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We thought about producing a Kepler Associates newsletter but then decided that this is a more efficient delivery system. From time to time—every few weeks—we'll post original articles or lists of tips designed to help you discover new writing, graphic, and presentation solutions. In the belief that improved communications techniques and practices benefit everyone, we urge you to copy and distribute this material for your own use or to share with others.

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Operator and Fruit Baskets: Some Ideas on Communicating with a Designer

by Thomas A. Kepler

Everybody has played it at some point—the game of Operator. You remember how it goes: everybody gets in a line and the first person whispers something to the second. The second whispers something to the third, and so on down the line. By the end of the line, a benign phrase such as, "I saw Mickey Mouse at EPCOT," can turn into such gibberish as, "I wear dickies, blouses, and ascots."

This is probably not the message the first person in line had planned to send to the last (although to be sure you'd have to ask him). The same phenomenon often takes place within the relationship between designers and their clients. Whether the client is one person or a team of 20, the Operator theory of communication can cause only confusion as the association moves along.

As the publishing industry becomes increasingly diverse, communication between team members becomes essential. If even the smallest of misunderstandings is left unresolved, it can snowball into a totally different (and usually unwanted) end result for the project. Most designers certainly know their end of the business, but by knowing how to express your needs and ideas clearly, you can help your designer create the product you envisioned. Here are a few ideas you can take into your next discussion with your graphic artist, art director, or graphic designer.

Plan ahead.

Before each discussion, organize your ideas. If the project you're working on is part of a series, supply the designer with specs, mockups, or other pieces in the series. If it's a reprint of a previous piece that you can't stand, give the old piece to the designer with a big red X through it. In simplest terms, any bit of information helps and the more, the better. Thumbnail sketches, examples of other printed pieces you like, color concerns, and general ideas of a feel (i.e., modern, retro, fifties, comic-book, classy, refined, blue, not-so-blue, etc.) all give the designer a range of ideas within which to work. And don't avoid making thumbnails because you don't think you're as "graphically minded" as your designer—sometimes a very abstract sketch can give a designer a very specific idea of what you're looking for.

When making alterations, be specific.

It's the designer's job to give you what you want. Once you see the first draft of your project, you'll probably have some changes. If you don't, you can expect a fruit basket from us at the holidays—we love clients like you. But let's assume that you do want to do some tweaking. Try to make your changes as specific as possible. I know of an art director who received a critique consisting of two words: "butt ugly." The person who wrote it probably felt better, but it was of little constructive help when the art director sat down to make her changes. Be critical, but be specific. And while we're on the subject, it never hurts to tell your designer when you do like something; you just may get another fruit basket out of us.

Remember: computers, though cool, aren't magic.

The invention of the automobile means you can get from Chicago to New York quite a bit faster than walking, but it still takes 20 hours (18 if you're sneaky). It's the same when it comes to computers and desktop publishing. Understand that although your designer has a great deal of time-saving equipment, it still takes a certain amount of time to complete any given task. This is not to say that you shouldn't voice your time concerns—your designer will do everything possible to meet your needs. But if your designer needs 10 hours for a task, try to work with him and expect it in 10 hours (or eight if he's sneaky).

Be willing to bend on your copy.

There is a basic Murphy's Law type of rule that goes along with typesetting and design: perfectly written copy will not fit into the perfect space set aside for it. In most cases, the written content of your printed piece is going to be more important than the design. But if you are writing the copy for the piece, try to keep in mind a few places where you can add or delete a line. This will help your designer fit your copy into his layout and produce a better end product. The designer and the copywriter are a team—something too often forgotten as deadlines draw near. If you can bend a little for your designer, your designer can bend for you. And you will both be happier with the end result.

Conclusion

The designer's toughest job is not design; it's combining a client's abstract ideas into one cohesive piece. The less abstract the ideas, the better equipped the designer will be when it comes time to implement them. And you're more likely to see all of them used to your satisfaction. To paraphrase a tired old saying, the three keywords to working with a graphic designer or an art director are communication, communication, communication. The best way to ensure that you get what you want from a designer is to tell the designer what you want. Simple, right? If you can do this clearly, efficiently, and usefully, you're well on your way to the fourth and fifth keywords to working with graphic designers: Fruit Basket.

Reprint permission granted only with the following notation: "Copyright © 1999 by Kepler Associates, 7700 N Eastlake Terrace, Chicago IL 60626. Reprinted with permission of Kepler Associates, 773/761-1858, e-mail jkepler@keplerassociates.com."

Previous Articles:

A Primer for Proposals: The What, Why, and How of Successful Proposal Writing by James Kepler