March 14, 2005

Working Differently With Designers

Most communicators are logophiles—we’re literally lovers of the written word. But in today’s information-overloaded world, it’s time to face the fact that words are simply not as powerful as visuals. How do we break our dependence on language to unleash this visual power? Start by working with graphic designers in a bold new way.

Because communicators are most comfortable with words, many of us don’t start the graphics process until our copy is absolutely finished—drafted, edited and approved. But waiting until copy is complete limits the designer’s creativity, and places too much emphasis on what the words say, not on the outcome you want to achieve.

That’s why Davis & Company has developed a new model that allows communicators and designers to collaborate in a way that creates more dynamic and compelling communication.

At first, this model may seem like more effort—it certainly requires more contact—but you’ll immediately see how this level of collaboration, most of it before you’ve even written a word, may actually save you time in the long run. Here’s how it works.

Step 1:


What: Once you know your project’s scope, schedule a meeting with the graphic designer to discuss logistics, main messages and the desired response you want to evoke from your audience. Agree on next steps and decide when to re-convene (ideally within a day or two).

Why: Designers are good at distilling information, making connections and solving complex problems—three skills that are valuable in the conceptual stages of a project. They also benefit from being brought on early. The initial involvement makes it easier to tap into the soul of the project and create visuals that meet the project’s objectives.

Step 2:


What: Go off on your own and map out your copy. Decide on headings, sub-heads, sidebars, callouts, etc. If it helps you organize your ideas, write up a brief outline or make a bulleted list of key content.

Why: Anticipating how your information will take shape gives the designer greater perspective into page layout, white space, word count, etc. It can also prevent the design limitations that occur when designers add visuals to augment copy instead of visuals to enhance copy.



What: It’s time for the designer to brainstorm visual concepts. Encourage the designer to render thumbnails or sketches of ideas, or compile samples from external publications and trade magazines that inspired an idea. Make it clear that you are not looking for anything formal—just concepts.

Why: Communicators have been known to impose their ideas on designers. In turn, creativity is stifled because the designer feels committed to the communicator’s idea. Remember to leave this to the experts. When a non-designer tries to design, it puts pressure and limitations on the real artist.

Step 3:


What: Now you’re ready to re-convene with the designer to review the content and design concepts. Try to reach consensus on the ideas that work best with the content outline. Negotiate word count, sidebars and callouts. Be sure to give the designer feedback that’s more explanatory than “I like it” or “I don’t like it.” Instead, examine the visuals and decide if they help reinforce the key messages, create clarity of a complex concept or bring context, feeling or emotion to a topic.

Why: Meeting with the designer to share feedback and negotiate content ensures that a balance is created between what the words say and what the design illustrates.

Step 4:


What: It’s time to write your copy. Think about the content you mapped out and expand upon it. Ask yourself how the design influences your copy. Be sure not to go over your agreed-upon word count. When you’re finished writing, get the necessary approvals and send your content to the designer for layout.

Why: Waiting until a design concept is established to write your copy not only ensures that the design supports the content, but it also prevents design headaches like too much content and not enough room.



What: The designer’s ideas have all been conceptual until now. They come to life as the designer chooses the colors, fonts and graphics for the final form. Lines or fake text are used in place of the actual text. If all goes as planned, the actual text will fit perfectly into the space allotted with only moderate revisions of the layout.

Why: Designs are often scrapped because the designer lacked information. This results in wasted time, effort and resources since searching for the perfect photography and creating stimulating visuals is a time-consuming process. Early collaboration ensures the designer has everything needed to make educated decisions about graphics.

Step 5:


What: Everything finally comes together in Step 5. Once layout is complete, you should have a design that supports the content and adds meaning, and a prototype worthy of sharing with your internal client.

Davis & Company’s award-winning design team is expert at working with communicators using our collaborative design model to create dynamic and compelling communication. For details, contact Matt Davis at:

1.877.399.5100 (toll-free in the U.S.)
1.201.445.5100
matt.davis@davisandco.com