Your brand is everything.

For most people, a brand is a logo, and a logo is a brand. Simple as that. The less-than-savory etymological and agricultural roots of branding are embedded almost five millennia deep in our collective cultural memory. Therefore it isn’t so unreasonable that many people might mistakenly equate the two. But here we are, 4,700 years and a dozen fallen empires from the very first farmer to put an iron to hide, and our understanding of symbolism and methods of communication have advanced more than a little. A brand is so much more than a logo; in fact, it’s the sum total of every experience, memory, and feeling from a person’s direct or indirect interactions with an entity organization. 

For this concept, I’m assuming that the relationship a person feels with an organization is crucial to successfully meet its goals. Brands are really about individual relationships between humans and organizations. We’re going to look at these concepts through the lens of a unique experience. Let’s dive into what that means and what can be done about it.

A brand isn’t a logo, and your logo isn’t a brand.

The branding and design industry at large is still a little fuzzy on these terms. Just like words, brands and logos take on new meanings over time. So I’m going to take a bold position and state for the record: Logos don’t matter very much (cue record scratch).

I’ve had more than a few conversations with clients and colleagues over the years about the importance of their logo, especially clients starting a new business for the first time. Many of them placed so much importance on getting the logo just right that it became a blocker to other vastly more important activities that would have had more impact toward launching their company.

A logo is just a symbol. I like to think of it as a personal signature shared by a group of individuals bound toward a common goal. It’s a symbol representing the collective wins, losses, kindness, and transgressions of the entire associated community. And while those two ideas are sticky to one another, they are not co-equal. It’s the company that gives the logo meaning, not the other way around.

A healthy organization that does good work and delivers a consistent and positive experience can give positive meaning to even the simplest, non-designed, off-the-shelf logo. The inverse is also true; there isn’t a logo so perfect that it can make people forget bad organizational behavior or bad personal experiences.

Pro tip: If you’re reading this trying to decide how to brand your new company, please consider this strategy: Pick a friendly typeface and just type out your company’s name. Hire a designer to help with colors and spacing if you’d like, but just make something and get to work building your business. You can always redesign your logo later, and the people who appreciate your work won’t mind. What you do matters more than anything else.

A brand isn’t an identity.

When I was in design school, my Branding Systems class was really just about creating a visual identity and collateral materials. We designed logos, explored shapes and typography, and applied them to various objects to build a system. This was what a graphic designer might think of as branding 20 years ago. While still vital, it isn’t enough anymore.

While the logo is the cornerstone of a given identity system, and visual collateral round out the visual identity, a genuinely comprehensive identity is about a lot more than just business cards and letterhead. Marketing and advertising strategies, focus groups, customer surveys, written and spoken voice, and even the moral and social conduct contracts with internal participants contribute to a given organization’s perceived identity.

A complex and well-developed identity is a great tool that builds strong psychological connections between an organization and its audience. How you communicate with people matters almost as much as what you do.

A brand is an idea—nothing more, but certainly nothing less.

Every individual who interacts with an organization is carrying a running mental tally of the positive and negative experiences they’ve had along the way. Every time they asked a question and were disappointed, points are deducted. Every time they needed support and were supported, points are awarded. 

How many points are won and lost in a given transaction is entirely up to the individual. Maybe they’re already having a terrible day, so what would typically be a slight negative association is amplified by outside factors to what feels enormous to them. 

A brand is the sum total of every positive or negative feeling a person has experienced during or resulting from those interactions. This may seem unfair to organizations who are doing their best to deliver positive experiences, and it probably isn’t - but that’s OK.

The truth is, there really isn’t just one brand relationship for any given entity. There could be billions. And if the brand exists in the minds of the audience, then it follows that no one outside of those individuals truly controls a brand.

We can control the logo, the voice, and the way we do business. But we can’t control the brand. It’s out there, and the best that can be done is to adjust messaging, intent, and behavior to influence the way the brand is perceived.


This is the first of a three-part series on branding, identity, and customer relations.

The state of Linux graphic design tools in 2019

Also published on OpenSource.com

Before I begin this test of Linux graphic design tools, I should admit two things up front. First, I am a designer, not a software developer. Second, although I try to incorporate open source methodologies and principles wherever I can, my field pretty much demands that I use Adobe software on a sticker-emblazoned MacBook Pro. (I know, hate me if you must.) For the purposes of this research project, however, I am running Fedora 29 on a repurposed Mac Mini.

The question I want to answer with this investigation isn't just how good is open source design software, but also could I use it to do my job every day?

What I expect from professional-grade design software

Design is more craft than art. Like a craftsperson, designers have to be flexible enough to accomplish a wide range of tasks, knowledgeable enough to know which tool is appropriate for which task, and thoughtful enough to leave space and breadcrumbs for the next worker down the line to make changes and perform maintenance without too much headache. Therefore, rather than ordering this list by title, let's segment the applications by task and see what open source design software works and what doesn't.

Assignment 1: Design a logo

A good logo typically has three features: It's clean and not too visually complex, color variation is kept to a minimum so we're not mortgaging the company to print stickers later, and it's scalable enough to work just as well on a 16px favicon as it does on a 10-foot hanging banner.

Logos are almost always drawn as vectors. The clean lines and scalability of vector graphics lend themselves to the needs of logo designers so perfectly that on the few occasions where someone isn't using a vector-based application, they really should be. Thankfully, vector graphics are also very forgiving for new and non-designers. If a line doesn't quite look right, it doesn't have to be redrawn, it can simply be changed.

Inkscape

Grade: A- (92/100)
License: GPLv2

Inkscape holds a place of honor in my memory for being the very first vector software I ever used. Being able to access it for free and run it on any operating system gave me the opportunity to use it in my early days. I must say that Inkscape has matured extremely well in the past few years. It has a fairly intuitive interface and simple controls. I would like to see some improvements in the color palette system, but overall there is very little you could accomplish in proprietary software that can't be matched in Inkscape with a little bit of persistence and finesse.

LibreOffice Draw

Grade: C- (71/100)
LIcense: Mozilla Public License 2.0

I went into this assignment hopeful for a better result; maybe I didn't study enough? Maybe I skipped too many lectures? But when I sat down for the lab, I really felt a little lost. LibreOffice Draw seems to me like a clone of the LibreOffice Impress slideshow app with a few words changed here and there (the tool-tip for new layers even calls them "slides") and the toolbar relocated from the top of the frame to the left. This is not to say it is necessarily a bad approach for a "does-what-you-need" diagram-drawing application, which is precisely how I imagine most people would use it.

If your goal is to generate some easy-to-read, end-user-editable assets that you can copy and paste into other LibreOffice applications, Draw might be perfect for you. However, like most designers, I'm particular about the finer points of visual design, therefore I prefer to do all of my work in my daily-use design tools and export higher-quality products for consumption by colleagues and stakeholders.

Assignment 2: Design an ad

If logos are a designer's bread and butter, then web ads are our toast and jam. Web ads can be done in vector-based software, but more often than not, they incorporate some photographic elements that are better handled by raster graphics applications. The ability to non-destructively manipulate imagery through layered editing and use fine type controls are paramount for this kind of task.

GIMP

Grade: A (96/100)
License: GPLv2

Much like Inkscape, GIMP was a foundational part of my exploration into digital visual arts. Up until my first experience with GIMP—on Mandrake Linux in the late '90s—my only experience with raster graphics had been with Microsoft Paint. Even then, GIMP was a more powerful tool then I fully understood, and although I still am not entirely clear on what exactly Wilber is, the software has definitely kept pace with other market-leading applications. GIMP is lacking some bleeding-edge features you'd find in other raster applications (like 3D modeling), but I'm not sure how many people use or need those things on a daily basis. If 3D modeling is necessary for a web ad, it's probably over-designed.

GIMP's interface is so thoughtfully laid out that moving from other applications shouldn't present too steep a learning curve. Good color tools, tight typography controls, and a comprehensive toolbar mean that GIMP is all aces in my book.

Assignment 3: Lay out a print publication

As time marches on, print design becomes more and more of a specialization for designers that requires its own set of tools. Desktop publishing is an understatement for everything involved with print design. Sure, we can throw down some paragraphs in 12pt Times New Roman and wrap them around some square images—and for the vast majority of people that is more than adequate. Print design is about unrelenting fastidiousness across a broad range of disciplines. A successful print designer understands typography (two full semesters of my college career alone), color theory, photography, illustration, human interaction (including reading and learning disabilities), and all the technologies and methodologies used by printers to bring their designs to life.

Dear reader, do you know that coder in your company who is kinda scary smart? The one who still remembers COBOL for some unknown reason and can spot your missing semicolon at a glance? You know the one who wrote a script to tell the coffee pot, which you didn't even know had a CPU let alone a network interface, to brew a fresh cup of coffee in the amount of time it takes to walk to the breakroom? If that person had gone to art school instead of Stanford, they would be the print designer.

Scribus

Grade: A+ (98/100)
License: GPLv2 or later

This was my first experience with Scribus, so I wasn't sure what to expect, but I found myself pleasantly surprised. The self-described "open source desktop publishing" tool is deceptively complex and powerful. Full-featured typography controls including overflowing textboxes and image-sensitive wrapping allow for beautiful and unique type treatments. Native image cropping and shape tools make it possible to visually enhance your copy with an editorial narrative. Support for traditional CMYK profiles and spot colors gives designers total control over the outcome of the final product. The contributors to Scribus were even thoughtful enough to include tools for color-blindness testing to make sure every design can be as inclusive as possible.

I have to admit, I am seriously impressed with Scribus.

Assignment 4: Wireframe a prototype

Oof. This one really fell short for me. The world is digital now. Interactive web apps, websites, and mobile applications are such a massive part of our lives that I purchased in a PopSocket literally just so that I might stop dropping my phone on my face at night. My dentist approves, but my wife misses the comedy.

Before the introduction of wireframe and prototyping tools, mockups were usually designed in raster graphics tools like GIMP or Photoshop. And while I could probably go back to doing some of my job this way, I would quickly become less popular among my stakeholders and engineering colleagues.

I'm sure there are plenty of perfectly good games, apps, and websites that have been developed without wireframes, but today, doing something right requires careful, in-depth planning. That means UX design, UI design, and a big ol' pile of interconnected wireframes.

Wireframing and prototyping tools are necessary to create virtually kickable prototypes that are visually developed enough to not frighten project managers and interactive enough to collaborate with engineers without wasting too much of their very expensive time. In the proprietary world, this means tools like SketchApp, InVision Studio, and Adobe XD. I couldn't locate an open source application that fit this need.

The final grade: B+

The lack of available wireframing and prototyping applications really brought down the average, but I'd still call it a successful exercise. As I mentioned at the beginning, design is a craft and it relies on collaboration. All of the tools I looked at—Inkscape, LibreDraw, GIMP, and Scribus—can run just as well on Windows or MacOS as they do on any Linux distribution. The ability to create robust artwork and share editable files with stakeholders and colleagues on the platform of their choice means that a serious argument could be made that these tools are even more versatile than their proprietary counterparts.

On a personal note, not only are GIMP and Inkscape the first real design tools I got to play with unsupervised, they opened up my mind to the possibility that design was a real job I could do someday. Without these open source software applications and the community contributors behind them, I wouldn't have this job as a UX designer for Red Hat today and I never would have left Ohio. So, I offer heartfelt gratitude to all of them. Even if all of these applications aren't perfect all the time, they're enough to inspire people to make cool new things, and if you ask this designer, making cool things is what being human is all about.

Extra credit

But what about (cough) running Adobe on Wine? (cough)

Yeah, I'm sure you can do it. But this isn't about breaking end user license agreements. I'm not about that life. This is about the efficacy of real, open source, design software running available on open source platforms, right now.

Does ChromeOS Count?

No. No, it does not

9 ways to improve collaboration between developers and designers

Also published on OpenSource.com

Design is a crucial element in any software project. Sooner or later, the developers' reasons for writing all this code will be communicated to the designers, human beings who aren't as familiar with its inner workings as the development team.

Stereotypes exist on both side of the divide; engineers often expect designers to be flaky and irrational, while designers often expect engineers to be inflexible and demanding. The truth is considerably more nuanced and, at the end of the day, the fates of designers and developers are forever intertwined.

Here are nine things that can improve collaboration between the two.

1. FIRST, KNOCK DOWN THE WALL. SERIOUSLY.

There are loads of memes about the "wall of confusion" in just about every industry. No matter what else you do, the first step toward tearing down this wall is getting both sides to agree it needs to be gone. Once everyone agrees the existing processes aren't functioning optimally, you can pick and choose from the rest of these ideas to begin fixing the problems.

2. LEARN TO EMPATHIZE.

Before rolling up any sleeves to build better communication, take a break. This is a great junction point for team building. A time to recognize that we're all people, we all have strengths and weaknesses, and most importantly, we're all on the same team. Discussions around workflows and productivity can become feisty, so it's crucial to build a foundation of trust and cooperation before diving on in.

3. RECOGNIZE DIFFERENCES.

Designers and developers attack the same problem from different angles. Given a similar problem, designers will seek the solution with the biggest impact while developers will seek the solution with the least amount of waste. These two viewpoints do not have to be mutually exclusive. There is plenty of room for negotiation and compromise, and somewhere in the middle is where the end user receives the best experience possible.

4. EMBRACE SIMILARITIES.

This is all about workflow. CI/CD, scrum, agile, etc., are all basically saying the same thing: Ideate, iterate, investigate, and repeat. Iteration and reiteration are common denominators for both kinds of work. So instead of running a design cycle followed by a development cycle, it makes much more sense to run them concurrently and in tandem. Syncing cycles allows teams to communicate, collaborate, and influence each other every step of the way.

5. MANAGE EXPECTATIONS.

All conflict can be distilled down to one simple idea: incompatible expectations. Therefore, an easy way to prevent systemic breakdowns is to manage expectations by ensuring that teams are thinking before talking and talking before doing. Setting expectations often evolves organically through everyday conversation. Forcing them to happen by having meetings can be counterproductive.

6. MEET EARLY AND MEET OFTEN.

Meeting once at the beginning of work and once at the end simply isn't enough. This doesn't mean you need daily or even weekly meetings. Setting a cadence for meetings can also be counterproductive. Let them happen whenever they're necessary. Great things can happen with impromptu meetings—even at the watercooler! If your team is distributed or has even one remote employee, video conferencing, text chat, or phone calls are all excellent ways to meet. It's important that everyone on the team has multiple ways to communicate with each other.

7. BUILD YOUR OWN LEXICON.

Designers and developers sometimes have different terms for similar ideas. One person's card is another person's tile is a third person's box. Ultimately, the fit and accuracy of a term aren't as important as everyone's agreement to use the same term consistently.

8. MAKE EVERYONE A COMMUNICATION STEWARD.

Everyone in the group is responsible for maintaining effective communication, regardless of how or when it happens. Each person should strive to say what they mean and mean what they say.

9. GIVE A DARN.

It only takes one member of a team to sabotage progress. Go all in. If every individual doesn't care about the product or the goal, there will be problems with motivation to make changes or continue the process.