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From Concept to Completion. Creative Advertising and Graphic Design Services.


Advertising that Works: Oreo Thins For the Win

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.

Image courtesy of static.thefrisky.com.

Image courtesy of static.thefrisky.com.

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.

Image courtesy of delish.com.

Image courtesy of delish.com.

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:

Image courtesy of www.hightech-edge.com.

Image courtesy of http://www.hightech-edge.com.

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:

NPH Oreo Tweet

Accompanied by this charming Instagram post:

NPH Oreos instagram

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!

Oreo Has a History of Quality Ads…Check it Out:


The Number 1 Thing Designers Hate

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!”

Image courtesy of www.warcom.com.au

Image courtesy of http://www.warcom.com.au

“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.”

Here you go! This is a photo of a puppy with shades of blue and line drawing! What could be better?

Here you go! This is a photo of a puppy with shades of blue and line drawing! What could be better?

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!

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Top 10 Things Designers Hate Number 2, or: The Great File Caper

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 stuff about 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!”

Uh-oh! When we hear those words we know there’s trouble a-brewing—because we won’t give you those files, either. Image courtesy of www.amandavyne.com.

Uh-oh! When we hear those words we know there’s trouble a-brewing—because we won’t give you those files, either. Image courtesy of http://www.amandavyne.com.

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!

Image courtesy of justcuteanimals.com.

Image courtesy of justcuteanimals.com.

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Top 10 Things Designers Hate: Number 3

A simple but important part of any working relationship is respecting each other’s time. We think most people totally get that! But this particular issue still comes up every now and then, so this week, let’s talk about how much designers hate….

3) Last-Minute Changes

Image courtesy of http://www.zerouno.org.

Image courtesy of http://www.zerouno.org.

Every designer has had a client wait until at or after the deadline to request a color change, a text-rewrite, or even a complete overhaul of an ad. These last-minute changes are often accompanied by, “oh, it’s just a little change, it shouldn’t take you very long,” or the dreaded: “I need it by today.”

Of course, clients often don’t realize how long a given change is going to take. Something that seems simple, like replacing the copy, can actually be time-consuming because it requires the text to be sized and formatted to fit in the same space as the old copy. A change like, “could you just add a photograph?” isn’t a matter of just sticking something into the ad. A designer needs to find the right image, get the client’s approval, and make sure it’s the right size and resolution to look good with the rest of the ad. stop-the-press 2

Sometimes, as with ads printed in magazines or newspapers, there is a hard deadline for getting the ad to print. That can mean the designer has to work overtime to get the ad in on time. If you’re printing a brochure or a magazine and want to make a change when it’s already at press, you can end up wasting paper (oh no! the environment!) and you may be charged by the printer for the time they’re not able to use the press because of you! Nobody wants that!

All these last-minute changes can be avoided if you build your schedule with a little buffer-time—and stick to it! Then you’re happy, the designer’s happy, and look: this puppy is happy, too!

Image courtesy of idressmypets.com

Image courtesy of idressmypets.com

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Top 10 Things Designers Hate: Number 4

So far in this series, we’ve covered too much text, reading the rate card, and talked extensively about fonts. The latest designer pet peeve ties in to a similar issue to the one we ran into in post number 5—just because it looks good on your computer screen does not mean that it will look good printed. The number 4 thing designers hate is:

4) Low-Resolution Images

Artfully pixelated image courtesy of stackoverflow.com

Artfully pixelated image courtesy of stackoverflow.com

Resolution in digital images is measured in something called “dpi” or “dots per inch.” The standard dpi for something you want printed relatively large is 300 dpi or more. That means there are, quite literally, 300 little dots of color in each inch of the image. On your computer screen, these dots are called “pixels.”

Often, clients will send us an image that they pulled from Google or Facebook, without paying much attention to the image’s size. Then, they’ll ask us to “blow it up” or “make it bigger.” The problem is, while we can stretch something to be much larger on a computer screen, this does not increase the number of pixels in the image—it simply makes the pixels (or dots) larger. This stretched image may look fine on the computer screen, but when it gets printed there’s a good chance that a smallish image will come out grainy and unclear. And no one wants that!

If you’re using stock photography in your ad, it’s often better to let your designer source the images for you. We’ll know what to look for to make sure the image will come out nice and clear in printing. Then you also avoid issues of “borrowed” images that we covered in Things Designers Hate Number 9.

If you are searching for images for yourself, keep an eye on the number of pixels in the image. Google image search shows the size of images in number of total pixels. If an image is 300×300 pixels, then that image will be 1×1” at 300 dpi when printed. If you enlarge that image to greater than 1×1” when printing it, it will come out blurry.

This sad puppy is 1600x900 pixels. That means the image can be printed as large as 5.3x3 inches without any degradation of the image quality. He’s sad because you tried to print him 10x6. Image courtesy of Google.com.

As you can see circled in red on the right, this sad puppy is 1600×900 pixels. That means the image can be printed as large as 5.3×3 inches without any degradation of the image quality. He’s sad because you tried to print him 10×6. Image courtesy of Google.com.

You can use this information as a rule of thumb when searching for images online. Say you want to use an image that will eventually be printed in a magazine on a standard 8.5×11” page. You would need the image to be at least 2550×3300 pixels to get a resolution of 300dpi.

Finally, clients will sometimes copy all of the images they want to use, paste them into a Word document, and send that document to us. Please, for the love of that adorable puppy up there, do not do this! Pasting images into a Word document can lead to re-sizing in order to fit the image on the page, and can cause compatibility issues between computers with different generations of Microsoft Office, or between Macs and PCs. Always save your images separately and attach them directly to the email. They can be saved as a JPEG, PDF, TIF, or PNG file, but they must be saved at high resolution, at the size you want it printed or larger. That way it will arrive in your designer’s inbox the same way you sent it: nice and big!

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Top 10 Things Designers Hate: Color Edition

rainbow-colorsLately we’ve been talking a lot about color! In keeping with that, number 5 in the Things Designers Hate series is a common question:

5) “Why don’t the colors print like they look on my computer screen?”

The question itself isn’t exactly the problem. Rather, the issue is that many clients don’t ask it until the job is nearly complete. A client may assume that an image she sees on her computer will look precisely the same printed out. When this turns out to not be the case, aggravation and frustration invariably ensue. The client is disappointed that she didn’t get what she was expecting, and we’re frustrated because we want the client to be happy—and we don’t want to have to go back to the drawing board at late stages in the design process.

This can be easily avoided! You simply need to know the difference between viewing images on a computer and viewing a printed image, so that you can factor that in when communicating with your designer.

It all comes down to two simple, but important, abbreviations: CMYK and RGB. 

RGB refers to the primary colors of light: Red, Green, and Blue. These are the colors used by your computer monitor (and any other light-operated system, like the lighting rig at concerts or theatre performances, for example) to create all the colors in the spectrum. When it comes to light, white is made up of all the colors, and black is no light at all.

CMYK is the term used to quickly refer to the process by which images are printed in color. CMYK stands for Cyan, Magenta, Yellow, and blacK. With pigment, the process is the opposite of light: white space is achieved by using no color, and black is a combination of all the colors. Black is also added to a given pigment to darken it.

color mixing in light (left) vs. pigment (right) works differently. In this image you can see that the primary colors of light (Green, red, and blue) mix to create white, while the primary colors of pigment (Magenta, Yellow,  and Cyan) mix to create black. This is the fundamental difference between how we see color on our screens and how we see it printed! Image courtesy of sciencelearn.org.nz.

Color mixing in light (left) vs. pigment (right). In this image you can see that the primary colors of light (Green, red, and blue) mix to create white, while the primary colors of pigment (Magenta, Yellow, and Cyan) mix to create black. This is the fundamental difference between how we see color on our screens and how we see it printed! Image courtesy of sciencelearn.org.nz.

Since the images viewed on your screen are created with light, turning the screen brightness up or down, or altering the “contrast” setting, will change how those images appear. It is unlikely that your designer’s computer is set to the exact same settings as your computer, so a design sent to you online will not look exactly the same on your screen as it looked on your designer’s screen. When the image is printed, it will again be subject to color variation.

The Pantone color book. You can see that the colors on the left of the page are “RGB” and the colors on the right are “CMYK.”  The book depicts roughly the difference you can expect between computer images and printed images.

The Pantone color Guide. You can see that the colors on the left of the page are “RGB” and the colors on the right are “CMYK.” The book depicts roughly the difference you can expect between computer images and printed images.

You can avoid surprises when it comes to color by using a Pantone color guide. Pantone colors are standardized using numbers, so when your designer says they’re using Pantone blue #285PC, you can refer to the book to see how it will look when printed. Printers also use the Pantone guide, so their colors should be exactly the same as the colors shown in the book. By referring to the Pantone guide, you can get a good idea of what to expect from the colors in your printed ad, even if you’re looking at it on a computer screen. You can also always request a printed sample before finalizing the design, just to make sure it looks how you expect it to.

By keeping in mind that colors will differ from screen to page, and using the Pantone book as a resource, you can avoid unnecessary confusion and keep things running smoothly with your designer!

 

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Make Your June “Berrylicious”

The wall above is painted "Berrylicious." A few additional "jewel" tones, plus a pop of turquoise emphasize the  depth and richness of June's featured color. Image courtesy of CMG.

The wall above is painted “Berrylicious.” Additional “jewel” tones, plus a pop of turquoise emphasize the depth and richness of June’s featured color. Image courtesy of CMG.

Color is a huge part of marketing! This is something we touch on over and over again, because while color always remains one of the most important parts of an ad, which colors you use should change from season to season!

Berrylicious, paired with some complementary shades of lighter pink, in wool. Image courtesy of CMG.

Berrylicious, in wool, with complementary shades of pink. Image courtesy of CMG.

Color Marketing Group (CMG) is an organization for color design professions whose mission is to generate “color forecasts.” This means that what CMG does is predict what colors will be on trend, months, and sometimes years ahead of time. Taking a cue from CMG’s color forecasts can be a great way to keep your marketing materials seeming fresh and modern! These guys are the pros when it comes to color, and this month they’re ushering in summer with this deep berry color, called “Berrylicious.”

According to CMG, Berrylicious is:

“rich in color… playful and tempting in a way that makes you smile… it is a color that can stand alone, as well as offer a springboard from which other hues can contrast. It is [a] fresh way to enliven grey, becomes shocking with coral and can be calming when layered with other berry-inspired hues. Fresh from the produce aisle, “Berrylicious” brings luscious to glorious life.”

In addition to making you want pie with their description, CMG also suggests a few exciting ways to use this color for different effects. Incorporating a little Berrylicious into a June ad, program, or new web page might be just the thing to keep your look relevant, modern, and fun!

 

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