Quilts, Inc. has been a valued client of Hunter-McMain, Inc. and it’s small division, Cheep Cheep Postcards™, since 1991. Hunter-McMain has served the advertising and graphic design needs of a wide variety of businesses in the Houston community since 1989, but our relationship with Quilts, Inc. is unique. With the growth of our two companies has come expanding opportunities for advancement and collaboration. Now, we are delighted to announce that our Cheep Cheep Websites™ division is designing a new website for Quilts as well! We anticipate being ready to unveil the new website design before the new year.
This month, in addition to developing the new website, the designers at Hunter-McMain, Inc. and The Cheeps are busily preparing advertising materials for Houston’s annual International Quilts Shows, which will take place October 24-November 1 at the George R. Brown Convention Center. The International Quilt Festival is the largest convention held in Houston each year, as well as the largest annual quilt show in the world.
Hunter-McMain and The Cheeps are dedicated to providing creative advertising and graphic design services for many long-term clients, but we have an especially long and fruitful relationship with Quilts, Inc. According to Hunter-McMain’s founder and CEO Jeanne Parker, “Although we’ve been doing work for Quilts for over twenty years, each year is just as exciting as the last! They started with just one show, and now they’ve expanded to multiple shows in major cities. They’ve grown and we’ve grown with them.”
In anticipation of the upcoming Quilts Shows, Hunter-McMain is giving away free tickets to the annual Houston Quilt Festival (Oct.24-26) to the first 10 people to like and share this article on social media! Be sure to tag us in your share on Twitter, Facebook or Pinterest, and message us for details on where to pick up your tickets! (must be in the Houston area to be eligible)
Ah, Autumn! The weather turns cool, the leaves turn colors, and we can all bundle up in warm cozy sweaters and drink cocoa around a crackling fire! At least…some people can do that. Here in Houston, of course, it stays a balmy eighty or ninety degrees until well into October. Leaves stay green, grass keeps growing, and the only time it would make sense to drink cocoa is when you’re trapped in an air-conditioned office all day!
This is exactly why we are loving Color Marketing Group’s September color alert, “Etnico.” With a little of this warm, earthy orange in your life, it really does feel like fall! “Etnico” reminds us of autumn leaves and pumpkin pie, and we think it’s the perfect addition to your fall ad campaign.
Here’s what Color Marketing Group has to say:
“Bringing to mind hardened earth, baked pottery and, indeed, the orange of the setting sun, the color embeds
itself deeply in products. It celebrates when enhanced with a metallic effect, seduces with a matte richness and glows with a polished gloss.
Not just a simple terra cotta, Etnico takes orange to a new level in home and office. It is becoming a new staple for leather and a solid color coordinate to copper. Count on it to accent classic hues like plum, navy blue, and ivory, and to create a new twist with charcoal grey, wine and olive green.
Earthy, yes, but also sophisticated, charming and energized.”
Love it, love it, love it! Take a cue from the experts and incorporate a little “Etnico” into your next design for a bold, warm, earthy look.
Many people fondly remember the “good ole’ days.” Back when everyone sat down for Sunday dinner, singing kids played hopscotch in the streets, and couples could get into the drive-in for a nickel—those were the days!
Of course when it comes to graphic design, the nostalgia starts to…wear off. Before the advent of programs like Photoshop and InDesign, creating logos and ads was a significantly more painstaking and time-consuming process than it is now! It involved cutting out pictures and text with razor blades, carefully gluing (or waxing) things in place, and drawing perfectly straight lines, over and over.
Hunter-McMain, Inc. has been in business since 1989—and when we started out, we didn’t even use computers! Our designers can remember back (not so fondly) to long hours cutting and waxing down all the components of an ad until it was just so—only to start over from the beginning when the client decided he wanted a different font or a new image.
In fact, we still have some old design tools sitting around the office! Designers used tools like these to create their designs:
This great video by the publishing and multimedia company Airows shows the pre-computer process of building an ad! Our veteran designers at Hunter-McMain have confirmed that, yes, this is actually how they used to do it. Watch:
BONUS: This beautiful tool is called the “Gentle Rub Electric Eraser.” That’s right, it’s just an eraser. That is ALL it was used for. You’re welcome.
This week’s “Advertising That Works!” is interactive—and tasty!
Lay’s latest campaign, “Do us a Flavor: Tastes of America,” takes foods from four different regions of the US, makes them into a potato chip flavor, and asks America to vote!
The bags themselves are great advertising: they encourage consumers to vote on their favorite, which also makes them want to buy not just one bag of chips…but all four! Not only does this increase sales in the short term, but it also increases brand engagement by making consumers think about the flavors they’re eating. Even if a given chip-eater doesn’t love any of the flavors, they’re still likely to visit the voting site and express a preference—after all, it’s fun to vote!
Once a consumer actually goes to vote, they encounter a cute website that’s cleanly designed and simple to navigate. Not only do you get to vote, but you also have the opportunity to learn more about the featured flavors. Site visitors can “meet” the “real people” who suggested the flavor from their region!
They can also experiment with this interactive map that shows how each flavor is doing in each state.
After you vote you’re redirected to this page, encouraging you to vote as many times as you like, via Twitter, Text or Instagram.
Genius! This gets consumers engaged on multiple social media platforms, and keeps them engaged for the entire campaign! They also get a chance to win $10,000!
There you have it: the Lay’s Do Us a Flavor campaign is fun, engaging—and tasty! That’s why they’re this week’s “Advertising That Works!” We even got in on the fun here at Hunter-McMain, Inc. Our votes were:
Creating the perfect ad campaign for your business can be tough, which is why it’s so important to have a great graphic designer in your corner. Of course, we know that sometimes working with a designer can be hard, too! Maybe you don’t quite know what you’re looking for in a design, or you have ideas, but you and your designer are not speaking the same language.
Don’t worry! We can help. Last month we gave a detailed breakdown of the top 10 things that every designer hates—and how to avoid misunderstandings and stress when building your perfect ad, logo, or website!
If you haven’t had the chance to read the full series, don’t worry! We’ve gathered up the whole list right here. Now is a perfect time to get up-to-date on the things your designer hates—plus how to avoid common snafus, and keep your design process running smoothly!
Ads with too much text can be stressful to read, hard to design, and not very pretty. Keep it clean and simple, and your designer will be happy—plus, your eye-catching ad will attract new customers who can see how savvy you are!
While it is sometimes ok to borrow an image from another website if proper credit is given (as above), many images are copyrighted, and there are complicated rules for when it can be used and when it can’t. Instead of copying something you like online, work with your designer to create something unique for your business.
What in the world is a rate card? Basically, it tells you everything you need to know to place an ad in a given publication—and it’s different for every single one! We broke down the basics of where to find the rate card and how to use it to keep your process running smoothly. Check it out!
Do what now? This is basically a term for a simple process by which your fonts are included as part of a document you send your designer—so they can see those fonts, even if they don’t have them on their computer already. Follow the link for helpful tips on what “embedding fonts” even means, why it matters, and how to do it! Easy!
Simple! Sort of. Actually it’s a little complicated. If you’re interested in the nitty-gritty, we explained it all in the original post. Suffice to say, it will look different from screen to page, so make sure to request a color proof, and use the delightful Pantone color guide shown above to help predict how your ad will look printed.
Resolution is another one that takes some time to fully explain, but the basic principle is this: send your designer the biggest image possible. This will allow it to be printed larger without blurring. If you’re not sure if it’s big enough, ask your designer! Or, check out the longer article to learn how to identify high- or low-resolution images, and make sure the pictures in your ad are crystal clear!
Allow me to repeat myself: Nooooooooo! Alterations that a client thinks are “quick” may or may not be, and your designer may have to work overtime to get that ad to print by the deadline. Missing the deadline can mean big hassle and even extra fees from a printer if the process is delayed! If you schedule plenty of buffer for your design process, you’ll ensure that last-minute changes are never necessary, and keep your designer (and your wallet) happy.
In general, the client owns the final ad, but not the working design files or various component parts of the ad. This can vary in different situations—we get more specific about that here. Making sure your agreement is crystal clear at the outset can prevent misunderstandings down the road!
This kind of request is a little too vague, and it puts a lot of pressure on a designer to guess what you might love. We always want to give our clients what they want—but first we have to know what that is. Make sure you know what you’re looking for, or be ready to trust your designer to come up with something awesome! Specific thoughts about color and style can point your designer in the right direction, and examples can be helpful, too!
If you want to learn about our collaboration and design skills firsthand, get more information here or call us at 713-627-1177 to set up your free consultation!
August in Houston is always hot, and this year, it’s record-breaking! Cool off a little with this month’s spotlight color, “Vintage Mint.” We’re loving this light, refreshing shade of green for everything from ads, to accessories…to cocktails.
Plus, we don’t like to brag (too much), but as you can see from our blog’s color palette, we liked “vintage mint” before it was cool (pun intended)!
According to the experts at Color Marketing Group (CMG):
“Vintage Mint has its roots in mid-century design…[but with] a distinctly modern edge… Always fresh, but now a bit daring, this new version has the energy to take on fashion, graphics, industrial design and transportation. Its daring has brought diversity, as it takes on unexpected roles in menswear, accent furnishings, and kitchen appliances.
Take a cool, fresh breath, with Vintage Mint.”
We couldn’t have said it better ourselves! Take a cue from the experts and incorporate vintage mint as a fun, fresh addition to your next ad or postcard.
Remember way back, long, long ago, when flip phones were all the rage? Then maybe you remember this commercial:
In it, a farmer is standing in his field, forlorn, surrounded by hundreds of wiener dogs. What’s the problem? Well, he says, “I ordered two hundred oxen…not two hundred dachshunds.”
As a somewhat too-late solution, he is offered a new Sprint cell phone, to keep his conversations clear from now on.
We think this ad works because it’s hilarious! Not only does it brilliantly get the point across (“clearer service is useful; we offer clear service”) it also resonates with consumers over a long period of time. Viewers are still sharing this commercial around social media, and although the particular deal advertised is (obviously) no longer available, it’s still great publicity for Sprint.
Feel-good marketing is popular, and ads that keep making people laugh will keep being relevant for far longer than ads that simply inform consumers of a deal. That’s why this Sprint ad is this week’s “Advertising That Works!”
Oreos, but…better for you? The same great taste, but…smaller? Brilliant!
At least that’s what the new Oreo Thins Ads would have us believe, and we think they’re doing a very convincing job.
The latest series of ads for the new Oreo Thins (a permanent addition to the Oreo cookie family) emphasizes a “sleek” and “clean” feel with few words and large, impactful images of the cookies–which look totally delicious, just smaller.
The way they emphasize how “thin” the cookies are in the ad designs play into a cultural interest in healthier eating, as well as the constant shift toward slimmer, sleeker products in the tech world. For instance, the ad above shares some similarities with this ad for the Apple iPad Mini:
The iPad is sexy, so Oreos are sexy, too! The Oreo Thin ad campaign is also making clever use of celebrity and social media–for instance, not long ago, actor and comedian Neil Patrick Harris sent out this tweet:
Accompanied by this charming Instagram post:
If that doesn’t make you want Oreo Thins, I don’t know what will.
For these reasons, we have to officially declare the Oreo Thins campaign to be some Advertising that Seriously Works!
Welcome back! We’ve covered a lot in this series, and we’re almost finished! We’ve come a long way together, and now it’s time to reveal the number 1 thing designers hate. Drumroll please…
1) You say, “Give me something….Different/Unique/Special!”
“I want it to be different, but I’m not sure how.”
“I love what you’re doing, but could it be more…artsy?”
“I’m not sure what I’m looking for, but I’ll know it when I see it.”
Here you have it: a designer’s worst nightmare. It can be difficult to satisfy a client who speaks in vague concepts, but has little idea about what kind of visual they’re looking for. A request like, “give me something unique,” can be fun for a designer, because it gives a lot of opportunity for creativity! But it can be frustrating, too, because it puts a lot of pressure on a designer to guess what you will love.
Buzzwords that evoke feelings like “family,” “futuristic,” and “fun,” are common in marketing, but they’re also not very specific. Graphic designers are more visually oriented, and they’re looking for more visual descriptions like “use shades of blue,” or “line drawing,” or “photographs of puppies.”
Often clients do have something in mind—they just don’t know how to describe it. That’s when they may default to vague descriptors (like “unique”) and then be disappointed with what we come up with. If you know what you want but have a difficult time describing it, it’s great to bring examples of what you like to share with your designer (but try to avoid #9). Just be ready to say what you like and don’t like about each example.
For instance, a client for a new website might send a list of links to the designer and say, “I like the layout in this one, but I want less text,” and “I like the color scheme here, but mine should be brighter and the pages on this site are too cluttered.” From that, a designer can start to glean the aesthetic you’re looking for, and what kinds of things won’t work for you.
If you really have no idea what you want, that’s ok, too! Trust your designer to create something unique for you—they’ll be thrilled to do it. Then you can tweak it together, until you have exactly the right design for your company!
We hope you’re as excited as we are to be getting to the top 2 on this list! We’ve covered rate cards, too much text, and all kinds of great stuffabout fonts. We’re now approaching the two most difficult problems that designers encounter with clients—but never fear! We’ve got the scoop on how to avoid these snafus and keep your process running smoothly. The number 2 thing designers hate is when a client says…
2) “My last designer was terrible! She wouldn’t give me the design files!”
Occasionally, a client may believe that he is buying not just a logo or ad, but also all the ad’s component parts and the right to make changes at will. The client may ask the designer to create the artwork in Microsoft Word, or simply to share the InDesign or Quark files so it is easier for the client to make adjustments himself.
This is generally not something a designer will do. In most design contracts, clients own the final artwork, but not the “working files” or drafts. While a designer will be happy to collaborate with a client on making changes until the final design is satisfactory to both parties, the majority of designers will not allow a client the right to make changes to a completed design.
There are many reasons for this! First is professional pride: designers want to prevent their painstakingly crafted artwork from being altered. A client is not likely to know as much about composition, fonts, or graphics as a trained graphic designer, and that can lead to oddly stretched or pixelated images and strangely composed ads. We have our reputations to think about, after all!
Maintaining ownership of working files is also good business sense: if a client believes that he or she can simply re-adjust the same ad over and over, then why go back to the designer for a fresh new ad campaign? (of course, wouldn’t you rather have a shiny new design?!) In addition, there are some potential licensing issues. Most images are copyrighted. If a client gives a designer a photo for their ad, then the photo continues to belong to the client. But if a designer acquires fonts or images elsewhere, then they have the right to sell the final product, but they may not have the legal right to sell you the individual parts.
Understanding what you are (and are not) buying from a designer is an important part of maintaining a positive working relationship. Many conflicts between designer and client can be avoided if ownership and the process are discussed beforehand! Then everyone knows what to expect, and you’re all happy…just like this puppy in a bucket!