Rima Design

Wedding stop motion animation…

treforsmith@rimadesign.com — Fri, 18 May 2012 10:19:39 +0000

They’ve done it again… One of our designers (Colin) and his soon to be wife (Li Yi) have created yet another brilliant stop motion animation.

Those of you planning your own wedding, this will either inspire you or make you extremely jealous!

How to manage perfectionists…

treforsmith@rimadesign.com — Wed, 16 May 2012 10:11:08 +0000

Undeniably the creative world is littered with self-titled perfectionists, with many thinking the label reflects well on them. However, if they were true perfectionists it would be a huge weakness, as quite simply they’d struggle to ever get anything done.

We’d like to think every member of our team is a perfectionist (as we’re sure they do too), albeit at a healthy not obsessive level. But, like most things in life, there’s always one… We’ve been able to manage our particular perfectionist effectively, ensuring we both reap the rewards of their somewhat fixated attitude.

Here’s how:

• The first goal is to try and make them aware of their perfectionist behaviour. Informing them of the negative impact their behaviour could have on their work and also on their career. But clearly this needs to be done in a sympathetic way, outlining the benefits they will experience too.

• Once they’re self aware and recognise their unhealthy levels of perfectionism (if indeed they ever get to this point, some perfectionists don’t), the task is to now continually help and advise them on changing their behaviour. This won’t be an overnight solution. It will take time and patience. Understanding the best way to give them feedback is crucial; often perfectionists are sensitive to criticism.

• Placing them in the right role/giving them the right job can help them in the beginning. They’ll be brilliant at jobs that require strong attention to detail with little room for movement. And try not to give them jobs that involve managing others. They’ll just want to do everything themselves.

• For larger more complex projects, you need to really stay on top of whether what they are doing is inline with the goals of the project. Asking them how changes/ additions that they make are relevant to the project. Sometimes you will have to be firm with them in order to move onto the next phase.

When managed correctly, you can limit the procrastination, anxieties and dissatisfactions that perfectionist’s experience. And help turn them into a real asset.

As, undeniably, perfectionists are extremely passionate about what they do and are always totally committed to the cause. It is there never give up attitude that often solves complex problems and gives rise to bursts of creativity.

Until next time…

Rima

Why time management is just as important in the creative world as it is in the corporate one. If not more so…

treforsmith@rimadesign.com — Fri, 11 May 2012 10:07:31 +0000

Unfortunately, many see time management as belonging to the corporate world, with the world of a creative often depicted as being messy and unorganised, out of which ideas are supposed to arise.

But more often than not, great ideas will struggle to find their way out of the unorganised mess.

So, there’s no doubt, time management is as important in the creative world as it is in the corporate world. If not more so…

Whilst thinking about this blog post we came across a brilliant 32-page E-book, titled Time Management for Creative People. It’s a fascinating read and we found ourselves nodding along in agreement with most things, there were even a few raised eyebrows (still accompanied with a nod to be fair).

Anyway, below are the key areas within the book that our thinking on the subject matched with.

• Prioritise work that is important but not urgent. That way you should end up with fewer tasks that are both urgent and important, these are the worst kind, as they tend to receive the most time. Yes, sometimes these tasks can’t be avoided, but over time the amount can be reduced.

• Dedicate specific time to when you’re at your most creative and avoid all distractions. You’ll know what time works best for you. A coffee beforehand will help too.

• Avoid endless to do lists. Unrealistic to-do lists create a sense of hopelessness and make you feel like you’ll never be able to finish so why bother even starting. There’s nothing more motivating then when you are on top of your work. Realistic to-do lists can help you experience this.

• Get things done by putting them off till tomorrow. If you constantly react to everything that is thrown at you, you will struggle to get things done. Sure, certain things need immediate attention. But most can be handled the next day, giving you time to plough through that to-do list!

• Don’t forget about things you need to work on that aren’t on your current to-do list. Create separate to-do lists and place them in a tray. You will then need to review your tray regularly to decide when and how you are going to tackle them. It beats that feeling you experience when someone asks you for work you’ve completely forgotten about. Or the anxieties felt from always thinking you’ve forgotten about something (often wasting valuable time in the process).

Clearly today’s creative’s needs to be organised. The goal is to manage your time effectively so that you can limit all of the distractions, interruptions and frustrations on your creative time. It’s just crazy when creative’s think that organisation is for the corporate world and see organisation as a threat to creativity.

Now go tidy your desk and fetch that piece of paper titled “To- do”…

Until next time

Rima

How many mock-ups/concepts should be presented to a client?

treforsmith@rimadesign.com — Wed, 02 May 2012 11:47:44 +0000

“Never present more than one mock-up to a client”.

It’s a view that has been widely adopted and religiously followed by many designers.

But is it as easy as that? Does this one size fits all approach really work?

The case for…

• As designers, we’re the experts, so we should know what the best option for the client is and be able to effectively communicate the reasons as to why.

• All of the designer’s effort and attention can be given to one particular design concept.

• More design options often overcomplicate things and confuse the client.

• There is a chance the client will pick (what you deem to be) the wrong option when given a number of designs.

• The client may ask for a combination of the concepts, giving rise to what is know as the Frankenstein effect.

The case against…

• For the majority of projects there will be a number of different directions the work could take, especially for larger marketing campaigns.

• Yes, as designers we’re experts. But we should not discount the views and opinions of the client. After all, they (should) know their business better than anyone else. We should give them the choice to decide on concepts.

• Often it is the client who requests a selection of mock-ups to consider. What the client wants the client gets (within reason).

Our verdict…

• There is no real need to ever present more than 2 mock-ups.

• If after having conducted detailed research (to find out what the client is looking for) it becomes clear as to the direction they want to take, then one concept is the way to go. However, the client needs to be made fully aware that this is a creative process. Detailed client feedback is required in order to arrive at the desired work from the original mock-up.

• If the client is less sure on the direction they want to take, then it is beneficial to offer them two contrasting concepts. They must both be strong concepts though. Don’t just use one as a filler.

• After having conducted the research, it’s best to let the client know how many concepts they should expect to receive. Clients often think they’re going to get quite a few concepts to consider.

• In some cases the client may dictate as to how many mock-ups they would like to see. This is really only justified when they themselves have stipulated a number of different directions they would like to consider. When a client asks to see 3/4 concepts without any real reasoning, the designer should try to educate them on how this isn’t the most effective way of doing things.

• How many concepts/mock ups provided really is specific to each designer, client and project. Over time and with experience, it will become apparent as how best to handle this important stage of the creative process.

Would love to know your thoughts on this

Until next time…

Rima

They’re popping up everywhere: Pop-up shops…But why?

treforsmith@rimadesign.com — Fri, 27 Apr 2012 10:46:03 +0000

Their rise in popularity is no great surprise. Low costs and short leases make them an attractive proposition to prospective retailers. Often it’s the young creative trendy types that take full advantage, creating gallery-like spaces to showcase their work in the hope of attracting interest from larger retailers.

But it’s not just young expiring entrepreneurs getting involved in the action. How often do you hear about famous fashion designers opening a pop-up shop for a limited time only? Or stumble across a temporary shop trying to shift last season’s stock?

And it seems every other week Selfridges launch a different pop-up shop in-store. This week, in London, it’s the turn of Marc by Marc Jacobs and a Scandinavian furniture maker called Hay. Hay? Yeah we haven’t heard of them either. But that’s the beauty of pop-up shops. It allows retailers to garner customer interest on the product/service to help decide whether or not to put something more permanent in place.

London is now also home to the world’s first temporary shopping mall. Called Boxpark, it’s located in Shoreditch and is constructed out of old shipping containers. It’s well worth a visit.

So is this the future of retail? Temporary shops and malls? We’re all well aware that the high street is not in great shape. Without coffee shops, what else would be on them? Oh yeah, forgot…charity shops.

Councils such as Ealing can see the potential in them. An idea they have is to “invite students to set up pop-up shops in vacant units to work with young people and show investors the benefits of bringing ‘something unique’ back to the high street”.

Surely it has to be the way to go. The high street has to be more flexible to the needs of shoppers and to the changes in the market. And more helpful towards young, creative start-ups. Pop-up shops can help satisfy all these requirements.

Oh and how many dedicated coffee shops do you think there are in Boxpark? Nope, there’s just one, and it’s a small independent. That’s almost as refreshing as that tall iced mocha from that well known green coffee chain…

Until next time…

Rima

The creative meeting…

treforsmith@rimadesign.com — Wed, 25 Apr 2012 10:22:13 +0000

Like a good meeting, we’ll try and keep this post short and to the point.

Within the corporate world there’s an abundance of meetings. Sometimes meetings are even held to discuss future meetings…

We’d like to think the creative industry is different. But there are still times when even creative meetings aren’t really necessary.

Why you don’t need to hold a creative meeting…

If you are more effective when using the phone or email when trying to persuade clients, then use these mediums instead of a meeting. Or if it is a simple message you need to give to a client that doesn’t require conversation around it, then don’t waste time packaging it up in a meeting.

Why you should hold a creative meeting…

For us, there are four main reasons as to why you should…

To evaluate data
To make key decisions
To generate ideas
To present the outcomes of any of the above to the client.

We don’t call meetings every time we undertake the above stages. Knowing when a meeting is needed is a skill in itself and is a skill we have developed over time and through experience.

Before a meeting…

Agenda. Containing: The objectives of the meeting, who is attending (keep this to a minimum), where it is, start time/end time, and any relevant background information (also kept to a minimum).

Make sure everyone is sent one prior to the meeting and given sufficient time to not only read it, but for their mind to digest it. Rounding up the troops for an ‘off the cuff’ brainstorming session, without supplying the invited with background info well beforehand, is as close to a waste of creative time as you can find.

Also worthy of consideration is the environment the meeting is to be held in and whether the timing of the meeting will have any complications (time of day, close to another deadline, etc) on creativity. Again, over time, you will work out what works best for you.

During a meeting…

You don’t need us to tell you, that someone needs to be in control of the direction of the meeting, or that all participants should be encouraged to take part, with dominant personalities kept in check. Sorry if it sounds like reciting the first draft of that ‘stating the obvious’ section about focus groups in your dissertation. But it was in your dissertation for a reason. It’s important.

At the end of the meeting…

Make sure the meeting has key takeouts. People should be allocated follow up actions. These are called follow up actions for a reason…

By taking into account the previous snippets, you’ll not only ensure the meetings you do decide to hold are more beneficial, but you should also find them to be a great motivational tool. Simply bringing people together to discuss important issues is a great way to inspire the team.

Until next time…

Rima

Clients naughty habits…

treforsmith@rimadesign.com — Fri, 20 Apr 2012 10:26:41 +0000

Within our blog, we always speak from experience. So, whilst there were numerous ‘bad habits’ bandied around online. For us, (maybe we’re lucky) there are only five that we thought deserved a mention, in hope, clients (not ours obviously), but clients in general, take note and erase these naughty habits they have…

Assuming you have already identified the problem: Please let us get involved (early) in the diagnosis of the problem you are going to pay us (well) to answer. Solving problems usually occurs when they are looked at from a different perspective, especially when it’s from the view of an expert.

Frankenstein effect: Clients come to us with two very contrasting ideas, telling us they want something that is a mix of the two. We try to tell them that some things just aren’t meant to be put together.

Everyone’s a designer: While we all know design is very subjective. Questioning our expert choices and giving us direct orders, are habits that need to be changed. You have to remember we are the experts and should therefore be treated as such.

Unworkable additions: “I’ve just got a little bit of text I need you to add, and then we’ll be done”. What do they then send over? A massive paragraph. Come on clients, we’re designers not magicians, however much you’d like to think we are.

No brief: Clients ask us to complete a task (often last minute) but give no background as to what we are working on. Knowing such a thing as the goal of the project is very important.

Again, we don’t like stating the obvious and telling people what they already know. But communication is the best remedy for clients’ bad habits, as it is for most problems.

Until next time…

Rima…

Critiquing design: A process for clients.

treforsmith@rimadesign.com — Wed, 18 Apr 2012 09:41:49 +0000

Design, good or bad, divides opinion and always will. And of course, there’s no problem at all with this. However, there is a problem when opinions given are absent of any explanation.

“I just don’t like it,” says the client to the designer before quickly excusing himself and leaving the room.

Whilst a client’s initial, emotional reaction to the work is a very important part of the critique process, what’s more important is the reasoning behind their feelings. And it is often this part of the feedback process that the client needs help with. As, unlike the art college educated designer, the client may not have been taught how best to critique design.

The following is a short process we’d recommend clients follow when critiquing design. The need here is for the clients to not just answer the questions with a simple yes or no, but to provide reasons for their answers.

Firstly…
What is your first impression and overall feeling of the design? Here it is very much all about the initial gut feeling.

Now dig deeper…
Are the colours and fonts correct?
Are design and content balanced correctly?
Is everything there as it should be? Anything missing? Anything there that shouldn’t be?

Deeper still…
Is the design right for the audience, the medium, the project and the brand?

Finally…
Based on the answers from the previous questions, it’s now time for the all-important question: Does the design work? It is also important here to refer back to the brief, to make sure the design meets all of the objectives.

Designers are blessed with numerous skills, but unfortunately, the ability to read minds isn’t one of them. Designers thrive on constructive criticism. With useful feedback, they are able to refine a design so that it meets all of the clients needs and expectations. Thus both designer and client are happy, it’s a win-win situation.

Until next time…

Rima

How to manage those projects that creep beyond their original scope…

treforsmith@rimadesign.com — Wed, 11 Apr 2012 10:45:51 +0000

Sometimes it comes from the client: “you know what? Now I’m thinking we should add in another page here”…

Sometimes from the creative: “I had this idea over the weekend that I think would work well with this”…

Wherever it comes from, come it will, and almost with every project. Scope creep.

It would be impossible to eradicate scope creep. But why would you want to? A project will undeniably evolve as the design team collaborate to find the right solution. Any developments the design team make will have to be put to the client and often a compromise made (or vice versa). It is the cooperation between the client and the creative that creates scope creep, but it is cooperation that all good projects need. Even so, scope creep still needs to be managed, as it can easily become a big problem.

Similar to crafting a strong story, when managing scope creep attention should be given to the beginning, the middle and the end.

The beginning:

Basically, this section defines the original scope of the project. Outlining what is to be delivered, how long it will take and how much it will cost. At the very least an email containing all the relevant info should be sent to the client for signoff. But for larger projects within larger organisations often a spreadsheet is best, as there may be a number of different elements to the project, being worked on by a number of different departments.

The middle:

OK, so both the designer and the client are clear on the work that is to be undertaken. However, make no mistake, there will be changes. Some may be small so can be administered without any real mention to the original statement of work. Although, larger changes that have a great effect on the project need to be addressed. Here the designer should issue what’s known as a change order. Change orders should detail the additional work that has been done, the cost of the work and the time involved in doing it. The change order should be added to the original statement of work, it should not alter the original statement of work.

It is important that the statement of work maintains its originality throughout the project.

The end:

Here the job is to remind the client of the original statement of work and of all the additional changes. It not only shows the client the extra effort put in by the designer, ensuring the designer gets the credit they deserve. But for those difficult clients it also provides answers as to why a project was over budget or late.

Like anything, you learn from your mistakes. Reviewing the original statement of work and all of the change orders will allow the process to be refined for future work.

Until next time…

Rima

8 things to consider when recruiting for in-house creative teams…

treforsmith@rimadesign.com — Tue, 03 Apr 2012 09:51:08 +0000

Surely people still don’t believe the stigmas attached to working as an in-house designer?

To think that in-house designers are simply order takers and not involved in strategy is just plain ridiculous. So too is thinking that having one client limits creative opportunities. Or that in-house work is not as creative as that of outside agencies.

Maybe there once was a case for the aforementioned points, but not anymore. Even so, these, what can only be called ‘myths’ are still what cross the minds of creatives when they consider an in-house design career move.

So, how should in-house teams go about recruiting top talent?

Here are 8 things in-house recruiters should consider:

• First off, it’s always easier when the talent comes to you. In-house teams need to make the wider creative community aware of the work they are undertaking. Entering awards and publicising themselves within industry publications/websites are ways of achieving this.

• If you have the time, try to avoid using recruitment agencies (sorry agencies). Surely they won’t care as much as you will in finding the right employee, or have a better understanding of what it is you are looking for. Take advantage of resources such as Creative Pool and LinkedIn, after all, these are often the same resources the recruitment agencies will be using. And of course, network and make use of referrals.

• For sure, a candidates CV is important. However, we don’t pay too much attention to academic qualifications. Our interest is in the type of work they have completed. In particular whether it is within the industry sectors our clients operate in and covers the materials/platforms we predominantly design for.

• There is a need for the candidate to be a strong communicator. They will need to communicate with a range of different clients within a corporate organisation, often needing to explain to the client the elements of their work and justify the creative direction they may have taken. It is important we feel they could hold their own in a room with a number of high profile client members.

• Candidates with experience of the corporate environment are clearly preferred. However it’s more important to identify whether the candidate will fit in with the corporate culture of the organisation.

• Employers will always have the thought of ‘did I make the right decision?’ or ‘could I find someone better?’ You need to place your trust in the employee. Often it takes time for the employee to familiarise themselves with such things as the corporate environment or brand guidelines. With us, there have been occasions where we’ve felt the employee just wasn’t getting it. Then, all of a sudden, everything clicked and they became a highly regarded member of the team. Remember, it takes time.

• Ensure you build up a good network of freelancers. Often what happens is when workloads increase in-house recruiters panic and employ people too quickly, who unfortunately fail to fit the bill. Having trusted freelancers you can turn to when workloads dictate can be very helpful. Also, recruiters’ panicking is often as a result of poor management. Large-scale in-house work would normally have been discussed and planned well in advance, due to the clearance it needs to obtain from high-level management. So the recruitment process can start when talks of the possibility of work are in process.

• One of the biggest things we look for in candidates are their values, both personal and professional. Yes, identifying the candidates values in an interview situation may be difficult, but we feel the candidate will show glimpses of their true colours the deeper you dig and the more comfortable you make them feel. It goes without saying, second interviews are a must.

So for us, if we can find a candidate that has design experience in a relevant area, is a strong communicator, has the personality that we deem will fit our clients culture and shares our company values, then we will no doubt experience the one thing that should not be underestimated. The gut feeling. When we experience this, we normally know we have just found our newest team member.

Until next time…

Rima