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I have to admit right up front that the title of this article is a bit of hyperbole. You might be quick to think that a t-shirt line that can be started without any money cannot possibly be a good one. It’s true that we could easily end this post in a few sentences by suggesting one of the many turnkey websites that sell one-off digital printing on every product imaginable. However, I am actually referring to starting a high quality screen printed t-shirt line without any money. Thanks to the internet…this is very possible.

Tell Your Story

One of the main ingredients in beginning a new tee line is to create a story about the brand. Something authentic and genuine, the story needs to resonate with the demographic you plan to market to. The intention here is to create a small army of followers that will help introduce the brand to the masses on the internet. This fan base is probably the most key component to creating your t shirt line without any money and will be referenced many times over in the steps below.

Telling your story is also a great way to help you figure out some very important things about your marketing strategy. Following the conversation and your brand mentions will help you identify where your followers’ online hangouts are and how they interact. This is key to knowing the “how” and “where” to most effectively get your message across to the eyeballs that need to see it.

Create Awesome Designs

Now that you’ve got your story, it’s time to turn your attention to another obvious necessity: t-shirt designs. Obviously without great t-shirt designs you’re not going to get very far. Quite often the designs themselves are what inspires the whole project. You can let your style shine and share your creations throughout each phase of the design process so your followers can watch the evolution. This is another easy marketing tactic that gives people a feeling of inclusion and it builds anticipation for the final products.

So now you have your designs and a compelling, marketable story…so what next? Now it’s time to set up an online storefront where you can sell your tees. Again this step can be completely free! Thanks to sites like Storenvy (totally free) and Big Cartel which offers a tiered membership (with the basic one being free), it’s never been easier to quickly and painlessly establish your business’ online sales presence. This can be a huge step since actually having this online store will make it feel more official, both in your eyes and in the eyes of potential customers.

The Launch Before the Launch

Speaking of potential customers, the next step is to provide them with a central hub where they can go and check for updates and information while you’re doing your behind the scenes stuff. True enough, you could just direct them right to the store page, but since that is mostly designed for the express purpose of shopping it often isn’t really the best avenue to release news about your progress. That’s why it pays off to invest a little bit of time (and don’t worry it’s only time, no money) in creating a launching page using a free site like Launchrock. You can collect email addresses with the landing page and keep everyone updated on your pending launch.

The Sales Before the Sales

Now it’s time to nail down some specifics about how many people are interested in your t-shirt line and which designs are going to be popular. You can do this by listing your designs as pre-sales on your store site. Doing pre-sales is a great way to lessen the risk involved and prevent wasted expenses. The is a great way to determine the sizes and quantities needed when it is time to print.

The Social Hustle

One more important thing to keep in mind though is promoting your business and designs. If you just set everything up and walk away from it chances are it’s going to fall flat. Instead get the word out, and then keep getting the word out. Promote your t-shirts on all your social networking sites. Release announcements about launches, and release announcements about pre-launches! Build as much buzz and momentum as possible by constantly hustling your brand on social channels such as Twitter, Facebook and Tumblr. Just don’t be afraid to ask people for links, likes, and re-tweets!

Give Your Line a Kickstart

Have you come all this way only to find that now that it’s time to pull the trigger and go into production (and thus unavoidably incur some costs) that you are lacking in some necessary funds? Don’t worry there’s a way to help ease the financial blow for this part too! Thanks to Kickstarter you can get people to donate to your goal and thus, help “kick start” the whole production. Check out successful campaigns like the one Seibei ran. It is at this phase of the process where you’ll really see things start to come together. This is where building up the small army of followers mentioned before can make all the difference in the world. This is where they will be salivating to back the project and get their return based on their pledge amount.

So there you go, now you know how to launch your own t-shirt line using little to no money while still giving your business a good chance for success! There will be work involved no doubt, and it is going to take a whole lot of effort by your and more than likely a good bit of help from friends, family, and possibly even kind strangers, but you can make it happen.

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I haven’t always just written about design. No, back in the day, I designed for magazines and newspapers. The following is my story of why I left the graphic design world. I also chatted with other former designers about their varied reasons, ranging from disinterest in the business side to physical ailments.

I toiled in the print publication trenches for years, facing daily deadlines and relying on my limited math skills to figure out column inches (this was in the ’90s, when designers still used proportion wheels and X-acto blades). But here’s my confession: I wasn’t very good at the creative side. I’d churn out a two-page feature layout in a few hours and expect it to be ready for print, whereas my co-workers would work on several versions for days, painstakingly redesigning a drop cap in six different ways.

One art director at a magazine encouraged me to spend more time on each article layout. He didn’t relate that I came from the newspaper world, where we sometimes left a hole for a last-minute story that we’d just plunk in on deadline – there was no time for more than one take! I blame my journalism training for my succinct style I abide by to this day – why say in four words what I can say in two? Why design three versions when I can be done with an assignment in one?

While I appreciate design every day – I surf through creative websites on a daily basis, admiring the typography and color choices – I don’t see myself in that world and choose to leave it to those with the skills, passion and patience for design.

I’ve known a number of other people who’ve also left the design profession but for wholly different reasons. Here are the top reasons why:

• Low pay.
• Layoffs in the print industry.
• Couldn’t or didn’t want to keep up with new technology.
• Lack of creativity in projects.
• Carpal tunnel or other ailments from sitting at a computer all day.
• Disinterest in the business side of freelancing.

What are some of the reasons you left – or are considering – abandoning a design career?

Image via penywise/Morguefile.

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In a time when designers are often too busy to network and seek further education, podcasts have become available to teach so we can learn while we go about our business. I recently “met” Kitty Florido on Twitter when I asked for graphic design podcast recommendations. Florido is a graphic designer who owns Asterisco, a design and photography business in Guatemala.

Florido and I chatted about the rise of podcasts this decade and what role they’ve played in her training, education and sometimes just entertainment. Florido had posted a page on her blog called “Podcasts I Listen To,” and it’s exactly that: a page started for her friends who were always coming to her for podcast recommendations, and now Florido goes through it every four or five months to keep it current.

After listening to hundreds of podcasts throughout the years – and learning what she liked and didn’t like about certain ones – it was only a matter of time before Florido took on a podcast, “Rookie Designer.”

Why did you start listening to podcasts?

I started a lot of years ago – I’ve been listening to podcasts since they were first available. I had to drive to my business every day for an hour. First, I was bringing my iPod in the car because I hate listening to commercials.

It was hard to find them with good content. There were some business and some design, but there were very few. Then I started listening to a friend of mine, Tim Coyne, who does “The Hollywood Podcast,” which is interviews with stars – nothing designer related or anything.

What made it easier was the iTunes store’s guide. There I found “Rookie Designer.” I found some other podcasts – some of which are already dead. One of the things it allowed me was to stay current and be a part of something else. My office is a one-woman business, so I’m not exposed to other co-workers’ ideas.

Where and when do you listen to podcasts?

Now that I’m working from home, sometimes I have to be in the mood. I try early in the morning, like right when I can cram more information in. If I’m listening to marketing-heavy podcasts, I don’t want to listen to that at 5 in the afternoon. If I listen to one about cooking, I don’t need that much attention to follow that train of thought. I do have specific times when I listen to specific podcasts.

Design is so visual – what are the challenges in coming up with engaging podcasts?

I think that it’s really hard for a podcaster to get the idea through – not because a picture is a thousand words but because you have to describe a lot of things. It’s a different approach as a graphic designer and photographer.

Sometimes I’m just looking for a train of thought instead of listening to my iTunes collection. It keeps your mind busy. If I’m listening to a very interesting conversation, I listen to the entire conversation. When I started listening to podcasts, I had to drive an hour to and from work, so it was my little time in the car to connect to the rest of the design world.

What do you look for in a podcast?

If I was listening to a podcast with a monotone, that would bore me. There are some hosts that can be very much like that – or in your face. They’re just kind of rude. That pushes me away. I need someone maybe not completely likeable but just with manners – a sense of humor. The topics need to be interesting and have a train of thought.

The first episode we made recently of “Rookie Designer,” I found it’s hard for me to talk as a podcaster. If it’s two hosts – like “Rookie Designer” is – they go back and forth, but if it’s one person going, “Uh-huh,” that’s not very interesting.

I really like Chris Marquardt’s “Tips From the Top Floor.” He’s a German guy who knows a lot about photography. I went to his food-photography workshop, and it was amazing. It was amazing to see him since I’m used to listening to him! It was one of the first podcasts out. It has intro music that sets the mood – it has music that someone wrote for him! Some podcasts just start without an intro – they just start talking.

How did you become a part of “Rookie Designer”?

“Rookie Designer” was started in ’06. A little more than a month ago, Adam Hay contacted Jake Van Ness, owner of Prepressology, and myself. It’d been silent for a year, and we just released our first.

What have you gotten out of podcasts and other newer technology?

The podcast world has definitely been keeping me up to date. That’s how I learned in 2007 about an InDesign conference in Florida. It’s just a short flight from me and was the first of its kind. I went and met people and realized there’s a whole different world out there of people who like the same things. Since I’m working by myself, I find it’s hard to find friends who do the same thing. I have a few other friends here in Guatemala who were not keeping up with the trends. Before podcasts you had to look for forums to get advice, but technology has made things so much different, like with Twitter. I used it in 2007, and it was extremely new, and no one knew what it was. It has helped the distance and to share knowledge and to express frustration.

Technology has opened a lot of doors for me. There’s a program called design4kids, and I’ve been working with them – I bumped into them through Twitter. Every time they do workshops, I’m in the U.S. instead of Guatemala, but one time I did an online review of the students’ work. And through Twitter I was able to gather designers to help.

What is the future of “Rookie Designer”?

We want to do it twice a month. … We want to do a good, solid episode – we’re really glad with the feedback so far. We want to talk not just about design but also photography and tech geek stuff. At the same time we want to approach subjects and ideas that many designers – rookie or not – face each day. For example, what about client issues, the business side of things? At first we’re going to see how every two weeks works – we’ll see. The important thing is to be consistent.

I’m a Mac user, and Jake is a PC user, so we go back and forth with applications that might not do the same thing but produce the same results.

What are some of your favorite podcasts?

“The Freelance Radio Show” for graphic artists and writers.
“36 Point” for design.
“Managing the Gray”
“Six Pixels of Separation”
“Tips From the Top Floor”
“Enough – The Minimal Mac Podcast.” They talk about minimalism. They have no intro – they just start talking about things like: How many apps do you download, and how many don’t do a thing on your Mac?

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Graphic designers for the most part are united in their disapproval of crowdsourcing. I formed this opinion based on Twitter conversations and comments on design blogs – mention crowdsourcing, and graphic artists immediately get huffy, insisting professionals deserve to be paid.

“Crowdsourcing” occurs when a company asks outside people to contribute their work for consideration, and the company chooses a submission for use. For example, a city might hold a contest in which it asks designers to contribute a logo for one of its programs. Graphic designers submit their proposals, and a committee chooses a winner – the city gets a design for free, and the artist gets exposure and, perhaps, a prize.

Designers dislike crowdsourcing for a couple of reasons:

It devalues their work. Crowdsourcing is seeing an uptick within marketing. Major companies have enlisted consumers to create ads under the guise that their marketing is consumer-driven. But what’s happening is businesses are learning they can sit back and have design proposals brought to them, and then business owners can have their pick for free. Meanwhile, all those designers who submitted a bid that did not win also did not get paid for the time spent creating the submission.

It decreases the amount of work available. A big part of a freelancer’s job is seeking out work. Everyone seems to be pinching pennies these days, and there’s only so much work and cash to go around. So when crowdsourcing rears its head and lets businesses think they don’t have to pay for design work, it leaves the freelancers fighting for fewer clients.

So, all that being said, is there ever an appropriate time for crowdsourcing?

Here is where I am conflicted: I follow a lot of nonprofits. They don’t have a ton of disposable cash and are mainly run by volunteers. Quite often, nonprofit organizations will hold a contest that calls for a T-shirt design, a logo or a poster. Designers submit original works, and the nonprofit chooses a winner. The organization gets a free design, and the artist gets publicity. Is this OK? My feeling is that the nonprofit company is not exploiting designers if it really doesn’t have the cash to pony up for design work. And if it does, I would prefer its money goes to whatever cause it’s working on.

What do other professional designers think?

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Travel Guides. We’ve all seen them, there’s hundreds to choose from. All with some sort of pitch for the best places to go. But, will the places be good? Will I even like them? I am basing my entire exploring experience on what ‘some guy’ in this book says… Enter: Graphic USA – An alternate guide to 25 US cities.

Graphic USA is an alternative guide that offers a fresh perspective into the boring travel guide segment. Each of the 25 cities are reviewed, written and illustrated by designers living in their respective cities. Not only does this book contain great places to go it also includes cutting edge creative design which, is a heck of a way to chart your way across these fantastic cities and a lot more user friendly that travel-guides in the past. The book is arranged with beautiful full color spreads and no detail has been left untouched. The best part about the book is that since each section has been handcrafted by an illustrator, artist or designer each section feels unique and showcases the vibe of the current city being reviewed. It also gives unique insight into local places that are off the beaten path. The great dive-bars that offer the best views or the best fresh seafood. You will use it as a gallery of beautiful images or a directory of talented illustrators and designers and most importantly a great travel-guide for a weird and wonderful alternative road trip across America.

The content of the book includes:
Anchorage, Alaska | Laura Feraco
Atlanta, Georgia | Laurie Forehand
Austin, Texas | Bryan Keplesky
Baltimore, Maryland | Elizabeth Graeber
Boston, Massachusetts | Esther Uhl
Charleston, South Carolina | Jay Fletcher
Chicago, Illinois | Daniel Blackman
Denver, Colorado | Gwenda Kaczor
Detroit, Michigan | Angela Duncan
Kansas City, Missouri | Ramzy Masri & Morgan Ashley Allen
Los Angeles, California | Tal Rosner
Memphis Tennessee | Alex Harrison
Miami, Florida | Michelle Weinberg
Milwaukee, Wisconsin | Mike Krol
Minneapolis, Minnesota | Adam Turman
New Orleans, Louisiana | Tom Varisco
New York, New York | Camilla BenBassat
Philadelphia, Pennsylvannia | Katie Hatz
Phoenix, Arizona | Jon Ashcroft
Portland Oregon, | Briar Levit
Providence, Rhode Island | Adam Lucas
San Fransico, California | Cameron Ewing
Seattle, Washington | Björn Soneson
St. Louis, Missouri | Rachel Newborn
Washington, DC | Joshua Graham Guenther

Graphic USA also has an older brother Graphic Europe which which takes you through 31 European cities. These titles are released from cicada books based out of London. If you want more information on either of these titles check out Cicada for the full details and availability. This book has taken it’s place in my suitcase for my new definitive travel-guide. It’s definitely worth a look if you’re looking for travel inspiration, great places to eat, drink or stay or something fresh in the travel industry.

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Business cards are often overlooked or tucked away for later. But when properly done, a business card is the first thing potential clients will look at after meeting you. It will identify your business, and provide a way to get in touch – which makes your card an essential part of your brand. The design, the message, the ‘feel’ of your card – these are all clear signals to your new clients that will help them work out who you are and what you stand for. A clean, simple design suggests you care about appearance – while a cluttered, over complex card might scare people away.

So how do you communicate everything about your brand on a simple business card?

Content

The main reason you hand your card out is to be contacted, so don’t hide your details with cluttered design and unnecessary text. Your card is always one glance away from ending up in a pile with all the others, so communicate your USP as simply, and memorably as possible. What makes your brand stand out from the crowd?

Design

If your design looks amateurish, then so will your business. Highly detailed and complex designs don’t scale well and lose detail when printed (particularly for logos). You need to find that vital balance between design and content, with some space for people to write additional notes on your card.

Typography

Legibility is essential, but it’s the font that helps depict personality! The right font sets the tone, speaks in the voice of your brand, and expresses your style. Remember, a fun or modern font may end up undermining a ‘serious’ business such as a law firm or accountancy (let’s not even mention Comic Sans!).

Colour

It may sound odd, but colours are imbued with relationships and meanings. If you choose a colour that matches your message, you’ll find our card unconsciously communicates what you want to say.

Print Quality

A professional business should look just that – professional. Low print quality can be disastrous for the look and ‘feel’ of the card. If you offer a high quality product or service, don’t be let down by poor quality print just to save a few bucks. After all, what does that tell people about your brand?

Paper / Material

Whether you like it or not, the quality of the paper you use says something about your brand. Cheap, thin paper can give the wrong impression. Touch is an important sense, and cheap, thin paper never feels good. If you choose plastic or metal instead, think carefully – a rigid card may suggest a similar trait in you or your business.

Size

As everyone knows, size matters – so choose yours wisely! Smaller business cards can be perceived as cool, innovative or cute while really large sizes might help you stand out! But would a small, funky card suit a very corporate brand? And would an oversized card get thrown away because it doesn’t fit neatly into a wallet.
So before designing and printing your business cards, consider some of these points. What do you want your business cards to truly say about you and your brand? If you get it just right, you’re much more likely to get that all-important first phone call.

Have we missed anything? What other factors do you think affect the initial perception of your brand?

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The world at large is infatuated by micro-economies. You see it in fashion, in the ‘Web 2.0′ startup world of Silicon Valley and in the MASSIVE yet tiny film production world in Los Angeles. The industries of world business have always been followed by a tide, so to speak, of smaller sub groups. These groups contain their own eco systems of big and small ‘fish’ who provide food for (or feed on) each other to grow, evolve and survive.

The online design and creative community is no different. It has its own cultural and financial ecosystems which are even made of several micro groups within themselves. The consumers of Envato’s marketplaces, the attendees at Carsonified events, Behance’s network, Smashing Magazines readership, Buy-Sell Ad’s advertising and Sitepoints Products are all members of different overlapping groups of a vibrant micro-economy.

But even for the ‘sharks’ of these micro-economic oceans, it can be a helpful to gain some perspective every now and then by swimming past a whale.

from National Geographic Mini-site

Versace, Gucci, Marc Jacobs and the other ‘whales’ in fashion, set the direction year after year for each season’s fashions. Similarly, the creative world as a whole, moves with waves made by the industry giants.

From the mediums you might offer a client (Web, Print, Mobile Apps) or the essential positioning of the latest design style (can anyone say ‘letterpress’), all the way down to where the expected place for a ‘contact us’ link will go. One only has to look at the similarity in campaigns each year at the ‘Webby Awards’ or watch the commercials on TV, Hulu or passing by you on the side of a bus, to see the influence these creative ‘whales’ have on our day to day lives and ultimately our professions.

So for perspective sake, lets take a quick look at 10 ‘whales’ of the creative industry:

Company: TBWA
Website: http://www.tbwa.com
Principals: Tom Carroll, Jean-Marie Dru, Lee Clow, Denis Streiff, Keith Smith, Laura Coots
Location(s): 100 different countries
Notable clients: Absolut, Jameson, Kahlua, Nissan, Pedigree, Twix, McDonalds, Pfizer, P&G, Apple, Infiniti, Nicorette, Adidas, Alli, Energizer
Est. Number of Employees: 11,000 people operating in 274 agencies
Public/Private: Public
Est. Annual Revenues: $1 Billion+

Company: R/GA
Website: http://www.rga.com
Principals: Chris Colborn, Bob Greenberg, and Nick Law
Location(s): New York, London, San Francisco, Sao Paulo, Singapore, Chicago
Notable clients: NIkeID, NIke Football, Verizon wireless, Ad Council, Nokia, American Eagle,
Est. Number of Employees: 640+
Public/Private: Private
Est. Annual Revenues: Unknown

Company: Saatchi & Saatchi
Website: http://www.saatchi.com
Principals: Kevin Roberts
Location(s): 140 offices – 80 countries
Notable clients: Bel, Deutsche Telekom/T-Mobile, Diageo/Guinness, Emirates Airline, General Mills, Mead Johnson, Novartis, Procter & Gamble, Sony Ericsson, Toyota/Lexus, Visa Europe.
Est. Number of Employees: 6500+
Public/Private: Unknown
Est. Annual Revenues: Unknown

Company: Razorfish
Website: http://www.razorfish.com
Principals: Bob Lord, Lee Sherman, Andreas Gahlert
Location(s): Seattle – 20+ offices worldwide
Notable clients: AT&T Audi Ben & Jerry’s Best Buy Capital One Carnival Cruise Lines Choice Hotels Condé Nast MillerCoors Dell Disney EMC Corporation Forest Labs Investors.com JCPenney Levi Strauss & Co. Kraft Limited Brands
Mattel McDonald’s Mercedes-Benz USA Microsoft/MSN NFL Nike Olympus Oxfam PNC Bank Purina Ralph Lauren Safeco Samsonite Standard Life Bank Starwood Hotels & Resorts Toshiba Travel Channel Victoria’s Secret
Est. Number of Employees: 2000+ worldwide
Public/Private: Unknown
Est. Annual Revenues: Unknown

Company: BBH
Website: http://www.bartleboglehegarty.com
Principals: Greg Anderson, Emma Cookson, Joe Da Silva
Location(s): Global: Europe, Asia Pacific, North America, Latin America, China, India
Notable clients: Axe, Google, Johnnie Walker, Lego, NYC & Co., Smirnoff, Sprite, Vaseline, Ally, British Airways, Westin hotels & resorts
Est. Number of Employees: 235+
Public/Private: Private
Est. Annual Revenues: Unknown

Company: AKQA
Website: http://www.akqa.com
Principals: Stuart Sproule, Guy Wieynk, Jason Warnes, David Bentley, Leo Chu
Location(s): San Francisco, Amsterdam, Berlin, London, New York, D.C., Shanghai
Notable clients: GAP, Smirnoff, Visa, Volkswagen, Warner Brothers, Unilever, Lipton, Ferrari, Nike, Fiat, USPS, Xbox 360
Est. Number of Employees: 550+
Public/Private: Private
Est. Annual Revenues: Unknown

Company: Crispin Porter + Bogusky | CP+B
Website: http://www.cpbgroup.com
Principals: Chuck Porter, Jeff Hicks, Andrew Keller, Rob Reilly, Jeff Steinhour, Eric Lear, Jeff Behjamin, Winston Binch
Location(s): USA, Canada, Europe
Notable clients: Microsoft, Burger King, SAS, Kraft, Baby Carrots, Dominos, Old Navy, Best Buy, Philips, Open, Canadian, Coca Cola Zero, Scania, Telia
Est. Number of Employees: 1,000+
Public/Private: Public
Est. Annual Revenues: $1.6 billion in billings

Company: Smith Harmon – Responsys
Website: http://www.responsys.com
Principals: Dan Springer, Scott Olrich, Andrew Priest, Don Smith, Chris Paul
Location(s): San Bruno, San Francisco, Chicago, New york, Denver, Seattle, UK, Melbourne, Sydney, Denkmark, India
Notable clients: Avis Europe, Continental Airlines, Deutsche Lufthansa, Dollar Thrifty, Lands’ End, LEGO, Men’s Wearhouse, PayPal, Qantas, Southwest Airlines, StubHub, and UnitedHealthcare.
Est. Number of Employees: 308
Public/Private: Private
Est. Annual Revenues: Unknown

Company: BBDO
Website: http://www.BBDO.com
Principals:
Location(s): 287 offices in 79 countries
Notable clients: Gillette, Braun, P&G/Tide, AT&T, Bank of Ireland, BMW, Bridgestone
Est. Number of Employees: 15,000+
Public/Private: Public
Est. Annual Revenues: $1.1 billion ’09

Company: Goodby Silverstein & Partners
Website: http://www.goodbysilverstein.com
Principals: Rich Silverstein, Jeff Goodby, Mark Rurka, Rich Dizon
Location(s): San Francisco
Notable clients: Netflix, Chevy, Specialized, Logitech, Intuit, Frito Lay, Sprint, Doritos, Adobe, Comcast, NBA, HP., Wii, Cheetos, Yahoo, Kayak, Häagen Dazs, Dickies
Est. Number of Employees: 200+
Public/Private: Private
Est. Annual Revenues: Unknown

A quick disclaimer… although many of the companies listed have their roots in Advertising and may be considered ‘traditional advertising companies’, the emergence of web media has blurred the lines of traditional media, so much so, that there are fine lines and nuanced differences between Advertising, Media production, Design & Marketing companies/firms. Most of these listed do all of the above.

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What do the 2016 Olympic Games and the Telluride Foundation have in common? Nothing, really, except their similar logos. According to Internet sources, the logo bore striking similarities to the logo of Telluride Foundation, a charitable organization based in Colorado, USA. The Brazilian media, in particular, was quick to note the similarity.

The Brazilian organizers of the 2016 Olympic Games revealed the new logo to an audience of about 1 million people in an elaborate New Year’s Eve party in Copacabana Beach. Within a few hours after the logo was launched publicly, the Web was already abuzz with comparisons and speculations of the real and original source of the logo.

Similar Colors, Similar Elements

The new 2016 Olympic Games logo shows 3 human-like figures, with their hands joined as in a circle dance. The Telluride Foundation logo also shows something similar but has 4 human-like figures complete with two legs each.

The colors of the Olympic logo also are similar to Telluride’s, except that the latter’s had a red figure not found in the Olympic’s. It takes a trained eye to recognize that the Olympic logo spells the word “Rio,” but it is definitely there. The Telluride logo, on the other hand, doesn’t spell anything but is shaped like a heart.

Some observers have noted that the Rio logo merely removed some elements of the Telluride logo (i.e., the legs of the neutered sprites) and modified the design a bit. Reception of the Rio logo varied from appreciation to mockery to disappointment and to humorous associations with baby pacifiers, thong backs, or even phalluses. The shape of the logo can even be associated with the shape of Brazil’s famous Sugarloaf Mountain.

Never Plagiarism

Even Fred Gelli, the director of Tatil, admitted the similarity but denied the allegations of plagiarism. Tatil is the Brazilian agency that designed the controversial logo.

Gelli explained that the Olympic emblem designed by his agency underwent rigorous scrutiny and was researched extensively just to guarantee its uniqueness. However, he also admitted that he has never seen Telluride’s logo before and that the agency apparently “missed that one” (the foundation’s logo).

A select group of 15 internationally acclaimed professionals formed the multidisciplinary commission that took charge of the emblem evaluation and selection process for the upcoming Olympic Games.

The Telluride and Carnaval Equivalence

Incidentally, the buck doesn’t stop just there. The Telluride Foundation’s logo itself was found to resemble French artist Henri Matisse’s 1909 painting, “La Danse” (The Dance).

Worse, the Telluride logo is exactly the same as the logo used in Salvador Carnaval 2004, the carnival held in Salvador, Brazil in 2004. No one has ascertained yet which one came before the other, or who stole from whom. See no difference:

Perhaps, Inspiration

There is little claim to the allegation of plagiarism in the Rio logo. Similarity does not constitute plagiarism. Inspiration is not plagiarism. But, both similarity and inspiration can lead to a design lacking in originality.

The case between Carnaval 2004 and Telluride, however, is plagiarism because the two logos are exactly alike.

For sure, the Brazilian organizers for the 2016 Olympic Games didn’t steal from Telluride or from Matisse. At the most, they probably found inspiration from the neutered sprites of Telluride, or from the universal idea of people holding hands in a circle as reflected in Matisse’s artwork.

Besides, if the evaluation commission found any potential rip-off from the designs it reviewed, it would have discarded them right away.

Neutered sprites (those human-like figures that often have arms stretched out) are common in logos, and, as a matter of fact, are overused. Some designers, though, get away with unique and novel ways of designing logos with neutered sprites in a manner that is fresh and never trite.

The colors green, yellow or gold, and blue are common colors, too—all of these are Brazilian national colors, which do not include red. Yet, if the artist that crafted the Rio logo is guilty of being a copycat, then the designer would not have chosen to position the colors in a similar way, and if such is the case, the similarity of color positioning is pure coincidence. It is also possible, though, that Tatil artists did base the Rio logo on the Telluride logo. But, then, it’s just speculation.

How the Rio Logo Ran on Damp Fuel

What lessons, then, can we learn from the latest ruckus about the 2016 Olympic Games logo?

One, originality is priceless in logo design. Often, a logo artist will seek inspiration from an existing logo, but this doesn’t mean the artist has to create a spin-off. Inspiration is not about copying. Rather, it is about having some idea to start with and to mold into something fresh and original.

Two, neutered sprites have become passe and somewhat overly used. It may be wise to avoid them. There was a time in the past when they were vogue, but designers all over the world used them to the point of exhaustion. Or, if you have the talent, you can get away with a well-designed logo with neutered sprites, but the design will have to be original, fresh, and never rehashed.

Three, there’s no such thing as perfect originality. Every logo design will always have some similarity with some other logo out there. In many cases, the other “doppelganger” remains undiscovered (especially if the logo is for some remote company with not much contact with the online world), creating the illusion of perfect originality. Otherwise, if the logo is for a well-known company, then many observers can easily report similarities. Take, for example, the oval shape of both Carrier and Ford logos:

What then is the 2016 Olympic Games logo guilty of? Plagiarism? Hardly so. Lack of creativity? Not even. Lack of originality? Definitely.

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If you’ve ever purchased anything through an online distributor chances are you’ve seen the slogan “people who bought this item also bought…”.

Y&R in Dubai, UAE capitalizes on shopping suggestions by creating a simple and strong campaign for Harvey Nichols which is based off an idea that the fashion is so compelling that the fashionistas have had to purchase “deterrents” to keep others at bay or other additives to counter-act the side-effects of great fashion.

The campaign uses simple elements: fashion photography, products: (pills, defibrillator, pepper spray, self help book) as well as a calm color palette that still has a luxurious feel. Through it’s wonderful simplicity the campaign is able to keep a concise mark on it’s messaging. However, there are a couple designs that are not nearly as well executed as others. The messaging takes longer for the viewer to grab if they even make the relation. The campaign has a great core message that is witty, clean and for the most part easy to relate. Want more? Check-out Ads of the World for more information on the campaign.

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Graphic design is not immune to the fickle boom and bust of freelance work. Even when times are flush, it’s good to have some creative ideas to generate income during downtime. Here are a few favorites:

1. Instructor

You have skills others want to learn — Photoshop, HTML, Flash, illustration, design, photography, and plain old drawing. These subjects are always in demand at night schools, art centers, and even senior centers. Teaching is both a rewarding and lucrative supplement to a graphic design career, and you’ll meet plenty of new contacts for future networking in the process.

2. Screenprinter

It’s a well-known truth among the indie crowd: if a band wants to break better than even, it needs great merchandise. You probably know bands, cartoonists, and start-up businesses that need tee shirts, posters, or even novelties items like coffee mugs. For a more steady part-time gig, look to local screenprint shops—they have a constant stream of graphic design work that requires both an eye for design and a mastery of Photoshop.

3. Local Papers

On-staff designers create many of the ads in local newspapers, as well as the page layouts. Pitch your freelance portfolio and graphic design skills to the town newspaper and local alternative weeklies. Don’t overlook local businesses—many galleries, cooperative groceries, and other community-dependent organizations put out high quality newsletters with a fully-paid staff.

4. Figure Drawing Group Facilitator

Most amateur and professional artists want to keep their hand in practice. Unfortunately, in most areas, figure drawing opportunities are hard to find. If you live near a gallery or cultural center with a large closed room, pitch your services as a figure drawing coordinator to the owner. You’ll find models in accordance with local union rules, promote and publicize the group, and ensure that the tone is serious and respectful. The gallery will receive the lion’s share of the profit, and increased visibility to boot.

5. Airbrush Artist

The look of the 1980’s is upon us again, this time with a heavy dose of irony. The return of the roller derby alone has been enough to increase the demand for the classic airbrushed tee shirt. Practice your hand at flames, kittycats, dragons, unicorns, and classic cars, and then look for a job at specialty tee shirt shops. If you have a sense of humor about airbrushing, get a gig on the boardwalk like the cast of Jersey Shore.

6. Etsy Storefront

If your art has mass appeal, sell your wares on Etsy.com. On this DIY craft market site, graphic design business is booming in the form of prints, stock art, cards, postcards, and tee shirts. Standing out on Etsy requires a bit of self-promotion—you’ll do best if you simultaneously network through a blog and advertise yourself locally. If you’ve never been your own boss, building an Etsy business is a thrill. You have infinite creative freedom, and your design sells itself over and over.

Above all, when demand for your freelance work stalls a bit, don’t despair. Any of these supplemental jobs will allow you to build your graphic design portfolio and explore a new outlet for your skill.

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AMD and PowerColor are giving away three Eyefinity-capable video cards for a wallpaper design contest. They will be giving away two Eyefinity-capable 5670s and an Eyefinity-capable 5770 to the winners.

To enter, submit a design for a desktop background that is big enough to cover the wide field of view that Eyefinity provides: spanning from, at a minimum, 5760×1080 up to 7680×3200 pixels. Three winners will be chosen—one by popular vote, one by AMD, and one by Icrontic editorial staff.

Entries can be renders, photography, or original artwork—anything that takes advantage of the enormous resolution made possible by Eyefinity—but must include the Eyefinity logo somewhere in the design.

Rules are as follows:

* Artwork must be your own design—no using any copyrighted artwork!

* Artwork must include the Eyefinity logo (provided here)

* By submitting your artwork you give express consent to PowerColor, AMD and Icrontic to use your artwork.

* The deadline for entries will be 11:59 P.M EST. June 20th, 2010

* The winners will be announced on June 23rd, 2010

* The contest is open to all countries, and AMD will pay shipping, but taxes and tariffs for import (if your country levies them) is the winner’s responsibility.

Prizes are:

Popular vote winner: PowerColor Eyefinity edition 5770

AMD-chosen winner: PowerColor Eyefinity edition 5670

Icrontic staff-chosen winner: PowerColor Eyefinity edition 5670

To enter, one must have an Icrontic forum account, and your profile must be filled in with an accurate email address, since we will notify winners via email. Submit your entries to the comments, and best of luck!

Checkout the full rules and where to submit over at Irontic.

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In the world of Advertising you’re constantly running up against another campaign that covers the same subject matter. Messaging is key when it comes to separating yourself from the competition. The two following ads will probably not be seen in the same demographic because they are from different states. However, one is clearly a winner and keeps it simple while the other doesn’t.

Campaign 1 – Utah

This campaign hinges on small copy, meaningful phrases and repetition with the same backgrounds: either leather or pavement. The pavement and leather is very high contrast with a worn and rugged look. This is meant to tie into the biker demographic. The colors of white/black/yellow/orange are very high contrast bringing the messaging forward. The leather background with orange stitching ties into Harley Divisions brand equity to make another meaningful tie to the biker demographic.

Advertising Agency: Richter7, Salt Lake City, USA
Executive Creative Director: Dave Newbold
Creative Directors: Gary Sume, Ryan Anderson
Art Director: Ryan Anderson
Copywriter: Gary Sume
Published: May 2010

Campaign 2 – Colorado

This campaign has slightly longer copy and a bright / stark color palette combo. Where the bikers are shown in black & white and in “serious” poses. The difference between the colors on the left make them “stand out”. All the ads keep in the same style to make a cohesive group.

Advertising Agency: Amélie Company, Denver, Colorado, USA
Creative Director: Paul Suggett
Art Director: Gordy Hirsch
Copywriter: Paul Suggett
Photographer: Dan Sidor
Designer: Garrett DeHeer
Published: June 2010

Campaign Theme – Motorcycle Safety

Motorcycle safety is a serious concern. There are many accidents caused by other drivers who disregard the safety of bikers on the road. Being on a bike exudes freedom but, it also comes with a price. You’re the smallest vehicle on the road and if you wreck it hurts. (theres no bumpers here) These two campaigns from Colorado & Utah are compared on their messaging and overall ad messaging. Which one do you think is the best?

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The old saying “you only get one chance to make a good first impression” sums up the purpose of a logo. Often the first taste of the company, a logo can mean the difference between a person becoming a customer and the one who got away. That’s because a logo is multipurpose – it symbolizes an organization and therefore serves as a marketing tool. A good logo is unique enough to stand out in people’s minds as well as simple enough to stay there.

Designing logos is an integral part of any graphic artist’s career. It’s a chance to be creative by making designs that a mass audience might notice. A well-received logo will likely generate more work, so it’s like having your portfolio distributed to people you might not have otherwise networked with. That’s why it’s vital to consider the following when you receive a logo-design assignment.

Theme

What is the company trying to sell? If it’s a restaurant, you want to create a sense of hunger fulfillment. If it’s a tech company, you want to convey precision. If it’s a day-care facility, safety is important.

Symbolism

Once you come up with a theme, how do you express it? Not every logo needs to have an obvious central object; a dog-walking company doesn’t necessarily need to have a dog on a leash as its logo. How about something more symbolic such as a bone?  I like the use of lightning bolts to signify speediness and wafts of smoke to mean delicious cookies that are hot out of the oven. Water can mean serenity (for spas, yoga, etc.), while clouds convey opportunity.

Color

Color brings out emotions in people. It’s a subtle choice that creates powerful feelings. You don’t want to turn off potential clients by making poor color judgments. When playing with colors, do your homework about what your choices mean and use other people as guinea pigs to see what they feel when presented with your logo concept. Some color choices are obvious, such as green conveying eco-friendly and blue meaning clean, but what colors are harsh? What symbolizes strength? And what does away with hunger?

Branding opportunities

Finally, how is this logo going to be seen? If the client is a small company that won’t be featured on billboards, the logo shouldn’t be too fussy, since detail can get lost in a small space or when printed on newsprint – you don’t want ink to run together. Is it going to be on a glass window or door? Be sure the colors stand out.

Those are the items to be aware of when designing a logo. There are also a few things to avoid.

Trends

Each year bloggers grasp onto predictions and trends in graphic design: What will be the hot color; which era design will be inspired by, etc. Ignore these; you don’t want your logo to be a cookie-cutter image of all the other new logos. Graphic design trends are just like fashion trends – a good logo will stay in style for years to come, while a trendy one will look outdated next season.

Complexity

There’s a reason McDonald’s and Nike are recognized worldwide – their logos are simple, striking and memorable, and people know the companies they represent even when the name isn’t present. Your client’s business might not be as big as those mega-corporations, but that doesn’t mean you shouldn’t follow their examples. Don’t try to mash a lot of details into the logo – look at it was a teaser to catch people’s eye, lure them in and then inquire more.

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Tourism is an industry responsible for billions of dollars spent in the world a year. Marketing tourism can be tricky. Everyone has beautiful scenery, interesting activities and their own “unique” destinations. So how do you define a specific area or brand from another? Through creative campaigns. The Fly Ecuador campaign for Tame Airlines is no different. Carrying an overarching theme of flying throughout, the ads are built with simple rich backgrounds, a white border at the bottom with a slight curve to lead your eye through and then some amazing photoshop work throughout! The photos are made up of the people and cities of Ecuador and then made to “fly” with wings made up of fish, buildings, nets, ships and anything in between. The ads carry your eye through each image and leave you wanting more. Did the campaign make you want to go to Ecuador? Or are you just stunned by the visuals and think its massively appealing? Either way, this campaign executes on many of The Principles of Design. You can also check these ads out on AdsofTheWorld.