Inside Freelance Design

Issue #34
September 21, 2006

Welcome to Inside Freelance Design (IFD), your free, bi-weekly e-letter from American Writers & Artists Inc. Every other week, you can receive this special alert with secrets, tips, and insights from AWAI's graphic design pros to help you improve your skills and reach your goal of becoming a professional graphic designer in the fastest time possible.

IN THIS ISSUE:

Rob Davis Shares His Secrets for Winning Magalog Design
Quick Tip: How to Use Clip Art for Design Success
The IFD Mailbag
EXTRA! EXTRA! News and Job Opportunities

Control-Beating Secrets from Magalog Master Rob Davis
By Kammy Thurman

Rob Davis has no formal education in direct-mail design. He's completely self-taught. Yet he's been working with top copywriters and setting records with his magalog designs since 1994.

Today, he shares his secrets with us.

IFD: How did you get started in design?

ROB: Pretty much by accident. I majored in banking and worked in it for a while. Then I moved from Hawaii to Vermont, where my brother lives. I was down to my last $10 when I got there, so my brother brought me into his business – marketing for a mutual fund company.

He showed me how to write copy, and I learned as I went. Every day, we spent an hour studying and discussing direct mail together. Over time, this gave me a pretty good foundation.

We created the promos from scratch, which meant designing them, too. While I was learning copywriting, I was also learning PageMaker. Design came to me a lot easier than writing, so I switched over completely.

IFD: When did you decide to specialize in magalog design?

ROB: Almost from the beginning – back in the early 90s, when it burst onto the scene as the hot new format. I liked the format instantly, because it offers a lot of real estate to make the sale. And it really pushes designer creativity, while sticking to solid DM rules.

IFD: How do you approach a magalog project?

ROB: When clients hire me, they're looking for something completely fresh to grab attention and beat the current control.

That's not likely to happen if I spin off of designs they've already done, so I don't do a lot of outside research. I don't want to be heavily influenced by other work. For the research I need, I spend time with the client, asking tons of questions. I spend lots of time reading and analyzing the promo copy. Sometimes the copywriter has specific instructions, but mainly I study the copy.

IFD: What's your routine for tackling a magalog project?

ROB: I read through the copy several times, highlighting key words and phrases to make sure they get emphasized in the design. From there, I lay out a template then flow in the copy.

I spend the bulk of my time formatting the copy until it stands alone without graphic elements. Once I'm satisfied with that, I create sidebars and put in placeholders for photos. Photos and other graphics come last, because I want them to be an almost invisible support for the copy being showcased.

IFD: How can a new designer break into magalog design?

ROB: First, make sure you're up to the task. Magalogs are much different from standard #10 packages. They take a lot of thought and commitment. But they're very rewarding from both a creative and financial standpoint.

Next, get on the mailing lists of companies that use magalogs. Study what they're mailing. Then, get in touch with a few of their marketing departments or with copywriters who are doing magalog copy. Ask if you can send them your samples. Don't worry if you don't have magalog samples, send what you have. Marketing directors will recognize your ability even if you send other types of designs. If your work is clean and done well, they'll see it.

Another idea: Take a #10 package that they're mailing. Turn it into a magalog and send that as a sample. And don't just show it to known magalog mailers. Show it to other clients and prospects who might benefit from testing this format – even if they've never used it before.

IFD: Any other advice to share on creating control-beating magalogs?

ROB: Once you land that magalog project, make sure your design is flawless before sending it off to the printer. Fixing a magalog at print stage is very expensive, so it's got to be technically sound before it ever leaves your computer.

Double-check to make sure …

graphics are all in CMYK instead of RGB
shadows overlap tightly
you've used good, reliable fonts – not cheapies that print poorly
colors are all set on “process”
sidebar backgrounds aren't too dark for the type
clipping paths on photos are set correctly so you don't have a white “halo” around the photo

It's a lot to think about. But if you turn in thoughtful, clean designs, you'll have work that'll make you proud and put you in high demand.

[Ed. Note: For more insider tips on turning magalog design into a lucrative career – bringing you $5,000 to $15,000 and more per project – you'll want to be there for Rob's presentation at this year's Graphic Design Success Bootcamp: http://www.awaionline.com/graphicsbootcamp/]

* * * * * * * * Special Announcement * * * * * * * *

Last Thursday, Master Designer Lori Haller held a free teleconference on the 2006 FastTrack to Graphic Design Success Bootcamp.

During the call, she gave listeners all the details of this year's exciting new program, and answered all of the questions sent in by AWAI members.

In case you missed it, we've made it available for you to download at:
http://www.thedesignerslife.com/downloads/bootcamp06/

QUICK TIP: How to Use Clip Art Like a Pro
By Kammy Thurman

As with everything else, there are trends in the design of direct-mail packages. For example, flashy, 4-color magalogs were THE thing for quite some time – but now we're seeing a lot of 2-color jobs again. Same with graphics. For a long time, flashy photos were “in” – but now clip art and other illustrations are back in favor with Master Designers like Lori Haller ... and with good reason.

When used properly, clip art can add punch to your design, help emphasize the sales message, and communicate it to your prospect. And clip art is often royalty-free, so you can use it over and over in many different designs.

Here are 5 strategies to help you use clip art effectively:

1. When choosing clip art, keep your audience in mind. Take into account their age, gender, race, and any other factors that may affect how they view the illustration and your design as a whole.

2. Avoid widely distributed clip art, such as that which is distributed through Microsoft Office.

3. People used to think the use of cartoons destroyed an organization's credibility, but that idea is changing. They actually create an approachable image. And direct-mail experts say that cartoons get envelopes opened. Just make sure they're appropriate for the design, the company, and the purpose of the mailing.

4. Quality varies from one supplier to another, so before you buy a clip art collection, get samples of the work and check the copyright provisions. Some suppliers don't let you use their collections for commercial purposes.

5. As always, avoid the trap of using too many illustrations. Use only as many graphics as necessary to support your message.

ATTENTION BOOTCAMP ATTENDEES:

We have more exciting news for you!

Later today you will be receiving a special email from us giving you details on how you can earn $500 – before you even come to Bootcamp!

Watch your inbox for all the details…

FROM THE IFD MAILBAG…
by Kristin Schwarz

Let's e open today's Mailbag with a question that is almost certainly on every new designer's mind.

Hi IFD Friends,

I've started the Graphic Design Success program, and I'm excited about my new career. But I get moments of doubts when I think, “Who would ever hire me without a university degree? Can I really compete with graduates from prestigious art and design schools?”

And I'm not really technical. Do I have a chance against all these young computer whiz-kids? I want to be really positive about my new career path, and I guess I am looking for some re-assuring words.

Regards,
Linda

Dear Linda,

Starting a new career is exciting and (more than a little) scary at the same time. It is normal to feel nervous about it.

Can you compete with design school graduates?
Let me put your mind to rest. The answer is ABSOLUTELY!

In fact, you have an advantage over them. We hear from many direct mailers who prefer freelancers who were not trained in Madison Avenue design and are not fine-arts majors. They often have to be “un-trained” in their desire to over-design and prettify – when the real design challenge is to make the copy easy and appealing to read ... and make the sale.

What good is an artsy design that doesn't have the visual hierarchy you're trained to develop in the Graphic Design Success program? The piece will be confusing to read, so the prospect quickly gets frustrated and tosses it. A cleanly designed, easy-to-read sales letter may not look as pretty ... but it gets results! That's why DM clients will hire you.

Can you compete with young computer-whiz kids? Same answer applies: absolutely!

What's important to clients isn't how many computer tricks you know, it's how well you apply the proven DM design techniques that you're learning in the GDS program.

Don't worry, Linda. You'll do great!

Dear AWAI,

Is there a more accurate way to position ruler guides in my layout program than by just dragging them into the document? When I select an object and I want to move it with the arrow keys of my keyboard instead of my mouse, it moves in increments that are bigger than I want. Your feedback is appreciated.

Thanks,
Lauren

Hi Lauren,

Here's how to position ruler guides more accurately. Select the guide with the Selection tool and type the exact position on the X- or Y-axis in the Control palette. Then hit the Return key.

Most layout programs let you change the increments of your curser in the Preference menu under Cursor Increments. You can reduce the increments to make the selected object move in minute, hairline degrees.

That's it for today. Have a productive and successful couple of weeks.

Kristin

[Ed. Note: If you have a question or comment for Kristin, please send it to:
insidefreelancedesign@awaionline.com, Attn: Kristin Schwarz.]

EXTRA! EXTRA! News and Job Opportunities

GRAPHIC DESIGNER -- The Princeton Review, a national provider of private tutoring and other educational services, is seeking a graphic designer to join their marketing team. You'll help to brainstorm and develop print and web materials that support the Princeton Review's corporate brand. You must be skilled with Adobe's design suite and knowledgeable of html, cascading style sheets, and Dreamweaver. Send your resume and cover letter to resumes@review.com.
GRAPHIC DESIGNER -- Mines Press, a new retail printer in New York state, needs a part time graphic designer to work on a freelance basis. You must know Photoshop, Illustrator, and Quark. Send your resume to jmines@minespress.com.
GRAPHIC DESIGNER -- Batanga.com, a provider of music services to a U.S. Hispanic demographic, needs a junior graphic designer to work on print and web projects. You'll need excellent communication and project management skills. You must also know the Adobe design suite. The ability to speak Spanish gives you an advantage. Send your resume to Sarah Atkinson Linville at sarah@batanga.com.

COMING NEXT ISSUE:

The Dangers of Playing It Safe
Quick Tip: Conquering Quotation Marks for Effective Design

* ABOUT INSIDE FREELANCE DESIGN *

Inside Freelance Design is a FREE bi-weekly newsletter from American Writers & Artists Inc., available to AWAI members and friends.

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Issue #34 September 21, 2006