Don’t get me wrong, there are times when a formula solution is perfectly acceptable. Not everyone can afford the time and expense it takes to create a unique approach. As long as the client knows they are getting a formula solution to their problem, that’s fine. But even then, if we apply the same look and feel to the solution, we lessen its impact.

The truth is, the sum of a truly creative equation is never the same. When you multiply a client’s unique product, service, or idea by its one-of-a-kind audience, and add its unique position in an ever-changing market, it is virtually impossible to arrive at the same solution for any two organizations.

Here are a few ways to keep your solutions new and fresh:

1. Retain your anonymity.

Think of yourself as a ghostwriter. The challenge is to apply your skills for communicating ideas to the client’s project without anyone realizing it—to make the transfer seamless. Remember, it’s not about the designer. Our job is to raise the stock of the client in the consumer’s eyes, not to leave them wondering who designed the client’s brochure.

2. Keep your opinions to yourself.

A client project is not the place to express your personal political views, moral opinions, or to vent a provocative sense of humor. It is amateurish to base a message on material that you know will provoke a negative reaction from a significant number of a client’s prospects for nothing more than attracting attention. Let me say that again: gambling a client’s reputation for the sole purpose of attracting attention is the sign of an amateur.

To the client: Why would you ever settle for an approach that is guaranteed to turn off a significant percent of your audience? Opinionated, provocative solutions that offer no critical advantage reveal the author’s lack of creativity and marketing know-how—whether it is small design studio or one of the world’s top ten advertising agencies.

3. Keep opening new doors.

It is difficult to discover a brilliant solution for one client and restrain yourself from applying it to the next—but that is the challenge. You come in the next morning, paint over the last solution, and start with a clean canvas. To be clear, we certainly need to apply what we learn through our successes. But the gauge of a good designer is their ability to devise different approaches to similar problems.

That said, don’t blame the messenger for the message. The reason I raise this issue is because I struggle with it myself. No one is immune from the desire to grab some of the spotlight for themselves. I simply propose you delegate self-expression to the design of your workspace, to a side business for developing your own products, and to sharing your opinion through articles, books, and blogs. That you consider the proposition that day-to-day work for clients is not the place for self.

I welcome your thoughts.

“I don't disagree with your article but it doesn't address the possibility that clients may choose a designer because they have a certain look. In those cases, the client would actually be disappointed to get something different.” Dave F.

That is my point. As communications designers our product is our competency to produce solutions to problems, not to propagate our personal style. Look at it through the lens of a design studio or advertising agency. In that environment, different clients are handled by different teams of people. The organization's reputation hinges on its ability to provide a consistent level of intellectual “quality” and marketing insight, not on one type of look and feel. Certainly there is a need for creative direction, but when direction is limited by style, there's a potential problem. Chuck

“I'm thinking of a local designer I know... he does a lot of logos, icons, and infographics. His work has a very distinctive look and I think his clients choose him because that's what they want...His work could almost be classified as 'art' though, so that might be a loophole to what you were writing about.” Dave F.

[Note: Dave provided links to the site of the designer he mentioned. I'm not sharing those because this guy is an innocent bystander in this discussion. His work illustrates Dave's point well—it all has a kind of mechanical, retro feel about it.]

The infographics, to me, are illustrations—very nice ones. It is the type of illustration I might commission to incorporate into a project. I might even build the piece around that theme.

All that said, please, please, please, be clear about this. I am not under the illusion that I am the ideal designer, believe me, I am far from it. I am simply pointing to what I believe the ideal is. Chuck

“I agree that all of one’s design pieces shouldn’t look the same—to a certain extent. However, a lot of people who hire me do so because they like my design style, which has been described as “clean.” I’m not saying I’m above putting in flourishes or elaborate borders etc. if warranted. But if someone hires me based on my portfolio, I assume that they like the cleanliness of my work, and would be disappointed if I present them with something that looks like it came out of a mid-90’s WIRED magazine.” Patty W.

To me, “clean” is not a style issue, it is a foundational principle. If we were building houses, for example, we would develop and understand certain principles that would apply to all or most of the houses we built. The foundation would look the same but the architectural style of the house, the color it is painted, and so on would change from project to project. Chuck

“Over the years I have had many conversations with young graphic designers, usually still in school, who really didn't understand that their only job is to help their client communicate to his target audience. It isn't about their 'art' or their need to show off their Photoshop skills. I agree that as designers we should be invisible, put our ego aside, and help our client shine in the marketplace.” John H.

“I had this very debate with a person who is just starting out in design and he told me that design is a matter of personal taste. Sure, when you are doing your own home or landscaping or buying furniture, but when you designing a fifty thousand dollar annual report for a client, it's not about your personal taste. It's about the client. It's always about the client.” Justin M.

“It is most likely difficult to let go of that one precious idea you had in a long time. I used to think that if I could just use collaboration of some parts from previous design, then maybe a new client would really appreciate my idea. But soon after, I came to realize that it is indeed a true challenge of a designer for each new time, start with a clean slate.” Vladlena M.

“Profoundly simple truth! I think our society is geared toward the celebrity rather than what's best for all. This mindset has affected the visual art community often fraught with Prima Dona mentality. Does anyone even practice the art of listening to others and their needs any more? You have written a "paradigm shift" for the graphic and arts that should be standard measure! Your clarification with the "ways to keep solutions new and fresh" will be pinned on my board next to my computer.” Barbara B.

“...I think that your article takes it too far, in making it sound like that the designer should have NO personal expression or inherent style of their own. I think that if you examine most freelancer's portfolios, that you can clearly see what their personal style is... and that this is a good thing and doesn't need to be avoided. There IS a part of our work that is artistic and is about our own personal style and vision...” Zoe H.

Don't get me wrong, I'm not saying a designer that fills their portfolio with personal expression is a bad person. I am simply saying they severely limit their reach. To me, a good communications designer is a good manager or art director—their job is to coordinate and weave together the contributions of a group of players to achieve a result for their client. Their primary value is their ability to choose the right pieces of the puzzle and to coordinate the process, not to express themselves in the creation of the pieces. Chuck

“I'm talking about the solo designers here, who are not combining groups of people together, and who probably as an individual artistic person, are going to have somewhat of a design identity themselves, that they bring to the table for their clients... and that this is not 'severely limiting their reach.'” Zoe H.

Ah yes, but even solo designers need to treat each project as if they were combining the pieces. This is REALLY critical: if you limit your creative options to your own skill set you limit your ability to innovate and remain competitive. Its like saying I must be able to program every web site I design. There are a small number of people who can do both with excellence, but most of us are better served by choosing the aspect or aspects of the process we have a true gift for and focusing on that. Be the illustrator, be the photographer, be the programmer, be the writer, occasionally, but know when and how to enlist the help of others when doing so results in a better solution for the client. (Note to Chuck: Read this next time you're working on a project and attempting to do it all yourself.) Chuck

“I think it is important to set aside 'self-expression' when designing for someone else or when presenting to another group like an association or a business, etc. Self-expression should be reserved for self-promotion, when advertising yourself so others can see what you can do...for them. But, the bottom line is what you can do for them and how you can meet their needs.” Sue M.

“You're on the right track in that you're not leaving your own signature on your work for the sake of doing so. You use your 'signature style' when your client wants you to. Just make sure your client wants you to. Communicate with your client so you know what they want and guide them toward the best way to serve their audience. Remember the Vidal Sassoon slogan, "If you don't look good, we don't look good"? Make your client look good with a style that suits them. That's when, as a designer, you'll look your best.” Lori M.

“...I have struggled with how to be freshly creative every time there's a new project. But, if I'm not willing to give my best effort to every client (or to my own organization), I have a serious problem and, as you point out, that problem ripples outwardly—and quickly. There's plenty of rubbish design out there. No one needs me to add to the pile.” Jeff R.

“...I agree for the most part, I also disagree...The entire purpose of commercial graphic design is to convey a specific message about the product or service itself. However, when done through design, the design will ultimately carry a part of the designers personality. That part, along with the product / service, it was allows marketing pieces to remain unique and stand out in a crowded market. That is also the reason why certain designers get hired more than others...let's face it, your personality is ALL OVER your web site, books & overall design layouts, font styles, etc. That's what makes IdeaBook exclusively Chuck Green.” Will R.

Yes, but I think we do best when we (including freelancers) think of ourselves as a group versus an individual. We need to know how to pull in the skills necessary when they are needed. (What you are seeing on ideabook.com is opinion and I think it is positioned as such, this type of detailed information is not something you would typically share with a client.) Chuck

“(A) "Our job is to raise the stock of the client in the consumer’s eyes, not to leave them wondering who designed the client’s brochure." If the design is done right—people will ALWAYS wonder who designed it (at least other business people).” Will R.

Granted, but I view my role as a mere footnote to the clients goal. Chuck

“(B) "A client project is not the place to express your personal political views, moral opinions, or to vent a provocative sense of humor." Your absolutely right that it is NOT our job to post our personal views. However, let's take a recent catastrophe that occurred with Absolut! ... [you can see an article about it > HERE < Had the ad agency spoke up about common sense issues, particularly the potential of offending Absolut!'s largest marketplace, the USA, then perhaps there wouldn't be a huge boycott of Absolut! in the USA right now. I think there is a time and place as an ad agency / design agency to speak up and ensure the client has both sides of the story. We are not here to be 'YES' men, we are here to offer our expertise, and this should be a part of EVERY good designers portfolio—Common Sense!” Will R.

A great example Will, thanks. I don't know about this case, but often, the creative teams are the responsible for initiating these ideas—I'd be interested to know where this approach originated. Chuck

“I am the client and you are spot on accurate about your experiences, insights and bottom line conclusion. I go through the exact same thing that you've captured so beautifully. And even though I am on the client end, I also need to give back to my corporation what it needs for its purposes and audiences; not what I like or feel like doing. Over the decades I have had many, many challenges working with design folk. For one thing, knowing when and how you can approach them because they are so temperamental and can be ultra-sensitive about their work.” Pat O.

Thanks for this Pat. It really is easy to lose track of how the client sees this. They want a product, not a battle of wills. I fear some students are learning more about how to be artists than they are about being art directors. Chuck

“Your second point I find most difficult. I should be "style-agnostic" but it comes out. I do my very best not to have an opinion but instead provide the design that best satisfies the flavor and specification the client requires. I try to get into the client's 'head' and view the project from their creative point of view and business perspective and that helps. As for my struggle with originality, it is still a struggle and I expect that will likely continue. Maybe that is a good thing as we continue to question ourselves and our creative talent. It will keep us humble I suppose.” Sabine M.

“Creativity for hire” is complex, difficult work. Among other attributes a good designer must be a great marketer, a exceptional researcher, a competent project manager, a knowledgeable administrator, smart about money, cognoscente of the world view, sensitive to the situation, and bold enough to take risks. Oh, yeah...and you need to be creative.

My point is, creativity is a given, its the fun part. View a subject from enough angles and eventually you will find a great solution. My skills at all the other aspects of the job are what allows me the time necessary to find the solution. Sometimes I am successful at it, sometimes not. Almost alway, I have a wonderful time trying and I think my clients are well served. In the end I count my blessings that I am able to do this type of work. Rarely does a day go by that I don't discover something that is new to me. Chuck

“Your article provides a great challenge to any aspiring graphic designer, whether they're new to the business or have been at it a long time. I think the key to being a good graphic designer, or even simply an adequate one, is to be a good listener. To really understand what a client wants. If they want something that looks like what I did for "Client A", fine. If they don't know what they want, great, I can use my own creativity, intuition and marketing knowledge to come up with something that seems to fit. If they want something and I know I can't deliver creatively, I tell them up front so we don't waste time and money. I admit, I struggle with having a "style" that comes out in if you look at my portfolio. It's certainly not intentional, but often my own limitations dictate what I produce for a client as much as my creativity. I love when a project pushes me outside of my comfort zone to create something that is totally new and different, and I have been lucky to have a few of those projects. They add a lot to my portfolio, not to mention my confidence as a creator.” Christy J.

I just want to be clear about what I am saying. It sounds as though you might be limiting yourself to what you alone can author. I propose that we think of ourselves more as directors and less as actors. You may have two killer illustration styles and ten powerful layout paradigms—good, use them. But if you restrict yourself to what you alone can produce, you drastically limit your potential. One thing that ensures I will not grow and expand my knowledge of design is if I stay within the confines of what I currently understand and am comfortable with. Chuck

“I don't need anyone writing to me unbidden to preach cliches about the design business. In future please keep your meanderings to yourself and stay out of my inbox.” Paul W.

“From a client-side point of view, and a not very experienced one at that, I rather expect self-expression to some extent in a Designer's work. I would choose a Designer from their portfolio and pick one whose style was appropriate for my audience. If I was retaining a Designer, or requesting new work from someone with whom I had worked before, I would bear in mind their ability to create new work in a new style, if that was what I needed. If they were a 'one trick pony', I would employ a new Designer.”

“For instance, I have previously worked in what used to be New Media department of a large marketing agency in London. I had a choice of a few in-house Designers and would pick the one who had completed work closest to the brief. I wouldn't purposely challenge them to design outside their style. Lazy but time-efficient.”

“What you are describing is what clients would love, but don't really expect - a whole new canvas approach each time. Due to the fact that, these days, it is frightfully easy to hop from service to service, I would assume that it is harder and harder for a Designer to retain clients. I would remain loyal to a Designer, but for other reasons than self-expression.” Jill B.

“I agree with your viewpoint on Commercial design. I speak from a background of more than 30 years in sales & marketing as a marketing director and client.We should never lose sight of the need to qualify every client and every project. (What is the objective?, how will you know if the campaign is succesful? etc.) If the client's campaigns are successful, the creator/designer will easily make a name for him or herself. I've had my share of "discussions" with designers over cutting edge design concepts verses what is needed. The problem is... the end user rarely knows what cutting edge design is all about.”

“On the other end, if a designer can achieve a measurable return on investment for their client using a personal brand of design, so be it.” Traci Bacchetti

“As a retired instructor in a Graphic Design program I may be able to add a different perspective in my comments about your article. I certainly echo the remarks that it is all about the client. But even more, it’s about the client’s objectives. And measuring the results. Obviously some results are easier to measure than others—counting shoes sales vs measuring a change in the consumers’ mind about the product/service. Dealing with a client who has no/fuzzy objectives can be daunting. But not untypical with a small business person. A designer must be prepared to spend some time with client exploring his/her concepts about the business. Second, knowing your intended market is also essential. Our students write profiles about other demographic groups—different from their own. And finally knowing what the competition is up to is also helpful. Is there any creativity in here? Of course—pulling together all these ideas and coming up with a visual that meets the client’s objectives—that’s where the true creativity lies. Oh and one more thing—following the specs—I’ve had students hand in assignments that did not meet the specs—e.g. horizontal not vertical. And sometimes it does work better. But you need to follow the rules before you ignore them.” Sheila J.

I'm a “big picture person.” Though the material I covered in this article seems very basic, I think it needs to be discussed. Chuck

“Very interesting. For eight years I've started portfolio reviews with a prospective client by reminding the viewer that what they are about to see is more reflective of the product or client than my artistic style. I go on to say that they will not see 'rock band' posters in my portfolio ... it lightens the moment and I use the opportunity to explain the difference between an illustrator, artist and graphic designer. This approach helps manage their expectations.”

“What I do from there is use several pieces to describe my approach to the design process, including their input, review and ultimate acceptance of the piece(s).”

“My prior career was business-oriented, not design oriented. I've taken what I learned in business and applied it to my graphic design and it has resulted in a diverse client base. There are so many talented young artists out there that lack this very important piece of business knowledge.” Barb R.

“I'm currently in debate with an online classmate regarding similar issues. He thinks that the wealthy artists make their art to make money. I know from experience that the wealthy artist makes money doing what he loves and doesn't go into art to make money. I think if the kid doesn't soon change his attitude the consumer he hopes to attract will quickly see through the sham and wont look twice at his work. From experience I know that authentic art becomes famous and that Koons, Warhol and the like did art because they had fun making art...Anyway the same kid tried to use commercial illustrators as an example, saying that many commercial art pieces became famous sought after works. I pointed out that yes the work started out as a job but became sought after because the artist put more spirit into his/her work than mere craft, but those artists still managed to meet the clients needs by giving more of themselves and creating value for their client.

(any monkey can learn to draw well, an artist draws well with soul) I make fine art for self expression and love of making. I make commercial art to pay the bills. I don't anticipate my commercial art becoming famous other than for the reason that my fine art may become famous although most of my commercial art is geared more toward client identity and not distinguishable as my work. I try to give my client good value for their dollar but I'm not going to put the same level of passion into it as I do for my fine art works. My fine art is great fun creating sometimes controversial dialog that is to MY liking. My commercial art is slightly less fun making imagery, identity and business media useful to the client for selling HIS/HER product. My commercial art is not about me it's about the clients product/identity and if I try to make it all about me than I am not serving my client I am serving my ego. I relegate the ego to the closet, it doesn't pay the bills!” Patti P

This gets right to the point of the article. I am uncomfortable even mentioning 'art' in the same sentence as 'commercial graphic design'—I see few similarities between the skills and practices of the two. I think students are confused because they often find the path of graphic design through an art program of some kind. But finding graphic design through art is like finding a job as a reporter through an English literature program. On the surface, they seem to be connected, in reality, they are two entirely different fields of endeavor. Chuck

“Essentially I agree with you. The only exception I remember where the 'formula' concept worked was BBD&O's 'formula' for their clients: Volkswagen, Levy's Bread, etc. That major ad agency's ads all bore a clean, simple product photo and brief, one sentence or phrase copy. It worked very well in the 50s and 60s, perhaps longer.” Myra M.

My first reaction is, I don't think I want to go that far with the argument of the article. I think of the headline, illustration, brief copy approach as more than a formula. Like a 30 second TV spot, the single-page magazine or newspaper ad is a well accepted and understood medium of communicating a message. They both have a beginning, a middle, and an end and we don't expect the ad agency to re-invent that framework every time, for every client. But I do question whether, in every case, whether it is the best we can do.

The ads you refer to are viewed, from a historical perspective, as genius. But sometimes I wonder whether their effect is positive or negative. They may have taken root in the 50s and 60s, but they are very much in use today. How many hundreds of thousands of print pages have been printed and billions of client dollars do you suppose are spent recasting the magazine ad and the TV spot. Are they really the best approach to reaching prospects? Do they sell the client's product? Or are we settling for an old solution because we are not willing to take the risks and invest the sweat necessary to find the next brilliant approach. That, of course, is what the marketing world has been discussing in recent years. Seth Goden's Permission Marketing, Gladwell's The Tipping Point, and so many others are, in essence, pointing to new and different approaches. Chuck

“I agree with your idea whole-heartedly, but then, yourconcepts apply equally well to my profession, technical writing and editing. In writing, my job is to communicate in whatever style/vocabulary/organization works best for the intended audience, and my personality shouldn't be visible. In editing, my job is to make the author's personality as clear as possible, not impose my quirks, opinions, favorite turns of phrase, etc.”

&;ldquo; Of course, neither commercial designers nor writers can avoid it totally, because it's impossible for mere humans to be 100% objective and still blend in some artistry. I'm sure my quirks, opinions, and turns of phrase creep in anyway and leave little cat-paw prints on a few paragraphs here and there, especially when I'm in a hurry.rdquo; Carol V.

This article originally appeared on Notes on Design, a curated blog published by the Sessions Online School of Design.

It was Victor Kryston who put me in touch with Dill Cole, an illustrator and a principle of The Eucalyptus Tree Studio in Baltimore, Maryland. At the time, though a design studio was a new and foreign concept to me, it quickly became the most exciting place any human being could ever hope to be (in many ways it still is). Long story short, I wrote to Dill Cole a couple of times and he replied with patient, simple words of encouragement.

Today, looking back, those little expressions of encouragement were pivotal in my decision to pursue a career in design. I wonder where I would be today had that teacher not taken those few minutes to connect me to his friend. And what I would be doing had that illustrator not taken the time to write me those notes.

Why make such a big deal of it? Because it is a big deal. Small things can end up being huge. Especially the things we do for people outside our inner circle. My motive here is not to tell you something you don't already know, it is to prompt you to recall the small acts of peripheral encouragement that directed your success.

Who offered it? What was it they did or said? Where did it lead you? How did it change you? Whose life you are on the periphery of?

Tell me the story of who encouraged you. I will select a few and post them below.

Chuck,

Yep, you gave a good word, my friend. I have a Dill Cole story, too...

When I was an undergraduate at Rice University in Houston I thought I was pretty smart since I'd coasted through high school. Trouble was, I found out that there were a lot of REALLY smart kids at Rice. I floundered around for a while and realized that engineering and I weren't going to be friends.

After changing my major multiple times I finally landed in a "Scientific Foundations of Physical Education" class where I saw several classmates who wore "Rice Sports Medicine" shirts and had bandage scissors sticking out of their pockets. That looked pretty interesting to me, and I soon learned that these students were studying for a career in sports medicine (it turned out that they went directly from class to get the players ready for football practice).

Having not yet found a major I liked, between my sophomore and junior years I wrote to the Head Athletic Trainer at Rice, Allen Eggert, to ask if I could join his student staff. It was a total cold call—I didn't know him, nor did I know any of his students except for seeing them in class. For some crazy reason that I still don't understand, he wrote me back to say he would let me have a try!

After a year of full immersion in sports medicine and life with Division 1college sports, Allen gave me a sports medicine scholarship for my senior year! If he would not have taken a mixed up kid under his wing, I would never have known about sports medicine and had a career now approaching 27 years.

Allen retired from Rice a couple of years ago and, though I was in England and couldn't attend his retirement party, I wrote him a letter expressing what he had given to me by letting me have a chance. This, I think, is important, too....all of us recipients of "Dill Cole encouragement" need to let our "Dill Coles" know how much we appreciate them. I vowed early in my career that I would be an encourager of students, and that continues to give me (and my wife, Ruth) great pleasure.

Jeff Russell, UK

It might help, too, to define the opposite of the hard-sell—the soft sell. The soft sell is something quite different. It says “Welcome, come look around. Get a feel for who we are and how we can help you.” A soft sell advertisement, for example, might sell the look and feel of a store, where a hard-sell would list specific items and sale prices. A soft sell brochure might present an overall view of a service, where a hard-sell makes specific, actionable offers.

To my way of thinking, a hard-sell hopes to initiate a sale with one time exposure to the message, while a soft sell hopes of cultivate a customer over a series of repeated exposures. So why wouldn't you opt for the hard-sell all the time? Wouldn't you spend less money for more action? Not necessarily. A hard-sell might move a particular product or service but it does not necessarily create long-term customers.

All that said, as with any type of marketing, there are no universal rules—only universal possibilities. Your business situation, your market, and your tastes make your situation unique. Can you expect hard-sell strategies to work in your situation? The answer is a definitive—always, sometimes, and never.

hard-sell HEADLINES SPEAK IN THE LANGUAGE OF BENEFITS—When a prospect reads your ad (below), you hope they will find a compelling reason to buy. Instead of listing features and information about your organization, concentrate on presenting the compelling benefit of the product to the prospect—and state it in clear, accessible terms.

hard-sell TYPEFACES MATCH THE “VOICE” OF THE MESSAGE—Think of a typeface as a way to establish tone of voice you would use if you were telling someone about your offer. To me, a bold typeface, such as the Frutiger Ultra Black used for the “Try your vacation...,” headline is clear, strong, and confident. Raleigh Gothic, used for “Yucatan Mexico” is a bit exotic.

hard-sell LAYOUTS ARE DESIGNED FOR THE MEDIUM—An ad for a newspaper (below) is different than an ad for a magazine. While the border of this newspaper ad might look a little too bold here, when it is added to the complex mix of images, headlines, and text on a typical newspaper page, the border helps the ad command attention.

hard-sell IDEAS DIRECT THE ACTION—Every ad, every brochure, every mailer, every hard-sell everything should leave no doubt as to the next step your prospect should take. In this case, “Please send my FREE vacation video,” the phone number, and the reply coupon not only tell you what the next step is, it shows you how to take it.

hard-sell ILLUSTRATIONS TELL A STORY—One powerful example of ad storytelling is John Caples' famous ad showing a man approaching a piano in a room full of people. The headline reads “They Laughed When I Sat Down At the Piano... But When I Started Play!” hard-selling doesn't have to be bland, it can be grand. Think of a compelling story a customer told you about how your product or service benefited them and build an ad around it (below).

hard-sell COPY DOESN'T PLAY GAMES—We live in a world where seemingly everything is the “ultimate” or the “best.” Unrealistic claims are a turnoff. Tell your audience the compelling benefits of your product or service, but don't taint your copy with claims you wouldn't believe yourself.

hard-sell COPY TALKS SPECIFICS—Would you be more apt to pick up a brochure that read “World Wide Web business solutions” or one that read (below) “How to sell your products, your services, and yourself on the World Wide Web?” The difference is that the “how to” headline makes a specific offer. Inside it offers more specifics about “How much,” “How long,” and “What's next.”

hard-sell COLORS ARE EVERYWHERE—I keep a file of bold, bright, attractive printed materials that cross my desk. When I'm stuck for ideas, I steal those color schemes. A process color specifiyer such as those published by Pantone, show thousands of different colors and the values of cyan, magenta, yellow, and black (CMYK) used to create them. You simply match up a color from the printed piece to a color in the book and copy the color specifications to the program you're using.

hard-sell LAYOUTS ARE DESIGNED LIKE SIGNS—The first job of a page layout is to slow the reader down long enough to get them involved. A brochure often needs to be spotted from five or ten feet away. To that end, design your brochure like a sign—bold, simple, and colorful.

hard-sell IDEAS ANTICIPATE OUTCOMES—Assume for a minute that your prospect accepts your message—how do you direct their response? If you think they may not contact you until a specific need arises, anticipate that need. The brochure below includes a rotary file card so the contact information is nearby when they are ready to buy.

hard-sell TYPEFACES ARE USED FOR EMPHASIS—If everyone is screaming, no one gets heard. Better to establish one clear voice and use the others to harmonize. Below, one bold typeface is used in two different sizes to draw the reader through the letter. From the big, white-on-black headline which states the benefit, to the coupon subhead which directs the action.

hard-sell ILLUSTRATIONS SHOW THE PRODUCT—Everyone has a product and should show it. Even if you are selling a service, you can show the result of using it.

hard-sell LAYOUTS SHOW HOW TO RESPOND—This flyer (below) could be inserted in a publication or mailed with a cover letter. The cover panel (bottom left) makes the offer and is lifted to reveal a discount certificate (top left). Fully opened, the illustration, headline, and coupon ask for a response. When the coupon is filled in, the reader simply refolds the flyer, tapes it shut and drops it in the mail to return it post paid.

hard-sell IDEAS COME FROM SELLING SITUATIONS—A printed piece typically attempts to do some of the same things a sales person does. Great insights into how a piece should present your message can be found through discussions with sales people who have hands-on experience with your customers. Find out what they know about the difference between your prospects and your buyers. What objections do they hear? What offers do they make? How do they close their sales? Even if you don't have a sales staff, you can read up on applicable selling techniques and see how they might be adapted to your situation.

hard-sell IS NOT COMPLICATED—A soft sell campaign, designed to develop the image of your organization, often approaches the selling problem in an indirect way. A hard-sell piece (below) should leave little to interpretation—it lays out the benefits, anticipates objections, fills in the details, and asks for the sale.

Sources: Photograph: Photo of men at office construction site from Corporate Motion CD by Rubberball Productions, www.rubberball.com; Illustrations: Clip art from Designer's Club by Dynamic Graphics, www.dgusa.com; Headline font: Raleigh Gothic Condensed from FontHaus www.fonthaus.com; Photograph: US Landmarks and Travel by PhotoDisc, www.photodisc.com

Though the grid used to create a particular page may take some detective work to discover, you can spot a grid-less document from a mile away (figure 1)—images and text float on the page in a seemingly random arrangement and elements repeated on multiple pages often appear close-to, but not in exactly the same position. Grid-less is fine if that randomness is intentional, it's not fine if its simply a lack of planning.

In contrast, a layout built on a grid looks far more organized (figure 2). See how the title, photograph, headline, and text all line up on the same vertical line below? The underlying grid adds a real sense of structure to the page.

The thing that makes a grid different than simple columns is that you often span more than one column of a grid. On the page below, for example, though the text on the left spans one column, the title and photograph span four columns and the body text spans two. The distinction is that all the elements are aligned to the grid.

To incorporate a grid into your next page layout, start by identifying the elements you plan to use (figure 3) throughout your design. Below, just one page includes no less than eight types of elements: titles, subtitles, photographs, artwork, captions, headlines, body text, and a logo. A long document could easily include ten times as many elements.

With the pieces defined, you can begin to experiment with different grids (figure 4). One wonderful advantage of today’s software is the ease with which you can make changes. It takes only a few keystrokes to change from five columns to eight, to shrink and grow margins, and to experiment with different font and image shapes and sizes.

A page designed on a five-column grid will look a good deal different than one designed on a six-column grid. As you experiment with different structures, you are sure to discover lots of possibilities.

Though I consider the grid part of the design, I think it is best described as a kind of visual discipline. And, while some consider a grid restrictive, I think of it as liberating. It frees me to spend my time experimenting with the more obvious elements of design—the shapes, colors, images, and typefaces that communicate the message (figure 5).

Need more versatility? Add more columns to the grid (figure 6). Though I prefer the tighter structure of fewer columns, you might want to add more columns so you have a greater choice of where and how to line up the elements.

Once you’ve found a combination that works, set it up in your desktop publishing program. InDesign, PageMaker, and QuarkXPress all have non-printing margins, columns, and guides for just this purpose.

Whether you're a seasoned veteran or just getting started, any designer can profit from analyzing the substructure of the designs they admire. With a little detective work, you can approximate the design of the grid for just about any page and apply the same or a similar structure to organize and present your own information. In fact, you may find that what you admire most about someone else's work is something that is, in large part, invisible.

Our ten minutes is up

To keep my promise about this being a “fast class,” I have spoken in very broad terms. If you want more details, lots of great examples, and a little about the history of grids, I recommend The grid: a modular system for the design and production of newspapers, magazines, and books by Allen Hurlburt (John Wiley & Sons, ISBN 047128923X).

Addendum: Thanks to Jeff Keith for pointing to this passage from The Poetics of Music by Igor Stravinsky: “Well, in art as in everything else, one can build only upon a resisting foundation: whatever constantly gives way to pressure, constantly renders movement impossible. My freedom thus consists in my moving about within the narrow frame that I have assigned myself for each one of my undertakings.”

The front cover (figure 1) includes the nameplate with a defining phrase and mission statement, the lead story, contact information and space for the mailing label and postage information.

The second side (figure 2) features a second and third story and a sidebar—more on those later. Both sides include a header that spells out the month of publication, the volume and issue number, and the name of the publisher.

Why do it? Simple—because newsletters work. They have a proven track record for keeping you and your audience in touch, for establishing and maintaining your credibility, and for publicizing your organization to the community. There are hundreds of thousands of newsletters published on every imaginable subject each year.

But you need to whittle the scope of the conventional newsletter down to save money and time. Whittle down the postage by reducing the size—postage for a 41/4 by 6 inch postcard is substancially less than a standard first-class letter-sized piece and even less if you mail in bulk. Plus, coming up with 300 or 400 words for a postcard can be far less time consuming than writing even a single conventional newsletter article.

It stands to reason that a newsletter that is less expensive and easier to produce can be produced more frequently. In many cases, a postcard every month, or even once a quarter, is more memorable than a more complicated issue once or twice a year. Here’s how to do it:

USE A NEWSLETTER-LIKE NAMEPLATE—Present your newsletter name just as you would on the full-sized version (figure 3)—with the name, the issue number and/or date, and a defining blurb that telegraphs the benefit of the content to the reader. The subtitle here is &lrdquo;News, Views, and Resources for Audio Engineers.”

MAKE IT LOOK AND FEEL LIKE NEWS—Because you’re presenting something familiar in unfamiliar form, make the overall design look as much like a newsletter as possible (figure 4). Write your copy in news form—who, what, where, when and why. And avoid the urge to do nothing but selling. Cultivate, instead, a relationship with the reader and do the hard selling elsewhere.

WRITE SHORT, RESULTS-ORIENTED HEADLINES—Write short headlines that put the emphasis on the reader’s interests (figure 5). “What you need to know about the new Digital QRD audio standard” personalizes the content.

MAXIMIZE/MINIMIZE—Keep your writing reader-focused too (figure 6). Maximize the information and minimize the prose. If you’re having trouble boiling your writing down, work in outline form. Create a series of indispensable components and connect them a little at a time until you reach the limits of your space. Leave your audience with the basics but wanting more.

CREATE A CALL TO ACTION—This is where you turn your information into sales (figure 7). Encourage the reader to call for information or to e-mail you with questions and so on. You might even point them to a link on the your Web that expands on the story.

PROVIDE CONTACT POINTS—You can’t supply too many contact options (figure 8). At a minimum include your company name, street address, Web site and e-mail addresses, phone and fax numbers. This is also a good place to include legalese such as a copyright notice.

FOLLOW POSTAL GUIDELINES—Before you print multiple copies, stop by the post office with your final artwork and a sample of the paper you plan to print your newsletter on to confirm that your card meets postal regulations (figure 9).

The size/margins of the mailing area and composition of the indicia are regulated by the post office of the country of origin. Your postmaster can provide further specifics on production.

USE BYLINES AND CREDITS—Personalize the message by including the names of writers and by crediting sources (figure 10). This will help you build credibility and a reputation for solid information.

USE QUOTATIONS—As with any newsletter, breaking out quotations is a good way to present important points in the words of the experts and to add visual interest (figure 11).

USE ILLUSTRATIONS TO TELL A STORY—Good illustrations are more than decoration—they say something words alone do not (figure 12). In this case, the character points to the dual roles and engineer often plays.

PROVIDE PRACTICAL ADVICE—Include a sidebar with a list of tips, facts and figures, or a chart or graph of pertinent statistics (figure 13).

GET IT PRINTED—Lastly, here's a plug for a supplier. I have had a several projects printed, long-distance by a company in Kansas City—Carl Sebastian Colour. I like them a lot. The quality is good and the prices are right. Plus, they spell color with an extra little “u” that makes me feel kinda European.

If nothing else, call and get their catalog—it includes six different flavors of postcards—from what they call their “standard” 3 1/2 by 5 1/2 inch version to a “giant” 6 by 9 (these are printed in 4-color on one side and black and white on the second). And the catalog includes lots of other print materials with set quantities and prices—posters, brochures, catalogs, and so on. If you call, ask for Dennis Duffy at 800-825-0381 and request a catalog. Then tell me if your experience with them was as good as mine.

To illustrate my point, here's a worst case scenario (figure 1)—a page that exemplifies some of the most common layout problems. In the next few minutes I'll show you what I would do to improve it. It may seem like overkill, but I'm going to show you each significant change on a page of its own. That way, you can see just how subtle such changes can be. Want to test your observational skills? On the first go-round, scroll through without reading my explanations to see if you can determine what changes were made from page to page.

The first problem is the most significant—the flaws in the foundation on which the page is built.

Illustration 2A shows the grid on which the example is built. To better use the space (2B) I'll reconfigure the margins and the line surrounding the text (the 'rule') to be equidistant to the edges of the page. This does two things: first, it gives me a bit more space to work with and, second, it adds some very important breathing room between the right and left sides of the text and the rule.

See how wide the space between columns is above (figure 1). I don't recall having ever seen a successful design where the space between columns is wider than the space between the text and the outside rule. It just doesn't work. (For more about grids, see > The Grid: An invisible foundation.)

Voilá. Here are the same elements on the new foundation (figure 3).

Next, I'll stretch the photograph placeholder across two full columns and reposition the caption above it (figure 4). Reducing the number of vertical start points simplifies the look of the page. Even with the dramatic increase in the photo's size, the page still accommodates the text.

Personally, I prefer text that is flush left instead of justified. (That's the change in figure 5.) Justification adds and subtracts the space between words to fill the column side to side. That results in gaps that, to me, slightly impede the reading flow. On top of that, I think the “squared-off” nature of justified text draws unnecessary attention to it.

Note the difference in the length of the text—flush left generally requires a bit more space.

When I need more space, I sometimes substitute a more condensed typeface (figure 6). In this case, I'll change from ITC Franklin Gothic Book 11/12pt to ITC Franklin Gothic Book Condensed 11/12pt and save roughly 2.75 inches of column space. More space equals more options.

Now let's focus on the headline (figure 7). First, let's break it so the lines are closer to the same length. Generally, my first priority is to break headlines so they best fill the space and my second priority is to break them so they match the cadence of how they are read. For example, all other things being equal, I'd break a headline like this in the following way:

Leave them wondering
how you got so good, so fast.

Which reads better than:

Leave them wondering how
you got so good, so fast.

In this case I'll break the headline to fit the space.

Next let's tighten the headline's leading (the space between lines of text) (figure 7). Originally it was set using the default “auto” setting—that generally adds a couple of points of space to the point size of the type. In this case the headline is ITC Franklin Gothic Heavy 24/28.8pt (this means the point size of the type is 24 and the leading between lines is 28.8). For headlines my preference is typically to set them “solid.” Solid describes text that has the same leading as the point size of the type—here that would translate to 24/24pt.

But I want even greater contrast between the headline and the text. I'll change it to a bolder, more interesting typeface, and size it to better fit the space (figure 8). I'm using Giza Seven-Three set to 37/34pt. Yes, the leading is even tighter than solid—a negative value. The big, bold headline leaves little doubt where I want my reader focusing.

To complement the headline, I'll change the text font to ITC Garamond Light Condensed (figure 10). I'm also going to increase the size of the text from 11/12pt to 12/14pt. Note that increasing it only slightly affects the length of the text.

Next, the most subtle of changes. I'll make the lines of text following the headlines and subheads flush left (figure 11). Why? Assuming we agree that indents are used to show the distinction between paragraphs, there is no need for that type of visual signal following a headline or subhead. Check out a magazine or newspaper, most follow this rule.

Sitting back and looking at the page as a whole (figure 11), I think the text is uncomfortably dense. To add some breathing room I'll add another point of leading (figure 12)—from 12/14pt to 12/15pt. Don't worry about the overrun, I'll tweak the spacing in the final stage.

To set the author's name and the subhead off from the rest of the text let's make them all caps (figure 13). The stock solution is to set subheads in a bold version of the text face but I think, in this case, it would draw too much attention to them. To add a little more visual interest, I'm changing “By Janet Sampler” to “by” with a lower case “b” and adding extra space between the capitalized letters of “JANET SAMPLER.” Little things that make a big difference.

Now I'll delete the bullets and underlines (figure 14). Yes, I know business writers love bullets and underlines but I, in most cases, do not. Both are ways of adding emphasis but there is a fine line between emphasis and chaos. There are many ways to add emphasis: headlines, subheads, spacing, boldness, italics, capitalization—and bullets and underlines. In this case, because I am using all of the above, I've got to get rid of something. When everything is emphasized nothing is emphasized.

With those primary changes, I'm ready to adjust the depth of the photograph to accommodate those few lines of texts hanging at the bottom of column three. I'll adjust the bottom of the columns to line up and add a “continued on page?” at the bottom right to accommodate another page of text (figure 15).

There, that solves the major problems. Now is when the fun begins—adding some finishing touches (figure 16). I'll place ruled lines above and below the byline and add a drop cap at the beginning of the first paragraph.

And here's the page without the grid lines (figure 17). I find it helpful to turn off or hide the guides periodically because they add a certain organization to a layout that may disappear when you remove them.

Follow the process of making gradual changes and small decisions and the changes seem inconsequential. Contrast the first and last pages (figure 18) and you see that little things make a dramatic difference.

Establish the idea behind the brand

Advertising pioneer David Ogilvy referred to a brand as a “product’s personality…its name, its packaging, its price, the style of its advertising, and above all, the nature of the product itself.” How important is your personality to your everyday life? That’s how important your brand is to your business.

The brand is less about your organization than it is about the product or service it offers. Customers buy a product or service because it offers a benefit—it solves a problem, it saves money or time, it supports their attitudes or beliefs, it is pleasing to their senses, and so on. They favor a particular company because it offers the best price on a widely available product, it provides better service, has a superior reputation, and so on.

The first step in creating a new brand, or fleshing out an existing one, is to define those benefits. They should be the very essence of your organization—the foundational elements of every marketing effort and advertising campaign. Defining those benefits is the conceptual side of branding, but I want to focus on the other side—the visual side.

Develop a visual palette

I call the visual elements we use to present those brand ideas, a visual palette (figure 1). It includes all of the basic components you use to design most, if not all of your print, presentation, and online materials—a logo, typefaces, artwork, photographs, and color. Combined, they equal an image that distinguishes your organization from all others. Once it’s established, everyone involved with selling your organization, inside and out, can use it to build a brand that is both unique and consistent.

Should you create your own visual palette? If you’re not a designer, the question is an important one. I’m a big believer in doing only as much as you are comfortable doing. If, for example, you feel the type of talent you can afford to hire couldn’t possibly do a better job than you could do yourself, by all means, develop your palette yourself. If, on the other hand, you aren’t comfortable designing your own logo, choosing typefaces that work well together, or picking a palette of colors, and don’t want to learn, pass the pieces you are not comfortable with to a pro.

Remember this: developing a compelling message and a strong visual palette is not the place to skimp on time or money. I’ve seen countless cases of companies willing to invest tens of thousands of dollars for printing, ad space, and the sales staff to publicize a brand they spent next to nothing to create.

Start with the result in mind

Start by deciding how you want people to see your product, service, or cause. An outdoor outfitter, for example, wants an entirely different image than a bookkeeping firm—a natural, relaxed attitude versus a buttoned up, highly organized one. Study the brands being developed by your competitors. Read their advertising and marketing materials, visit their Web sites and those of similar businesses in other parts of the country to see how they distinguish themselves.

Remember, focus on branding your product or service, not your company. By that, I mean a company selling turn-of-the-century furniture reproductions may have a technologically advanced manufacturing facility and a progressive management structure, but its message and its image should focus on that turn-of-the-century style.

If you have drastically different types of products and services, do what the big guys do—develop a different brand for each. I’d venture to say we all know more about the individual brands of Doritos and Tropicana Orange Juice than we do about their parent Pepsico.

Assemble the pieces

Start with a logo and a display typeface. Typically, your logo is the foundational element on which you build your visual palette. If it is included on your signs, product packaging, brochures, stationery, and such, it stands to reason that it should be the visual center of gravity.

The example (figure 2) shows a simple logo I created from a clip art image of a surveyor’s transit (Objects & Icons, Image Club). I added two circles and a shaft of light to symbolize and emphasize the design and technical skill it takes to plan and build a road.

Once I had the logo in place I matched a typeface to it-–in this case (figure 3) the bold, clean Boca Raton Solid. Though I might certainly use other faces for body copy, and may add a third typeface for headlines and subheads, I’ll select faces to match the Boca Raton. The beauty of a palette is, the more comprehensive your choices, the fewer decisions you and others will need to make on individual projects down the road.

Combine it with an illustration style. The best artwork and photographs express something words alone cannot—they establish a mood, explain your idea, demonstrate a benefit, or show people, places, and products.

Today, you’ll find lots of image collections that are style specific (meaning they all look somewhat alike but cover a broad range of subjects, or they are subject-specific) roughly the same subject matter but in a variety of styles. There are also collections that are both subject and style specific—a single style representing a single subject—those collections offer the best solution for building a brand.

In this case (figure 7), I chose a series of transport-oriented images in vivid primary colors (EyeWire Photography). I could use these and similar royalty-free images to illustrate most of the client's materials and, if need be, supplement them with specific custom images shot by a professional photographer using roughly the same technique.

I’ve also chosen a collection of construction clip art images (figure 8) (Image Club, Construction) to add more visual interest. Combining simple clip art images with photographs makes your materials that much more unique.

Choose colors

Last but certainly not least, I selected a combination of colors to use throughout the client's materials—in this case, shades of red, yellow, and orange. One sure way to do this is to choose the colors from the photographs. In this case, I even went back and applied a shade of the same yellow-gold to the logo design.

The same selection process applies to any palette—design the logo first, choose the primary typeface second, select a collection of photographs, an assortment of clip art images, and last, choose two or three basic colors. For an outdoor outfitter it might look like this (figure 9):

Typeface: Bernhard Modern, Image Club; Photographs: Natural Landscapes, EyeWire Photographs; Clip art: Simple Silhouettes, Image Club

Or, for a computer networking consultant, a visual palette might look like this (figure 10):

Typeface: Bordeaux Roman Bold, ITC; Photographs: Business Connections, Digital Vision; Clip art: Objects & Icons, Image Club

Create a palette and stick with it

If your message and visual style are working, stick with it. Too often clients get bored with a long-standing brand or new players make change for the sake of change. Though you may see your brand every day, remember that your prospects and customers do not. They need to hear, read, and see a consistent message over a long period of time for your brand to have maximum effect.

Use it to market your product or service, to tell the story of your organization or to offer tips and how-to information to prospects and clients. Print five or ten copies directly from your laser printer or take your master artwork to a commercial printer and have it reproduced by the thousands. No matter how you cut, fold and staple it, this book is proof-positive that big things do come in small packages.

Step 1: Divide an 8.5 by 11 inch sheet of paper into eight equal parts (each panel is 2.75 by 4.25 inches). Center a text frame on each panel .25 inch from all edges (each text frame is 2.25 by 3.75 inches).

Step 2: Number the pages one through sixteen, add your text and print the two sides back-to-back on the same sheet of paper.

Step 3: Trim the sheet into quarters, place the pages in order, fold and staple. Voila—instant publishing!

Create a compelling cover No matter what the size, a book needs an intriguing title, a benefits-oriented subtitle and an interesting illustration to grab the reader’s attention. Use your the space wisely (below, right). The title here, “How to build a twelve-way portfolio,” promises a substantial benefit. The subtitle, “Tips for investing from Dale Example, CFP,” explains the content, introduces the author and lists her credentials in just seven words. And the illustration is not mere decoration—it visualizes the idea of growing your money.

Include all the important details The back cover, page 16, (above, left) is a good place for the table of wami.gif (936 bytes)contents, the name of your organization, your street, e-mail, and Web addresses, phone number, copyright notice and so on. You might also consider moving these details to the pages 2 or 15 and, instead, wrapping the cover illustration from front to back.

Take advantage of the center spread Because pages 8 and 9 are the center spread (below), your illustration and text can cross the space between the pages. Consider reserving this spread for a large chart, graph, or photograph.

Use a few or as many frames as you need I could have included all my information in a single text frame, but I decided to create a frame for each element—one for the header, one for the text, one for the illustration and one for the page number. If your software program allows you to flow text from frame to frame, you can create one continuous text block by starting your text on page two then clipping and continuing it on page three, then four and so on.

Do you have enough to fill a book? Without the illustrations and subheads, this booklet would hold roughly 1200 to 1500 words of 12 point text. With the addition of large text subheads and illustrations, you could fill the book with fewer than 500 words. By adjusting the size of your type and illustrations—virtually anyone has enough information to fill it full.

Find the right place to learn Numero uno is this: find talented, experienced people to work with early on. It is tempting to accept a job where you run the show—where you are perhaps the top or only designer—or to become a freelancer. For most of us, I think working in that kind of vacuum is a mistake until you have five or ten years of real work experience. You miss out on all the valuable information you absorb by being around design-wise people—the day-to-day thinking and processing that turns ideas into results.

If you're serious about your career, go right to the top. Who do you think are the top designers in the world? The top copywriters? What are the top ten advertising agencies and design studios? Go to them and ask for a job—no kidding. Work cheap if you have to, while you can afford to, and take advantage of real-world, on the job learning. It is the fast track to knowledge.

Learn about the business side of creativity If I knew twenty years ago what I know now I'd have learned more about the business side of creativity. The truth is, it is tuff to make big bucks working for an hourly wage. To make money you have to franchise your knowledge—you have to employ people, markup costs, make presentations, and take financial risks.

To my way of thinking, it as just as important to get to know the account managers and media buyers (and what they do) as it is to get acquainted with the creative director.

You'll be way ahead of the game if you read—The Business Side of Creativity by Cameron Foote—a hands-on guide to running a graphic design or communications business, and if you're contemplating striking out on your own, The E Myth Revisited by Michael E. Gerber—a brilliant book that will help you determine whether you should or not.

Master your presentation skills The next best career advice I can give you is this: if your presentation skills are weak, you must improve them. Not should—must. Today, as you are reading these page, there are thousands of truly brilliant ideas being generated in the minds of timid people. They will never see the light of day because the artists are unable to sell them—they are too nervous, too intimidated, or simply lack the skills to communicate their ideas with clarity and enthusiasm.

If you fear talking to a group or just have trouble organizing your thoughts—make learning these skills one of your top priorities. I know it sounds hokey, but take the basic Dale Carnegie Course (dalecarnegie.com) then join your local Toastmasters Club (toastmasters.org). This combination will do more for you personally than you can imagine—I guarantee it.

Don't let your work get in the way of your life Of all these things, the most important thing I can tell you is this: don't let your work get in the way of your life. I tell you this because at its best, the job of being an art director, a designer, a copywriter, or some other type of marketeer, can be so much fun, so satisfying, that you get it confused with being important.

In reality, what really matters most, in my opinion, is how your work helps or hinders the really important stuff—how well you serve your God, your family, and those around you. This, as you might guess, is the advice I have the most trouble following myself.

How did you become a computer book author?

I came to writing through a misunderstanding—on my part. I misunderstood what it took to produce a decent book. I submitted the proposal for The Desktop Publisher’s Idea Book to Bantam Books/Random House in 1992 and to my abject horror, they accepted it. “How,” I asked myself, “am I ever going to produce 300 coherent pages?”

The answer came to me in the midst of the panic-filled days that followed. I wrote it out on a three by five index card and taped it to the shelf above my monitor—"If you can write one page, you can write 300 pages—one at a time." They may kick and scream their little word heads off, but ultimately, as Bob Newhart put it—"If you put an infinite number of monkeys in front of an infinite number of typewriters, eventually, they will type all the great books."

What advice would you give to other writers?

Dale Carnegie said, “Speak about something you have earned the right to talk about through experience or study.” The same holds true with writing. Don’t get me wrong, there are lots of good books written by folks who know little or nothing about their subject before they begin—they do their research and create good stuff. But if you have experience with, and passion for a subject, you have the potential to create something extraordinary.

And be sure to include yourself in your books. There are plenty of formula books that consolidate a bunch of good information into an accessible format—Zzzzzzzzzzz. I’m more interested in how you do things than how you think they should be done. I want your opinion and recommendations. More and more how-to books are losing the identity of the people who create them and that makes it easier for someone to publish your next book without you.

I have also learned that you have to do some selling. I was shy about this in the beginning, now I am to publishing what Jed Clampett was to Beverly Hills. I pull my books off bookstore shelves and put them face-front at eye level. I talk my stuff up to potential reviewers. I create promotional flyers, marketing gizmos and call radio stations. Lots of writers sell an idea, write a book, and wait for something to happen. You can do that, but you risk accepting a decent return versus creating a bestseller.

Finally, get to know other writers and ask them lots of dumb questions. I have really perfected this. I can’t tell you how much I’ve learned over the last few years from writers such as Daniel Will-Harris, Jay Levinson, Seth Godin, and Roger C. Parker. They believe in abundance versus scarcity—they have an enormous talent and are willing to share it.

How has being a computer book author helped you in other areas?

Anyone who has written a book will tell you writing a book for a major publisher opens doors. It does. Not doors that couldn’t be unlocked any other way, but doors that open faster and wider. The simple fact that you got something published in such a highly competitive market proves, if nothing else, that you are tenacious.

One tangible result is other writing assignments—my books have lead to regular contributions to Before & After—a magazine of design and page layout for desktop publishers, Dynamic Graphics Magazine—a publication that provides ideas and how-to instruction for Mac and PC desktop publishers, and a monthly gig with Home Office Computing Magazine writing the Design Doctor column. I use the columns to promote books and the books to get more writing assignments.

It also led to being invited to be one of six inaugural members of the Microsoft Small Business Council and has paved the way to design projects too numerous to mention.

How do you come up with ideas for books?

When you travel a road over and over it develops a rut—a well-worn path of least resistance. Such is true with writing. Once you've found a successful way of doing things it's easy to fall into the rut of simply repeating a formula—yours or someone else's. I use, what I call “jolt thinking” to examine the basic premise—the what, why, and how of doing something. What is the purpose of doing it? Why is it done the way it's done? And how can I do it more effectively? Answering these basic questions gets me outside a subject far enough to see the big picture and shift my angle—to see what I and others are missing.

How have readers reacted to your work?

This is what keeps me pumped. I have been overwhelmed by the kindness people who read my stuff. I get letters and e-mail all the time from readers who recount how some tidbit helped them or how they got inspired by a design. Since I opened ideabook.com I have had the privilege of meeting folks from all over the planet. They come and visit, give me terrific feedback, send me answers and questions, buy a book or two, and from time to time, we strike up a friendship.

One morning I got a call from a preacher who was down from Pennsylvania with his wife and wanted to know if he could stop by. He did and we spent half a day talking about computers, desktop publishing and God. I think he did me a lot more good than I did him.

Can design be “learned?”

I think you can learn if you’re willing to devote the time necessary. The neat thing is it’s all there in front of you. You can choose an ad or brochure that you think works well and deconstruct it—analyze what is happening. What message is being communicated? What typefaces are being used? What kind of grid is the layout based on? What is the color scheme? Then go back and create your own version following, roughly, the same rules—don't copy—reinterpret.

Where do get your design and marketing ideas?

I use a process I call “jolt thinking.” I question the basic premise—the what, why, and how of doing something. It’s easy to fall into a rut of “formula thinking”—a brochure has a headline on the cover, text in the middle, and a logo on the back—certificates have frilly type and seals, and so on.

Jolt thinking is the opposite of formula thinking—it challenges you to examine your mission, strategy, and execution of a project. Ask yourself “what” is the purpose, “why” is it done the way it is done? And “how” can I do it more effectively? You must understand the fundamentals of what's going on before you can make different things happen.

How does a veteran print designer make the transition to the Web?

I have fallen head-over-heals for this medium. To me, it is the ultimate design tool. You don’t have to wrestle with color separations and press checks—what you see is what you get. It wasn’t long ago that design was a much more of a craft—one of my mentors spent much of his time hand-lettering headlines!

Today, a large percentage of your time can be devoted to creating effective messages and building designs around them. That is liberating and a little scary—liberating because there are no holds barred—scary because there are no holds barred (and fewer people to blame).

The basics still apply—you establish a goal, develop a message, proof and publish. I am a proponent of using a linear, print-like metaphor on line. Interactivity is great—but you still need to lead people through your message—from beginning to end. Putting a bunch of links within a paragraph of text, for example, is an invitation to break the readers train of thought. There are lots of neat things to be done, but you have to choose carefully.

What are the most common mistakes inexperienced designers make?

Mistake #1: Lack of a grid—You can pick out a layout that isn’t based on some kind of grid in a heartbeat. A grid is a series of columns and gutters that establish the underlying structure of a layout—an invisible structure that shows you where to line up each element on the page. An important element that is most obvious when it's missing.

Mistake #2: Kerning and leading of type—In prehistoric times, one of my first jobs as a paste-up artist was to manually cut and adjust the space between lines of type and individual letters to make them look like a unit. This may sound nutty but it makes all the difference in the world. Today, I don't spend a lot of time doodling with text-sized type, but I still spend lots of time adjusting the space between the letters and words in a headline—even with digital typefaces that use algorithms to establish spacing.

Mistake #3: The missing message—The purpose of design is to communicate a message, but lots of ads, brochures, and Web sites read as though the designer never met the copywriter. A design is not a design without an idea that grabs attention, some thoughtful selling, and a crystal clear call to action. If you are not selling your idea, product, or service, you are decorating not designing.

What 5 fonts do you think are essential for any designer?

Certain combinations of fonts evoke a certain mood. For example the combination of Frutiger Ultra Black headlines, Frutiger Roman subheads and Times Roman text, in my opinion, create a “dynamic” look. Charlemagne headlines, Franklin Gothic Condensed subheads and Minion text look “classical” to me.

I guess though, if I was shipwrecked on a desert island with just five typefaces—I’d go with my utility players—Franklin Gothic Book Condensed (sans serif) and Minion Regular (serif) for text, and Griffith Gothic Ultra, Requiem Fine Roman, and Slippy Black for headlines.

Beyond that, I’m fickle. I’m always coming across a new or new to me font I can’t be without. Most recently I've been eyeing some of the distressed stuff like Roadkill at veer.com and one of the many beautiful handwriting typefaces: Cezanne at p22.com.

Where do you get your design inspiration?

About 10 feet from where I’m sitting is a big box of stuff—magazines, brochures, printouts, direct mail pieces, and such, that I throw into the box as they come across my desk. In it are lots of great color palettes, design ideas, typeface combinations, and marketing strategies. When I need some inspiration I open the box and wade through.

I also keep a notebook for in my hip pocket at all times (a Pocket Moleskine—I give myself a great discount at the ideabook.com store). I take notes in it, scratch out logo ideas, jot down thoughts on layouts, and record various production and design concepts as they cross my path.

(A) The orange plant and sliced orange are extracted from the same illustration. (B) The sliced orange is the top layer of the logo. The layer below the orange includes the shadow of the orange. (C) The next layer holds a semitransparent version of the plant illustration. (D) The bottom layer is the background. (E) For the business card, a simple white rectangle is on the layer above the illustration. The opacity of the rectangle is adjusted to reveal the illustration below. (F) The parts and pieces of illustrations are combined to create a second version of the logo for the envelope.

(G) The space between the letters in the word “ORCHARDS” i