EVENT DISPLAYS

This year has begun with new technical and artistic challenges…ranging from that computer I mentioned in my last post to creating visual elements for events. My latest project is refining my displays for book fairs and other opportunities to visit with current and prospective readers. This has led to revisiting several artistic standards. One would think these issues had been solved at the onset of my event planning long ago…

WHERE TO BEGIN
 Images of the Natalie Seachrist Hawaiian Mysteries are my starting point for most visual projects these days. Even when I’ m introducing other projects, the center of my public interaction is this series.

EVENT DISPLAY ISSUES
Most of the events in which I participate feature displays on at least one half of a rectangular luncheon size table, approximately six to eight feet in length and two feet in width. In the past, that has meant utilizing small posters, about 11 x 17 inches presented on tri-legged frames of wood, metal, and/or acrylic. These images have centered on a single book or project, which has meant an ever-growing number of items over the last few years. Even when I diligently refresh my tablescape during an event, by the end of a day there has been an accumulation of clutter.

With the current trio of titles within my mysteries, I decided that 2020 would be the year to introduce a fresh look. One that could be maintained easily throughout a day I have the opportunity to greet current and potential readers—or even organizations that might like me to present a motivational talk or seminar. With increasing emphasis on personal marketing, this seems especially prudent!

I began this undertaking by examining the books and other materials I want to present, as well as the decorative touches that visually present the Hawaiian Islands. The books themselves are offered in both hardcover and softcover editions. Accompanying signage is needed to highlight eBook and audible editions that are available at various online and brick-and-mortar locations.

FINDING DISPLAY MATERIALS
A visit to a local store fixture outlet fulfilled several of my desires.

~ Acrylic stands for over-sized postcards, bookmarks, and business cards

~ Clear plastic sales bags that display my book covers

~ Colorful bags for customers wishing to present gifts

~ A three-tier acrylic stand to hold three or more books per shelf

This last item is proving especially useful. While I am concerned about the stand’s fragile material, I find it preferable to the heavy weight of metal and wood alternatives I have been using. Properly wrapped, the stand will be easily transported to distant locales, such as the Hawai`i Book and Music Festival. Best of all, regardless of the surface on which the stand sits, my award-winning book covers shines brightly upon it!

SIGNAGE
I found myself staring at signs in every direction of the showroom. From the front door to the walls and counters, display cases and bins, text and images alerted me to the joys of an array of “toys” for introducing my products…and myself. Hmm. In the past I’ve simply enlarged book covers, matted them on gold cardstock, and laminated them.

But this is 2020. Something sturdier and more elegant is desirable. With a trio of primary products, a triangle seemed most appropriate for the 18×24 poster I was planning. My next question was sequencing. Should I place the books in chronological order? Or, should I emphasize the last publication.  Because that book, Murders of Conveyance, recently won First Place of Fiction Adventure-Drama in the 2019 New Mexico-Arizona Book Awards, I opted for the latter option.

Murders of Conveyance

FINALIZING THE POSTERS
Now we turn to the details that took several days to finalize. I considered colors and textures for a background. Eventually, I realized that the jewel tones of my book jackets scream out for the classic jewelry store option of simple black. The issue of fonts also arose. In short order, my wonderful artist, Yasamine June, sent me the necessary information to present promo text in the same font as that on the book jackets.

Initially, I was delighted with my creation. The image of each book sat on a black background with harmonizing text in gold. But somehow the overall image was incomplete. Then, as I stared at each volume in the series, I experienced an ah-ha moment. What was missing was the lovely gold framing I had had Yasamine design for me. It is based on Hawaiian heirloom jewelry, and features a hibiscus flower in each corner!

After a wonderful feeling of accomplishment, I remembered there might be events for which a larger poster [22×36 inches] might be appropriate. So, I increased the size of my images and text and added book reviews!   

INTRODUCING MY NEW DISPLAY
On March  14-15, 2020, I had planned to unveil my new look at the Tucson Sisters in Crime Booth at the Tucson Festival of Books. I envisioned the larger poster mounted on a grid at the back of the tent, with the smaller one being positioned on the top tier of my acrylic stand, with the series’ books framing it. I would complete the new tablescape with a few battery-operated lights, shell leis, and a gold palm tree! Unfortunately, due to the cancellation by leading authors facing travel challenges caused by the Coronavirus, the Festival was cancelled…

Fortunately, on Sunday, March 22, I’ll be introducing myself at a Meet & Greet at the front of the Tucson East-side Barnes & Noble Store [5130 E. Broadway Boulevard] from Noon – 4:00 p.m., WHICH SHOULD BE RELATIVELY SAFE, AS IT’S NEAR FRESH AIR. I’d love to meet you if you’re in the area…otherwise you will find pictures on my Facebook personal and professional pages, as well as my next blog…

FYI CAROL BLONDER, the lively host of NETWORKING ARIZONA recently interviewed me.  CLICK HERE to catch the podcast on the KFNX 1100 website…or below to hear it directly. To learn more about Carol’s continuing connections with Arizona business professionals, visit her website https://networkingarizona.net/.

Interview with Carol Blonder of Networking Arizona, March 6, 2020

Wishing you the best in your creative endeavors,
Jeanne Burrows-Johnson
author, design consultant, and motivational speaker

~ For other tips on branding elements, you might want to check out some of the items mentioned in this blog on book promotion and evolving art.

To learn samples and reviews of my work [including Murders of Conveyance and the other Natalie Seachrist Hawaiian Mysteries] please drop in at my author’s website JeanneBurrows-Johnson.com. You’ll even find Island Recipes that might inspire your own creativity!

 For more ideas to strengthen your Wordpower© and branding, please visit my marketing tip website: ImaginingsWordpower.com

FOLLOW ME ON:
~ Facebook
~ Amazon

~ Apple Books
~ Audible
~ Authors Den
~ Barnes and Noble
~ Blogarama
~ Book Bub
~ Cozy Mysteries-Unlimited
~ Good Reads
~ Hometown Reads
~ Midpoint
~ Smashwords

BOOK PROMOTION AND EVOLVING ART

The award winning first Natalie Seachrist Hawaiian Mystery

 As I examine the months since the launch of Prospect For Murder [the first book in the Natalie Seachrist Hawaiian mystery series], I realize I have not posted a blog regarding the never-ending art and science of writing for a long time.  I’ve started several, but details of the publishing and promotional processes have interfered with my sharing new author strategiesSince addressing the topic of my artistic vision for the book layout for Prospect For Murder in a previous blog, it has been released in hardcover, downloadable audio and ebook formats, and a 9-CD as well as downloadable audio book. Preparing for the promotion of each version has required re-examination of artwork and descriptive text, as each format varies in size and may appeal to a different target market

successful advertising and branding
Evolving Art and Text That Unifies Book Branding

Authors may separate their work into categories of writing, publishing, and marketing, but each of these activities should unite under a shared roof of unified branding.  And while today’s book marketplace includes many self-publishing authors choosing to offer downloadable rather than printed books, such works must still be accompanied by attractive art and typography to maximize their appeal to the sensory experience of potential readers.

There are many ways to make the appearance of a book pop within the massive listings of any genre.  As mentioned in my discussion of art for PFM, I have chosen to use an Island-themed gold frame based on Hawaiian heirloom gold jewelry to distinguish my book and the promotional materials with which I market it.  

Hardcover, Downloadable E & Audio Books, and CD Audio Book Art

Hardcover Books
Book jacket art
for the hardcover edition of PFM was the first design project I undertook.  After the evocative gold frame was completed, I realized it could be utilized for the entire mystery series.  And, with changes in the metallic color, it will be ideal for other book projects as well. Below is the first version of the book jacket, which was clearly too dark!

Prospect for Murder...in written and audio editions...the first Natalie Seachrist Hawaiian Mystery

9-CD Audio Book Albums

After I completed recording the 9-CD audio book, it was time to modify the book jacket art.  For the CD albums, my job was to shorten text describing the book and me, as well as the snippets of reviews.  My artist and typographer Yasamine June [you can view samples of her work at www.yasaminejune.com] then adjusted the size and proportion of her original artwork and dropped in my edits.

Downloadable Ebook and Audio Editions
The next task was designing website icons for sites offering the downloadable audio and ebook editions.  Our goal was to enhance a visitor’s recognition of the products being offered.  Therefore we created a conjoined image of the hardcover book jacket and a square edit resembling a CD case.  Wherever possible, this paired image is used to signify that Prospect For Murder is available in multiple formats.

Designing Promotional Materials & Your Author Website

The art of communication is one of the most vital skills a professional in any field can develop to help them in achieving goals and objectives in both their public and private living.  The following tools can be refined to maximize messages to colleagues, friends and the general public.

Artwork
I use the iconic paired image of the print and audio editions of PFM as artwork for both printed promotional materials and my author website.  Without intention, the colors for Prospect For Murder and Imaginings Wordpower were nearly the same, which has greatly simplified my choice in color palette. I am still contemplating where and how I will utilize the gold frame.

Titling
I have used the Peignot font for my promotional business, Imaginings Wordpower [www.ImaginingsWordpower.com] for many years.  Therefore, I chose to use it for the titling of book jackets, my author website, and all promotional materials for the Natalie Seachrist series.  This decision is especially appropriate since many of the historical details used in the series predate World War II.  The Peignot font is an art déco [or style moderne dating from the 1920s], sans-serif display typeface designed by A. M. Cassandre in 1937 for the Deberny & Peignot Foundry in France.  While this font is too stylized for lengthy text, it makes a viable statement for titling and headings.

Author Business Card
Unexpectedly, I discovered that the standard size of a business card and the dark haunting color of the hardcover and audio book art was not suitable to my new double-sided author business card.  To resolve these problems, I created a new image.  I did this by overlapping the frame of the hardcover edition with that of the downloadable audio edition.   In the lower right-hand corner, I inserted the gold hibiscus found in the corners of the frames.  This has proven effective, since the image is always accompanied by text providing my name and the title of the book.

Author Stationery and Forms
With use of the paired image of the print and audio books, plus the Peignot font, there were few decisions to make in creating my author letterhead stationery.  For most purposes, I place the iconic art image in the top left hand corner of the page and all contact information centered at the bottom.  This layout works for both letters and business forms [such as invoices]. 

Communicating Through Emails
Every piece of communication you generate is a marketing opportunity.  And while you may not use an outgoing email layout paralleling your letterhead stationery, you can strategically position artwork, logos, and other information to draw the recipient’s eye.  I put the paired book image and purchasing information in the top left-hand corner of each outgoing email.  For the signature section for all outgoing emails, I have added a link to my author website [www.JeanneBurrows-Johnson.com] my Imaginings Wordpower website [www.ImaginingsWordpower.com] and this blog [www.Blog.JeanneBurrows-Johnson.com].

Logo Notecards
For many years I’ve used what I call logo notecards to extend invitations, express gratitude, and confirm appointments.  For both portrait and landscape layouts, I place a logo in one quadrant of an 8.5 x 11 inch layout, with text positioned diagonally and upside down from the artwork.  The printed result is a sheet of paper that can be folded into a 5.5 x 4.5 notecard that will fit an invitation-sized envelope. 

Postcards
After discovering that postage was the same for a couple of sizes of postcards, I chose a dimension of 8.5 x 5 inches for my author’s promotional postcard.  Beyond displaying recognizable book cover art, this ensures sufficient space for a synopsis and book reviews, plus purchasing options.  The art and descriptive text pop against a simple white background, with a high gloss finish on the front side for durability and flat finish on the back, which facilitates use of a pen for personal messages. 

Sadly, I discovered a typo after receiving an initial order of the postcards.  And having continued to receive positive reviews, I realized I should have printed a small number of the cards initially, to allow for subsequent corrections and additions.  As my publisher has declined to reprint book jackets with the latest reviews, I’m glad my second run of postcards allows me to send out books as samples, or for review or sale with up-to-date information.

Other Promotional Considerations

Websites Displaying Prospect For Murder
As the release date for PFM neared, the number of websites featuring the book increased.  Unfortunately, some had received galleys displaying artwork devised as a placeholder for the book jacket art that was to come.  Without proper notification, these sites would continue to display the galley image as being representative of the published book.  Therefore, I suggest that authors releasing books through publishers or on their own, remain vigilant in cruising the Internet to ensure that the words and images describing them, as well as their work appear as they intend!

In addition, authors need to be aware that many popular websites selling and promoting books do NOT offer an easy means for having books reviewed or even displayed in categorical listings.  Most of the time, an author’s work is only visible if the visitor to a site knows the author’s name or book title.  I strive to see Prospect For Murder displayed under the following categories for each of its several editions:  Hawai`i; Hawaiian mysteries; cozy mysteries; cat mysteries; female authors; female detectives; female sleuths. If you have any tips to help me with this situation, please drop me a note through the contact form on one of my websites…

Wishing you the best in your creative endeavors,
Jeanne Burrows-Johnson
author, narrator, design consultant, motivational speaker

Further discussion of art is available at the following blogs:
Authors Design Dilemmas 1, April 2015
Confronted by a Fantasia of Fonts, May 2015
Rainbows of Color, May 2015
Winning Logos & Slogans, October 2015
Quality Book Production, February 2016
Harmonizing Branding Elements, August 2016
Book Promotion and Evolving Art, January 2017
Balancing Text and Space, February 2018
Successful Cover Art, December 2018

To learn more about the Natalie Seachrist Mysteries, including Murders of Conveyance [Winner, Fiction Adventure-Drama, 2019 New Mexico-Arizona Book Awards], Island recipes and other projects, please visit my author website at JeanneBurrows-Johnson.com.

For more ideas to strengthen your Wordpower© and branding, please visit: Https://www.ImaginingsWordpower.com.

FOLLOW ME:
Facebook
Amazon

Apple Books
Audible
Authors Den
Barnes and Noble
Blogarama
Book Bub
Cozy Mysteries-Unlimited
Good Reads
Hometown Reads
Midpoint
Smashwords

Interviews & Oral Histories, 3

Conducting Interviews

Few people willingly give up control of their personhood to allow a stranger to delve into their inner thoughts.  But those private thoughts are what an effective writer must access to produce a true facsimile of each interview they conduct.  For as a professional or even an amateur writer, your goal is to meet your listeners or readers expectations that they are sharing your sensory experience while gleaning the particulars of why the highlighted individual is worthy of their attention. 

There are four statements I can make about my perspective on the interviewing process:

~  The interviewer has one chance to make a good first impression
~  The interviewer may not get another opportunity to interview their subject
~  Despite a subject’s agenda, an interview should encompass a non-fiction record of fact
~  Regardless of the premise for an interview, the subject may become reluctant to speak about topics previously authorized for discussion

The Importance of Preparing for Interviews
In several blogs, I’ve stressed the importance of preparation to conduct both general and oral history interviews.  In contrast, there are some writers who feel that research and other preparation is unnecessary, or even unwarranted.  I strongly disagree.  I believe research is vital to empowering your words in the interview process.  It will also help establish your credibility as a wordsmith who has mastered the art and science of writing.  In short, it’s one of the best ways of demonstrating your skill at the art of communication and making your subject trust you.

Contrary to the theory that “winging it” in an interview demonstrates you are a “common man,” and therefore likely to establish a connection with your interviewee, I’ve observed the results of people who conduct interviews without appropriate research.  For when an interviewer demonstrates little knowledge of their subject, their interviewee may judge them inconsequential.  If that is the case, responses to the interviewer’s questions may be superficial.  In fact, the subject  may be thinking, “If you don’t care enough to do your homework, why should I care about your project?”  So I’ll just keep the kernels of my truth to myself until the right interviewer comes along.”

Summarizing Your Research
By the time you’re ready to conduct a cogent interview, you should have completed a great deal of fact checking in several areas of your subject’s life, including:

~  The historical era of their life and the category of work they’ve performed
~  Their biography and career…as reported by them, and as available in public sources
~  Materials they’ve published, and speeches and interviews they’ve given previously
~  Comments their colleagues and other contemporaries have expressed about them

 Shaping Your Questions
The bulk of your questions will be determined by the purpose of your project. In some cases you’ll need to conduct interviews with multiple persons.  By asking parallel questions of each, you can compare and contrast their views of the primary subject, as well as one another.

Regardless of whether there’s any obvious controversy you must address, beginning your interview with general questions about the unfolding of the subject’s life, can assist in putting them at ease…if their mental processes are fully functioning and there are no hidden elements in their early life.

By delivering the early portion of your questions chronologically, your interviewee can mentally relive moments with which they should be comfortable. Additionally, taking them through the recognizable patterns of the decades of their life may trigger remembrance of small details.  This will not only enhance the interview itself, but also add color to your subsequent reporting of the event. This can, of course, lead to some sidetracking, but you should be able to steer the conversation back to the key points you need to cover.

Prior to, or during the interview, you may uncover facts about your subject’s life and work that are at odds with information the person has released in the past.  In this case, you’ll have to decide whether to directly question these inconsistencies. Of course, you’ll want to keep in mind that true or false, the opinions of others may have colored the public record.  Also, the perspectives of most people change with time and life experience.  And, whether we like to admit it or not, everyone has gaps in their memory, without necessarily being conscious of it.

Approaching the Interview
It’s nearly show time.  That’s right.  I said show time.  While serious scholars and journalists may dislike hearing me say it, an interview is usually a semi-public performance.  Unlike a play, the dialogue is not set in stone; unlike an evening at an improv theatre, it’s not without direction and form—for that’s your job.  But like a play on Broadway, it will be frozen in time, even if you conduct subsequent interviews.

Location of the Interview
It’s been my experience that interviewees often set and control the location of the interviews they grant.  This may not be the case for broadcast media and bloggers with sets in which the subject is expected to appear, but you are probably not working in these situations. Admittedly, it’s best to conduct an interview at a site to which you’re both agreeable, but sometimes you must accept interviewing your subject in their office, home or other location of their choice.  Nevertheless, there are things you can do to balance the situation so that you’re able to subtly declare your professional standing, while still putting the person at ease. 

There are many authoring strategies that can help to distinguish your work as an interviewer.  Establishing a good rapport can be the key to making the interviewee trust you with the information they’re imparting.  To do this, you might bring something with you to enhance the experience.  This could be an edible item, or, if you know they are fond of a particular author, you might obtain a copy of that writer’s work to share with your subject.  Please note that I’m not suggesting you spend a significant sum of money to buy your subject’s cooperation.  But small acts of kindness can help warm the atmosphere, demonstrate the thoroughness of your preparation, and make the entire experience positively memorable for both of you.

Interviewer Anxieties
Anxiety will undoubtedly arise, regardless of your preparation.  Despite previous contact you may have had with a subject, being in their presence (even by video conferencing or telephone) changes the balance of your relationship. There is another factor that may detract from your rapport with your interviewee:  If there’s an aspect of their lives that makes them suspect in the eyes of the public, they may be hesitant about granting you an interview.  They may be apprehensive about information you may have uncovered already…or what they might reveal in conversation with you. 

The Atmosphere of the Interview
Even when you have secured the location for holding the event, you cannot be certain of being able to completely control the environment.

~  Despite previous agreement, additional people may be present during the event
~  As recording devices can fail, carry a back-up unit, cordage and microphones with you
~  Regardless of their response, your subject may be distracted by ringing telephones and other interruptions

As you set up your equipment, be aware that recognition of the permanency of the record of their interview may be upsetting to your subject. Even if you have provided them with a copy of your primary questions, they may dislike seeing the list set out before them.  They may also have negative feelings about seeing any reference notes you’ve brought. But since such materials should be in easily read styles and sizes of fonts, you’ll be able to quickly reference pertinent facts, while maintaining eye contact and keeping the dialogue between you as natural as possible. 

The Ebb and Flow of Your Interview
Establishing and maintaining a smooth flow of conversation is a primary goal in the interviewing process.  Regardless of whether your personal views are in accord with those of your interviewee, it’s important to approach what they have to say with a calm, if not fully open mind.  This does not mean that you have to forfeit your role as the honest broker of truth.  However, you can adjust your personal style of behavior and other elements to maximize a positive atmosphere. After all, as in any natural conversation, your subject will periodically lead the discussion. That’s fine as long as they do not deviate greatly from the purpose of your dialogue, or delve into personal details of your life.

Be Prepared for Shifts During Your Interview
After opening pleasantries, you can help direct the flow of the interview by verifying the amount of time you’ll have with your subject.  This establishes a guideline for both parties and should make your periodic redirection of topic easier to explain.

Although you’re guiding the overall direction of the conversation, information will arise that may surprise you, or at least call for cursory examination. This may occur because the man or woman to whom you are speaking may have talking points of their own that they wish addressed.  If that’s so, let them express their concerns, and then try to deftly redirect them to the specific information you need in order to complete your project.

The Editorial Process
Sometimes an author feels stressed about the relationship between the creative process and editing As you review an interview, you will not only want to envision how you will shape an accurate account of the event that reflects truly inspired writing as well.  One thing that can help you achieve this dual pronged goal is to remember that the way in which you report your findings may be wholly different than the substance and sequence of the questions you posed. 

For example, if you’re part of an oral history project, there may be a specific format for you to follow.  This generates a record that harmonizes with the results of other interviewers within the larger body of work.  Typically you’ll prepare a transcript of the actual dialogue between you and the subject—often with punctuation or other markings to indicate accents, pauses, stresses, and other notable features of your conversation.  You may also write an introductory passage explaining your methods of preparation and your evaluation of the results you’ve achieved.

If you’re working on assignment for a media outlet, you might have the opportunity to write a personable article containing both dialogue and narrative prose. In this case, you may be allowed to offer your candid view of the person you’ve studied.  Be aware, if you’re working as a freelance researcher and writer, you may need to prepare multiple versions of your report in order to secure one or more appropriate outlets for its broadcast or publication.  I should note that there are situations when an interview will be available to only a select audience, or may be held in private for release at a future time.

As you finalize your work on an interview, you’ll want to remember that in this day of permanency in data recording and retrieval, the words you shape after the interview will live as long as the event itself.

Wishing you the best in your creative endeavors,
Jeanne Burrows-Johnson
author, narrator, design consultant, motivational speaker

For further information on interviews and oral histories see:
Overview of Interview and Oral History Projects, June 2015
Researching for Interviews, July 2015
Conducting Interviews, May 2016
After the Interview, August 2017

To learn more about the Conversations with Auntie Carol, the Natalie Seachrist Mysteries, including Murders of Conveyance [Winner, Fiction Adventure-Drama, 2019 New Mexico-Arizona Book Awards], Island recipes and other projects, please visit my author website at JeanneBurrows-Johnson.com.

For more ideas to strengthen your Wordpower© and branding, please visit: Https://www.ImaginingsWordpower.com.

FOLLOW ME:
Facebook
Amazon

Apple Books
Audible
Authors Den
Barnes and Noble
Blogarama
Book Bub
Cozy Mysteries-Unlimited
Good Reads
Hometown Reads
Midpoint
Smashwords

WINNING LOGOS & SLOGANS…

…For authors and artists as well as corporations!

What are the elements of your brand?

Design Dilemmas for Authors

While logos and slogans are usually associated with corporations, they can facilitate communication with the public and be key branding elements for any business endeavor, regardless of size or tax status.  And, yes, that includes professional writers wishing to facilitate communication with their readers, listeners, and/or viewers.  The memorable branding messages of successful authors echo the rich palette of words and images used by Fortune 500 companies! 

What comes to your mind when you think of a successful logo or slogan?  Perhaps the first is the iconic image of a cola company that has been in business for over one hundred and twenty-five years.  There have been many artists who have brought their own creative process to the company.  But while its logo has changed in minor ways, the bright color palette, signature font, and swirls of one type or another have remained ever present.  

In contrast, its slogans and other commercial text for their signature product have been altered periodically.   This is not surprising since marketing styles and considerable linguistic evolution have occurred within the same decades.  But with each change, the artistic vision of the company has been consistent—to provide a pleasurable sensory experience to the product’s target market.
Formatting Tips
In addition to any artistic icon, the color choice and fonts utilized in shaping the outward image of a viable brand must be memorable. They must also be appropriate to the product or service, as well as the demographics of the target market.  However, since a business can select a specific slice of their market to target, the style of two businesses within a particular industry can vary considerably.

Consider snack foods intended for children.  Generally, bright, happy colors, images, and simple easy-to-read—or even cartoonish—text fonts are appealing to that market.  But when the ingredients are organic, the use of colors associated with nature is the norm.  In addition, with growing concerns for the environment, recycled and/or recyclable packaging is becoming preferable…at least to parents.

When you know the demographics of your target market, your first decision in establishing your brand may be deciding whether to use your personal or business name without an accompanying image. This may be appropriate if your name distinguishes your business from others that offer parallel products and/or services.  However, the use of an artistic design element not only clarifies what you do, but demonstrates the style in which you operate.  Thus, a black, profiled outline of a woman with luxurious hair, standing in high heels against a deep plum color may convey an ideal image for an upscale salon or spa.  If the figure of a man in a tuxedo were added, an iconic image for a ballroom dancing studio would emerge.

Let’s now consider how we might design a logo for a company we’ll call Inner City Painting.  Beyond the simple use of text, one could use an upturned paint brush with a splash of paint for each of the i’s in the text.  At the next level of complexity, a simple line drawing of a home or a string of commercial buildings could declare the firm’s niche market. 

Aside from clean, non-seraphed text, three primary colors might convey a no-frills provider of basic painting services.  Conversely, sweeping art strokes, an elegant font, and an exotic color palette would suggest a more artistic enterprise.  [See DESIGN DILEMMAS FOR AUTHORS, Part 3:  COLOR, May 30, 2015, regarding the use of standardized colors to ensure uniform coloration in both print and electronic publishing.]

Several years ago, I was working with a local printer whose family had been in the industry in a large city for several decades.  Although the familial entity no longer existed, the branding artwork remained.  It depicted a happy cartoon character inviting the public through their doors.  The style of the figure, his attire and shoes all pointed to another era, but the idea of a friendly chap greeting customers was still a viable concept—especially in this age of impersonal mega-corporations.  With the help of a graphic artist, the image of your friendly neighborhood printer was updated and served to introduce the firm to a new generation of clients seeking full-service printing design and production.

Equally important to an effective branding program is the choice of a slogan, for both individuals and organizations.  Notice that I am using the single noun, S L O G A N.  Too often I find promotional decision makers attracted to complex images and multiple descriptive phrases.  This simply muddies the waters and presents a jumbled NON-MEMORABLE image to the public.

Consider artist John Smith.  He might present himself as:  John James Smith, portraitist.  In this case, his middle name separates the artist from other men named John Smith and the word portraitist specifies his specialty.  Additional, qualifying words and phrases can offer further information that will attract appropriate clients to him.  The following is a simple representation of Mr. Smith and his classic painting:

Portraits in Oil Offered by
John James Smith, M.F.A.

Another issue to consider in textual aspects of branding is punctuation.  Instead of shifting font or using italics, some promotional decision makers complicate a design by ending slogans with punctuation.   I suggest saving punctuation for actual sentences and paragraphs of descriptive text.  I find that the shortest path to memorability lies in simplifying your words and design elements.  

One way to ensure simplicity is by working with branding elements in the sizes you are most likely to see in print.  That means that although your graphic artist may be thrilled to present you with an 8.5 x 11 inch design, have them offer you samples in the sizes of dimes, nickels, quarters and silver dollars.  When you do this, you will quickly see that extraneous strokes and other details are lost in such dimensions and can even prove distracting to the message you are trying to convey with a business card or advertisement.  The size of fonts used for your name and any slogan will naturally have to be proportional to the size of the icon being presented.

With the publication of Prospect For Murder, the first Natalie Seachrist Hawaiian Mystery set in Honolulu, I have been sorting through old files.  In examining the progression of my own branding, I see that for over a decade, I simply used my name and a few bulleted words to describe my work.  In 1995, I launched use of the word Imaginings in my business name while completing edits for an article I co-authored for Broker World Magazine.  Since I was moving from Honolulu to Tucson, it was part of an authoring strategy for introducing myself to a new locale for my physical business, as well as potential regional, national or even international audiences.  [You might find it interesting to note that at that time I was sometimes told that there was no such word as imaginings.]

Through the years, I have offered clients several products and services to enhance their physical environs, as well as their promotional representations.  While previously using merely a textual presentation of myself, a couple of years ago I decided to design an iconic image that would represent several elements of my career:  Commercial writing, design consultation, and floral art.  I knew that utilizing a pen would clearly represent the largest area of my work.  As I sometimes provided faux painting of accent walls to commercial clients, it seemed natural to also include an artist’s brush.  Finally, as I have offered floral designs to both friends and clients, some form of floral image was indicated. 

What are the elements of your brand!

This icon has evolved over time is used in myriad ways.  Some variations have been necessitated by hardcopy printing vs. electronic presentations:  Boldness and detail; portrait and landscape formats; framed and unframed; isolated or with text.  Despite these differences, the use of gold, blue and plum colors have been consistent and the icon is becoming recognized.

With my writing shifting from commercial writing to fiction, my personal name may become more recognizable.  Nevertheless, I like the elements of this image that sums up my work to date.  However, I think it’s time for the hand of a graphics professional to finalize my signature icon, so that I can empower my image as well as my words as an author.

Wishing you the best in your creative endeavors,
Jeanne Burrows-Johnson

author, narrator, design consultant, motivational speaker

Discussion of art is available at the following blogs:
Authors Design Dilemmas 1, April 2015
Confronted by a Fantasia of Fonts, May 2015
Rainbows of Color, May 2015
Winning Logos & Slogans, October 2015
Quality Book Production, February 2016
Harmonizing Branding Elements, August 2016
Book Promotion and Evolving Art, January 2017
Balancing Text and Space, February 2018
Successful Cover Art, December 2018

For further tips on branding, please visit my marketing website:
Imaginings Wordpower and Design Consultation.

To learn more about the Natalie Seachrist Hawaiian Mysteries, including Murders of Conveyance [Winner, Fiction Adventure-Drama, 2019 New Mexico-Arizona Book Awards], Island recipes and other projects, please visit my author website at JeanneBurrows-Johnson.com.

FOLLOW ME:
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Hometown Reads
Midpoint
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Design Dilemmas 2, Fonts

Confronted By a Fantasia of Fonts

You’ve completed your research for a writing project.  You’re through composing and editing the text.  What a relief!  But if you’re in control of printing and/or publishing the finished work, you’re probably facing several decisions about its appearance.  While there are clear differences in design for hardcopy and electronic publishing, you may find that layout is not an issue—if your text is being dropped into a predetermined format, as in an existing website or magazine. 

Whether or not this is the case, you may need to select and apply the fonts that will present your message to the world If you have written a piece of fiction, you may be facing fewer considerations.  In this scenario, the sections of your piece may not exceed a title page, table of contents, preface, prologue, chapters, epilogue, and acknowledgements.  If so, a single font family may be ideal for the entire work—with variations in italics, all-caps and bold face. 

But if your piece is non-fiction, you may have additional elements, such as:  An Introduction, Afterword, and Appendices; Glossary and Index; Graphs and Charts; and, Photographs, Pictures, and Illustrations.  While simplicity in visual elements is ideal in any reading material, you will want to ensure your presentation has a positive impact on the readerAnd this may require the use of more than one font family.

Your first consideration in font families is the choice between serif typefaces [historically referred to as Roman typefaces by typographers] and sans-serif [Gothic] typefaces.  Unfamiliar with the term serif?  You’re not alone.  A serif is a small tic or line placed on the ends of letter strokes.  To compare these two categories of typefaces, let’s examine the differences between the classic Times New Roman and Arial font families.  While the former looks fancier with its little tics, the latter is straighter and bolder. 

But before you declare the cleaner look of Arial ideal for all purposes in our modern world, consider the issue of eye fatigue.  When we stare at the same kind of image [i.e. a uniformly straight font] for very long, our eyes become tired…and when that happens, your audience may lose interest in the message you have worked so hard to produce.  Therefore, consider using a mix of two or three font families that will make the various parts of your work pop.  Not only will this lessen the chance of your reader becoming tired, it may increase the likelihood that he or she will remember your key points. 

In general, for both print and electronic purposes, sans-serif font families are ideal for section titling, and sub-categories or menu labels.  This bold lettering says, “Stop and Pay Attention to Me.”  Although you may not be able to lessen the number of words used in a title, if you limit menu labels for website and other electronic publishing to one to three words, they will be memorable.  Conversely, for the body of your text, you may want a serifed typeface, that allows the letters and words to flow from one to the next, while minimizing eye strain. 

Before moving on, let me clarify that I am NOT suggesting you go wild, using a wide mixture of font styles and treatments in hopes of looking artistic.  While I have suggested using three font families, in most cases, two of those would be non-serifed fonts for titling and menu labels.  Titling might be in classic Arial [in bold], while the labels of menus might feature a smaller and tighter font such as Arial Narrow.  For wide, easy-to-read text, I prefer Palatino Linotype rather than the Times New Roman that most computers will default to, if the specified font is not loaded. 

There are many details to the history of the design and use of fonts that reach beyond the scope of this discussion.  One is the mathematics of font spacing, which you may find mentioned in your own research of the topic of fonts.  Simply stated, a monospaced, fixed-pitch-or fixed-width font is non-proportional, meaning that each letter and character occupies the same amount of horizontal space.  This is in contrast to a variable-width font, in which the space between letters and characters depends on the actual space a letter requires.  Since an “I” requires less space than an “E,” a variable width font may be helpful if you have a limited amount of width. 

Let me also make a few comments on the judicious use of italics.  While some design specialists are allergic to any use of them, I think italics are appropriate in some cases:  Differentiating a slogan from the name and contact information of an individual or corporate entity; emphasizing a word or phrase within a large body of text; replacing quotation marks to indicate dialogue or a character’s inner thoughts.  For me, I base my decision on using fonts on one key issue, How effective will this form of highlighting be?  The answer often rests in examining the length of verbiage surrounding the text you propose to italicize.  The overuse of any element reduces its effectiveness.

A similar evaluation should help you in determining when to use a bold font.  Consider business cards that offer every letter and character in bold…Without a variety of shapes, color and emphasis, the reader is likely to be indifferent rather than impressed.

In closing the book on fonts for today, let me say that your ultimate choices will depend on your individual taste and style.  To help you refine the process of choosing fonts, I recommend you collect a number of business cards (and maybe a couple of brochures) and consider the elements that appeal to you.  Spread the printing samples out on a neutral background and ask yourself, “What does the text style say about the featured person or business?”

~  Is the presentation organized and easy to read?
~  Do I relate to the person or business?  Do I trust their message?
~  Does the message reflect current standards for the industry or genre?

If you find yourself responding negatively to the sample materials, envision how you might improve both the message AND its delivery.  As to your own work, ask yourself two questions.  “Is my proposed use of fonts going to accomplish my goal of impressing the reader with my message?”  And, “What will my choices in fonts and other design elements tell readers about me?” 

My signature font family is Peignot For titling and limited amounts of text, I often use a mix of the Peignot and Arial Narrow fonts [see the logo at the top of this post].  By embellishing these non-serifed fonts with varied treatments of sizing, texture, and color, I hope to announce that I’m progressive in perspective yet respectful of elements of classic design.  Do you think I have accomplished my goal?

Wishing you the best in your creative endeavors,
Jeanne Burrows-Johnson
author, narrator, design consultant, motivational speaker

Discussion of art is available at the following blogs:
Authors Design Dilemmas 1, April 2015
Confronted by a Fantasia of Fonts, May 2015
Rainbows of Color, May 2015
Winning Logos & Slogans, October 2015
Quality Book Production, February 2016
Harmonizing Branding Elements, August 2016
Book Promotion and Evolving Art, January 2017
Balancing Text and Space, February 2018
Successful Cover Art, December 2018

To learn more about the Conversations with Auntie Carol, the Natalie Seachrist Mysteries, including Murders of Conveyance [Winner, Fiction Adventure-Drama, 2019 New Mexico-Arizona Book Awards], Island recipes and other projects, please visit my author website at JeanneBurrows-Johnson.com.

For more ideas to strengthen your Wordpower© and branding, please visit: Https://www.ImaginingsWordpower.com.

FOLLOW ME:
Facebook
Amazon

Apple Books
Audible
Authors Den
Barnes and Noble
Blogarama
Book Bub
Cozy Mysteries-Unlimited
Good Reads
Hometown Reads
Midpoint
Smashwords