Promotional Design Master Class | Shawn Barry | Skillshare

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Promotional Design Master Class

teacher avatar Shawn Barry, Creative Director, and Educator

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

26 Lessons (1h 57m)
    • 1. Course Trailer

    • 2. Chapter 01 intro

    • 3. Chapter 02 outline

    • 4. Chapter 03 objective

    • 5. Chapter 04 student projects

    • 6. Chapter 05 brief

    • 7. Chapter 06 promotional advertising 1

    • 8. Chapter 06 promotional advertising 2

    • 9. Chapter 06 promotional advertising 3

    • 10. Chapter 06 promotional advertising 4

    • 11. Chapter 06 promotional advertising 5

    • 12. Chapter 06 promotional advertising 6

    • 13. Chapter 07 target markets

    • 14. Chapter 08 promo messaging

    • 15. Chapter 09 goodfilehabits

    • 16. Chapter 10 assets

    • 17. Chapter 11 strategy

    • 18. Chapter 12 baseproject

    • 19. Chapter 13 promovideo

    • 20. Chapter 14 designexecution

    • 21. Chapter 15 deployment

    • 22. Chapter 16 stokingflame

    • 23. Chapter 17 a hire

    • 24. Chapter 17 b diy

    • 25. Chapter 18 next steps

    • 26. Chapter 19 conclusion

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About This Class

Promotional Design Master Class with Shawn Barry

This course is a Master class taught by promotional design specialist, Shawn Barry. In this course, you'll learn 6 common types of promotional campaigns, what their strategic differences are, how the communication works and how to design a great looking promo using solid design methodology.

This course is based on a real promotion for a real client, that's in market. Shawn backward-engineers the process so you can follow along and learn the steps. But it doesn't end with just watching - there are 6 full project briefs complete with logos, high res images copy decks and a full brief for your to try your hand at creating a promotional campaign for your own portfolio.

This course is great for clients and designers alike. Clients with a business that needs a promotional push will learn the process from the other side of the desk, and will come away with a solid foundation to create the right type of promotion for their brand. Creatives will learn the promo design method, and have lots of material to practice and sharpen their skills - not to mention adding one more valuable tool to the toolbox.

If you want to learn promotional design, this is the course for you.


Meet Your Teacher

Teacher Profile Image

Shawn Barry

Creative Director, and Educator


My name is Shawn Barry, and I'm a creative professional with over 30 years experience. I'm also partner and Creative Director at a small boutique agency in Toronto Ontario Canada, called Booster Rocket Media.

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1. Course Trailer: a skill share. My name is Shawn Berry, and I'm a creative professional with over 30 years experience in the business partner and creative director of a small boutique agency in Toronto, Ontario, Canada called Booster Rocket Media. And this course is all about promotional design. Over my long career, I've done a ton of promotion. I've done promotions for all the largest national brands, like Coca Cola, Molson, Nike, Procter and Gamble and all kinds of brands you probably use every day. We're gonna dive deep and explore the different types of promotions. What are the different categories? One of the different strategies on How can you use these strategies and different techniques to add value to your brand and communicate in a unique way with your followers and customers online? For this course, we're going to use a real world project with a real world client and actually execute a real world promotion that's in market. And we're gonna talk about how that creates interest in the brand, how you get customers and followers excited and what you're doing. In addition to all of that, there are six projects with briefs copied axe and images for you to practice different emotional types and actually build your port boy with some really emotional content. So if you want to learn all about promotional design, join me for the promotional design masterclass. I hope to see you there. 2. Chapter 01 intro: Hi, I'm Shawn Berry. And welcome to the promotional design masterclass. I'm really glad you decided to take this course and spend some time with me going over what all these promotions air about. But first, I'm a professional with 30 years experience in the creative industry, and I'm currently the creative director and partner of a small boutique agency in Toronto, Ontario, Canada called Booster Rocket Media. And over my career, I've done a ton of promotions. I've spent maybe 15 years in various agencies and design shops working on national brands, and I wanted to share this course because promotions air such a great way for small brands , personal brands and even businesses to communicate with their audience, their customers and their followers and unique ways. Brand advertising for big brands is one kind of thing, but promotions is a very specific way to speak directly to your target Audience and promotions are, of course, a great way to build value with your brand and give value to your followers and your audience. So let's just dive right in. I'm happy you join me on this journey, and in the next video we're going to talk about the course outline and everything that we're going to cover. I'll see you there in just a moment 3. Chapter 02 outline: So let's talk about the course outline. There's quite a lot we're gonna cover in this course, beginning with what our promotions and what types of promotions are. There were going to break it down into six basic categories, and you'll see as we go through it. These six aren't necessarily every category a promotion can fall into. But then the most common ones that I experienced in my long career of doing promotional design so your promotion, your brand, could fit into one of these six categories quite easily. But of course, there are variations and different ways that these things play out. But this list of six will give you a good, solid understanding of the differences between them. We're also going to talk about a real world project booster. Rocket Media did a promotion earlier this year for an actual client named Rocket Tac, who happens to be a very dear friend of mine. Uh, I need to cut the car and her band mate Auriana, who have formed this band called Rocket Talk. It's a local world music band. They do great music. And there, of course, dear friends. So I love working with um, but we've taken their actual project and we've executed it and put it in market. This is a project that happened around September October. So I've used that project in this course to demonstrate a riel promotion with Riel parameters. In addition to that, I've included six practice projects, which I'll go through shortly that cover off these different types of promotions. So we go through the entire process with a professional project, using real briefs, riel copy riel images and all of that. So that's all the stuff that we're going to cover off in this course. I think you'll take away a ton of information and there's a lot to go through. So we're going to get started in the next video chapter. We're going to talk a little bit about what are the objectives? What are you going to take away from this course? I'll see you there in just a moment. 4. Chapter 03 objective: So let's talk a little bit about the course objectives. What? I want you the student to get from this course and is very simple. I want you to understand the different types of promotional categories and how toe decide which category your promotional project fits into, or that of your client. If you're a graphic designer whose freelancing or working for an agency, you may have promotional projects. And knowing how these things work may help you to evaluate what you're going to do for your client or for your own personal brand in your promotion. So with that said, the objective is for you to walk away with projects in your portfolio. When this is all done that you can say, Hey, I've done some promotional work in this course have included six student projects. You can choose to work on one of them or all of them if you're interested, and you can build these out and put them into your portfolio as spec projects and actually come away with a little bit of promotional design in your book and hopefully ah, good understanding of the different types of promotions and how they work, So we're gonna talk about those student projects in the very next video lesson, and I'll see you there in just a moment. 5. Chapter 04 student projects: So, as I mentioned earlier, I have included six different projects with full briefs in this course for you to take and design one or all of them. So what I did was I broke it down into the six different categories of promotion that I'm going to talk about in this course, and I've actually written a brief. It's fictional in all cases, these air fictional briefs for a fictional clients. But the's briefs are based on real work that I've done in the past, So different projects have had these different elements associated with them. So I've used that sort of experience, and I've created these briefs accordingly. I've also written a copy deck for each ones that you have some material to work with. In addition to that, I've purchased images legally from shutter stock, and I've watermarked them so that I can give them to you to use for your practice projects . The watermarks aren't too annoying and too much in the way. They won't affect your creative, but they have to be there. These images are for you to practice with not to use commercially, but the The images are available from shutter stock for you to purchase. If you wish to update your design, work within a NEWater marked image, so you'll be able to do that. The image names have been saved, so you'll know which one's. The search for the first project is a promotional brand ad, which would appear in fashion magazines for a fictional fashion company called Zeisha. The second project is for Zing Cola, which of course, is a fictional cola brand. The idea is the consumer can enter to win a new car. The third project is for a fictional event called Fantasy Con, which has a steampunk theme, and you'll be creating some social media promotional creative to encourage fantasy fans and cause players to attend the event. Project Number four is a fictional company called Big Telecom there a TV, telephone and Internet provider trying to convert competitive customers to their own brand . And they do that by giving away a four K TV. If you sign up for three years, so you're gonna be creating some promotional sign Ege in store. The fifth project is for a fictional company called Super H Hardware, and you'll be creating promotional signage outside the store and in store on shelf for an in store promotional campaign, and the final project is a fictional dance company called Kinetic Dance Company. And they're sponsored by the Museum of Modern Dance. And you'll create some venue promotion material that will announce the Museum of Modern Dances sponsorship of the kinetic dance companies performances. So they're the projects will be able to download them is part of this course material, and I would save them for the end of the course. Go through the course first so that you can understand the different promotional types and it'll make more sense, I think once you've gone through it. But if you're anxious to dive in now and then come back to the course material to review and obviously that's perfectly fine. But I would suggest you download those and hang on to them. But let's go through the course material together, and then I think when you come back to them, it'll make a ton more sense. So in the next video chapter, we're actually going to review the brief for the Real World Project and get down to work so I can't wait to get started and I'll see you in the next video chapter 6. Chapter 05 brief: so we're ready to get started and at the beginning of any project, the most important first step is to review your brief and have a good brief that you've written with your client that outlines the project and parameters. So it's very important to have a brief in front of you when you work. Now when you're doing a project for yourself, sure, that may change. But any client project anything that you do that requires details to be remembered. And, ah, no key messages, deadlines, all those things. A brief is a super helpful document. It's one that even if you don't specifically need it for every project, it's a fantastic habit to get into the have a project brief for every project. We, of course, have one for our project for this promotion that we're doing. And we're gonna take a look at that right now and go through all the details quickly so that we know sort of where we have to begin and how to get started. Okay, so here at the desktop, I'm just going to pop over to my Google chrome tab, which has my project brief. A top. I just have my meta data for the project, which is just a good habit to be into. It helps you understand the project parameters a little bit. Know who's involved. Maybe you'll. I want that information later. So it's just a good habit to get into. So under description, we have to develop a promotional creative designed to promote single track heliosphere from the new upcoming release Small Pieces, which is the CD that Rocket Talk is releasing early in 2017. And we're going to use this to create a little bit of buzz and get people talking about the new album here Under Objective, we have two basic objectives. The primary one is, of course, is to help sell the new album in 2017. That's kind of the most important thing for our promo, and we're gonna tease the new album with this single and show a hint of the album creative and get people to listen to the track and get them interested in hearing the full album and secondary objective would be to get some new fans. We know that our primary target market, which happens to be our current fans, are probably going to share this new single. So it's likely that as a result we're gonna get some new fans. People are going to hear it, but with the new release, we have an opportunity to gain. Some new fans have not yet heard our music when current fans share the promo and under Target audience, as we just mentioned, our primary is the current fans of rocket talk. We know they're listening to the music and they want some new stuff and secondary would be new fans on those who have not heard our music before. So that's who were speaking to basically under key message. We only have one, which is check out the new single heliosphere from small pieces. The other stuff is important, but it's not key messaging. Key messaging. Is that one thing you have to talk about? If you don't talk about anything else, you've got room for one headline. That's what your key message is really referring to. So that's why there's only one statement there. We know fans of Rock Ataka been waiting for something new. Small Pieces is the new release for 2017 and heliosphere will give them a taste and get them excited promo creative. I should include a bit of the album art, so gives it that kind of flavor of the release. And this is kind of an important section under mandatory elements were going to identify the things that we absolutely need. So ah, in addition to key messaging, which, as we talked about, is something that is the most important thing to talk about. And mandatory elements is slightly different in that thes. Things may not be key, but they need to be there. This is sort of important stuff, too. Used to support the promotion is kind of the idea behind mandatory elements stuff you need to have. So the single name is heliosphere. That's obviously the title of the song, and that's kind of important. The release date of the single and also the album release State, which is a broad date. So we're just going to include it as early 2017. But the single is dropping on November the first, which of course, has already happened in the past. But at the time of briefing, this was an upcoming date, so we had to be aware of that album name, of course, is small pieces, the U R L Rocket tac dot band, camp dot com, and when we can, we use the promotional photography that we took that day. We should include that stuff as well. The production list is really just about the items that we need to create. So if there's there could be 100 items under this production list, this could be the very long or it might be just two things. It depends on what you need. We happen to know that we need a Facebook header which currently at the time of this recording, the current template is 851 pixels by 315 on. That's using the Facebook official template and we'll do that. Of course, the Band Camp banner is 9 75 by 180 pixels. So we need to create one of those. Soundcloud Banner is much larger at 2480 pixels by 5 20 We need one of those ah website banner. We need a YouTube header. We're gonna use the template as well. Uh, the current template as of the time of this recording, and finally we need a promotional video, which we're going to create a 10 80 p. H. D. And that could have been a four K as well. But we don't have any stock and four K. We didn't shoot anything in four K, so we're just going to do it at 10 80 HD. And so that's our production list. All of the elements that we have to create under timing we know that November. The first is when we deploy the single, so we kind of need our stuff and market by then. In October, the 15th roughly is when we should launch the promotional creative to get people excited for the November 1st upcoming single release and under checklist. We don't have a lot of items here that we need to be concerned with, but we happen to have the promotional, photography and video shoot is complete. And of course, the album design is complete, and we're just gonna use those elements to create all the stuff that we need for this promotion. So that's our basic brief. OK, so that's our brief. It's not super long, but it's a detailed and it gives us all the information that we need to execute a good project. And speaking of good briefs, I'm going to leave a link in the description of this course to a Google doc that I have, which is a blank template brief. It's the same brief that we've just reviewed, except that none of the information for the project has been filled out. It's blank, so you can actually download it and use it for your own projects. It's a good foundational brief, you may add to it. If you wish, you may not necessarily use all the sections. There's a couple that we didn't need to use for this brief. But you can download that and just keep saving it over and creating your own version of it . And that's a very helpful tool for any projects that you do. So feel free to check out the description of this course and you'll see the link there, and you can go and grab that brief from Google docks on, downloaded and go ahead and use that. So with that said in the next chapter, we're going to talk about what our promotions. How do we distinguish the different promotional types and what is key to each of those promotions. What do you need to know? To be a promotional designer? So we're going to review that next, and I'll see you in the next video. 7. Chapter 06 promotional advertising 1: So let's talk a little bit about promotional advertising and promotional design. It has some different categories. There's different types of promotion, and when you're going to begin a promotion, it's good to know which type you're doing. Because each type of promotion has a particular style. It also has a particular type of messaging in a particular strategy. So depending on what your project is, you can identify what kind of promotion that you're doing and knowing that kind of promotion can help you strategize the right way to execute it. So let's jump into the desktop, and I'm going to show you what I'm talking about, and I think it'll make sense when you see what I mean. Okay, so back here at the desktop, I'm just going Teoh pop open my file Explorer and I have a folder here with some examples, and I'm going to show you a couple examples from each of these, just so you get an idea. I'm not going to go into great detail because we'll cover some of those things and later videos in the series, but basically I've broken it down into these six groups now, this is not to say that these air, this six exclusive promotional groups, they're certainly not. But these air six very common ones, And I'm going to share these with you now, so you sort of understand kind of the basic idea behind them. We have brand promotions. We're gonna have contests of events. We can give away something for free. We can have in store promotions at shelf and at check out. And we could have promotions with a promotional strategy, which I will show you and kind of explain what that means quickly. So, um, basically, here are some different promotions and I'll show you some quick examples, so we'll begin with a brand promotions. Now, A brand promotion is something that uses an existing brand and simply promotes the brand. It isn't lifestyle advertising. It isn't brand advertising as such, but it is a promotional ad. It has a bit of a different feel from a brand ad, and I'll destroy what that means. We have this wine brand called Linden Bay, which was directed at female consumers who like leisure time. That was sort of that. That's a very loose description of the target market. There was more to it than that, but just suffice it to say, that's kind of a large general categorization. And so, in order to appeal to this particular target, we took this approach with our, uh, promotional advertising, which was, Ah, her sleepy cat stretched, then curled deeper into the blanket they shared entirely, ignoring the tweets of birds on this very lazy day and then Lyndon Bay. So you can see there's a little lilt between Lazy Day Lyndon Bay, and this headline is a very long headline. You'll also notice that it's kind of a novel headline. You could imagine this copy coming out of one of those cheap afternoon books you might read while reclining in the backyard and sipping on some red wine on your day off and in the small copy down here introducing Lyndon Bay, a crisp tasting wine that complements quiet times, conversation and moments of utter contentment. Enjoy a glass anytime you want to celebrate little occasions like Saturdays, so it has the feeling of a brand ad in the sense, But it's not quite establishing a brand. It's only giving you an occasion. So that is one of the keys to understanding a promotional ad like this, It simply isn't occasion. Add, that tells you, uh or suggests rather when you might consume it and who might consume it. In this case, we have a wine called Full Press, which is a wine geared at young men who would normally drink beer on occasions like, you know, having buddies over to watch sports on the weekend or a huge barbecue in the backyard rather than a case of beer or in addition to a case of beer. Maybe they'd consider this wine, which is, of course, branded and packaged in a more manly kind of fashion, which helps the consumer to know who this brand is directed at. Kind of goes like this. Man's guide to wine pairing goes with meat so it's a very simplified approach to how to drink wine. So, hey, it's not a fussy wine drinker introducing full press the wine that goes with all your favorites full of flavor with big, bold aroma. Full press goes with anything like barbecue ribs, steak with freaks and long weekends with friends. So, uh, you know, again it gives you that occasion when you might enjoy it and therefore who might enjoy it And in this case, we have trove this little lit window in this condo, which is lit stylistically to represent the trove brand. As you can see in the bottom right when you know everyone's watching, walk in the room with style. An urban treasure you'll enjoy. Discovering trove is a blend of Canadian and international wines, a sense of style to match your own. Enjoy it when the time is right and celebrate chance encounters and when the opportunity comes, make the most of it so you can see this is very much directed at eso. The condo dwelling young urbanites who would party and have occasions for wine and guests would be who this wine brand is directed at. And Nicholas Lalu We have this ah, sort of drawing, which kind of is like a French countryside, which then bends into this shape, which creates this little bicycle path, which then becomes Laloo, which, of course, is a play on Ooh la la and you can see in the brand in the bottom right corner. The whole idea of the label is that we're picking up this trail from which the bike is Ah is creating as it rides along, and so we extended that to create this interesting headline. Savor the journey. Introducing Nicholas Lalu. Let the Traveling gentleman captivate you with his delightfully well balanced wines, Nicholas Lalu carefully blends selected wines to create this unique and distinguished offering. So the point behind these promotional ads again is a promotional ad will suggest who a product is kind of aimed at. And it doesn't quite Amos High as a brand at which has to establish all kinds of language and taglines and things like that of promotional ad doesn't necessarily do that. It is targeted towards specific users in a specific way, and so that is how promotional ads work. 8. Chapter 06 promotional advertising 2: next. Let's have a look at contests. So this is a contest that I worked on several years ago. You can tell the old the old school guitar hero three from many, many years ago, and ah, and PM is, of course, a convenience brand in the States, and this is a blank, so it doesn't have the actual date and month. But the idea here was that different venues could apply different dates to this. So different locations rather of a MPM, uh, who were hosting it could use a specific date. And that's how we customized this. But having said all that, we use this creative from the brand, of course. So this brand has already been established. Now we're taking an established brand and using its elements to make this contest, which were using in store. So this contest is for Guitar Hero three tournament. So on this particular day, at this particular time at a MPM, we're looking for a hero. Whether you're like to rock or you like to watch, a MPM is the place to be this Saturday see store for details and of course, the guitar hero branding. So the idea here was that essentially would get people to the store so their local and PM we would attract gamers at the time when the game was hot, we'd ask them to come to the store at a certain time and they would participate in a rock off and everybody would, you know, compete and see who wins. And they would get some cool prizes in store even if you didn't compete in the contest yourself and you Onley watched. The idea is that we get you into the store. It's something interesting. We use the strength of an existing brand to promote things on the shelf at a MPM by getting customers into the store. So that's the idea. People are competing for something that they want tohave and prizes that they would want to have. But in addition to that, the benefit is we get people in the store, and that's kind of an important part of a promotion. Another similar contest We ran for a brand called Open Wine and this wine had a contest which was, Ah, win an open invitation to the hottest spots in the city. And so the idea is that you would open the invitation and see where it takes you. This little red tag line up here would help you understand how the contest works. But the idea here is that the existing brand so the open brand advertising would always use this red circle strategically placed over the wine glasses, which would basically bear the headline or the eyebrow line, and relevant advertising material would appear elsewhere in the ad. So we use that same brand insight. We developed this promotion and design using all the brand elements that exist, And so we encourage people to enter online at open wines dot c a slash invitation. This doesn't work anymore. This is an older promotion, but that's where the U. R. L was active at the time, and this was the way the promotion was communicated in store. And the other thing that we did is ah, you mean this may look a little confusing, but essentially this piece, when printed and cut in the appropriate way, wrapped around the neck of a wine bottle. So at the shelf where we have open wines in the wine store, this neck tag, as it is called, would actually just go over the neck of the wine bottle, added manually by people in the store, just sort of slips over the top. You've already seen this promotional banner elsewhere in this store. Maybe you haven't. But when you pass by the open wines on the shelf, you will see this neck tag. And if you knew where it was, you would be like, OK, I remember that. I'll pick up this bottle of wine and the back has all the illegal stuff that's required. So essentially, that's the idea behind a contest. Promotion is you could win something really cool, and we hope that you will maybe be a brand ambassador after that. 9. Chapter 06 promotional advertising 3: another kind of promotion is event promotions, and soldiers pop over to photo shop where I have this this poster. Once again, this is way, way back from 2000 and one. The Molson Indy is obviously an Indianapolis style race, and it is sponsored by Molson. So in this case is sponsored by Molson Canadian. Sometimes that brand will shift. They'll use different brands. And the brand advertising of the day for Molson Canadian here in Canada was, I am Canadian. That was the that was the brand incentive. That was the entire thing, and they had TV commercials wrapped around this idea. And so we picked that up here in a very simple way. And just use a basic design that communicates. This event is being brought to you by Molson Indy Vancouver. And, of course, the purpose behind these kinds of events is that when you go to the event, you will see a ton of Molson Canadian banners. Table wraps all kinds of things. Cups will be branded with it. Even if your cup has lemonade, it'll be branded Molson Canadian. And so, in this way, an event promotion like this may not specifically sell their product on the day, although it does in great quantities. But that may or may not happen. But the point is, we know that Indianapolis fans, people who love racing and love this type of racing well, a sort of, you know over time will begin to associate this brand with this event. We like racing. So do you. And, hey, we're here, and so are you. And this is a great thing. And so that's the idea behind event promotions. 10. Chapter 06 promotional advertising 4: the next type of promotion will quickly look at is the free giveaway promotion. So you're going to get something for free and that's kind of the point behind it. Here in Canada, we have AH TD Canada Trust, which is a bank brand. And of course, they have a visa product under TV. And also TD Canada Trust sponsors a jazz festival that happens in the summer time here in Canada throughout Canada. Many major cities have this same event, and the idea behind this is that when you go to the jazz event, which happens over a weekend, you would see a booth or a tent for TD Canada Trust Bank and they would have cool drinks and a place to sit down some information about jazz and some interesting things. Ah, music, playing and all that kind of stuff. And so you would come in and you would get some shade from the sun. And ah, you would also see TD Canada trust representatives. But further than that, you would have this poster which would be at their booth, sign up today for a TD Gold Travel Visa card and receive a free CD so they ask you to fill in an application. Whether or not you take the credit card at the end of it is beside the point. But they want you to do this. So in order to incent you to do this, they'll give you something for free. And that free thing in this case was a free CD. They put this together. It was branded accordingly, and we designed this CD jacket and all the content. My copy writing partner wrote the copy for this. So the whole thing was done by us and given away at the festival. So of course, it features all these great jazz artists and, uh oh, by the way, Plus, you might win a $10,000 dream Jazz get away. So, uh, you know, you also have all of this kind of incentive. So the whole point of this promotion is to say, Listen, we want you to do something, and if you do that one simple thing, we're going to give you something for free, and that's kind of the idea. So that's one type of free promotion. So another type of free giveaway is this ad that we created, which was four Crest white strips and cover girl makeup. So this ad appeared in bridal magazines throughout Canada. So the idea was that you would buy these crest white strips and you could get thes covergirl lip colors for free. And so our ad basically said, You look perfect and white, of course, a very wedding kind of thing. You look perfect in white and in Go Go mango, which happened to be one of our interesting colors, So free outlast lip color with crest white strips, 34 sensational colors to choose from, including Go go mango. This promotion is obviously no longer available there, but that was at the time and how we how we manage this. So ah, now, in this case, it's an advertisement that requires you to go and buy something, and when you buy something, you'll get something else for free so you can see the difference. I Here we give you a free CD here. You'll get free product if you purchase something. So these are two different types of the same kind of promotion, which is Here's something for free 11. Chapter 06 promotional advertising 5: another type of promotion is what's called an in store promotion. And an example of that brand is, of course, a MPM again and their tagline too much good stuff, which we want to bring to life. Now this thing was a huge backlit sign, which is on the outside of the store so you can see it from quite a distance. And we would create a new campaign for these backlit signs and in store promo za four times a year. So each quarter we would change it up, and all that was required is that we came up with something interesting to promote the store, basically to promote the products in the store. So it's not a specific promotion in that you're getting something for free. It's not, Ah, give away. You're not entering a contest, but we're essentially saying, Hey, if you're stopping nearby for gas or you're walking by, maybe you'd be interested in some of these items that maybe you weren't already thinking of . So in a way, it's encouraging consumers to come into the store and shop whether or not they have been thinking about it prior to that. So in this case, we use the idea of It's raining outside, but it's It's so great. It's raining products. So it's raining, you know? Ah, Coke. It's raining hot dogs and hamburgers and nachos and you can never have too much good stuff . So we bring that brand to life by just showing this wet banner. So it's like raining. Yeah, well, it's wet because it's raining, but, oh, look, it's raining good stuff, and you can never have too much good stuff, which means it can literally be falling out of the sky. So you would see this sign on the outside. And when you popped into the store near where you would buy the corn dogs, you would see this other sign that is now just on the shelf, and it would be a corn dog 49 cents. But it picks up the same creative style of the rain, falling as you can see, and similarly, you might walk by another shelf, another area like where the drinks are sold and hey, we have these, you know, cans for $4.2 of these for a dollar, 50 etcetera. So on in store promotion once again is nothing specific to give away or for you to do or receive for free, but rather just to say, Hey, there's all kinds of great stuff in here. Maybe you be interested in coming in and having some. 12. Chapter 06 promotional advertising 6: and the final type of promotion will quickly look at an example of is a strategy promotion . And so a strategy promotion in this case was for the Budweiser beer brand, and ah, differently than the Molson Canadian indie. This is not a specific event, so this is a little bit different, which is why we call it a strategy promotion. The idea here is that we would go to venues where there is really good music, so ah, there's music in every venue. But we would go to the venues where music is really important. And that could be, ah, those exclusive clubs downtown that you know, have the best deejay in the city and or live music or whatever the case might be, is not just your average garden variety, music and drinks. So the idea here was that we showed a rave scenario, and this girl is sort of crowd surfing. We're seeing her from above, but we're kind of sharing this moment of musical ecstasy that she's experiencing, and that's sort of the idea. And so Budweiser Brand is going to own this moment by calling this true music and using our Budweiser King icon in the middle of that, and so we're really not owning an event. We're not owning a specific product or a specific event, but we're kind of saying, Hey, this idea of music that you enjoy, we enjoy too Well, you uncovered it and red, So it feels like Budweiser. So we're not trying to sell you a beer specifically, even though that's what we hope you'll do. But ultimately this brand enjoys what you enjoy. So when you think of the things you enjoy, maybe you'll also think of Budweiser. So it's a strategy in the sense that it lines up these two things that might be a preference of yours and connects them together. Okay, so that's kind of an overview of what promotions is all about. I hope that made some sense again. That's not everything. There are different types of promotions. They may not be called exactly this kind of thing, but your promotion is very likely to fall into one of those six categories, and knowing which of those categories it is can help you think about your promotional execution and how you're going to strategize your design and your messaging in particular. And speaking of messaging. You have to know who you're speaking to. You have to know who your target market and your audience for your product service or event is. And that's kind of an important thing to know before you begin doing too much work. So we're gonna have a quick discussion about that and next video lesson, and I will see you there in just a moment. 13. Chapter 07 target markets: uh uh, So knowing who your target market is is kind of a key important element to any kind of design work that you're doing, not just promotions. It's true for advertising. It's true for graphic design, packaging, design anything that you might do in a graphic design context, it's important to identify your target market. This will just be a quick discussion, and it may seem very common sense, but even professionals sometimes stumble in this regard. There's two different ways that you can think of talking to an audience. There's more subtlety than just saying there's two ways, but I want to give you two ways as kind of the opposites, just so that you understand the basic idea. One method of communication is called the firehose method. I'm going to walk into a room blindfolded. I'm going toe, turn the fire hose on full, and I'm going to get everything soaked Now. I may have only needed to get one or two things in that room under the fire hose, but I sprayed everywhere because why not? If I'm going to spray Oh, this over here, I'll just spray everything that everything's wet. I don't have to worry about it anymore, which is fine. And often advertising for brands will do that. They spread a very large net. It isn't a very targeted net. The idea behind promotional advertising and promotional design is that it's very targeted, and targeting a naughty inst is knowing where that audiences now I can't tell you where your audience is, because that's obviously different for everyone, every brand, every event, every kind of thing that you can think of in this case. I happen to know that the band Rocket Talk, which happens to be my good friend. I need to cut the car and her band mate Oriana, and they know where their fans are because they have been building an audience over several years and they have several albums, and this is how they've done it. I also happen to have a target market, my own target market from my YouTube channel, which maybe you've been to my channel. But this premium course. I also have a target market for that. And with that target market, it's important. Understand that when I speak with my particular target market and when Anita and Oriana, the band rocket talk when they speak with their target market. It's important to have the right context. You don't want to be a spammer. And in many ways, that fire hose approach is a bit of spam. But spam is worse in the sense that is very impersonal. And promotional design and communication with your target audience should not be impersonal . It needs to be very one on one, and the way that you establish that is by giving value and giving value in a promotional context might mean giving away a free song as we're going to do. Or it could mean giving away a free course. It could be in giving away a free video. It might mean giving away product, etcetera, etcetera. The idea behind promotions is that it's very targeted, and targeting is important. When you consider speaking with somebody in a very valuable way means that you have something that they can benefit from and you have a dialogue with that person, which is a very genuine dialogue. That's kind of an important thing, and a good promotion is based on that idea. Even promotions that come from big brands, like some of the ones that we looked at, will still be very targeted and still be kind of a one on one conversation, which is like, Hey, do you want to come to this event on Saturday? If you love guitar Hero, you know, etcetera, etcetera. So even large brands do it, and personal conversation is a very good way to engage with your audience. Don't spam them but know where they are. Build your audience over time and communicate with them in a valuable way. It's much better than just spamming or shooting the fire hose and soaking everything in sight, because that's just kind of a waste of your resources. And it could damage your credibility a little bit. And you don't want that. And speaking of that, in the very next video lesson, we're going to talk about the next very important element. All of this, which is promotional messaging and talking about the different way that you communicate your promotion and we're gonna talk about some very key message styles that communicate in a different way. We're gonna drill a little bit deeper. I'm gonna show you some more examples, but we're gonna walk through the copy and kind of backwards, analyze what's happening a little bit, and so I'll see you in the next video chapter in just a moment 14. Chapter 08 promo messaging: Okay, so, promotional messaging. Let's talk a little bit about the different types of promotional messaging, the kinds of strategies you can use when you're communicating your value offer. If you have one or communicating your event or communicating your brand sponsorship, whatever it might be, there are some ways that you can kind of worried that I'm gonna show you some examples which may or may not help you directly with a promotion that you might work on. But it should give you an idea. At least get you thinking in the wheels, turning about the different ways that you can craft that message and how effective that might be and the options that you have. So let's just dive into it. I'll show you some examples. I think it should be pretty clear. So here the desktop, I'm going to pop into one of my examples here so similarly to the other Lyndon Bay. Add that we looked at in an earlier video example. This is another flavor under the same wine brand, obviously, and eso we'll look at this copy, which once again, is that kind of bad Saturday afternoon novel copy. But ah, the gentle sound of sprinklers and the lawnmowers home promised 23 minutes of peace when she could selfishly slip away Lyndon Bay. So once again, we have that little play on words, which is a rhyme with the brand name, which is a little bit of poetry, if you will. A bad poetry. But you get the idea that essentially this is Ah yet another occasion of when you might enjoy this. And so we have the same copy at the bottom, which is introducing Lyndon Bay, a crisp tasting wine that complements quiet times, conversation and moments of utter contentment. Enjoy a glass anytime you want to celebrate little occasions like Saturdays and, of course, the U. R L. Now the idea behind this promotional copy once again is to establish for the reader who this wine is directed at. Here's another example of a contest, which is you could win a shoe shopping spree. This is Ah, struck wine, which is another wine under the same brand umbrella as the others that I've shown you. And in this case, this contest is also no longer happening. So don't go to this u R l hoping to get new shoes because you won't another one of those type of promotions a contest. You could win a shoe shopping spree with strut wines and, uh, so this contest would give you a budget in one of these two shoe shops. You be able to go in and indulge your shoe fetish for the same brand. We also had this simultaneous neck tag. This looks a bit complicated, but it's just the dye line. It folds down into a little box, which wraps around the wine bottle neck, and in this case you would get ah, sparkle lotion from nature, compliments of strut wines and essence aromatherapy. This is giving you something on the neck of the bottle to try, and maybe you'll love it so much you'll want Mawr and go and seek it out. It's sort of the idea, but the common theme that you should notice from all three of these is that at no point is the brand trying to sell you anything. So it's a very important component of promotional advertising. Is if you're asking someone to buy something specifically, it's not a promotion anymore, then it's basically a P O. P ad, which is meant to encourage people to buy products based on price at the store. Now we do have in store sign it as part of these promotions, as I showed you the you know, corn dogs for 99 cents. But that wasn't a sale. That was just the price. And that's what you found at the shelf. It's different than asking someone to buy something, if you understand that difference is an important one. But essentially, these promotional creatives in general, avoid at all costs, you know, trying to sell you anything like no one is saying, You know, by strut wine. And when a shoe shopping spree, it's just you could win a shoe shopping spree. It seems like a minor distinction, but it is absolutely not. It's one of the most critical parts of any successful promotion is Don't come off like a sales pitch. You have to sort of put your brand aside and give something to your consumer, as is the case in this. You could win and here's something for you on the bottle and ah, this identifies who you are. Maybe you will enjoy this wine and thus enjoy these moments, so that's really key to understandable promotional messaging. It is not a sales pitch. You never try to sell anything in a promotion. You try to give something to your audience, to your viewer, to your fans, uh, whomever. They might be your basic consumers off the street. So that's a really important thing to take away from this. Okay, so those air various examples of promotional messaging. And of course, there's a lot of things that sounds suddenly different and some that sound a lot different . And, of course, you can evaluate against your own project in your own strategy. Which of these ways you might approach your promotional copy As long as you're communicating Clearly, you're not trying to be pushy. All these things are considerations that you should take into account as you develop your message. So before we actually begin working on our creative now, I'm gonna take a few minutes to talk about good file habits. This is kind of a graphic design, best practice methodology, which I think is an important thing, that it's wise to take just a couple of minutes to talk about it, and I'll see you in the next video lesson in just a moment. 15. Chapter 09 goodfilehabits: If you sat in a room with 10 different graphic designers from anywhere in the world, chances are one common thing that they would say is important to the craft is good file habits. And I can't tell you how many times having good file habits has saved my butt in the butt of those around me, you know? And it seems like a trivial thing, but it really isn't. And we're just going to spend a couple of minutes quickly reviewing how good file have its work. And you just have to trust me as a graphic designer when I tell you that these things were invaluable that you implement good file habits over time. You may not notice it on the first day that you were working on some graphic design projects, but you'll certainly notice it down the road. And especially if you have to work on files that somebody else has created or files of yours that you're going to give to someone else, it eliminates a lot of headaches. It may be common sense and simple, but it's still worth reviewing, so let's just have a quick look and I'll show you kind of what I mean by that, and I think it'll be pretty clear. Okay, so back here at the desktop, I'm just going to pop open my file Explorer and I've created this empty folder, which has other empty folders and an empty in the sense that there are no files. But there is a folder structure that I want to share with you. So I've called this empty folder project folder. But that's not what it would be called in reality. And you will see this in application in the next video. When we go through the actual project assets, you'll see how this folder structure actually comes to life. But instead of calling this Project Dash folder, I would call this folder accordingly with the project name. So in other words, I may have a project. Let's call it a B C 001 which would mean my client code was a B C and that it doesn't matter. You'll see how that works later. But let's just say that was my code that I gave them. And 001 represented the first project I've worked on, which means there could be an ABC 002345 and six if they're all active projects that you're working on. So that commonly happens here with us at Booster Rocket Media as well. So this kind of naming convention becomes really useful. But just for now, it's Project folder. But inside that folder I have a several sub folders, and I create these out of habit. So I have an Assets folder, a brief folder, concepts, current layouts from Client and pdf's. Now that's not to say that this doesn't change. It does, and I ADM or two it sometimes I don't call this current layouts. I might just call it layouts. If I know that I only have one layout, I might not even use a folder. But the point is that I've identified each of these things in a semantic way that is easy to understand. So if I were to open up the Assets folder now, there's nothing in these. But let's say that there waas there would be images, so this could be photographs of a brand, a package shot. It could be any image that I would be required to use provided by the client or something that maybe I created myself we would also have logo files. If I'm working on a brand ad of some kind, there's going to be a logo. I need tohave that. So I've identified that in this folder and there could be vectors. Maybe there's charts. Maybe there's diagrams. Maybe there's vector illustrations that I am required to use. I would keep them all in these folders. There's nothing in these, but the idea is that I would be able to find them easily with this folder structure, as I'm showing you. And then similarly, there would be a brief inside of this briefing folder so I could always come back to that document when I needed to. Concepts Folder would contain possibly Lanier's drawings that I've done or concept sketches . It could be rough Photoshopped files. If I've done six different versions of Creative for the client to choose from, they've chosen one, and now I'm working with that. That would be inside of current layouts, and I'd actually have working files in there. But in this case, I would have all my early concepts, all the sketches, all the thinking that I did would go inside this Concepts folder, and I could always revisit that folder if I needed a little inspiration from something else that I liked current layouts. As I said, if I have six different layouts, I might put them all inside of this one folder or I might not use a folder. Sometimes I'm lazy about that. But the point is that this is a great way to identify where your current documents are. All the stuff you're currently working on this being revised and is being approved by your client, etcetera from the client. This may include things that they've given us like a brand style guide, which could be an important tool for us to use Ah, Power point document that maybe has client insights in it, something that they've created that we need to refer to and sample creative, which means there could have been six pieces that were created prior to this job. But we need to refer to them so that we can either take away visual cues, design elements that air permanent part of the brand and always exist, or whatever the idea you get it it's that we would put anything the client has given us into this folder, but we would smartly categorize it so that we know what we have to work with. And then finally, there's a PDS folder. If I know I'm making PdF's for approval along the way, I might drop it into this folder. But I'm also going to give it sub folders with dates. So if I did six or seven revisions on September the sixth than a fume or on September the eighth, and then finally on October the 12 I would be able to look back and go, Oh yeah, that's right. The first version I did look like this. But now that we're on October, the 12th has been six changes and I can see those changes. I can see the progress that I've made. And it's important because the client made come back at some point and say, You know, all those changes I made to do? Yeah, forget that. Actually, we're gonna go ahead and use the first version that you did. If you have to refer back to that, you can always go back to this September of the sixth 2016 revision folder that you created for that first version and remind yourself where you were and It's an important tool toe Have so good file habits like this are critical to saving your butt in times of graphic need. Okay, so we've got some properly formatted folders now, which have good semantic names That Yeah, sure. Right now, we don't necessarily need it spelled out this clearly. I'm sure you could remember where your images are, even if you put them inside of a folder called, you know, flew P do. But the point is that, you know, once you have established a good filing system, it's a good habit to get into. So speaking of files and assets in the next video chapter, we're actually going to dive finally into the work that we're going to create. We're gonna start looking at the assets that we have to work with, which is all the stuff that we've gathered together in order to create all this promotional creative. So I'll see you in the next video lesson and will get down to it 16. Chapter 10 assets: okay, so with a good brief in hand, with a well organized folder structure to begin saving our files into which, of course, I've already created for the original project. But you'll see that kind of an application here. Some of the folder names and be called slightly different things. But I think you'll see that it's it's based on the same structural idea. So now that we have all of that together, we're actually ready to begin diving into design work. But let's begin by doing a quick review of the assets. Let's look at what we have to work with for this project. We've created our own video content. My business partner and good friend Anthony Taylor is shot the photography, and we both shot the video together and recorded audio. We did all that stuff, so we also have some other graphic elements that we have to include. We're gonna look through all of that now. You may not have that luxury. When you create your own design work, you may have images that the client is supplied. They could come from the Internet. You don't even know. So in that case, it's even more important to review the assets. Look at what you have to work with and let your mind kind of get turning on how those things might be used. So let's begin. There will go through these assets now so that you can see what I had to work with when the project began. I think it'll kind of help you see how this all comes together. Okay, so back here at the desktop, I'm going to, Ah, pop open my File Explorer, which happens to already be at the folder for the project. This being the project for small pieces, of course, which is the CD jacket, disc art and all of that stuff. But within this folder, we have the assets with which we are going to work to create our promotional material, which we will get to Ah, shortly. So first on the printer files I have, ah, my existing Small Pieces disc folder, which has everything related to the disk itself. And this is the jacket art. So the original layouts and stuff are all in here, but I'll go through those ah, bit later. But just to show you that I have these things, these are my assets from which I can work. But further to that, I have some other stuff. So I have some audio in this audio folder and all of these zoom files. They're called that actually, because I recorded with a zoom recorder and we did a recording session with the band with Anita and Oriana, in fact, and ah, so we have these to work with, but they correspond to some video which is in this folder here. So we shot these various video segments of them performing. We have a number of those different performances that we can actually use video from, But we also have this folder, which is called the Own Sessions. And this is, ah, material that they've already recorded these or other band sessions. So we have all of that stuff in the video and audio assets. But we also have some other stuff here. We have die lines, but this is actually the dye lines for the discard itself. But you can see kind of in the preview here what we're kind of talking about, but that we don't need those for the promo. But it's just interesting to note that we have this. Ah, copy file these air The ah liner note files Version nine, Version 11. This was a an updated version that we used for Final Copy under the Images folder. We have several disc logos that were used in the creation of the jacket art, which we won't need for the promotional material. But we happen to have that stuff, so I just want to point that out. We have the MP threes, these air, all of the tracks from the disk itself. So from our small pieces released, this is all the stuff that we get to listen to. We're not going to use any of this except obviously this file heliosphere. So this is the song that we're promoting, and we will find an occasion to use that, of course, under photography, we took many shots in this ah folder. Here is all the raw photos, and here are some contact sheets of everything that we shop will just pop open the select folder, and the preview shows these as kind of dark and odd colored. But that's just the Windows File Explorer previews. We're going to ignore that, but you can see that these are photos that were taken during the recording session that we did with the band, and if I scroll through, you'll see various performance shots from both Anita and Oriana. And we also have these tapestries which are going to be come a part of the background texture of everything that we designed for small pieces. And we also have these ah, musical instruments. We shot the Coney, we shot the tabla harmonium and Oriana is base. And of course, we have banned shots of Anita and Oriana. We sort of anticipated ahead of time how we might use these. And so we shot a variety of things to give us lots to work with. So these are the shots that we liked that we were going to pull out to use in various ways . So we have a ton of photography to work with. We have the video files and the audio files. We also have images and we have die lines. We have a Facebook template, a YouTube template which have specific parameters, which I will get to when I show you the creative and the other stuff just has sizes and we just need to use best practices when executing knows. But These are all the raw materials, including the illustrator files here for the jacket and discards. We have a lot that we can work with to create our promotional creative. So those are all the assets for the project, all the good stuff that we have to build a really good promotional creative campaign, which, of course, I've already done. But I'm going to review that with use that you can see how it was built and kind of the idea that was guiding it. And speaking of the ideas that guide your design in the next video lesson will take just a few minutes to discuss promotional strategy. What was the idea? What did we actually set as the bar for measuring our promotion and how successful it will be? So I'll see you in the next video chapter. 17. Chapter 11 strategy: Okay, So having reviewed the brief, we already kind of know what we have to achieve with this promotion. And so what strategy are we going to use? How do we get people excited for the upcoming release of small pieces in 2017? Well, we already know that we're going to get ready for that by giving away a free track. That track is already available on Soundcloud and Band Camp as we know. So in this case, our promotional strategy was free. So we're using the free giveaway. We don't have a contest. We don't have an event. Although there was actually a miner event in that the band Rocket Talk, which was Anita and Oriana at the time, did a live video stream and they performed one of the songs from the album. They just did that for a small audience of people that they had recruited over social media with a link to say, Hey, can you come and watch this? We're gonna play something for you. It should be fun. So there was an event involved, but in this case, we know that the overall objective is to sell the disc in 2017 and how we're going to do that is we're going to give away something for free. So that's the strategy that our promotion falls into, which is the free one. So it's good just to take a moment to think about your promotion, your project, your clients brief and think about those promotional categories that we talked about and see which of those best fits. And with that in mind, you're able to go ahead and create your promotional campaign and have a focused target on the horizon, which is really important to keep you on track. And with that said in the next video chapter, we're actually going to take a look at the base project, which is the CD design that we created. So the whole point of this promotion is to sell these CDs in 2017 when they release small pieces of what I'm talking about, Of course, so we'll take a few minutes in the next video lesson to review the creative so that we can get inspired about how to build out our promotion because, as you remember, promotions were based on usually ah, brand that exists. You're taking something in your building it out into a promotion, which is related to the brand. And we're going to talk about thesis Edie jacket and kind of how it evolved and how that might inform us creatively for all of the promotional work that we have to do next. So we'll go through that in the next video chapter, and I'll see you in just a moment. 18. Chapter 12 baseproject: So the basis for any good promotion is obviously that which you will promote, and so in this case, were promoting or promoting the single, not necessarily the CD itself. But of course, the entire point of our promotion is to get people excited for rocket tox small pieces, which is the new album release coming out in early 2017. So we're gonna take a look at that seedy jacket and CD disk and talk a little bit about how the creative evolved and hence how we might evolve that into some graphic design elements that we can use for our promotion. So let's jump into it and have a look at the creative that we have to work with. Okay, so back here at the desk cop, I'm going to pop open my file Explorer once again. I already have the folder open for the Rocket Tox Small Pieces project. And as you recall, we went through all these various asset folders and reviewed some of this stuff in there, which was used, of course, to create these pieces, which are the disc art as well as the jacket art final. But you'll see another file here jacket art of the to which I will get to. But the first thing I'll do is pop open my illustrator file for the jacket final. This is the actual jacket art that was sent to the printer to create the jacket, which folds down into a shape. So in this case, it looks kind of odd because it's in the dye line position at the moment. If you recall when we looked at the Assets folder, I showed you some of the dye lines, and this was in there as an empty file. But now, of course, has been populated with all the graphics. So let's have a closer look at what's happening. So if I just zoom into this front section, this is the actual front of the CD jacket. So the front facing side, that is to say. And if you remember, when we looked through the assets in the last video, we saw those tapestry shots. So what this is is actually a mixture of all the tapestries we've cut into small strips, and so we've cropped them into various smaller shapes that we've assembled in this final design. So it's actually a combination of all the tapestries. One of the tapestries may have given us the same effect, but it wouldn't have quite given us this cut up and re pasted together effect. Which is kind of important, because that goes further to, uh, selling the small pieces story, if you will. So, in the center we have this little red bloc which has a a drop shadow recessing in or giving the effect of that anyway, for rocket talk, small pieces title. And that is the jacket front and the spine. Here, the really thin edge just is a red background with small pieces, rocket talk, and then the CD released number now sliding over to the middle panel at the back. This is, in fact, the back of the jacket. You can see that these edges are connected, which means when it folds down, this forms the back and, uh, on the back, we have some of that photography that we shot. We picked a cool shot. That was just sort of Anita and Oriana chilling out. I think Anthony said something to them, which was funny. So they were smiling and laughing. So he cracked a shot off, and it was one that we liked. So we used that. It looks nice and casual and rocket tac dot coms on the back. We have all of the track names, of course, and their numbers and all the other pertinent information down here required logos and all that kind of stuff. Now, when the CD has opened up, the jacket is opened up. This is on the inside right side and eso this faces inwards which I will show you an example of the printed one in a moment. But ah, so this is all the track names repeated again. Here are some liner notes produced by and thanks to the people that ah, Anita and Oriana want to specifically thank for their assistance on this project. Now, this weird upside down panel is upside down because of the way that this folds and rotates . This would be the inside left and ah, of course, we have some or liner notes here Rock Ataka, who they are. And then the additional musicians involved etcetera, etcetera. And so this is what the jacket art looks like. So this is kind of what the finished product looks like. Our nice spread and then inside that flap fold is where the disk actually sits and, uh, the front and back alive are cool photography and are cool tapestry on the front with our little rocket talk title. So that's what it looks like when it's all folded down, of course, and I popped back over to my file Explorer. I'll just open up this file, which is the actual disc art itself. So the CD disc passes through a printer, which is, ah, specially made for printing on services like a disk. And we've picked up the same pattern. We've got some pertinent copy that is required. And we've got our little signature here. Rocket talk, small pieces set inside of this red block. Now pop back to my file Explorer to show you one last thing. And so this this jacket v two, which means version two, you'll notice this panel is not rotated upside down. I don't rotate the upside down panel the same thing that you see here This is upside down. Um, I only rotate that when the artwork is final. I'll leave it this way so that when the client looks at the the dye line like this, they can actually understand what this is and read the copy that I rotated at the last minute before it goes to the printer. But that's beside the point, so this design is otherwise the same. So I zoomed down to the front what I wanted to show you. It's just that we had a different idea that I actually quite liked. And Anita and Oriana and I debated this design quite a bit. In the beginning, there was some mixed feelings about whether or not we would actually use this. Although this is my favorite creative version of everything that we did. And I liked it because this is actually photos of Anita and Oriana combined using small pieces of their actual photographs. Eso this will be Oriana Zai with Anita's I and half of her lips with the other half of hers and etcetera, etcetera. And it was a way that we could combine the two people into two people, which still look like Oriana and Anita, except that it's not. It's in fact, an entirely new collage of a face that doesn't exist on both sides yet still somehow familiar and is very interesting, and I liked it a lot and for me, this made more sense as small pieces. The reason that we rejected the idea is because it seemed not to give the proper amount of acknowledgment to the other musicians involved. And so that was Anita's call. She wanted the other musicians to have an equal sort of ah value in the presentation of this jacket art. So we thought, Let's remove the people unless go strictly with this version, which was the tapestries combined, which gave us the same basic idea, creatively speaking, but a different way to execute it, which made the band more comfortable. So anyway, I just want to share that with you to show you that things sometimes change in the process and design changes are part of it, and you may do something that you later decide you're not so happy with is perfectly fine to revise things and change them around. Nothing is set in stone is the point of this until that final approval, of course. And then you're off to the races. So that's our cool CD jacket design and disk design, which is, I think, a really good foundation from which to build out creatively. I've always enjoyed working with the Rocket Tac band of them, a few design pieces for them in the past. Both Anita and Oriana have a very creative way of looking at things, and I enjoy working with him in that way. Having good material to work with the build out of promotion is always makes your life a lot easier. So hopefully you're working with some good content as well for your promotion and eso the first thing that we're going to create, which we'll get into in the next video lesson a promotional video which is going to lead up to the single release. We're going to develop some other stuff as well. But we're going to begin with this video because it's kind of a fun, Ah, thing that we can begin sharing right away. So let's dive into that in the next video lesson. I'll see you in just a moment 19. Chapter 13 promovideo: Okay, so we've got some good video assets toe work with. We're gonna build out this promotional video, which is just going to be a short segment. Maybe a minute and 1/2 2 minutes long is, ah, good length for these kinds of things. You don't want it to be too long. People lose interest in watching it. And so we're going to create something, and it was a challenge to create it. Actually, when I did build the video out and I'm going to show you my process and how a achieved it but because the video was recorded a different times and then we have the mastered MP three audio tracks. Things didn't always match up, but there's ways that you can get around that and creative license is that you can take. We also want to throw some promotional messaging in there, which we got from the band. And so it's all kind of ah, mixture of elements that we want to try and turn into a nice, pleasant story which isn't too long and still entertaining toe watch. So let's dive into it. I'll show you what I did and kind of how all of that stuff works. Okay, so back here at the desktop, I'm just going to pop back into my project folder and, ah, let's talk about promotional video. So if you remember from the video assets, we have a couple of things we have to camera angles of these performance videos that we recorded in studio at the same time is the photo shoot. So we have all of these to work with. We also have the own sessions, these air videos, that we did not record their previously recorded videos by another studio. But we have access to the footage. We have this zoom audio, which is all of the music files from the live performance in studio that we did when we did the video recording. And we have these MP threes, which are, of course, the actual small pieces album tracks and heliosphere is the one that we want. So we have heliosphere the mastered MP three audio track. We have these video files that will use they don't match the audio because the audio is from the actual mastered studio recording sessions. These videos were live performances, four cameras, so we have to somehow match the heliosphere MP three to the video, which we can't do, but we can do some things that will give us that appearance. But the video can work a little harder for us as well, so we want Teoh figure all of that out. So those are all the pieces that we have to work with. If I pop over into my premier file, Uh, I'll just sort of explained, kind of, Ah, what's happening down here? If you've never worked in video before, this may look a little bit ominous, but don't worry about that. If I just extend this window a little bit, you'll be able to kind of see what's going on. So essentially we've got several different sources. We actually have the video itself. Now what I've done here is I've started out just F Y. I with this intro movie, and you can see that there's Ah, graphic rather than a video appear in the preview. And there's a little bit of animation that actually sort of creates this titling here. So we have a little bit of ah, promotional information here on the video in what's called a lower third. So it appears in the lower third section of the video. It's why they call it that. We've also got this MP three file, which is the actual studio master track of heliosphere. But we also have this bit of video, which was taken during the photos and video shoot the our studio did. We did a quick little iPhone video with Anita and Oriana, and Anita spent a few minutes talking about the upcoming release of small pieces. So we want to include a little bit of that in the video as well for promotional purposes. Then we have this photo with some type that builds over top, and we have a little bit of an outro. So a promotional message at the at the end. Now, while I've used the video that was shot by the other studio, which doesn't match my audio, I'll show you what I did with that in a moment. But to begin with, I used their audio. I used the audio from this video in the beginning, and the reason for that is because Rex thes sitar player is his name is Rex Vander Spee, and ah, Rex plays a little bit of a solo in the beginning. That introduces the song. It only lasts a few seconds, but it's a nice little piece of music that I didn't want to let go of, because it adds a nice ramp up to our little music sample here. However, at this exact point in the video rate here, where you can see these two music tracks are intersecting each other. This is where his solo part ends and the MP three mastered. Audio begins. But of course, that doesn't exactly match my video footage because the playing was at different times. I'll show you the final product, and then we'll kind of break it down quickly. I'll explain how we got there and what the purpose was of all that stuff out in 2000 and 17 and it's called small pieces because it's all these small pieces of our lives together, physically beautiful. Okay, so back in premiere, let's just break that down quickly. So this little intro section. So if you recall in the brief, we want to make sure we talked about this new single from Rocket Tac is the whole point of this promotion is to give away this song ahead of time to get people excited for the album , so we put that right up front. But we also drop it inside of a graphic treatment which reminds us of the graphic design of the CD jacket, which people won't necessarily see for a while. They get a little taste of it at the end, but it might not sink in, but we're gonna use this opportunity, Teoh. Reinforce that with this bit of typographic execution in after effects. And that, of course, is playing over top of the music which cues in. And then we cut to this little bit with with Rex playing sitar. Now what happens at this point in transition, where these two audio meat is? I have to flip into the actual recorded music now, which doesn't match what happens in the video. But it does match more or less up until this point, where when we switch from Rex playing to a need to playing tabla, nothing after this matches the music changes the way that they played it in this original recording. So I've used little effects that you saw, like using a time ramp to slow this down so that even though you can see them playing the instruments. It doesn't exactly line up, but you don't really notice that it doesn't line up because you sort of, except that it's a special effect, which is meant to show people playing and what the instruments air like. It isn't necessarily a performance that you're watching their fingers exactly. It's a compromise that I had to make in creating this video, but it worked out pretty well in the end, and everybody sort of understands what's going on. And then we could easily sort of bring in this bit of footage with Anita and cut it together with some other footage on Comeback Teoh, where she finishes what she's saying. And then we can ramp it up with the Rocket Talk band photo at the end. And then, of course, our out TRO rocket talk small pieces available early in 2017 so that gives everyone every bit of information that they need. Everything the brief requires us to communicate and are lower. Third is reinforcing new single heliosphere on rocket tac dot band camp dot com November the first, and so this is how we created this original promotional video, and we did a couple of other videos as well. So what we did was we took some of the footage from the recording session that we did with the band, which was actually at the time on Lee, Anita and Oriana. They just did some minimal music versions of some of the tracks from the album on We're going to use these. We cut a couple of these for Anita and Oriana to use that they saw fit. It's not quite the promotion, but it's something that they can share with people. If they wish, it's another track or it's another bit of music that they're playing. If I just pop over into this one entitled Why y Z, you'll see that we were actually able to, ah, use the second camera angle. And I've done some basic adjustments here to color, correct and enhance the video and match up the two cameras. And if I popped the beginning of this, I'll just kind of give you a little taste of it. - And so anyway, it goes on, and she, uh, she plays this little tribute to rush y Y Z on the tabla and eso we cut these other videos just so that they would have something toe work within social media if they want to share a little more. It's not part of the promotion official, but it was a nice use of some of the material that we created. But the point is that you could even see that we were able to brand the video by hanging up these tapestries in the background. That sort of the point is that when people begin to see one bit of material, another bit of material, this video, along with a promotional video, it all begins to create a message. And that message is small pieces, tapestry of our lives, as Anita said, and and some good music for people to enjoy. And that was the idea behind the promotional videos. Okay, so we've got a great little video. It's not too long and it's kind of interesting and entertaining. It moves along quick and it gives you a flavor of what's coming. Plus, you get a little personal message from the band, which is meaningful, and I think it all came together really well. So we're gonna send that out and let people share which, of course, they've already done, because this promotion has happened and the single as released already. But at the time, she was able to share it out. So anyway, now that we have that in hand, we can actually begin creating our social media design campaign. We have all those banners that we looked at in the brief. We got the various sizes and a couple of templates, and we gotta discuss how those templates work and best design practices so that we don't make mistakes on the basic stuff and we execute a well designed campaign. So we're gonna jump into that in the next video lesson, and I'll see you in just a moment. 20. Chapter 14 designexecution: Okay, so now we're gonna dive into the deep stuff which I call deep, just because it's the design part which I, of course, really enjoy. And the design is often the most challenging part of this, but it's also the most fun part. We have a list of deliverables that we've got in the brief. We know the sizes. We got a couple of templates. We're gonna build that stuff. We gotta do it smart. We have to make sure that we designed in such a way that no matter how these banners air used, they can still be read. They can still be understood visually and graphically. We have to communicate our promotional messaging, which we know we have dates to deliver. We have the name of the track and all that good stuff that we have to do. So we're gonna dive in now and we're gonna backwards engineer these social media designs, which, of course, I've already created. But I'm gonna take you through the process so you can understand how they were built and what was the idea behind them. So let's jump in and have a look. All right? So here, back at the desk complice pop Open the rocket talk brief. It's just a important thing to remind yourself as you work one of the things that you need to deliver. So we have a Facebook header and ah, we're using a template for that, so we'll review that. Ah band camp banner Soundcloud website Banner YouTube Header, which also has a template, is a bit of a tricky one and the promotional video we already looked at in the previous lesson. So if I just pop up to my key messaging, check out the new single heliosphere from small pieces. That's the most important thing that we have to communicate. And if we have a look at the mandatory list, we have the single name heliosphere we have the release states. So for release dates, we have the single, which is dropping on November the first, and that's the important date we have to communicate the album. In early 2017 we decided not to include in the social media designs, which I will get to in just a moment. But if you remember the video, we included it there in the lower third text, which appears over the video as it rolls, so we decided that was plenty for now. So we didn't include it in our social media designs, which you'll see in a moment. The album name is small pieces, and of course we have the U R L Rocket talk, not band camp dot com. And of course, we will use the promotional photography because we have all that stuff. So these are all the things that we need to accomplish. Its not a long list, but we just need to pay attention to what we're doing so that we don't miss anything. So I'm gonna pop over to illustrator here and just review once again quickly my CD jacket designed because this is the inspiration for all of the creative. We don't need to duplicate what's here, but we do need to be inspired by it. So we're going to look at the images, which, of course, are the ones that we shot. So all of this stuff will have the same looking and feel to it. But let's pay attention to the fact that we have this tapestry and texture. Over here we have this red box which has a bit of an inset shadow which holds our rocket talk, small pieces, text. We know we have all this fun, typography and stuff that we should not forget about as we deploy our designs. And, ah, once again, if we pop back over to the brief here, let's not forget that we have thes two templates that we should also look at. Now the sizes of these will come back to as we go through the design. But essentially these templates or something to think about for a moment when you're using a template, it's important to understand how they were. So let's pop over to photo shop, and the first template that I'll show you is the really complicated, but which is which is YouTube and now what YouTube does is they have one template, which essentially is good for all devices, from desktop full with all the way down to your mobile device. So they've got a very kooky kind of way of doing this. But essentially, you just have have to know that this centre light grey area is where you need to put anything that's important that needs toe always be visible, no matter what format this is viewed in. So it's important to know that and that you have this avatar box. This is where your YouTube profile image will appear, and you can see that there's Ah, desktop tablet and minimum area. Identify IRS here. But essentially, you just need to know that you have to pay attention to this middle area, and this is where all of your important stuff goes. So theoretically, this gray area on the outside, which is for full TV screens, I should anyone view the ah YouTube channel on a full TV. They'll see all this grey stuff, so we'll fill that with the texture. And we'll do some things that are smart design so that we always have our important stuff visible. But we don't want to look odd like it's everything jammed into the center, which is the challenge with this template, but we're going to make it work. And the other template that we have is the Facebook template, which looks pretty much like your Facebook profile at the time of this recording, which is in December 2000 and 16. This is the current template for a Facebook header that it may change by the time that you're watching this course, But this is the situation now, so you can see that you have your profile image here, and there's this gray box that represents where the creative goes. It's tricky because we have this area right here where this avatar pokes way up into the image area. And I also happen to know that Facebook, while it doesn't show here, which I think is, ah, misleading part of this template, the Facebook page actually shows a bit of text that appears kind of in this region here, just here at the bottom of this gray box. So I just happen to know that, but basically you test things. You try your design, you upload it to your own Facebook profile so you can see what it looks like. And that's a good way to test it. So using this template and using the YouTube template, I've gone ahead and created all of my banners. But let's start with the band Camp Banner because I think this one is the foundation for all the design that will do so just to quickly evaluate. This is showing at actual size, has not been reduced fit in the screen. This is the actual size, it appears so we can read the type. It's always good to look at things that the size that they'll appear so that you can read the type fairly. So if you design really big and then it gets shrunk down small, it's not a good, ah, good indication of how your design works. So heliosphere has this little shine in the middle, so the color drops off the edges. But this middle portion is nice and bright, which kind of creates a neat spherical treatment of the color, which is just something that was in my head when I designed it. The new single from Small Pieces, November the 1st 2016 rocket tac dot band camp dot com. So here's all the stuff we need tohave, and it's all tucked in the middle nicely. We've got some images bordering left and right, and you'll notice that the images are directed in such a way that they lean inwards. They don't lead your eye off the sides. They lead your eye into the copy, which is important. So, uh, the tabla drums on the right hand side are Anita as she's kind of mid play here and, of course, Auriana on the left with her cool bass guitar and playing away. So we've also included a bit of a texture over top of these photos, and you can see over top of the red as well, because I don't want to over design This One important point to remember about design is that it's easy toe over design. People get tempted by filters and effects and three D bevel Zevin bosses and shines and glows. Don't go crazy with that stuff designed. This is not a design course as such, but I will make this comment about design that simple is always better than complex. Even if your design appears boring, if it's clear it's much better than a super complicated design that may look dazzling but maybe difficult. Just find this important information, so it's just a good thing to remember. Good rule of thumb Simple is better and clear. Communication is key. So anyway, this is our band camp 975 pixels by 180 pixels, and this, at 100% scale is a good view. We can read the type so everything looks good. This is our Facebook design. If you remember our template, which has our avatar over here on this side and are gray area here. I've, ah paid attention to that. And I know that this Ah, this design, I've lifted the image up a little bit sore. We have his hands and the bass strings come over top of that avatar image. And of course, the heliosphere and important copy is in the middle. Lift it up to avoid that little strip of copy. I know Facebook is gonna stick in there. It's too bad that Facebook rolls these things up a little bit when you first land on the page. So that's unfortunate, but we can't do anything about that. I know that I need his hands are just fine where they are because there isn't much going on on this side and again, our textures over here. So all of our important information pleasant design. Clear. Easy to read. Also, this is 100% as well. Now this one is our soundcloud banner. This one you can see if you look down on the bottom left corner here, you can see 50% essentially what that means that this is at 50% of scale. So if I zoom up on this, let's come in. You can see here now on the bottom left. It says 100%. So even though this is sort of bleeding off the edges of my screen here, this happens to be the full actual size. So I want to make sure that I preview it at that size, even if I can't see everything at once just so I can get a read on this type and make sure that it's not too large, not too small. It doesn't look silly in some way, and that my heliosphere type is got lots of room to breathe. Banners fairly large. I had room to include this little vignette of the disc art itself, so it's just kind of reaching up here from the bottom, which I thought was a nice little designed touch. So this is our soundcloud, and you get the idea already that we're using this design, which is very much tied to this design. So when you look at them so together, you can see that this is clearly coming from the same place and it's all about the same stuff, and that's kind of a good way to design your promotion material. Even any kind of design campaign that you might create, which includes more than one element is toe have a flavor of those elements spread across all of your design, so it ties everything together nicely is the point. Here is the website banner. I'll show you all these pieces in application in an upcoming video lesson, but anyway, this is at 100% 910 pixels wide by 100 pixels high. This happens to be the space available on the bands website, so this banner is on the top and we've formatted are creative. You can see that is all different shapes. So we keep having to nudge and creep and talk and move things so they fit and we don't lose any of the action in our photos. So we have to be aware of that kind of stuff, too. And here's the big one. Finally, YouTube. So if you remember that YouTube template, we've got a lot of space around all this important stuff. We got a Dodge all these elements and get everything sort of tucked into this little bit in the middle. So, uh, this one works pretty well. It does that job. We're only at 50% views. So let's have a look at 100% just to make sure that tight doesn't seem goofy. Too big, too small or anything like that. And we got space around and everything's kind of working pretty well here. So these are our social media designs, and I think they hold together pretty well. So there we have it. We have, ah, good range of banners. They all look good because they resemble the disk. And we had to dodge some bullets with the templates and figure out how to get that key messaging into places where it will be seen. And so it looks good. It's red easily at 100% scale. All that stuff is locked down and I think is a good execution overall. So in the next video chapter, we're going to talk about exactly that is the deployment of these things. How do they look on the Web sites on Facebook on YouTube? And of course, this is all really This stuff is in the market right now because the promotions already launched So I get to show you the actual websites and how these banners live. Of course, At the time of this recording, this is live. If you're looking at this six months from now, they may not be there. But what I am showing you now is going to be live from these various websites. So we'll get into that in the next video chapter and I'll see you there in just a moment. 21. Chapter 15 deployment: Okay, so we have all this design work that we've created. We have a nice, well rounded promotional campaign. We have some video content. We also have some banners and things that people will see in social media. And in fact, speaking of which, let's have a look at how all of that stuff played out in the deployment phase. And, uh, it's a good promo so far, and I think it worked out really well. I'll show you actually, how it all came to life online in situations. Let's have a look at that now. Okay? So back here at the desktop, let's pop over to Google Chrome and have a look at our production list again. So we had a Facebook header, band, Camp Soundcloud website and YouTube designs that we just reviewed quickly, and now we're going to see them in action so that we know everything is working out the way we want it to. So it looks good and all that kind of stuff, So let's pop first over to the website. So this is the rocket talk website. So coming back to our brief, we see that it was 910 by 100 pixels. So of course we have that. It's ah, not big, but we can read everything because we checked it out 100% just to make sure. And here's also our promo video, which has been hosted from YouTube. But she's got it. Ah, here on the front page of our website. And so all that's working pretty well. This is my profile. Here. You excuse my posts and all that. So my mug over here. But essentially, you see what I was talking about? This is how it appears on a personal Facebook page. And of course, I had this on my Facebook page when I first designed it s o did a neato Facebook is working well, so here at rocket tac dot band camp dot com, Our primary you are l for this promotion. We've got our band camp header fitting in there nicely. We have our CD jacket front cover here. Here's that heliosphere track in full four minutes and 45 seconds. The full track is here and ah, you can see all the other titles for the songs. But they're not available yet. Of course. Because at the time of this recording this small pieces album is yet to be released, so that's coming up in January. Ah, she has a date now, January the 28th 2017 and you can preorder that and all that good stuff. Band camp is working pretty good. We have a look at Soundcloud and of course, we've also got this profile image, which was not in any templates. But that's fine. We were able to dodge that, okay, with our creative execution of images side by side, here's our nice little disc vignette, and our type is nice and readable. So this one is also working well. Hey, here's our heliosphere track available on Soundcloud as well. And finally, here's that cookie YouTube header on YouTube, working pretty well on the website here. We tested it and everything's working fine with this one. So between YouTube and Soundcloud and Band Camp and Facebook and the website, we have a good, solid deployment of our promotional creative. It looks good in in situation, and it's been working pretty well, so that's essentially our creative deployment of the heliosphere promotion for small pieces . So I think that's a very well executed promotional campaign. It may not be the best award winning design that you've ever seen in the most innovative, crazy visual things. But those air really unimportant. And I can't stress enough how important it is to do good, clear, simple design that is your fall back position. And in fact, often your best strategy is to keep things clear. You don't have people's attention forever. And social media is, of course, a buzzing hive of distracting posts. So that clean, simple, straightforward message is always your best tool to communicate. And speaking of communicating in the next video lesson, let's talk a little bit very briefly about stoking the flame. What do you do with your social media campaign? If you have a promotion, you have a video to share or you have an event that you're going to share, and you're going to do that through promotional posters or whatever you might do. Let's talk just really briefly about some of the best practices behind, stoking the flame coming from somebody with a YouTube audience and some experience about how the best handle giving someone information that they want to hear. So let's talk about that in the next video lesson, and I'll see you in a moment 22. Chapter 16 stokingflame: so one thing about having a YouTube channel for me and having various videos that I want people to watch. I want people to subscribe courses like this that I want people to engage with, and particularly in this case when I know for sure that somebody is actually spending their hard earned money. Well, then this changes things a little bit for me, and it's not about the money for me. My personal vision of all this stuff, whether it's my course videos or my YouTube videos, has genuinely been to share graphic design knowledge that I have. That's how I learned, and that's how I want to pass it on. And making some money on the side simply eases the burden. A little bit of spending all the time it takes to create all this lesson content and YouTube videos. It's quite an effort, and so getting a little bit of money back kind of helps me, but because I'm asking somebody for a little bit of their money or in particular, ah, lot of their time, if they're going to subscribe and engage, is that I try to talk about it, but not necessarily go overboard so For example, I spend some time and some graphic design groups online, and I share often my video links. I don't ask people to subscribe, but I will share a video link if they say, Hey, you know, I've had trouble with design balance, I might say, Oh, I did a video on design balance. Maybe you would like to look at that because it actually might help you. I don't go out of my way to say, Hey, check out my YouTube channel, but I do on my channel. I do promote it if you're there watching the video already. Ah, that I know that I have your attention for a moment that I could introduce myself and talk a little bit about subscribing. But otherwise in the social media space, I will just say, Hey, I've got this video. It sounds like it might be the kind of thing that you're looking for or that you're talking about. And in the case of these courses, what I'll often do is I'll give away a discounted link or I might give away a free course to a few people who I know could really benefit from it just to get them excited and interested, and maybe they'll talk about it to other people. I don't post links that are just like, you know. Hey, please go and check out my course. I may do that in some subtle contacts when I release it. Originally, I'm a post in social media and say, Hey, I've just released this course. Maybe it's something that you'd like to check out, and I think it's responsible that you kind of have to do that a little bit if you are creating your own brand. But generally speaking, I do my best to make that very modest and also offer people content when I know that they would enjoy it or that they could benefit from it. What I don't do is spam it and overdo it. And in the case of this promotion with Rocket Tac, I know that Anita and Oriana are both smart. They thought all this stuff through and they know what promotions are all about and how they work. And they've done the same thing. They have shared this track they haven't told people. Hey, we need you to buy this album and hey, why haven't you bought more of our albums. They've just said, Hey, we have a new release coming out and we have a single that we're super proud of And we just love for you to listen to it for free because his music and music is great and so stoking the flame is all about sharing something of value, with people giving a little bit away and just saying, Listen, I think you'll like this. Check it out if you like it, there's Mawr if you want it. And that's a really good, effective way to have a genuine dialogue, a genuine conversation with your target audience, people who are followers of yours and social media that follow your brand who enjoy your product. To enjoy your events is to talk with them genuinely and talk with them often. Just don't overdo it and come off like a sales person. No one likes that sales pitch, and if you do that, you'll have good communication with your target audience and your promotions to be more successful. So having said all of that and with all of this work done, the next thing I want to talk briefly about is how you get this work done. I'm a graphic designer, and I've created all this promotional material and bully for me. But what about you? What if you are not a graphic designer, but you have promotional content that you need to create. And hence you've come to this course or you are a graphic designer who has never done promotions. And you're like, What is promotions? I don't know what those are. I do logos all day. So I'm gonna talk a little bit about doing this, work yourself or hiring somebody who might do it for you who know something about promotions. So you've obviously got some options. I mean, the Internet is a vast place. Let's talk a little bit about how you should approach those things and how you think about it and make a decision either way, So we'll get into that next, and I'll see you in just a moment. 23. Chapter 17 a hire: well, it's kind of been a long day. You can see, actually, the light is coming down a little bit. It's getting towards the end of the day I can hear people making dinner and all that kind of stuff. So I want to take this quick moment to talk about hiring a graphic designer. You, of course, could do the work yourself, and we'll get into that next. But if you're going to hire a graphic designer to do your design work, you can obviously find them pretty easily online. You want to make sure that you see their portfolio and that you like their work and that they are very communicative, and you like their rates and all those things. There's a lot that goes into deciding on what graphic designer you might use for any given project. You can, of course, hire a promotional agency if you have a promotion to do. But that could be expensive. If that's not in your budget and you need to hire a graphic designer, that is important that you look for a graphic designer who does the kind of work that you want to do. If you need a logo for your brand. Don't just hire somebody who has flyers in their portfolio. Look for somebody who's a logo designer, or at least who has something in their book that represents logo design. Similarly, if you're going to get promotional design done, you might look at somebody who's done some promotional work, and you can ask them for that. Just say, I'd love to see some of your promotional work If I'm going to talk to you about this promotion, you confined graphic designers online fairly easily. If you do a little bit of research, there could be a freelance graphic designers in your area that a Google search may turn up . You can also find graphic designers on a site called Be Hance. It's a bit of a portfolio site where graphic designers create profiles and throw up some of their work. You can do a search on be hands and try to find somebody whose whose work you admire and whose available for the work. There are also freelance Web sites where free minutes designers make their services available, and but you want to make sure that you can communicate directly with that designer that you can say Hey, Mary Smith or Hey, Jane, whoever I can actually speak with you here, I would like to contact you. And can I see your portfolio? What are your rates? Web sites like Fiverr that are called contest websites. I am absolutely not a fan of. However, I don't necessarily dismiss them entirely. All I will say is that if you go toe ah, website like fibre. Sure, you may save some money, but you torture the graphic designer because the process is miserable from the other side. And, yeah, you may save some money, but you also may not get great design because if you don't know how to evaluate the design , that you see five or does nothing to sort of limit the kinds of graphic designers who can provide the services. So you don't know if you're getting a pro or an amateur and you might end up spending money even though its less money on somebody not qualified to do the job. But those things are out there and they're available. I'm not going to knock them. I'm just going to tell you that I don't necessarily agree with that structure that model, but with a little bit of research. You confined graphic designers that are qualified to do the job for you that have good rates. And all I suggest is that you just make sure they conduce you Promotional work. If you need a promotion, they could do logo design. If you need a logo, they do brochures. If you need a brochure, etcetera, etcetera mawr less common sense. But it's still a good thing to keep in mind. And let's talk a little bit next in the next video lesson. About what? If you want to do it yourself, you're not a graphic designer or you've got a little bit of experience and you're going to dive deep. Well, it can be done. It's kooky, but you can do it. So we're going to talk a little bit about how you might approach that in the next video lesson, and I'll see you there in just a moment. 24. Chapter 17 b diy: so it's been a long day, and as the day kind of winds down, it gets a little darker and my stomach stars rumbling for some dinner, which I will go and get soon. But before I go and get my dinner, we will talk quickly. About what? If you want to do graphic design yourself at the end of this process, you've seen what I have done. You've seen what other graphic designers have done. If you've done some research, if you have a little bit of experience or a lot of experience or no experience whatsoever, but you still want to learn more skills, let's assume that you don't know anything for a moment. There's obviously a lot of tools and a lot of best practices that are going to be somewhat foreign to you in the beginning, but it is possible to begin dabbling in these things. There are plenty of people who have learned the entire craft online without going to college, and it's a rough ride and you kind of have to know where to get your information from, because again you can find anybody online who was willing to tell you they know photo shop . But knowing Photoshopped has nothing to do with graphic design, and it's important to understand that. So to begin with, it's good to know some basic creative principals, and you should do a little bit of research on graphic design methods before you actually begin worrying about how well you can use Adobe Illustrator or Ah Photoshopped. My YouTube channel, for example, if you've never seen it, is, I have several videos and I continue to put videos up on regular bases that are about design principles. How do you think about design? I don't do software tutorials, but I talk about the process of design. How do you develop an idea what is designed? Balance? What is typography? How is it used? What do you mean by clear communication? All those things are topics that I cover at some length, at least the length it is possible in a YouTube video on my YouTube channel. And you can go check that out and subscribe, and you'll learn a lot from my channel because I put a lot of time into communicating this material. Along with that, there are other great YouTubers, like my good friend Stephen Looney, who has a channel with a lot of graphic design, tutorials, advice and tips and tricks for using the software. And you'll see a lot of the design that he creates there. And hopefully you'll get inspired by that. Another good friend, Will Paterson. He's a bit of a logo designer. He does a lot of hand lettering. He's a very talented craftsman when it comes to creating visual design and visual elements , He's an awesome guy. His channel is a lot of fun to watch. He's got a diverse amount of content. Go check that out. Also, My very good friend Roberto Blake. His YouTube channel is yet another evolution of design. He talks a lot about the design space designers, the motivation to design how to become a designer. And he also talked at great length about building a brand building, a YouTube channel, all those kinds of things of those air interests of yours. So Roberto's Channel is a must see as well, awesome guy. They're all awesome guys, and they give a lot. You can also check out Karen Cab. It's YouTube channel. Hers is even. Maura evolved in terms of the kinds of content in that she does a great deal of diverse stuff, all design and creativity related, and I think that's a good channel. Check in on and pay attention to. And another website that you really should join is called lynda dot com and lynda dot com is a website, which is a membership website is not free. However, the courses there are worth every penny because they are software tutorials and creative tutorials given by industry professionals. And they are very, very good courses, very in depth, talking a lot about software and best practices. If you invest enough time, you can learn the craft. Just know that that is years of investment. Any good graphic designer did not become one overnight. It's not a weekend kind of adventure. You need to plan the long game that you're going to learn these principles and design ideas . Over time, however, you can sit down in one evening and design anything that you want. So in that way, design is very quick and very responsive. You can create something now you can design something today. You can turn off this video and go right now and create a photo shop layout for anything that you want, but just know that this is going to be your challenge. It may take some time to get your work to Ah, high level ah, level that you can look at and go. Yeah, I'm really proud of this design, but it's certainly doable. And with the proper amount of effort, you can learn any of these techniques. And that's a ton of resources that I've given you that if you check it out, you have lots of material to keep you busy for a long, long time. So with all those resources in mind, you can put in a little bit of effort and you can actually take on this challenge of learning graphic design. And with all that said, I've put in a long day and I'm gonna go get some dinner, and I will see when the next video. And we're gonna talk a little bit about next steps and wrap this course up. So thanks for joining me so far, and we'll get readyto call it a day 25. Chapter 18 next steps: Okay, so that was a ton of work. And I've had my dinner now, and I'm satisfied. So now it's time to talk about next steps. What comes after this for you, the student of the course. Well, at this point, what I would encourage you to do is to take those practice projects. There's six of them. You can choose one or choose them all. Of course, if you're taking this course not as a designer, but you want to learn more about promotions for working with a designer. Then, of course, you don't necessarily need these practice projects. But if you're a d, I wire and you want to give this a shot or you're a pro designer and you just never tried promotions before, of course, you can take these projects and give him a shot. Shake him down and see how it all works for you. As always, I would encourage you and look forward to seeing your projects. So please, please, please include your work in the project section of this course because I can't wait to see what you've done. So with that said in the next video chapter, we're going Teoh, wrap this course up, so I'll see you in just a moment 26. Chapter 19 conclusion: So I hope you've enjoyed this course. I have certainly enjoyed creating it. Promotions is one of my favorite parts of design, and for me this stuff flows really nicely. And of course, I also love working with Anita and Oriana, and we're going to be doing some new promotional projects in 2017 with the band, and I'm really looking forward to that. And hopefully you enjoyed this course. I would love to hear your comments and want to see those projects, so make sure you include your work. You can find me on YouTube and you can find me on Facebook and the graphic Designer Tips Lounge hosted by Stephen Loony, where myself and other pros are actively involved in commenting on design and sharing our work and talking about the business and on my YouTube channel. Of course, I will continue to put up free content, much of which is all about design and all about techniques, and there's some promotional stuff thrown in there once in a while. But I cover off a lot of material, and there will always be new content going up on YouTube, and I always have more premium courses coming so keep in touch. And I hope you enjoy the course. Please let me know how it was and what kind of courses you might like to see in the future . If I'm capable of doing it, I will do my best. And so anyway, I appreciate you. Joining me for this journey has been a lot of fun. And until next time you stay classy and I'll see you again, take care.