For the past 30 years Robert Pizzo has been one of the country’s leading, nationally recognized illustrator/designers. His client list would make any creative the envy of their peers and he has garnered awards for his illustration in nearly all the major creative competitions, including Print’s Regional Design Annual, Graphis, Society Of Publication Designers, Society Of Newspaper Designers, Creativy Awards, Annual Report 100, Desi Awards, Ozzie Awards and more.

But as anyone who knows the illustration industry will tell you, just being talented is not enough to make it for the long haul. The talented illustrator must equally be the talented businessman. You need to constantly stay before your existing buyers while you reach out to generate new leads.

One of Robert’s best promotional methods has been email marketing, so we are happy to share some of his thoughts on how to use the medium properly.

Robert: Are you looking for cheap “enhancement” meds in your inbox? Maybe a phony degree from a prestigious college? How about a can’t-miss scheme to collect millions from the government of Nigeria? I didn’t think so. Read the rest of this entry »

As a long-time partner of Hile Design’s, Chris Hippler develops powerful, strategically-driven copy for every writing project we send his way. After a 20-year career in the creative departments of ad agencies that included J. Walter Thompson and BBDO Detroit, Chris has refined his expertise in the B2B arena. He was the Midwest Office Manager of Pratt & Buehl, an Atlanta, Georgia B2B ad agency, where he managed the Yazaki North America account as well as the Yanmar America account in Chicago.

The difference between B2C (business-to-consumer) and B2B (business-to-business) language is night and day. And not knowing the difference can make your nights awfully long. Glad-handing and cajoling may be a part of the relationship between a salesman and a client. But in B2B copy, it’s all business. Here are five keys to make sure your B2B copy gets read—and acted upon.

Be an Expert. In B2B copy, you must position yourself as a credible expert. People don’t want to be sold; they want information that is relevant to their business. If you talk with authority about the subject you’re writing about, people will read with interest.

Be Real. Don’t be cheesy. If the copy gets an employee excited but he’s afraid to show it to his boss, you’re never going to get the order.

Be Believable. If you’re selling to engineers, accountants or lawyers and you over-promise, you’re dead meat. As soon as you say something that’s not believable, they stop reading. Consumers will put up with hype; business people won’t.

Be Rational. Business people will buy on emotion, but not on pure emotion. They need to justify their purchases to each other, so your marketing materials must give them sound reasons for it.

Be Factual. In B2B, you have to back up everything you say with hard facts. Otherwise you will be perceived as a blowhard.

Jesse Den Herder is the owner of DenHerder Design, an award winning “working class” design studio located in Northern Michigan. By striving to bring an unpretentious approach to design and a strong work ethic to every type of project, he has been able to work remotely for clients from coast to coast.

When Dave first asked me to write about my approach to logo design, I thought it would also be an opportunity to discuss my thoughts on the current state of such a valuable craft. With the rise of crowdsourcing, websites that claim $99 logos and everyone with a Mac trying to be a designer, creative logo design has the possibility of becoming compromised. This has however created an opportunity for good designers to re-affirm the value of their expertise to clients.

However, just being a good designer isn’t enough to get viable work anymore. As designers we have to constantly plead our case that good design = good ROI, which is easier said than done. One of the ways I’ve been able to separate my skills from low-ball logo designers, is by educating my clients concerning my design process. Much like a math teacher sharing their process for an algebraic equation, so I believe the designer should lay out the route from which the successful logo design is achieved.

Here are some steps I use when creating a new logo/identity:

1. Get a clear objective of what the logo needs to accomplish. Understand who the company/brand is:  past present and future, mission statement, etc.  Whenever possible I like to have the client fill out a “creative strategy” form, to help guide their vision and minimize development time.

2. Market Research: After reviewing the client’s needs and objectives, I study competitors’ logos, and industry trends in general, both past and present.

I’m always surprised by how many clients neglect this step when considering their corporate identity. While as a designer I’m not technically hired to be a business consultant, a good designer owes it to the client to understand the market for which they are designing.

3. Preliminary sketches/brainstorming: I always take a typographical approach to creating a logo, be it a logotype (a logo that includes a graphic) or wordmark (a type-only design). For at least 30 minutes I’ll sketch on paper all the ideas that come to my mind: words, illustration, whatever.

4. Take the best 5 sketches and continue to refine. Then I bring the sketches into digital form. I prefer to start logo projects in Adobe Ilustrator. I try to find a typeface family close to my sketched concepts, or I’ll create a font from scratch.

5. Even when designing a multi-color logo, always make sure the logo will reproduce successfully in black and white.

6. Present 3 good options for first review. It really depends on the client, but I have generally found that showing more than 3 options can be problematic.

7. Testing: Finally I make sure the client’s logo will translate well into all types of media including print, web, corporate identity, etc.

Over the years I’ve refined this approach and applied it to many other types of projects as well as logo design. It can be sometimes be tempting to skip a few of these steps, but I’ve learned the hard way that my end product is a direct result of adhering to my process.  Weak process = weak work.

I’ve often heard excuses from fellow designers that “I’m not getting paid enough to be really creative,” or, “It’s up to the client to do the market research.” From my perspective, if a client isn’t going to compensate me to do my job thoroughly, it’s not a project worth taking. In the long run a designer’s reputation is more valuable than a quick payout. It’s important we always view our work as a valuable business asset for our clients, and it’s equally important that they too see our value as well. I think the famous designer Primo Angeli said it best: “…time and money. Without them, design is mere decoration. Neither good design nor fine art.”

To learn and see more, visit http://www.denherderdesign.com/ or visit Jesse’s blog at http://www.workingclassdesigner.com/

We’re pleased to welcome Tim Murphy, an illustrator from St. Louis, Missouri, as HileItes’ guest blogger today. We love the opportunity to showcase talented artists like Tim. Thanks, Tim, for being part of HileItes.

Hello all! Greetings from chilly St. Louis, Missouri. When Dave asked me to contribute a guest blog post to this space and discuss my work, I thought about the ongoing recession and how it mirrors the one during which I got my start. I decided to take a brief look at the early experiences that shaped my style, and detail how the skills I was forced to learn in a recession contributed directly to whatever success I may have eventually found. Hope you enjoy.

In 1995, fresh out of college and eager to become fabulously wealthy doing little more than doodling Wolverine in the margins of my notepad, I instead found that my hometown of St. Louis featured a creative industry centered around beer and little else. Never much of a drinker, and more naïve and snobbish than I realized at the time, I held my nose and accepted a role in a digital imaging group at a mid-sized sales promotion agency. Due to the recession, senior workers were being snubbed in favor of eager young (read: cheap) talent, so in retrospect it was a fabulous and rare opportunity to break into an industry that usually required years of experience. But, green as I was, I didn’t realize it at the time. Read the rest of this entry »