First of all, say that I have been professionally dedicated to editorial design for more than 10 years. I have done the course to see Pablo's work methodology and see trends. Dato says that people like Pablo are the ones who in a certain way create trends when it comes to publishing in Spain.
My work methodology as for Pablo's does not differ much. Broadly speaking, the way to organize material and structure is the same. Although it must be said that in my case the materials, texts and photography are already imposed by the client, and that limits a lot, since in this case creativity / design is limited by that material. THE CONTENT DETERMINES THE CONTAINER.
Many times it has happened to me that people outside creativity tell you to make a design proposal for for example a school magazine, and without having a vision of the client for reasons of "selling", you make a very beautiful design and model, taking your the internet material. You use very good photos, some invented texts or taken from the internet that look great on the model. The client sees it and is delighted with the proposal ... but once you start to model with the materials provided by the client ... surprise !!!! the photos out of focus, taken with the mobile ... the super bulky texts that have to go Yes or Yes in 2 pages ... And in the end the result has nothing to do with the proposal, because it has to mold the model created for that design Initial to one that doesn't even fit with a shoehorn, and you end up making a design because as a designer you don't like it, but it's money for your boss.
That is one difference of making your magazine and knowing what content you are going to put and the other when those contents are given to you by people outside the project. This is the MATERIAL LIMITS ME THE DESIGN or THE MATERIALS ARE THOSE THAT ARE AMOLDED TO THE DESIGN.
So my process has been to create a visual proposal to restil an existing editorial product, in this case a newspaper / magazine of no more than 20-30 pages.
The first thing is to know and be very clear about what you are going to do and determine THE CONTENT to put ... this will already give you the format to use and especially the type of design.
For me in the entire process of creating an editorial product this is the most IMPORTANT point. It is to be clear about the content. Then everything is rolled. As Pablo says if it is a large company, the process will be distributed among more people, and each one will have their role.
So roughly it would be.
1. Meeting with the client to see their concerns, wishes of what they want and you, as a PROFESSIONAL, know how to advise them. Here, try to find out how that content will be created when making a visual proposal. At this point the content structure must be quite clear.
2. Creation of a visual proposal that after point 1 must be 95% of what the client had in mind. If in the end what you have done to the client does not like something, it has happened in point 1, or it is an egg-picking client or at the end that client does not want anything and is giving them ... that is why a good initial commercial contact is key. ;) the proposal is usually a cover and interior page design.
3. Once the visual proposal is made, it is time to create the final mockup and start adding content.
So basically my way of working is no different from Pablo's.
Quite interesting both the project and what you comment @beta-1
I strongly agree that the content determines the container, and working with good material is vital to doing a good job. There are photos that just by putting them on a full page already work as a design, although that does not mean that you have to detract from a good model.
I would qualify something, and that is that as I understand it, Pablo also works for clients, contrary to this case, with a difference, in the material that Pablo designs, aesthetics have a very important weight, I cannot imagine a fashion magazine with photos taken with the mobile (well, yes, but it would still be cool, it would be a bit risky XD)
On the other hand, in the material that you comment, the client gives a lot of importance to the content, that is, if you cut this text, you are removing important information, or in this interview, we cannot remove things, which may offend the interviewee. And yet some blurry photos, what does it matter?
Well, I think that if that matters, everything matters, and you have to try to make the client see that a good design is good for him. I think that 90% of the cases will ignore us or look at us strangely, but now there are very good examples to show you, and tell you that if you want that, you have to start changing your thinking. Losing the fear to cut out, to summarize, to leave a blank page even if they charge it, to just put a photo on a page, to hire a photographer, come on, not go with such a fixed idea from the beginning.
Very good Steroplastika. Maybe I did not express myself well about Pablo. I mean, one of the magazines he designs, and it is for a client, but he says that all the content is created by them. That is to say, above all, the images and illustrations are made ex process for each article. That's amazing, since it gives you great freedom in terms of design, since in this way from my point of view as you create the material for your model, you have so much freedom that the content does not limit you, in this case you create content to fit a container.
I come from a place where a bad way of working is normal. Of refusing to appear in the credits for being a work distorted by the client himself. In the end, instead of being a creative tool, you are a bridge for the client, that is, the "creative" and you are the tool that knows how to use design programs ... That what you have proposed has nothing to do with it. see with the end result.
It is the same thing that I have actually told you, although I think that the important thing more than the fact of who believes it, is rather the need for that publication to meet aesthetic requirements, than in the other case that you tell me, the customer believes they are not necessary.
For me in both cases it is necessary, only that in the first, the client is clear that the product will not work otherwise, because it competes in a more demanding market, perhaps on an aesthetic level. But the idea is the same, to make the client aware of good design.
As I understand it, you see it difficult, because you are not the one who can make those decisions, I suppose because you work for a studio, but I don't think it is so difficult if you work on your own, it is just having a photographer, illustrator, etc. on your team , and be able to offer the customer that service.
The problem is the price? Well, it should be seen.
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maparicio001
Good @beta-1 ! Could you tell us a little about the process?
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beta
Good morning Maria !!!
First of all, say that I have been professionally dedicated to editorial design for more than 10 years. I have done the course to see Pablo's work methodology and see trends. Dato says that people like Pablo are the ones who in a certain way create trends when it comes to publishing in Spain.
My work methodology as for Pablo's does not differ much. Broadly speaking, the way to organize material and structure is the same. Although it must be said that in my case the materials, texts and photography are already imposed by the client, and that limits a lot, since in this case creativity / design is limited by that material. THE CONTENT DETERMINES THE CONTAINER.
Many times it has happened to me that people outside creativity tell you to make a design proposal for for example a school magazine, and without having a vision of the client for reasons of "selling", you make a very beautiful design and model, taking your the internet material. You use very good photos, some invented texts or taken from the internet that look great on the model. The client sees it and is delighted with the proposal ... but once you start to model with the materials provided by the client ... surprise !!!! the photos out of focus, taken with the mobile ... the super bulky texts that have to go Yes or Yes in 2 pages ... And in the end the result has nothing to do with the proposal, because it has to mold the model created for that design Initial to one that doesn't even fit with a shoehorn, and you end up making a design because as a designer you don't like it, but it's money for your boss.
That is one difference of making your magazine and knowing what content you are going to put and the other when those contents are given to you by people outside the project. This is the MATERIAL LIMITS ME THE DESIGN or THE MATERIALS ARE THOSE THAT ARE AMOLDED TO THE DESIGN.
So my process has been to create a visual proposal to restil an existing editorial product, in this case a newspaper / magazine of no more than 20-30 pages.
The first thing is to know and be very clear about what you are going to do and determine THE CONTENT to put ... this will already give you the format to use and especially the type of design.
For me in the entire process of creating an editorial product this is the most IMPORTANT point. It is to be clear about the content. Then everything is rolled. As Pablo says if it is a large company, the process will be distributed among more people, and each one will have their role.
So roughly it would be.
1. Meeting with the client to see their concerns, wishes of what they want and you, as a PROFESSIONAL, know how to advise them. Here, try to find out how that content will be created when making a visual proposal. At this point the content structure must be quite clear.
2. Creation of a visual proposal that after point 1 must be 95% of what the client had in mind. If in the end what you have done to the client does not like something, it has happened in point 1, or it is an egg-picking client or at the end that client does not want anything and is giving them ... that is why a good initial commercial contact is key. ;) the proposal is usually a cover and interior page design.
3. Once the visual proposal is made, it is time to create the final mockup and start adding content.
So basically my way of working is no different from Pablo's.
I hope I've helped. ;)
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tutututt
Teacher PlusQuite interesting both the project and what you comment @beta-1
I strongly agree that the content determines the container, and working with good material is vital to doing a good job. There are photos that just by putting them on a full page already work as a design, although that does not mean that you have to detract from a good model.
I would qualify something, and that is that as I understand it, Pablo also works for clients, contrary to this case, with a difference, in the material that Pablo designs, aesthetics have a very important weight, I cannot imagine a fashion magazine with photos taken with the mobile (well, yes, but it would still be cool, it would be a bit risky XD)
On the other hand, in the material that you comment, the client gives a lot of importance to the content, that is, if you cut this text, you are removing important information, or in this interview, we cannot remove things, which may offend the interviewee. And yet some blurry photos, what does it matter?
Well, I think that if that matters, everything matters, and you have to try to make the client see that a good design is good for him. I think that 90% of the cases will ignore us or look at us strangely, but now there are very good examples to show you, and tell you that if you want that, you have to start changing your thinking. Losing the fear to cut out, to summarize, to leave a blank page even if they charge it, to just put a photo on a page, to hire a photographer, come on, not go with such a fixed idea from the beginning.
Sorry about the billet.
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beta
Very good Steroplastika. Maybe I did not express myself well about Pablo. I mean, one of the magazines he designs, and it is for a client, but he says that all the content is created by them. That is to say, above all, the images and illustrations are made ex process for each article. That's amazing, since it gives you great freedom in terms of design, since in this way from my point of view as you create the material for your model, you have so much freedom that the content does not limit you, in this case you create content to fit a container.
I come from a place where a bad way of working is normal. Of refusing to appear in the credits for being a work distorted by the client himself. In the end, instead of being a creative tool, you are a bridge for the client, that is, the "creative" and you are the tool that knows how to use design programs ... That what you have proposed has nothing to do with it. see with the end result.
See original
Hide original
tutututt
Teacher PlusIt is the same thing that I have actually told you, although I think that the important thing more than the fact of who believes it, is rather the need for that publication to meet aesthetic requirements, than in the other case that you tell me, the customer believes they are not necessary.
For me in both cases it is necessary, only that in the first, the client is clear that the product will not work otherwise, because it competes in a more demanding market, perhaps on an aesthetic level. But the idea is the same, to make the client aware of good design.
As I understand it, you see it difficult, because you are not the one who can make those decisions, I suppose because you work for a studio, but I don't think it is so difficult if you work on your own, it is just having a photographer, illustrator, etc. on your team , and be able to offer the customer that service.
The problem is the price? Well, it should be seen.
See original
Hide original
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