Look, I don’t want to freak you out, but graphic designers are hiding something from you.

They secretly tell people where to go and what to do.

Don’t expect them to admit it, of course. They’ll use innocuous words like “signage” or “wayfinding.” But it’s more like mind control. They’re guiding you, and you aren’t even aware of it.

Not sure what I’m talking about? Just visit the newly remodeled Central Library downtown. If you pay close attention, you’ll practically hear the signs and graphics telling you what to do.

“These aren’t the books you’re looking for.”
“You will take the elevator to the third floor.”
“You want to go to the café and rethink your life.”

How do designers pull this off? With design choices so subtle and attractive that you’d never suspect a thing. They’ll use a clean font choice, a consistent color scheme, sophisticated graphics, or – the sneakiest of all – a directory disguised as art, in a place where you’d need it the most but expect it the least.

Like an elevator door.

Graphic designers use all these techniques – and more – to seamlessly guide people through complex spaces. Their work combines beauty and function to welcome us, delight us, and make us feel comfortable. They even help us create mental maps to navigate the space, so we know where we are, where we’re going, and the best way to get from one place to the other.

We follow their guidance without ever giving it a second thought.

The Society for Environmental Graphic Design calls it “spatial problem solving.” Yeah, right. Don’t be fooled. It’s more like the power of the Force.

And graphic designers? They’re Jedi Masters.

posted by: Denise Wilson  |  category: the design life  |  make a comment

Which would you find more maddening…

Shrinking your favorite wool-blend sweater because you couldn’t decrypt the hieroglyphics on the label?

Or attaching the legs of your new IKEA chair upside down – despite scrutinizing the illustrations – because you (apparently unwisely) chose to get a degree in writing instead of engineering?

Personally, I think it’s a toss-up. And I may or may not have experienced both.

The point is, in each example, simple graphical elements that were meant to make a task easier complicated it instead. Graphical images – icons, symbols, and illustrations – will either add to or detract from a design. It’s a principle we see not just in the physical world but in the digital world too.

An iconic problem

When it comes to digital design, few elements are more popular than icons. They’re everywhere, from site navigation to application toolbars to product descriptions. Many companies use them for purely aesthetic reasons or to reinforce corporate branding. But they may be missing the real value of the icon.

In digital design, an icon’s purpose is to represent an action or idea in an easy-to-digest way. It’s like a visual shortcut. Unlike laundry symbols or IKEA illustrations, however, icons in the digital world don’t have a physical counterpart. A scissor icon can represent the task of cutting text, and an envelope icon can represent the concept of email. The best icons will add to a design, be easily recognized and universally understood, and ultimately make life easier for the user.

The problem is that it’s hard to convey complex ideas or tasks with simple graphical images. As a result, confusing icons clutter the digital landscape – distracting and even frustrating the end user. Icons are often subjective and context-dependent, conveying different meanings to different users in different situations. Take the simple arrow icon, for example. It could have multiple meanings: undo, back, reply, share, or forward. How does the user know which meaning to apply?

But icons don’t have to be boring, confusing, or frustrating. The right ones can be aesthetically pleasing and improve user experience. It all comes down to good design.

Some practical solutions

Aaron Robertson, one of our senior designers, believes that iconography has two main purposes in the digital space. He offers design tips for both.

(1) Action or Navigation

“These icons should be simple, clear, and concise. In this case, it’s all about universal recognition. The goal is to help someone find their way or complete a task.” Aaron says. “A great example is the shopping cart icon on a commerce website. It’s basic, and everyone knows what it means.”

“Here’s where it also helps to add labels or alt text to your icons,” he adds.

(2) Concepts

“It’s different when you’re talking about ideas or product features. That’s where the icons can be more unique, creative, and expressive,” Aaron explains.

“These kinds of icons work well with explanations, infographics, and statistics. They should be interesting, engaging to readers, and summarize the concept well. An example might be an umbrella icon that represents the concept of insurance because it protects you from risk like an umbrella protects you from rain.”

To learn more about iconography and how graphic designers help organizations create great icons, check out AIGA’s universal transportation symbols.

To avoid shrinking your favorite sweater, see Tide’s explanation of the laundry symbols. And to assemble your IKEA furniture, just consult directly with the National Society of Professional Engineers.

posted by: Denise Wilson  |  category: the design life  |  make a comment

With Halloween coming up, I’m going to reveal something spooky.

I hear dead people.

Well, to be exact, I hear dead person. It only happens when I’m writing. Or rewriting. Or re-rewriting. (What can I say? It’s a process.) Whose voice do I hear, reaching out from beyond the grave?

Dr. Erwin Steinberg.

Oooo. The very name sends chills down my copywriter spine.

Before his passing in 2012, Dr. Steinberg was a distinguished professor of English and rhetoric at Carnegie Mellon University – my alma mater – for 60 years. Yes, you read that correctly. Six, zero. Longer than any middle-aged writers like me have walked this earth.

I took Dr. Steinberg’s graduate-level class in style (writing, not fashion) when I was enrolled in the professional writing program. Twice a week, I’d join a dozen other anxious souls to endure the dismembering of our latest writing assignment.

It was a red-penned bloodbath.

Those memories still haunt me, more than 20 years later.

Nearly every day, I hear the voice of Dr. Steinberg, admonishing me to be clearer. More precise and succinct. To choose language that’s plain and straightforward over clever and intellectually impressive. Whenever I encounter the worst style offenders – passive voice, noun strings, and (gasp) nominalizations – I’m right back in class, listening to Dr. Steinberg’s meticulous correction.

It’s scary how much he’s shaped my writing career.

And I’d thank him for it, if only he could hear me too.

posted by: Denise Wilson  |  category: the writing life  |  make a comment

Psst. Here’s something I’m embarrassed to tell the rest of the team.

I used to think logo design was simple.

Admitting that to my talented coworkers is – as my kids like to say – super cringey. But hey, I’m a copywriter and not a graphic designer.

Granted, I only believed that before I’d ever actually made a logo. In truth, all it took was a single design disaster to learn that I was dead wrong. It happened several years ago, when I was fresh out of college. A friend asked me to design a logo for his new side business. And I, of course, replied with those famous last words.

“How hard can it be?”

Well, I found out. It’s exceptionally hard.

I’ll spare you the gory details of ugly font choices, bad kerning, and cheap clip art, and I’ll skip right to the carnage at the end of the story. The logo was terrible, and my friend’s business closed within six months.

Which just proves the power of a bad logo.

Recently, I asked one of our senior designers, Aaron Robertson, what goes into logo design. His answer was, I kid you not, a full 45-minute discourse on brand research, strategy, analysis, design, and refinement. That’s a heckuva lot of work. And it shows – in his logo design and his clients’ branding success.

Which just proves the power of a good logo too.

posted by: Denise Wilson  |  category: random thoughts  |  make a comment

After several weeks of searching, we’ve found a designer we’ve been looking for – one with talent, experience, attention to detail, and a collaborative spirit. That’s why we’re pleased to introduce our new senior designer, Aaron Robertson.

Aaron hails from San Diego, where he led the web and graphic design team at a publishing house for the last several years. His family searched the entire Pacific Northwest for a place that offers the quality of life they wanted. Even without connections to Spokane, they chose to settle here in our backyard (which should be big enough for all ten of his family’s pets).

San Diego, of course, is known for its consistently pleasant temperatures year-round. Spokane…not so much. But we expect that Aaron will soon own a parka, snow boots, and a closet full of flannels. In the meantime, we extend to him a very warm welcome to Spokane and to helveticka.

Aaron, we’re thrilled to have you on our team.

posted by: CK Anderson  |  category: staff  |  make a comment

Artwork by Don Weller

We don’t often get to meet our heroes. That’s why I jumped at the chance to meet one of mine last year.

His name is Don Weller, and he lectured at SFCC in 1981, just as I was finishing my last year of design school. At the time, he was an acclaimed designer and illustrator, winning impressive commissions and receiving accolades from prominent publications. At one point, I even tried to get an internship with Don. He kindly rejected my inquiry, and I soon realized I should stick to design and leave illustration to the professionals.

Don grew up in Pullman, graduated from WSU in 1960, and spent most of his design career in Los Angeles and Park City, Utah. The latter was home to The Design Conference that just happens to be in Park City (that was its full name, by the way), which Don co-founded. Later in life, inspired by his childhood in the Palouse hills, he began painting Western art.

A couple of years ago, I purchased a piece of Don’s art as a gift for my wife, Linda. It was an older painting, produced in his heyday style using his signature Dr. Martin dyes. That purchase started a conversation with Don and his partner in life and business, Cha Cha. When I expressed an interest in seeing and possibly purchasing a few of his older commercial pieces, the Wellers graciously invited Linda and me to visit their ranch and studio in Peoa, Utah, near Park City.

Last November, we made the trip. They were gracious hosts, and Cha Cha’s home-cooked meals were amazing. Don’s stories reminded us of his lecture from 1981, revealing an astonishing career and a healthy dose of humor. The Wellers allowed us to look through their flat files, and – like kids in a candy store – we selected a few sketches and finished paintings. Those pieces have since found a place of honor in our home.

It’s a rare gift to meet someone who’s inspired you for 40 years. This one was made even more special by the kindness of Don and Cha Cha.

To see Don’s work, visit his website at http://www.donweller.com.
You can also read more of his story at http://www.cowboysindians.com/2021/09/western-watercolorist/

posted by: CK Anderson  |  category: the design life  |  comments(1)

After 6,205 days on the job, I’m hanging up my spurs. Which means this blog post (number 1,627, for those keeping track at home) is my last. Thanks for reading, commenting, and sharing.

I’m not really one for goodbyes, so I’ll just leave y’all with a little advice from the great Eubie Blake: “Be grateful for luck. Pay the thunder no mind—listen to the birds. And don’t hate nobody.”

posted by: Aaron Bragg  |  category: random thoughts  |  comments(1)

The most recent edition of the Oxford English Dictionary—the 600,000-word “Victorian phenomenon” that is, in fact, my favorite lexical record—was published in 1989. The plan was to complete the third edition by 2005, reports Pippa Bailey, but “17 years later its editors are just halfway through.” In fact, Bailey adds, “it is unlikely that the third edition will be in some way complete within many of the lexicographers’ working lives.”

Nevertheless, if you’re a writer or aspire to be one, you’ll need some form of the OED. The 20-volume second-edition can be purchased for $1,215; a more practical two-volume “shorter” version (the one I use) is practically a steal at $170—though I found mine for only twenty bucks at a thrift shop. If you’re one of those weirdos who streams music and listens to audiobooks, there’s an online option as well.

But trust me: A good dictionary—even (or especially) one that takes decades to put together—is an indispensable tool for even the most casual of writers.

posted by: Aaron Bragg  |  category: the writing life  |  make a comment