Articles by Month: October 2015
How to Select the Perfect URL For Your Business
Follow the KISS (Keep it simple, stupid) philosophy in selecting a URL for your business. Yes, you can be creative and meaningful, but ensure that your URL is, above all, easy to remember and as error-proof as possible. Perhaps the most enjoyable way to test out your prospective URL is with the ever-famous Cocktail Party Test:
Let’s pretend for all intensive purposes that you’re at a Go Media cocktail party. Why not, right?!? Go ahead! Tell us your URL!
- Do we look confused?
- Do we need to write it down?
- Are you spelling out words and correcting us when we repeat it?
- Are you writing down the hyphens, underscores, or apostrophes for us?
If you answered, “Yes,” to any of these questions, it’s time to simplify your URL and incorporate the additional tips below. Then, and only then, may you attend another cocktail party to try it out.
Be Unique But Memorable. Brands such as Zappos or Amazon work because of the brand marketing, not because they are immediately intuitive. If you have the gumption to create a name this unique, ensure you have the marketing at your disposal to make your URL memorable for your audience. Remember that your audience, however, may never fully catch up. You may have to purchase alternative spellings to your URL and redirect them to your site (Example: Flickr.com versus Flicker.com.)
Compete Wisely. Have you checked out your competitor’s URLs? What works (or doesn’t) about what they have chosen? Make some keyword lists about what makes your brand or company special. Use what differentiates you to make your URL sing.
Think Big(ger). You may currently be a unilateral business and doing quite nicely. But what if one day, you decide to branch out? Take our business, for example. Our name, GoMedia, encompasses any media out there–if we had named ourselves after our first love (illustration) and called ourselves GoIlustrate.com, it would be harder to grow as a company and a brand.
Be Social. In today’s day and age, social media is an essential part of your business. Confirm that your URL can work seamlessly with social media. Have you checked out Facebook, Twitter, and Instagram? Can your name be integrated there? Is it too long, too short, or already taken? It’s not a game changer if you’re unable to snag the same exact handle, but you need to make sure that you’re social media persona ties into your brand and makes sense.
Secure Your Domain. Once you’ve decided on your domain and URL, we strongly suggest securing your domain for many years. It’s really not that expensive, and instead of having to renew it each year, you’ll be set. Plus, in the unfortunate instance that you forget to renew your domain one year, securing a domain for 10+ years will help you avoid headaches related to buying back your domain and editing all of your marketing collateral with an updated URL.
Starting a business is exciting, thrilling, and full of “head-in-palm” moments. You don’t need to add to the stress by creating a terrible, horrible, no-good, very bad URL. Be creative, be smart, and most importantly, K.I.S.S. Hope to hear about your URL at one of our get-togethers in the near future!
Grab This Macabre Vector Freebie
When asked what you wanted to see next on the Arsenal, our e-commerce site for the best design resources in the world, you told us, overwhelmingly:
“BLOOD, GUTS AND GORE!”
And we want to give you what you want. So today, we’re hooking you up with a Macabre Vector Freebie, just in time for the Halloween holiday.
The Macabre Vector Freebie includes the following 8 vector elements:
- Bloody Saw Blade
- Detached Ear
- Mangled Hand
- Murder Cleaver
- Murder Knife
- Nail in Tongue
- Possessed Baby Doll
- Tooth and Pliers
We hope you use it find it useful every day of the year.
How to Create an Icon Pack using Adobe Illustrator
Since Halloween is just around the corner, we thought we should give you an early treat this year, in the form of a little icon tutorial. The idea was to show you guys how to create a cute set of three icons from scratch, using some of Illustrator’s basic tools such as the Shapes Tool, combined with the power of the Pen Tool and Pathfinder panel.
In terms of difficulty this course is aimed at those who have a basic knowledge of how Illustrator works, but that doesn’t mean beginners can’t give it a go, since every step is presented as explicitly as possible.
So, assuming you have Illustrator up and running, let’s jump in and start creating!
Download the: How to Create a Halloween Icon Pack Resources (AI + EPS Files)
1. Setting Up Our Document
The first thing you should always do, no matter the project, is make sure that you start off on the right foot by setting up a proper document.
So, go to File > New (or use the Control-N shortcut), and let’s go through some of the settings that need adjusting:
- Number of Artboards: 1 – since we will be creating a small pack, one Artboard will suffice
- Width: 800 px – which is the overall width of our Artboard
- Height: 600 px – which is the overall height of our Artboard
- Units: Pixels – this setting is really important since we will be creating for the digital medium, so screens and other display devices, which are pixel based.
And from the Advanced tab (which can be made visible by clicking on the little right facing arrow):
- Color Mode: RGB – which is the color mode for the digital medium
- Raster Effects: Screen (72 ppi) – this option controls the way drop shadows, textures and other effects are displayed on different media. If you’re creating for the screen 72 ppi will suffice, but if you’re designing with the intent of printing the final artwork on paper, then you should go with one of the higher values
- Align New Objects to Pixel Grid: checked – as we want everything to correctly snap to the Pixel Grid
2. Setting Up Our Layers
Once we’ve properly set up the document, we should take our time and think about the project itself in terms of layers.
Usually when I create detailed artwork, I find it useful to separate the different sections from one another using layers. This way I can easily work on a specific part of the design, without worrying that I’ll accidentally misarrange or affect my other shapes.
Since in our case the project is composed out of 3 assets (icons), it would be a good idea to create a layer for each one, so that we can better manage and edit them along the way.
So, assuming you know how the Layers panel works, let’s create 4 layers and name them so that they’ll be easier to identify:
1. grids – which will house the simple custom grids, that we will be using in order to create a cohesive pack
3. Setting Up a Custom Grid
For those new to the Grid, well you shouldn’t worry since it’s not that hard to master. At its core, the Grid is a system of vertical and horizontal lines that allow you to compose and position you artwork with a high level of precision. It is usually used in UI design, where the process of creating a balanced composition requires the designer to put a lot of consideration into the relation established between the different visual components.
But as with most of Illustrator’s tools, this too gives you the ability to do so much more with, one particular one being that of creating pixel crisp artwork.
Since I’m a strong believer in creating with Pixel Perfection, I always set up my Grid to the lowest values since this will assure me that my shapes are as crisp as possible.
Illustrator itself comes preconfigured with a default set of values, which we will have to adjust in order to be on the same track, by going to Edit > Preferences > Guides & Grid.
Here, a new popup window should appear giving us the option to adjust the following settings to the values indicated below:
- Gridline every: 1 px
- Subdivisions: 1 px
Once you’ve entered the indicated values, you need to make sure that the Grid snapping is actually active by going to the View menu and clicking on the Snap to Grid option.
At this point, we’re pretty much done with the adjustment process, which means we can now move on to building the custom icon grids.
4. Defining Our Icon Grid System
If you’ve ever created icons before, then you should know that the first step one needs to take when creating a new icon pack, is figuring out the size of the assets. There are a dozen of available options depending on where the icons themselves will be used, options that range from just 16 x 16 px all away to 256 x 256 px and even beyond that.
Now, for our current project, I’ve decided to go with something relatively large, more exactly 96 x 96 px, which means that our icons will be big enough so that we can put a considerable amount of details inside of them.
Once you’ve decided on your size, which we did, you will have to create a custom icon grid, which will allow you to build within that size boundary, which in the end will give you the ability to create an all-around cohesive icon set.
The grid itself is usually a square, since this shape allows you to push your pixels all the way to the limits of the confined space.
Yes you could add a bunch of horizontal, vertical and diagonal guides, for a deeper level of consistency, but in our case, a simple square will do the trick.
So assuming you’re on the “grids” layer, lock all the other ones and create a 96 x 96 px square using the Rectangle Tool (M). Position the shape to the center of your Artboard by selecting it and then using the Horizontal and Vertical Align Center options found under the Align panel, making sure that the alignment is done to the Artboard and not to a Key Object or Selection.
Once you have the guide in place, change its color to a light grey (#e6e6e6) so that it will be easily visible without drawing too much attention.
Quick tip: in case your Align panel isn’t showing the Distribute Spacing and Align to options, that’s because you didn’t told Illustrator to do that. To change this, simply click on the right corner down facing arrow and then enable the Show options feature and you should be good to go.
Now, since I usually like to give my icons some inner padding, I tend to add a relatively smaller square to the one I already have.
If you’re wondering why, well let’s just say I like to fool proof my designs so that when exported, I can be sure that none of the sides of the icons gets accidentally chopped off. This would result in a flawed file.
So, using the Rectangle Tool (M), let’s create a smaller 92 x 92 px one, which we will position over the one we already had, giving it a slightly lighter shade (#f2f2f2).
Since we will need a pair of grids for each of our icons, we will have to group the first one that we’ve just created using the Control-G shortcut, and then create two copies which we will distance at 60 px from the original using the Horizontal Distribute Spacing option.
At this point we’re done setting up the icon grids which means we can move on to creating our first icon, the creepy little pumpkin head.
5. Creating the Pumpkin Head Icon
Assuming you’ve locked the “grids” layer, and moved up onto the “pumpkin” one, we can start working on our first icon from the set.
Since all of our icons will have a fill/inner section and an outline, we will follow a pretty straightforward process of creating the inner section first and then applying a 4 px outline to it using the Offset Path effect.
That being said, let’s grab the Rounded Rectangle Tool and create an 84 x 70 px shape with a 35 px Corner Radius which we will color using a dark orange (#bf7355) and then position over the first set of grids, so that we have an even gap of 4 px between it’s left, right and bottom sides and the larger grid itself.
Quick tip: I recommend you turn on the Pixel Preview mode by going over to View > Pixel Preview, since most of the steps from this tutorial will rely on using this mode. I will also be giving you some pretty precise details when it comes to positioning the composing shapes.
Once we have our inner section of the pumpkin, we can give it an outline by selecting it, and then going to Object > Path > Offset Path and giving it an Offset of 4 px.
This will create a larger shape just under the selected one, which we will have to color using a dark color (#392a16).
As soon as we have our outline, we can add the all-around inner ring highlight by first creating a duplicate of the orange fill (Control-C > Control-F) and then adding a smaller 80 x 66 px rounded rectangle with a Corner Radius of 33 px to the center of the fill shape.
This smaller shape will help us create a cutout, which we will do by selecting both it and the shape underneath, and then using Pathfinder’s Minus Front option.
Since the resulting shape isn’t quite there, we will have to change its color to white (#FFFFFF) and then set its Blending Mode to Overlay while lowering its Opacity level to 20%.
Add a little texture to the surface of the pumpkin, by drawing a bunch of 4 x 4 px rectangles which we will color using a darker shade of orange (#9e5943). Then make sure to have them positioned underneath the highlight that we’ve just created, by sending the highlight to the front using the Arrange > Bring to Front option.
Don’t forget to select all the composing elements of the texture, and group them together using the Control-G shortcut, since you wouldn’t want the elements getting misplaced by accident.
Next, we will start working on the vertical delimiting lines, which will give the pumpkin its nice curved look. To do this, we will first create a 44 x 70 px ellipse to which we will apply an Offset Path effect of 4 px.
Now, with both shapes selected, use Pathfinder’s Minus Front option to create a cutout from the larger ellipse, which will result in ring like shape that we will adjust by cutting it in half by removing its right section, and then changing its color to #392a16.
Position the resulting shape towards the left side of the pumpkin fill section, leaving a gap of 8 px between it and the larger outline.
Create a copy of the curved line and position it towards the right side of the pumpkin, making sure to reflect it vertically (right click > Transform > Reflect > Vertical).
Add a secondary pair of vertical rings by creating a slightly narrower 28 x 70 px ellipse, to which we will apply Offset of just 2 px. Repeat the same process of removing the inner shape from the created offset, and then cutting the resulting ring in half, making sure to position a copy on both sides of the pumpkin at about 10 px from the thicker rings.
Next, let’s add a couple of highlights and shadows to the rings, in order to give it more depth.
First let’s add the highlights by creating a copy after the rings and moving them slightly towards the inside of the pumpkin. Make sure to change their color to white (#FFFFFF) and set their Blending Mode to Overlay lowering the Opacity to just 20%.
Add the shadow by repeating the same process – only this time, position the shapes towards the outside of the pumpkin, setting their color to black (#000000) while changing their Blending Mode to Darken and lowering their Opacity to 30%.
As you can see, the highlights and shadows go over the actual outlines and highlight of our pumpkin which is something that we don’t want them to do. To fix this, we will have to create and apply a clipping mask in order to hide the parts of the details that we don’t want overlapping.
First, we will have to create the mask itself by creating a copy of the ring outline, and then separating its inner path from the outer one by right clicking > Release Compound Path. Once the path is released, we will have to select and delete the larger shape since we will be using the smaller one.
With the resulting shape from step 11 and both the highlights and shadows selected, right click > Make Clipping Mask.
Since some parts of the details still go over the outlines, we will have to select all the vertical rings and bring them to the front (right click > Arrange > Bring to Front).
Before we start adding the face features, let’s add one more vertical ring highlight towards the right side of the pumpkin, positioning it a little towards the middle.
Follow the same process as before, only make sure that you’re creating the shape inside the actual clipping mask by double clicking on one of the composing elements, or by right clicking > Isolate Selected Clipping Mask.
Once you’re done simply exit the Isolation mode by pressing Esc.
Up until this point we’ve followed a pretty strict do-this-then-that workflow, so I thought it’s time I gave you a little creative freedom and let you “carve” your pumpkin by your own, so that in the end you will have something special to show off with.
The only thing that you will have to keep in mind is that no matter the expression, you will have to keep the detailing process consistent by adding a 4 px outline to each of the created shapes. Also, for the fill colors you could use lighter or darker shades of orange, I for example, have gone with something darker (#634133) but you don’t necessary have to use the same tint if you don’t feel like it.
That being said, take your time and once you’re done move on to the next step.
Quick tip: there might be situations where the Offset Path trick will produce irregular outlines, so for those cases try and use a 4 px stroke instead.
Assuming you’re carved an awesome scary look, let’s start adding the finishing touches, by working on the pumpkin’s top side that houses the vine.
First, grab the Ellipse Tool (L) and create a 20 x 6 px shape, which we will color using a dirty light green (#87826f) and then position towards the top section of our pumpkin, making sure to position it underneath.
Oh, and as always don’t forget to give it that 4 px outline!
Add a highlight to the vine’s base by creating a duplicate of the green shape, and then cutting out a smaller 18 x 4 px ellipse out of it. Color the resulting shape using white (#FFFFFF) and then change its Blending Mode to Overlay while lowering the Opacity level to 40%.
Finish off the vine by adding a 4 x 4 px square towards its top, which will act as the tip. Then change its color to a darker green (#757061) and give it an outline, only this time make sure to set the Joins option to Round.
Finally add a couple of highlights to the top and right side and a vertical divider towards the center, making sure to send all the tip’s elements to the back (right click > Arrange > Send to Back). You should also group the elements together (Control-G) so that things won’t end up being misplaced.
Add some “hair” to our little old pumpkin, by drawing a couple of curved paths using the Pen Tool (P), keeping the stroke Weight set to 1 px and the Cap to Round.
Finish off the icon by adding three diamond like highlights towards its middle right section, which will have their Blending Modes set to Overlay and their Opacity levels to 60%.
6. Creating the Gravestone Icon
As soon as you’re done creating the pumpkin icon, you can lock its layer, and move on to the “gravestone” one and start working on it.
Let’s start with the base of the grave by creating a 66 x 12 px rounded rectangle with a 4 px Corner Radius, which we will color using #a09793, and then position towards the middle of the smaller inner grid so that it touches its bottom side.
Next, we have to make some adjustments to the shape by selecting its bottom-center anchor points using the Direct Selection Tool (A), and then deleting them by pressing Delete.
As soon as you get rid of the anchors, use the Control-J keyboard shortcut in order to close the path.
Once you’ve adjusted the shape, give it a 4 px outline using the Offset Path (right click > Object > Path > Object Path) which you will color using the same color that we’ve applied to all our outlines (#392a16).
Since I feel that the bottom corners of the outline are a bit too hard, I thought we should adjust them by selecting their anchor points using the Direct Selection Tool (A) and giving them a 2 px Corner Radius.
Using a similar process to the pumpkin icon, start adding a couple of highlights and a shadow to give the shape some depth.
Once you’ve added the highlights and shadows, add a 66 x 1 px rectangle just above the shadow coloring it using the same color as the rest of the outlines (#392a16).
Add a bunch of cracks to the piece using the Pen Tool (P) and give them some highlights where you feel it’s necessary. Then select all the shapes and group them together using the Control-J keyboard shortcut.
Let’s move on to the upper section of the icon, and start working on the stone itself by creating a 52 x 98 px rounded rectangle with a Corner Radius of 26 px. Color the shape using #66605e, and then adjust it by removing its bottom center anchor points using the Direct Selection Tool (A) and finally positioning it above the bottom section making sure to vertical align the two.
Give the stone an outline, and then add a highlight and a 4 px tall shadow where its bottom sections meets the base of the gravestone.
Quick tip: Where the workflow is similar to the previous steps I won’t be repeating the entire process since it will be weird, but I will give you indications where things need to be done a little bit different. In the present case since we already went over the process of creating the highlights and shadows, I trust that you should be able to apply what you’ve learned in the previous steps.
Now, let’s give the stone a texture similar to the one used for the pumpkin by creating a couple of 4 x 4 px squares, which we will color using #514a48. It would be a good idea to group the texture’s elements since you’ll want to be able to keep them in place.
Once we’ve added the texture, we can continue the detailing process by adding a couple of cracks and some highlights underneath each of them using the Pen Tool (M).
Add two vertical highlights, by drawing a wider 2 x 72 px rectangle and a narrower 1 x 72 px one to its right side at a distance of 1 px. Color the shapes using white (#FFFFFF) and then set their Blending Modes to Overlay as we did with the previous ones, while lowering their Opacity levels to 20%.
Position the highlights to the right side of the gravestone so that their bottom sides touch the stone’s shadow.
Now as you’ve probably already noticed, the top side of the highlights overlaps the highlight of the stone itself, which we will need to correct by adding a clipping mask.
To do that, simply create a copy of the stone’s highlight, and then using the Direct Selection Tool (A) remove its outer anchor points, and then close the resulting path by pressing Control-J.
Then simply select the new shape and the two vertical highlights and right click > Make Clipping Mask.
Quick tip: in case you’re wondering why I prefer using clipping masks instead of Pathfinder, well the answer is really simple, while Pathfinder could achieve the same result, it won’t allow me to adjust my shapes later on if I find that I need too, which for me is a deal breaker.
We’re almost there, but something seems like missing? Oh, right, the cross.
Let’s grab the Rectangle Tool (M) and create a 16 x 6 px shape which will act as the horizontal line and another 6 x 22 px one, which will act as the vertical one.
Position the horizontal line towards the top section of the secondary line so that you have a gap of 6 px between the two. Then, color the shapes using #392a16, group them (Control-G) and then position them towards the top side of the stone, aligning the cross to the middle.
Using the Rectangle Tool (M) create a 20 x 8 px shape, and then color it using a dark grey (# a09793). Since this will act as the name plate, we will have to stylize its corners by creating four 4 x 4 px circles which we will use in combination with Pathfinder’s Minus Front option to create those nice looking inner cutouts.
Now, since the Offset Path effect won’t be able to create an accurate outline, we will have to create it manually by drawing a 28 x 16 px rectangle which will follow the same stylizing process as before, only this time we will use four 8 x 8 px circles.
Once you have the outline shape, simply color it using #392a16, and then make sure to position it underneath the plate itself.
Add some highlights to the plate and then using the Rectangle Tool (M) draw two horizontal lines, one thinner and one thicker which will represent the name.
Finally add two 2 x 2 px circles to each side of the plate, which will act as a pair of little screws holding the plate, and a shadow underneath its outline to give it more depth.
Add the three little diamond shaped highlights towards the top right corner, by creating a copy (Control-C > Control-F) of the ones from the pumpkin icon.
Since at this point we’re pretty much done with the gravestone itself, it’s time to start working on the little skull.
First, create a 14 x 14 px circle and color it using a light grey (#d3c6c1). Then, add a 10 x 6 px rounded rectangle with a 1 px Corner Radius just above it, coloring it using the same color.
Now, with both shapes selected, give them an Offset of 4 px making sure to group them together (Control-G) and then position them towards the lower left corner of the stone, so that the jaw’s outline touches the outline of the grave.
Add a pair of eyes to our little skull, by creating two 4 x 4 px circles (#392a16) which we will distance at 2 px from one another, and then position towards the middle lower section of the skull.
Then add a little nose and two teeth insertions to make the object look like an actual skull.
Finish off the skull by adding a nice all-around highlight, and two overlapping elliptical ones towards the top section of the skull.
Lastly, let’s add the little blood drips from underneath the skull.
First, select the Rounded Rectangle Tool and create a 2 x 9 px shape, which we will color using a dark red (#c95b55), and then adjust by removing its top center anchor points in order to give it a flat edge. Then create a copy and adjust it by shortening its height to just 4 px, and position it on the original’s right side leaving a gap of 2 px between the two.
With both shapes selected, give them a 2 px outline using the Offset Path, and then position them towards the left side, underneath the skull, so that the red fills touch the top side of the grave’s grey fill.
Since we want the two drip lines to be connected, we will add a 2 x 2 px square in between them, which we will adjust by cutting out a 2 x 2 px circle from its lower half.
Finish off the gravestone icon by adding a couple of highlights to the blood drips, using the same Overlay Blending Mode but a slightly higher 50% Opacity level.
7. Creating the Eyeball Icon
We are now down to our final icon, the eyeball one. As usual this means we will be locking the “gravestone” layer and move on up to the next and final one.
Using the Ellipse Tool (L) let’s create the base fill for our eye, by drawing a 64 x 64 px circle, which we will color using a dirty grey (#d3c6c1), and then position it towards the bottom side of the third grid set leaving a gap of 7 px between it and the smaller inner grid.
As always, don’t forget to give it that 4 px outline.
Give the inner fill a ring highlight with the Blending Mode set to Overlay and the Opacity to 50%.
Since the eyeball itself is slightly rotated so that its iris will be looking up, we will have to add a second circle over the inner fill that we already have, and position that towards the top, so that the current fill will act as a bottom shadow section.
First, select the fill, and create a copy after it (Control-C > Control-F), which we will position towards the top at a distance of 6 px from the original. Then change the shape’s color to something brighter (#e5ddda), making sure to mask it so that it will remain confined to the boundaries of the underlying circle.
Also, since the ring highlight needs to sit on top, we will have to select it and bring it to the front by right clicking > Arrange > Bring to Front.
Now, let’s add that texture that we’ve used for all the previous icons, only this times mix it up a little by drawing both 2 x 2 px squares and a couple of 1 x 1 px ones, which we will color using a darker shade of grey (#bdb1ac).
Leave the center of the eye free of any details since they won’t be visible once we add the inner iris section.
Start working on the iris, by drawing a 30 x 30 px circle, which we will color using a swamp green (#6a6e48), and then position towards the top section of the main eye fill, at about 13 px from its top side.
Give it a 4 px outline, and then add a smaller 14 x 14 px circle to its center which will represent the pupil.
Give the iris a ring like highlight, making sure to set the Blending Mode to Overlay and the Opacity to 20%.
Start adding a bunch of scattered 1 x 1 px squares (#392a16) which will give it a nice looking texture.
Next, start adding a bunch of circle like reflections to the top right and bottom left corners of the iris, using the same Blending Mode and Opacity level as before.
Give the eye a visual pop by adding a overlaying highlight over the top half of the iris, making sure to mask it using the green shape from underneath.
Use Overlay as the Blending Mode and crank up the Opacity to 30%.
Add a subtle shadow underneath the iris’s outline, by creating a copy of the later, and moving it towards the bottom by 2 px.
Change its color to #d3c6c1, and make sure to position it underneath the outline and not the other way around.
Grab a copy of the diamond shaped highlights from one of the previous icons, and position it towards the right side, and then add two more circular reflections to its left to really make it shine.
As with the pumpkin icon, I’m going to give you the ability to get creative and draw your own version of this cute little eye stabbed icon.
As always, keep it consistent, use as much details as you can, and don’t forget to keep those outlines at 4 px.
Huurraay we’re finally done guys!
I really hope you’ve enjoyed the tutorial and most importantly learned something new during the process. That being said, I’m looking forwards to seeing your final designs, and if you have any questions just leave them in the comments section and I’ll get back to you in a jiffy.
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What to Know When Hiring a Freelancer or Subcontractor
Here’s a familiar scene for many of us: you’re sitting at your desk, staring at your overflowing inbox. The proofs, copyedits, and project briefs start swimming in front of your eyes. It’s official–you need help to get it done.
It may be time to hire a freelancer or a subcontractor. They can be the answer to your prayers: highly effective, competitively priced, and wonderfully flexible. But, that’s only if they’re good. They can also be very, very bad.
Here’s the thing: freelancers represent the work of your firm. Your name is on the line every single time you work with an outside party to help get the job done. Here at Cleveland graphic, web and logo design studio Go Media, we’re proud to partner with some amazing freelancers–they support our projects, strengthen our vision, and ensure that we continue to deliver top-notch projects on time.
But that’s because we expect them to. Your expectations are everything when making a freelance relationship work, just as they would be for any employee.
Here’s what to know when hiring a freelancer or subcontractor…
1. Put in the time to find a [email protected]@ freelancer/subcontractor.
There are so many talented people out there. Take your time to find a good fit. Ask to see CVs, but portfolios are where you really see if prospects can talk the talk. The more you know about someone’s work, the less you’ll be surprised when the project starts.
2. You get what you pay for.
To be fair, this statement is only half true. Sometimes, the best work comes from a relatively “green” hire. Everyone has to start somewhere, but if you make it your mission to hire the cheapest quote, chances are you’ll be spending a lot of your own man hours supervising your freelancer or doing so many revisions that your head spins.
Define the scope and timeline of the project clearly. Ensure everyone is on the same page, and encourage your freelancer to ask questions throughout the project.
4. Be fair.
A good freelancer or subcontractor will be upfront about a budget, as well as what the cost will look like if allocated hours go over or if additional rounds are needed. You should be upfront too–adjust compensation and timelines accordingly if needed.
5. Remove the chip from your shoulder.
Freelancers and subcontractors can be amazing assets to your business. That said, they may not get it right the first time. That doesn’t necessarily mean that they aren’t a fit! They’re learning your style and your business while jumping headfirst into a project. Invest a little time and energy into showing them what you want, and it will pay off!
So, there you have it! Go Media treats the freelance/subcontractor hiring process just as we treat our own hires: we find smart, talented, honest, easy-to-work-with freelancers and subcontractors. We invest time in setting them up for success, and we always, always, communicate with them. If you follow our tips, chances are, you won’t have to manage expectations–their work will blow you out of the water.
Creativity and Single Mothers
When you hear the word ‘creative’ who is the FIRST person you think of? Maybe you think of a painter, a hip-hop artist or even a comedian? Maybe Kanye West is the first person that pops in your head or perhaps Louie C.K.
Having done stand-up for seven years and venturing into the new world of copywriting, I have had the chance to interact and meet with some extremely creative people. People whose minds churn out ideas for great punch lines, witty banner ads and campaigns that you sing in your head.
But maybe, just maybe… the most creative people on this planet don’t come with the sexy title of Creative Director or Chief Creativity Officer. Maybe the most creative people have the least glamorous job. Maybe they have no choice BUT to be creative. Who am I talking about? The creative architects known as single mothers.
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Single mothers are challenged every day to discipline, teach, inspire and love their children. Raising children is challenging enough with two people, and single mothers stretch the bounds of creativity the moment a temper tantrum presents itself.
I am not a mother or a parent but was raised by a single mother. Her job was raising my brother and I to the best of her ability while working two jobs. She would work as hard as she could to keep food on the table and clothes on our backs. She’d read to us, make sure we had enough money to go on school field trips and also try to instill manners and good habits.
Looking back now it’s almost like my mom was the head coach of our football team, and like any good coach, she emphasized the basics: blocking and tackling…which for a parent could equate to good study habits and manners for their children.
Being 32 and seeing close friends living this role right now, it’s much more clear the sacrifices these women make.
A single mother will never get an invitation to the White House for reading to her kids every night. And she won’t be on a cover of a magazine for spending time with her children going over their homework. Her creativity is maxed out everyday though as she tries to inspire her children to be the best. And to do it on a budget!
“I am always trying to come up with things for the boys to do, all while trying to save some money in the process,” says Valerie Decapite from Cleveland, mother of two twin boys and an Art Major from Kent State.
“Many times, we will just take out a pair of kid scissors, and they flip thru magazines and cut out pictures, creating pictures with stamps, finger painting, etc. I painted a wall in our house with the chalk board paint, and we will grab some chalk and go to town.”
Val brings up a great point in that raising a child requires resources, and with being a single mother raising TWO children, the resources have to be doubled while the budget is limited. With her background in art, Val uses art as a primary love language to inspire her kids.
Any parent would probably agree that it takes a village to raise a child. Something as simple as going shopping for clothes and or taking an interrupted shower can stretch the creative mind of any single mother.
OK, how do I take a quick five-minute shower and make sure my daughter doesn’t hit the cat, throw books of the bookshelf, go near the stove, touch an outlet, find something sharp, and draw on her face…. Do I bring her in the shower with me and skip her bath tonight? Or do I wait until she goes to bed then take a bath…but the sound of the shower might wake her up!
From the single mothers I have talked to, it seems the relationship between child and parent is reciprocal in that the learning curve stretches both ways.
Callie, a single mother raising a five-year old daughter on her own, looks at it this way.
“I truly believe that she is raising me. It’s easy to replay the series of events that led you to single parenthood and resent what has happened, but I believe my daughter was put into my life make me aware of my weak spots and areas of need.”
“Disciplining two little boys is tough and if I send them to their room for a timeout, it’s really because I need a timeout too. A single parent needs a few minutes to have some quiet time and recollect their thoughts. In those quiet few moments, you have to muster up not only patience for the day or night ahead, but energy to keep up!”
Disciplined creativity. A single mother uses it every day with little to no recognition. The next time you have writer’s block or that big idea just isn’t happening, reach out to someone you know raising children for inspiration. Creativity is constant, a single mother has no choice but to just do it.
“Zombies,” you screamed! “Give us zombies!”
Well, here they are!
Cleveland Heights artist Justin Will is trick and treating us to a delightfully devilish vector pack, filled with 13 elements perfect for the Halloween holiday. But, let’s admit it, we’re alright using them in our work every day of the week.
The Zombie Faces Vector Pack features 13 individual vectors created exclusively for the Arsenal. Royalty free and completely scalable, use these one of a kind elements in a project requiring that extra kick of character.
How Designers Use Social Media
These days, you can’t go anywhere without noticing someone staring at their phone, laptop or tablet. Most of the time spent on these beloved devices is on social media like Instagram and Facebook. Social media runs a large part of the public’s everyday lives and many choices are made by the content they see. Why not use social media to your advantage as a designer to get your work out to more prospective clients? Here are some designers who took to the web in order to broaden their reach and made a name for themselves in cyberspace:
Youtube isn’t just for gamers
Joanna Zhou, who goes by Maqaroon on Youtube, is a professional illustrator/designer based in Austria. She first created a Youtube account in 2011 to build a following and gain exposure for her budding online shop. When she started posting videos in 2013, she had little to no experience in the online world and how to create a niche for herself. But, two years later, her YouTube account has become a hub for all things girly “Do-It-Yourself”. With 208,296 subscribers and 10,444,514 total views in two years, Joanna became the most successful Youtuber in Austria, now partners with Tastemade and has 22.5k Instagram followers. Since her online exposure, she has been featured in magazines like Cosmopolitan.
Homemaker to Facebook extraordinaire
Facebook isn’t just for friending anymore. Many people spend their time liking, sharing and commenting their little fingers off. What most people don’t consider are the business benefits available to you because of it. Homemaker turned designer, Brandi Temple, made a name for herself on Facebook. Now the CEO for Lolly Wolly Doodle, a clothing company for children, Brandi created an empire overnight with her designs. She originally started by just posting clothing designs on Facebook and selling to friends. Now a full-fledged company, Lolly Wolly Doodle uses their Facebook page to let fans know about deals, sales and upcoming seasonal lines. What started as a homemaker’s hobby in 2009 turned to a startup conquering Facebook sales, Lolly Wolly Doodle boasts over 1.1m likes, made $11 million in 2013 and has been featured in The Business Journal many times.
Instagram first….then the World
Instagram is one of the newer social media platforms, at least compared to Facebook, Youtube and Twitter. Originating in 2010, the social media app focuses on sharing photos and short videos with your following and allowing them to like and comment on them. Below are two artists who took this app to the next level and used it to not only showcase their hard work but even get them the exposure of their dreams!
Designer and photographer, Mike Kus, turned his Instagram in a mobile on-the-go portfolio. Boasting a whopping 859k followers and 1,461 posts, Mike uses the app for traditional social media purposes and also keeping fans and clients up to date with progress. Since he was one of the early adopters of the app, he also found himself at the forefront of a budding phenomenon. Instagram featured him as a suggested user for other users to follow and offers started pouring in. Some of these projects include being approached by the clothing company Burberry to shoot them backstage at London Fashion Week 2011 and to shoot for the European cell phone company O2. Using the social media app, he shows off his finished projects with hints on where to pick them up. Mike has also worked with HP Europe and Techné Watches, and posted mockups and photos of the designs to his Instagram followers.
Instagram was what sealed the deal for young designer and illustrator, Maura Creighton. Currently majoring in Arts Management and minoring in Design at Chatham University in Pittsburgh, Maura gained notoriety on social medias for her art and designs. What started out as a hobby for Maura, turned into something she found could make her money online. Her exposure on Instagram allowed the creator of the clothing brand Anthem Made, Kellin Quinn, to contact her on the app after seeing some of her work to create two designs for the Summer and Fall 2014 lines for the company. After her stint with Anthem Made, she was commissioned to make t-shirt design for the band Man Overboard. Since then, she has gained a following and commissions designs straight from her Instagram for those who are interested and constantly updates her followers with designs that are in progress.
Not only are comic books a very popular endeavor as of late, but some designers have found notoriety on the web for their stories. Web-comics came to be a gold-mine for Andrew Hussie, who created the popular hub of MS Paint Adventures. MS Paint Adventures houses his four series, which are Jail Break, Bard Quest, Problem Sleuth and most famously Homestuck.
The use of the online platform not only allowed Andrew to get his work out to a larger audience but also employ different design techniques like GIFs, Flash plug-ins and music to make his comics come to life and capture readers. The popularity has grown so large that Andrew’s Homestuck has merchandise in Hot Topic.
Whether you use any of the social medias listed above or another one entirely–they are an important tool to consider. Using social media in a technology driven world like ours to create a name for yourself is one of the more clever business moves to make. Just because your accounts are online, you can still promote yourself in person with Favicards. The above designers took to the web to not only promote themselves but also get their designs to the masses and you can do the same.
It seems like everyone is creating a t-shirt line these days. But creating a great t-shirt design is an art few can master. Luckily, the team here at Cleveland graphic, logo, web design studio Go Media has a rich background in apparel design to draw from, as do friends of Go Media, designers Herman Lee, Ed Pincombe and Dan Byler of Jakprints.
Today, we are sharing 7 questions to ask yourself when you aim to create your next tee design. Like any other project, you want to concentrate on designing “an iconic graphic that leaves a great impression to the viewers through all different kinds of medium,” reminds Lee. But when dealing with apparel, your own set of questions will arise.
Seven Questions to Ask Yourself When You Want to Create an Iconic T-Shirt Design
Have you fully immersed yourself into the project?
Know your audience! Like any great project, put your research in before pencil hits paper. Creating a band tee? Familiarize yourself with the band, fans and the merch referenced in the brief. Listen to their music, read their lyrics and come to know what they’re all about. This should all play into your eventual design. Study the brief, ask lots of questions and make changes based on feedback.
Does it highlight your customer?
Companies like Red Bull and Go Pro have done a wonderful job of making their customers feel like rock stars. Who says your t-shirt design can’t accomplish the same thing?
As Jeff notes in Thread’s Not Dead: The Definitive Guide to Starting a Clothing Line, “People still look at t-shirts as a medium for art and for a message. When you wear a t-shirt with an image or text on it, you’re saying something about yourself. You’re sending a message to all who see it. The message may be simple like, ‘I like this band.’ Or ‘I love New York.’ You might also just think that the style or the imagery represents your interests and makes you feel part of something bigger than yourself.”
Your messaging is powerful and the owner of your tee becomes a part of your brand. What do you want your audience to feel, represent, say?
Does it push the envelope?
As Jeff says in Thread’s Not Dead, “good design will blaze new trails in what people are wearing. A good design pushes boundaries and does things differently. It starts new trend, forges new printing solutions, and advances the industry.” A great example of this is Jeff’s Bold is Beautiful design that people said could never be printed.
Is it clear?
“I think a simple, clear concept is most important. Your execution can be detailed and complex but if a viewer doesn’t “get it” in seconds it most likely isn’t going to be that iconic design you are looking for,” says Pincombe.
Does it make great use of space?
“Use the whole t-shirt as your canvas. Your design doesn’t have to be fixated dead center of the t-shirt,” notes Lee.
Did you logo make a prominent appearance?
Sure, you’d like to get that logo front and center. But placing it playfully is part of the fun.
Have you considered the end product?
The t-shirt should speak for itself. Clean, crisp, simple, memorable, timeless. But think outside the box for a moment. How will you deliver the tee to your customer? Will you create custom tags? Special packaging? Will you include freebies to show you know your customer and their quirks? You’ve gone this far. Knock it out of the park and turn your customer into the brand evangelist you want them to be.
Now go for it!
Once you’ve designed and mocked up your tee, it’s time to put it out there for all the world to see.
“All of the most iconic t-shirts have one thing in common, notes Cleveland printing company Jakprint’s Dan Byler. “They started with an idea that someone had and that person acted on their idea. Take the plunge and print your shirt. Yes, it takes time and money to print apparel. No, it’s not a guaranteed success. How else are you going to find out if your idea is any good without putting it out there?”
For more on creating an iconic t-shirt and for all you need to know to create a killer clothing line, pick up Thread’s Not Dead: The Definitive Guide to Starting a Clothing Line by Go Media Partner Jeff Finley
Kickin’ it with Kenny
Our design conference, Weapons of Mass Creation Fest 6 was filled with memories so warm and wonderful we’ll be riding high off of them all year long. One such memory that will live in our hearts forever took place here at our home, Go Media. On August 5, 2015, Fox 8’s Kenny Crumpton of the best morning show in the nation, Kickin’ it with Kenny, paid us a visit. We set up a mini WMC Fest here at the studio, in order to show Kenny what was about to take place in just a few days at WMC Fest 6. What happened on film was nothing short of magic.
We love you Kenny. The end.