall, big, loud and in your face, elements present in almost all of her distinguishing works.

Contradictory to those who would put Paula in the design school of Post-Modernism, her work mostly makes use of grid systems, a principle outlined by Modernist legend Joseph Müller-Brockman and focuses heavily on direct and clear communication of an idea or theme. The Post-Modernists rejected the clean, simplistic overuse of Helvetica and the corporate ‘big-wiggery’ of the United States at the time. Paula supports this, claiming that Helvetica and the corporate style of design was the face of the Vietnam war, which Paula was very much against.

Having started in the early 70′s, Scher’s creative career has lived through the Post-Modernism age, her work contains elements that could be argued to be within that genre but ultimately, it transcends its boundaries. Some describe the period of art and design were currently in as ‘Neo-Modernism’ and Scher’s work certainly resembles some of the ideals of that category. She uses elements of playfulness and expressive type but does not allow it to obscure or conflict with the message. Her work in my opinion is a logical creative progression of the field that embraces its own history and respects current trends.

Paula Scher poster work

Paula Scher typography

Paula Scher maps

I’m going to work, in reverse order, through these top ten designers and establish just what it is that makes them so damn great and more importantly display some of their best works.

Who is David Carson?

Personally, as a spokesperson and figurehead of post-modernism, I couldn’t feel less empathetic with the life works and career of David Carson, that said, I’ll try to set aside my biases and explain his influence on modern graphic design.

Essentially Carson’s graphic persona is the antagonist to the modernist designer’s protagonist, it might resemble the complete opposite in terms of style, application and methodology but, in my opinion, it provides a sort of necessary evil that any logical designer should respect and be very much aware of. Carson’s output is often predictably unpredictable, illogically logical and organised chaos.

Carson was born in Texas and graduated from San Diego State University with a degree in Sociology, after that he became the 9th best surfer in the world (1989) and worked in a high school as a teacher. Certainly not the typical path into the design industry. He did, in 1980, study a two-week course in design at the University of Arizona and in ’83 attended Oregon College of Commercial Art where he began to experiment with design.

Carson made his name in design through skateboarding, surfing and snowboarding magazines during the 80′s. The most notable of which include, Transworld Skateboarding, Spinoff and Transworld Snowboarding. In this stint of 80′s extreme sports magazines, Carson coined and developed his grungey typographic style, often obscuring and distorting letterforms and pictorial elements to make the output intentionally illegible.

While these magazines made his work known in the communities they involved as well as niche corners of the creative industries, it wasn’t until publisher Marvin Scott Jarrett commissioned Carson to design Ray Gun, an alternative music and lifestyle magazine that debuted in 1992. Ray Gun made Carson well known and attracted new admirers to his work. In this period, he was featured in publications such as The New York Times (May 1994) and Newsweek (1996).

During his time at Ray Gun, Carson famously set an entire article in the Dingbats font, the article was entirely unreadable. Personally, I find this to be a complete train-wreck of a gimmick, the sort that would be thought up by an ageing ad man, running really low on ideas, but that’s just me. Ray Gun’s editors put a readable version in the back of the magazine too, so what was the point, really? Sorry, I’m trying to be indifferent, honestly.

Carson left Ray Gun in ’95 and founded ‘David Carson Design’, in NYC. His Ray Gun shenanigans attracted a whole host of clients including Pepsi Cola, Ray-Ban, Nike, Microsoft, Budweiser, Giorgio Armani, NBC, American Airlines and Levi Strauss. In 2000, Carson closed his New York City studio and followed his children to Charleston, South Carolina, where their mother had relocated them.

Since then, he’s worked as the Creative Director of the Gibbes Museum of Art in Charleston and directed a television commercial for UMPQUA Bank in Seattle, Washington among other freelance projects.

Today, Carson lectures, teaches and holds workshops.

On the one hand, graphic design is a form of communication and devoting your career to obscuring the medium seems counter-productive and even offensive to those that believe in such ideals. On the other hand, graphic design is an art form, which is notoriously shaped by the underground and avant-garde, often taking extremism and the obscure to change its shape and appearance.

“He significantly influenced a generation to embrace typography as an expressive medium”.

Steven Heller

Carson’s work is of a definite style, that we cannot deny, it is unique, exciting, colourful and vibrant. It has its place in the history of design and defines an era. Which is undoubtedly what led to his inclusion on the list.

Carson’s outputs are often great, attractive pieces of design, for me, the problem is, they always communicate the same message; chaos, a message inappropriate for much of the work produced. That said, the grunge and chaos do now have their place, without designers like Carson and the people he’s influenced, those messages may have been communicated very differently.

To hopefully balance out my inevitable cynicism when discussing Carson, I’ll quote a supporter of his when describing his work, get ready for some bold claims:

Legend is a term that is all too often abused when describing a successful individual, but in the case of graphic designer David Carson, it’s just one of many superlatives you could use: Innovator, pioneer, groundbreaker, game changer – Carson deserves them all.

Through his seminal, groundbreaking work for Ray Gun magazine during the ’90s, Carson single-handedly shook up the world of graphic design – often placing more importance on the visual composition of the pages than on the text itself. He was never far from controversy, upsetting the purists with his unorthodox approach – once finding an interview with Bryan Ferry so boring that he used dingbat for the entire piece.

Such is Carson’s legacy (and he’s long way from being done, yet), that everywhere you go you can see his influence – whether it’s on the front cover of a mainstream or indie publication orin the opening credits of a mainstream film. Without doubt, David Carson’s work will be here long after the talented surfer (yes, he surfs, too) has rode his last wave.

David Carson Posters

David Carson Ray Gun Covers

Next week we’ll be looking at Paula Scher, Lady principle at Pentagram.

I’m going to work, in reverse order, through these top ten designers and establish just what it is that makes them so damn great and more importantly display some of their best works.

Who is Milton Glaser?

Many experts promote the idea that Glaser personifies American graphic design, his influence and grandeur is immeasurably huge. His work has not only been celebrated in world-renowned national galleries such as the Pompidou in Paris and New York’s MoMA, but he has also had entire exhibition halls designated for his work, some of his work, even, forever resides in permanent collections in MoMA, New York; The Israel Museum, Jerusalem; The Chase Manhattan Bank, New York; the National Archive, Smithsonian Institute, Washington, D.C.; Cooper Hewitt National Design Museum, New York and the Victoria and Albert Museum, London.

Milton has also received a long string of awards and accolades, including a National Design Award for Lifetime Achievement from the Cooper-Hewitt National Design Museum. In 2009, he was awarded the National Medal of Arts by President Barack Obama.

If you feel that such grandeur and title based attributes are no match for relatable, memorable and empathetic works, just think of the I ❤️ NY merchandise you see anywhere and everywhere. Yes, someone actually designed that. And while it is a beautiful part of our world just like the grass and the trees, it was forged by human hands and noted as “the most frequently imitated logo design in human history”.

Glaser may be regarded in almost god-like omnipotence when it comes to design but like all of us he simply embarked on a journey and it’s that journey we’re interested in. How do you evolve from mere bodily fluids into a being that changes the shape of its environment and the perceptions of the people around it?; maybe we can find out.

After the standard birth and education bit of life, Milton, as a graduate of New York’s Cooper Union for the Advancement of Science and Art and the Academy of Fine Arts in Bologna, founded the world-famous Push Pin Studios with fellow graduates Seymour Chwast, Reynold Ruffins, and Edward Sorel.

Part design and illustration studio, part pop-culture think tank, Push Pin Studios made a phenomenal impact on visual culture from the 1950s to the 1980s, representing an important chapter in postwar graphic design. Its signature publication, The Push Pin Graphic had hundreds of memorable covers and spreads culled from each of the eighty-six inspired and imaginative issues confirming Push Pin’s vital role in setting the design curve and influencing the direction of modern visual style.

The Push Pin Graphic is the first comprehensive account of a design milestone that continues to influence designers to this day. An exhibition of Push Pins works “The Push Pin Style” travelled to the Museum of Decorative Arts of the Louvre, as well as cities in Europe, Brazil, and Japan in 1970–72. So ingredient number one in the recipe of design success, if we ignore all that ‘human-y’ stuff would be great educational accolades followed by founding a massively active, vibrant and eventually successful studio such as Push Pin. Surely this isn’t enough though, what’s next? Founding New York Magazine, that’s what. Experts have described the publication by saying;

“It became the model for city magazines, and stimulated a host of imitations.”

Following this Milton along with his colleague Walter Bernard founded WBMG, the New York-based publications company whose work and client base are so extensive, the only way to express its magnitude is to paste the long list of most important works as stated by Glaser’s own website:

WBWG are responsible for the complete redesigns of three major newspapers: The Washington Post in the U.S., La Vanguardia in Barcelona, and O Globo in Rio de Janeiro. It has consulted on design projects for The Los Angeles Times, The Boston Globe, The Dallas Times Herald, The East Hampton Star, the New York Daily News and the National Post (Canada).

Magazine clients in the United States include; Time, U.S. News & World Report, Adweek, Brill’s Content, Crain’s Chicago Business, Family Circle, Golf Digest, The Nation, Autoweek, Biography, USA Weekend, PC Magazine andWine Spectator. WBMG has created original prototype designs for Manhattan, Inc., Windows, The Journal of Art, and ESPN, the Magazine. In Europe, WBMG has developed and created the original format for Alma (a women’s service magazine) and Zeus (a cultural newspaper). The firm has redesigned L’Express, Lire (a French literary magazine), Jardin des Modes (women’s fashion), L’Espresso in Rome and Business Tokyo in Japan.

WBMG has also designed the American Express Annual Report for three years, as well as several books, including Steve Salmieri’s Cadillac and Muhammad Ali: Memories for Rizzoli and ESPN’s SportsCentury for Hyperion. Walter and Milton are co-creators of “Our Times”, an illustrated history of the 20th century, published in 1995.

And finally, the most important chapter in Glaser’s career, the beginning of which is marked by the founding of Milton Glaser, inc. in 1974. Working under his own name has contributed to his legendary status. Milton Glaser, inc. has produced works in almost all fields of design as well as some less expected fields such as environmental interior design, architectural design and product design. Glaser is noted as being personally responsible for a lot of the work put out by the company.

Glaser’s graphic and architectural commissions include the logo (which has been described as ‘the most frequently imitated logo design in human history’), commissioned by the state of New York in 1976; the design of a 600-foot mural for the New Federal Office Building in Indianapolis in 1974; the complete graphic and decorative programs for the restaurants in the World Trade Center, New York, as well as the design of the Observation Deck and Permanent Exhibition for the Twin Towers of the World Trade Center in 1975.

He has also designed a number of architectural projects including Sesame Place, a children’s educational play park in Pennsylvania, 1981-83. For a period of fifteen years, Milton Glaser was involved with the re-design of a principal American supermarket chain, The Grand Union Company, a project that included all the company architecture, interiors, and packaging.

He was responsible for the interior design and concept for the 1987-88 Triennale di Milano International Exhibition in Milan, Italy, on the theme of “World Cities and the Future of the Metropolis”. In 1987, Mr. Glaser was responsible for the graphic program of the Rainbow Room complexes for the Rockefeller Center Management Corporation, New York. Also in 1987, he designed the World Health Organization’s International AIDS Symbol and poster.

From 1986–1989, he was responsible for the graphic design, theming, and signage for Franklin Mills, a retail mall in Philadelphia, Pennsylvania; and in 1988, he completed the exterior, interior, and all graphic elements of Trattoria dell’Arte, one of several New York restaurants he has designed. In 1990, Milton Glaser, Inc. was responsible for the overall conceptualisation and interior design of New York Unearthed, a museum located in Manhattan’s South Street Seaport. In 1993, he designed the logo for Tony Kushner’s Pulitzer Prize winning play, Angels in America. The list goes on and on.

You may have noticed, that these articles are based on a survey titled ‘most influential designers working today, a fact contributory to Glaser’s astounding career and performance. The very duration of his work and influence. Glaser still works today on massively high profile projects including Target Corp and Brooklyn Brewery, Milton, today is 84 years of age, still adding to his ever-expanding portfolio of work spanning almost six decades.

Milton Glaser Posters

Next week is going to be a difficult one for me, David Carson. All will become apparent.

I’m going to work, in reverse order, through these top ten designers and establish just what it is that makes them so damn great and more importantly display some of their best works.

Who is Paul Sahre?

Sahre works regularly as a book cover artist and illustrator for the New York Times, however, this does not stunt his client list which includes; Academy of American Poets, Sundance Channel, This American Life, The New School University, The School of Visual Arts, Soho Repertory Theatre, Times Square Alliance, Abrams, Marvel Comics, Knopf, Little Brown, Beacon Press, Vintage, Simon and Schuster, Scribner, Farrar Strauss and Giroux, Penguin Putnam, Aids Institute of New York, Not In Our Name, Verve Records, Luaka Bop, Newsweek, Time Magazine, New York Magazine, Good Magazine, Saturday Night Magazine, Metropolis Magazine Seed Magazine, Maclean’s Magazine, T Magazine, The New York Times Magazine, The Washington Post, Esquire Magazine, The Society of Publication Designers, among others.

Sahre is the sort of designer whose work becomes one with its medium, a silent, unnoticed art if you will. Hundreds of images we consume and pass us by every day are designed, created, illustrated by guys like Paul Sahre. That book cover that jumps out at you on the tube, the weird images that appear next to articles in the paper and the pieces of design that have become one with their environments like stickers on street signs and comedic illustrations in novelty coffee table books.

It’s difficult to speak about Paul Sahre’s work without mentioning the sheer volume of it, since he established his Manhattan studio in ’97 above a Dunkin’ Donuts, he’s churned out hundreds upon hundreds of different pieces of work that feature on a vast array of platforms.

Sahre, like many of our influential designers, uses his skills to inspire and educate, teaching graphic design in New York City’s School of Visual Arts. Let’s take a look at some of his works:

Paul Sahre Book Covers

You may be thinking: “Is this a top ten list of influential graphic designers who work out of New York?” Well, no it isn’t, but next week we have Milton Glaser, the guy who designed the famous I ❤️ NY logo/t-shirts/every typical piece of memorabilia that’s sold kerbside in Manhattan. Realising the risk of that sounding like a negative comment, I should mention; the man’s a genius. Tune in next week.

I’m going to work, in reverse order, through these top ten designers and establish just what it is that makes them so damn great and more importantly display some of their best works.

Who is Michael Bierut?

Like many graphic designers on the list, Bierut is on the receiving end of multiple awards and recognitions with over a hundred to his name, though reeling off a typical list of trophies isn’t the aim of these articles. We want to find out why and what lifted our best designers to the heights of success and hopefully, we can see this through their work.

Bierut himself accredits his achievements to pure passion and hard work, recalling that, in the early stages of his career at Vignelli, he would tuck his wife into bed after a long days work only to return, 3 blocks down, for the nights shift. A relentless stint that went on for four whole years.

Now a partner at Pentagram New York, Bierut has built up a client list including; Benetton, the Council of Fashion Designers of America, Alfred A. Knopf, the Walt Disney Company, Motorola, MillerCoors, Princeton University, Yale School of Architecture, New York University, the Library of Congress, the Museum of Sex, and the New York Jets.

He is also a design educator and serves as a senior critic in graphic design at the Yale School of Art, served more than a decade as the national president of the American Institue of Graphic Arts and is a co-editor of Design Observer.

It would seem that Bierut has a sort of graphic design OCD, his partner at pentagram illustrates this by saying; “Michael has a brain that is a giant compendium,” Scher says. “He absorbs and retains everything and pulls it out at the appropriate moment and uses it to its maximal effect. Mention a movie and he quotes from it, maybe he enacts a little scene. Mention a book and he recites a passage and relates it to three other books that have the same spirit, that you haven’t read, but you will now. Mention a designer or architect and he knows the most recent project they’ve completed and their first project, how they’ve changed, how they haven’t, who influenced them, who they influence, and he sometimes will make a little sketch or diagram of their work. There isn’t a day that goes by when I haven’t asked Michael what he knows about anything and what he thinks about everything. If knowledge is power, then Michael Bierut is the most powerful person in the entire design community.”

Hard work and knowledge then are clear common themes in Bierut’s story so let’s have a look at what you can achieve with these ‘powers’:

Michael Bierut Poster Designs

Next week, we’ll be taking a look at Paul Sahre!

I’m going to work, in reverse order, through these top ten designers and establish just what it is that makes them so damn great and more importantly display some of their best works.

Who is Charles S. Anderson?

When Anderson describes his design philosophy, he talks about modernism and how it can be interpreted in an over-minimalistic way, resulting in sterile, uninteresting works. Instead, Charles S. Anderson Design Co. pride itself on humanized work, character and researched conceptual ideas. Not anti-modernist, nor post-modernist, simply a logical and justified interpretation of modernism.

“We believe that truly great design is about making something that adds richness to people’s lives; something inspiring, memorable, funny, abrasive, ironic, elegant, ugly, human – anything but uninteresting.”

Charles S. Anderson

These values, ideals and aesthetics shine through in their work. There’s almost always a humorous or human element present, an element that doesn’t distract from the purity of the message but adds to it, this balance, which they consistently achieve, is what elevates their work from great to inspiring.

Charles S. Anderson logo designs

Charles S. Anderson Poster Designs

It’s not difficult to see how Anderson made the list, next week, we’ll look at what makes Michael Bierut so damn great.

“The real message behind most of my work is ‘question everything.”

Shepard Fairey

His story is that of a true artist, son of typically conservative American ‘prom queen’ and ‘captain of the football team’, he rebelled at a young age, got into punk rock and skateboarding and entered into an art form that, quite typical, perspective. His success with Obey and the Adre the Giant street-art sticker was one of surprise, even to himself, he said:

“At first I was only thinking about the response from my clique of art school and skateboard friends. The fact that a larger segment of the public would not only notice, but investigate, the unexplained appearance of the stickers was something I had not contemplated. When I started to see reactions and consider the sociological forces at work surrounding the use of public space and the insertion of a very eye-catching but ambiguous image, I began to think there was the potential to create a phenomenon.”

This phenomenon which Shephard regularly relates to Heidegger’s theory of phenomenology is one that I like to think of as a reinterpreted narrative, almost a reminder from the history of the roots of commercial art and graphic design.

Fairey discovered that repeating an image all around New York City generated a public effect, this, a simple piece of street art, at the time caused people to question its meaning and ultimately caused enough appeal to lay the foundations of a hugely successful clothing brand.

What had originally been a piece of street art has become an unintentional campaign for commercial success. Just as artists in the late 1800′s had discovered how their craft, their skills could be turned into a more communicative and commercial cause.

“The sticker has no meaning but exists only to cause people to react, to contemplate and search for meaning in the sticker.”

Shepard Fairey

Interestingly, Shephard repeated his artistic experiment in the theory of phenomenology again later in his career. A strong supporter of the Democratic party and subsequently Barack Obama’s presidential campaign, Shephard created a piece of street art to be pasted upon walls, stuck to street signs and repeated all over the internet which supported Obama’s cause. The campaign was not initiated by Obama nor his party but it was a huge success for which, the former president of the United States thanked Shepard Fairey:

“I would like to thank you for using your talent in support of my campaign. The political messages involved in your work have encouraged Americans to believe they can change the status quo. Your images have a profound effect on people, whether seen in a gallery or on a stop sign. I am privileged to be a part of your artwork and proud to have your support. I wish you continued success and creativity.”

Barack Obama, February 22, 2008

After hearing all of that, it’s not at all difficult to understand why Shepard Fairey has been named the 8th most inspirational graphic designer working today.

Shepard Fairey and his work are genuinely inspirational both in their style and application. There are a lot of quick-to-the-trigger internet types who will dismiss the value of his work, mocking Obey and its fan base. These people simply do not realise how the simple hard work of one idea has accumulated so much success and how that message is essentially a philosophy by which most could live by and significantly improve their lives…question everything.

I’m going to work, in reverse order, through these top ten designers and establish just what it is that makes them so damn great and more importantly display some of their best works.

Who is Chip Kidd?

Kidd’s life story may at first seem to encapsulate the very opposite of what we expect from an artist, over the last 27 years, he has risen through the ranks at Knopf from Junior Assistant to Associate Art Director, the sort of career ladder climbing often entirely dismissed by graphic designers in favour of an idealistic bohemian wanderlust type journey through life’s experiences.

Though that’s not to say he hasn’t ticked some of the arty boxes contributing toward the quintessential designer story. He has received a; National Design Award for Communications, the Use of Photography in Design award from the International Center of Photography, “And a bunch of other stuff” as it states on his website. He also works out of New York City, as do the majority of this top ten list.

His work has been described as “a revolution in the art of American book packaging” which is reflected in his client list which includes; Amazon, Doubleday, Farrar Straus & Giroux, Grove Press, HarperCollins, Penguin/Putnam, Scribner and Columbia University Press.

The man himself is typically eccentric and has the sort of character that is endearing yet polarises personal judgement. Though he has worked on book packaging for a range of genres it is clear that his true passion is with the comic book medium. Let’s take a look at some of his most famous works: (bearing in mind, when Kidd first started at Knopf, he was churning over 75 covers a year so we’re clearly not even going to scratch the surface).

Chip Kidd book cover designs

“When trying to recreate one of these creatures, all anyone has to go on is bones, right? So that was the starting point…Not only was the drawing integrated into the movie poster, but it also became the logo in the film for the park itself…Ultimately, I think it’s safe to say that the Jurassic Park T-Rex became one of the most recognizable logos of the 1990s…[For the sequel], the solution was to take the original art and use it in a different way. There was no need to redraw anything.”

Chip Kidd

“An epic story of one family’s struggle to survive in the heart of the world’s greatest city at this most symbolic of eras, I knew that it had to convey the sense of one grand epoch ending and giving way to the next. The result is both familiar and futuristic.”

Chip Kidd

“I was touring for the paperback of Dry. And I was in an airport bookstore, looking for something to read on the plane. I noticed that the store had only one copy of Dry on the table, and I thought, that’s probably a good sign. And as I was standing there, a woman picked up the book, looked it over, and brought it up to the clerk. She said, “Excuse me, do you have another copy of this book? This one looks like it got all wet.” The clerk said, “No I’m sorry. All of them were wet like that.” So the woman PUT THE BOOK BACK and left the store, frowning. I felt so smug and satisfied.”

Chip Kidd

“The Wind-Up Bird Chronicle was the most ambitious and intricate design for a work of fiction I’d ever attempted…While I usually loathe to go so literal with title and imagery, the idea was to make the device on the jacket so relatively large that it can’t be perceived as a whole when wrapped around the book and so becomes completely abstracted.”

Chip Kidd

Chip Kidd’s style is outstandingly bold, prominent and undoubtedly his own, he certainly deserves his place on the list. He also happens to be quite hilarious, check out his Ted Talk on book cover design.

The hilarious art of book design | Chip Kidd

GMB Site

GPB Site

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Who is Sean Adams?

Sean Adams is the Chair of Undergraduate and Graduate Graphic Design at ArtCenter College of Design, founder of The Office of Sean Adams, and Burningsettlerscabin.com.

Co-founding AdamsMorioka in 1994, being recognised all the big competitions and publications including; AIGA, The Type Directors Club, The British Art Director’s Club, and the New York Art Director’s Club and building a client list including; ABC, Adobe, Gap, Nickelodeon, Sundance, Target, USC, and The Walt Disney Company definitely contribute toward Adams’ success and reputation. But now all that wordy stuff is out the way, let’s take a look at some of his and his company’s work.

We are very strict about quality, presentation and content, but, of course, there is always the AdamsMorioka touch of fun.

Sean Adams

It’s clear to see from AdamsMorikoka’s work that there is a certain consistency in style, a style that is frequently emulated and encapsulates what we think of as ‘graphic design’. If someone were to ask for something typically ‘graphic-design-y’ the resulting work would most likely present itself very much in the AdamsMorikoka style.

GraphicRiver and numerous other user-contributory design template sites are flooded with variations on the style and it works, it’s clean, corporate, inoffensive and visually pleasing.

If you’re interested to see how we’ve been influenced by famous designers take a look at our Web design service page.

What is Metadesign?

Every now and then the creative industries throw a new word at us, some people look around for its definition, some make assumptions and define it for themselves, personally, I’d like to think that new terms are both pre-defined and are ever-evolving thus whatever I write in terms of its definition now could be different, even to me, with time. Anyway, meta-design put simply is: The framework or design ideology concerned with creating social, economic, political or technical systems for the greater good through the collaborative methodology. Or in layman’s terms: Designers get together and develop ideas that challenge current society or offer a newer, easier, healthier or better way for people to live. So, design is not for monetary benefit, not for fame or glory but for the greater good of the planet and the human race.

Metadesign and Politics

‘Metadesigners’ believe that the current system in which we live, the way that we make decisions as a society, the way big issues are dealt with is fundamentally flawed. For example, a government whose primary objective is to raise figures such as GDP cannot have concerns with overpopulation or the environment as manufacturing would raise GDP but lower environmental standards, more people would result in more things being purchased but raise concern as to overpopulation. One can draw the conclusion that governments are disconnected from the real issues, concerning themselves more with figures and statistics. These are all common opinions that cause many different political and social effects, some disagree entirely, some become angry and some want there to be a change. This notion is what forms the vast array of different political leanings. But could we design new systems, new ideas that offer a better solution? Creative collaborations are cropping up all over the world to generate new ideas to shape the future.

Take a look at metadesigners.org for more articles about metadesign.

Next week, Bobo’s Beard is being exhibited in London at the D&AD New Blood festival, the project is in the running for ‘best in show’ so we’d like to encourage anyone to come down and show their support.

“Step through the doors of London’s most exciting creative agencies and studios to find out what really goes on inside. From talks and tours to screenings and pitches”

The huge design festival is open to the public on Wednesday the 3rd and Thursday the 4th of July 2013, it features the best up and coming design and advertising work the country has to offer.

Bobo’s Beard is a story set in the beard of a roaming giant, 500 million years in the future. An entirely new animated, multi-language, children’s comedy- adventure series with firm moral foundations. It was created as part of a meta-design project. The characters, worlds and narrative are designed to emphasise the value of language, communication and open-mindedness.

The unique way in which the story and characters were generated lay the way for something truly original. Rather than asking ‘How can we create a great kids TV show?’ Bobo’s Beard answers the question: ‘How can we use media to better our society?’ This fundamental idea has influenced an honest and genuine narrative-based graphic output.

An opportunity to present the idea to CBBC is what encouraged the development and production of Bobo’s Beard. CBBC are currently considering the developed concept as well as some top-secret on-demand streaming services. We hope that the exposure at D&AD will assist the executives on the respective commissioning boards to make their decision. So please come along and show your support.

Visit the D&AD site for more information or check out our Video Production service.

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