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Join illustrative designer Von Glitschka as he deconstructs the creative process to teach you how to develop and create precise vector graphics. The course begins with an overview of his methodology for design and drawing—analog methods that are vital to digital workflows. Next, discover how to prepare yourself and your client for the project by defining the scope and expectations early on. With the creative brief ready and ideation explored, Von jumps into sketching, refining, and creating vector graphics through simple build methods. He continues to art direct the work and conducts digital and physical presentations of the final designs. The last chapter includes some workflow enhancements designed to save you time and conserve your creative energy for future projects.
Whether you're presenting your designs in person or virtually, you need to establish a standardized format for delivering your ideas to a client. You don't want your medium to overpower your message. You want your design to be the primary focus. Let's take a look at the formatting I use on my own projects. I'd like a minimalist approach when it comes to presenting my designs to my clients whether it's a logo design or in this case a graphic for a BMX company.
The design is the focus and there is no distraction. As you can see here, it's a lot of white space with my design being the primary focus. I have a call out in the bottom right-hand corner that includes my branding, copyright information, because at this point the client is just paying me to do explorations, they don't own my explorations unless they decide to move in that direction. So I think that's important to include on it. But it's minimalist, it's very small and it keeps the focus on the design but I'd definitely call out that what design this is.
So when we communicate which direction they like they can reference that and I know which one they are talking about. So this was Design number 1 for this project, the skull design. This is the second one. Once again, I'm showing them a variety of styles, it's on the same template though, and the only thing that changes regarding the template is just the callout for the specific design. Here is the third one. This one is more of a kind of a tattoo feel, a Senor Skully, if you want to call him that.
And here is another one. This one is with wings adding a different stylistic direction, more horizontal than vertical. And the one that we've seen being built out in this course, this is ultimately the skull that they are going to go with. So this is how I present the ideas. I keep the titling simplified, I keep everything simplified. I like to say, KISS everything, Keep It Simple Stupid. When I send these off to clients, I send them as PDF files because it's universal, whether they are on PC or Mac they can almost 99.9% of time open a PDF file and it makes the file sizes a lot smaller and that way they can print them out on their end if they need to show them to other people a lot easier.
So that's how that works. But in the course of presenting concepts, color communication can have problems at times, and so I want to show you one other project where I still use this template but I had to take a slightly different approach because of color communication problems. So I'm going to switch files here, and we're going to go over to this one. This was MFC Roasters, it's a coffee company out of Australia and MFC stands for My Favorite Coffee.
And this was the branding that they settled on, and so at this point in my communication with the client, it came down to accurately communicating colors with them, and they shared with me what colors they were looking for and I put those together. It was a dark brown and a nice kind of cream color and a warm gray, and that was going to be the established brand color. So I showed them this comp of their final mark in that context, in that color context. I also put together or what I call a brand pattern just to show them a potential of what we could do on the bag design for their coffee.
And this is where the communication problem kind of came out. When he got back to me he goes, I like the pattern but I don't like the purple color you're using. The thing was I wasn't using any purple color, it's exactly what you see here. So I knew something on their end wasn't coming through right and then it dawned on me that because I built these digitally and I sent them a PDF file that it wasn't reading accurately on their end. So sometimes when that happens, the easiest thing to do is to simply save out these comps, be it the logo comp or this brand pattern as a JPEG.
And so I sent that JPEG off to them, the same size, utilizing the same template just in the JPEG format and that fixed the display issues on their end and the client loved it. So you just have to kind of be aware of that as much as you can upfront, ask questions, but when you're dealing with a large agency or a design firm, color communication isn't is big of a problem as it is if you're dealing with a small-business owner. Because you'd have no idea if their computers are calibrated, so usually when I'm working with the small business I tend to lean towards JPEG because it removes all that guesswork.
But if it's for an agency or an ad firm or larger design firm then I usually use PDF format. Too many designers over think presentation and this is one reason why it may intimidate them. So I encourage you to keep the whole task simple. Don't overcomplicate communication of your design with your clients. Let the design speak for itself. You've invested a lot of creative energy developing these designs, so let your well-crafted illustrative design be the persuading factor in your presentations.
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