For my client Alex of Off World Productions, I selected a colourful and dramatic photo as the main element in this A3 Poster for his play on the Edinburgh Fringe, then built the typography around it. To keep the graphic design consistent and to aid recognition, the A5 Flyer and Business Card follow the poster closely for style. Contact me if you’d like a bold Poster for your product or service – contact www.edfringe.com if you’d like tickets for the play!
Some of my recent work has involved design and print of Promotional Goods branded with my clients’ details. Have a think if colourful pens, notepads, badges or trolley-coin keyrings branded with your logo would attract customers to your product or services. The Office Furniture Centre selected quality 5-metre tape measures which were ideal gifts for potential customers measuring up for new or used furniture. There are a wide range of gifts available and I always fill the print area to give a strong branding and message.
Here’s some further points re Exhibition Stands – these are more general advice and less about design.
Getting your exhibition stand – with your exhibition stand, order the type of wheeled transit case that has a wraparound graphic and a wooden counter-top (shown in the stand above), they give you more options for your display. On top of the transit case, a laptop running a video or powerpoint will help to draw delegates to your stand.
Curved wall exhibition stands are generally about 2.2 metres high, so if your staff aren’t all six-footers, it’s a bit of a stretch to reach those top connectors. Instead, take the kitchen steps with you for the build-up, this’ll result in fewer crumpled panels.
The big piece of great advice:
About 4 weeks before you exhibit, take the old stand out of the cupboard and put it up in your boardroom to check that it is 1) all there, 2) not damaged. If it isn’t usable, you have 4 weeks to repair it or order a new stand. Remember, most stands are damaged when they’re dismantled in a hurry at the end of an exhibition.
Best of luck with your next exhibition, by all means call me for advice.
Take a 3-by-3 “curved wall” exhibition stand – from a design point-of-view, don’t look at it as a huge canvas to be covered with lots of images and offers. It will be more powerful with a single message, for example, a single colour or a great photo over the whole wall, with a bold headline, some bulletpoints and your contact info near the foot. Cluttering it with secondary sales images and offers will only detract from its visual effect – and the offers will go out-of-date quickly, rendering it obsolete. Only add secondary images and text if they are vital to your main message.
Remember that your sales team will be standing in front of it, so not all pictures and text will always be visible.
The rounded end caps are a good place to list your services, prospects will see them as they approach your stand from the side.
The exhibition designer’s rule is “no small text below the knee, no-one’s going to read it there”. Only contact information should appear below knee-height, often accompanied by your logo.
The photo shows me during a pre-delivery check on the Russell & Russell 4-by-3 stand.
In my opinion, it’s easy to picture Brand Identity as the big brother of Logo Design. Even better, imagine Brand Identity as the big family supporting Logo Design – while he’s the dashing go-ahead youngster that gets the family noticed!
Logo Design is the eye-catching image, icon or symbol that your business is recognised by. It’s the NUMBER ONE recognition factor for your business. And it’s the KEY to increasing mental recall of your business (that’s recall in the brain’s memory, not a Schwarznegger action movie).
This is the bigger picture supporting and enlarging on your Logo Design. A brand identity manual used to be seen as the way to tie together your brand and how to apply it properly in full-colour, how it should appear on stationery, brochures, banners, building signage, even on the company Gulfstream jet. This is because it was, and still is, vital that you control the use of your logo – so top-class artwork must be available or your logo will inevitably become ‘watered-down’ by inaccurate and unauthorised redraws.
But Brand Identity/Branding has become an ever bigger picture than those brand identity manuals foresaw: nowadays, Brand Identity includes your video ident before TV shows, your radio tagline and the actor who voices it, and your advertising character (think Meerkats). Also the ‘tone of voice’ used in your company email and blogs, and the power-suits worn by your top executives – everything that speaks of your company can be seen as part of your Brand Identity.
(NB: I wrote this before Arnold Schwarznegger ever appeared in the TV ads with the Meerkats – so either I’m telepathic or it’s just a lucky coincidence!)
Hi, I’m Barry Adamson, owner/designer of Adamson Design. I have been a full-time graphic designer ever since I left Edinburgh College of Art in the 1970s and went straight into book-publishing.
In the first half of my career I, like all the other designers at that time, used traditional artists media to create our visuals and artwork – that means we drew things by hand on drawing-boards as there were no computers, no internet, no e-mail and no Photoshop – it was very creative and great fun working in a big studio.
During the second half on my career, I have used Apple computers and Adobe programs to create graphic and web design. Computers have brought great advantages, particularly regarding typesetting, artwork storage and file transfer. But they don’t come up with ideas for brand identity or ad campaigns – I do that, using the same sort of creative thinking that I used when my main equipment was a pencil. The core of graphic design is not drawing ability but thinking up a fresh idea that presents my client’s product/service in a favourable and eye-catching way. And that’s still what I love doing.