How much should I charge for a design project?

Students, freelancers, young designers and upcoming design studios face this dilemma quite often: how much should we quote to a client? Most of the times designers are clueless about how a particular design project should be billed. People often scour the internet to find answers and what they mostly stumble across are websites that claim spit & polish for 99 dollars or on the other hand they come across case studies where agencies made millions redesigning something. That doesn’t give a very clear picture, does it?

If you try asking a designer directly, say on facebook, “How much do you charge awesome sir for the fabulous work you do?”, chances are you wouldn’t get a straight answer. Nobody wants to spill the beans so easily and also, there cannot be a straight answer to such a question. You see every design project is different and there is nothing like a simple identity design project, if you ask me.

I started freelancing while I was in college. It was around 2004 that I began designing logos. I was also, clueless about how much a logo should cost or much I could make doing a brochure. However, for me there was a higher interest, if I dare say now, I was then, still practicing the craft and honing my skills. It was more like a paid learning exercise for me. It worked for my clients as well—they didn’t want to spend a lot of money getting a logo made and I could also keep my conscience clean as I knew I wasn’t overcharging for what I delivered that time. Still, I had figured out a crude method of deciding the charge. Sometimes I would see how much time and involvement was required on my part and at other times when I was doing a logo for a restaurant, I would just go through their menu and see how much a tripple chocolate sundae costs there.

During the next 8 years I did many more projects and now I was dealing with a larger variety of clients — from real estate developers to venture capitalists, from educationists to medical equipment manufacturers. Reading a menu wouldn’t work now so I devised a method of calculating a fair price for my work. As I said earlier, every project is unique so this isn’t certainly a formula but I sincerely hope that it can be put to use by those who every now and then find them in a situation where they don’t know how much should they charge for their new project. So here it goes, the simple guide to an honest invoice:

  1. Experience counts: yes it does, if you’re still in college, you certainly cannot charge as much as a full time designer would, who has been sweating his grey matter for the past 10 years. So rule number one—the more experience and the more projects you have under your belt, the more you can ask for. However, the kind of projects also matter. A brochure design for your favorite Aunt’s boutique doesn’t equal a brochure design for an airlines. But then how much can you charge? Read along…
  2. Involvement matters: how much of your time will the project take up? Is it going to be a weekend job or will it require constant participation for the next two months. Obviously as a student you wouldn’t take up projects that require a full time commitment, however, as a freelancer or a new studio you might be getting into one. If that is the case please read the following points carefully;
  3. What am I worth: No this isn’t a spiritual question; what I am referring is to your market value. No offense here, but you have to decide what you’re worth. Say, if you were to take up a job now, what would you be honestly getting paid as a salary? If that’s something difficult to determine then take a look at your qualifications + experience and head over to a job site. Say if you hold a diploma from a design school and have been freelancing for 3 years, look up any job site and see how much they are willing to pay to such candidates. Now suppose with your qualifications and experience, the best offer you could get is of Rs. 45,000 a month, then that’s your current worth in the job market. In other words, if somebody is employing you for a full month, you at least expect to be remunerated that amount. We can also call this your minimum price or the lowest bid you’ll ever make.
  4. How much time will it take: Now moving on, say you finally got that project to do a logo for ‘Happy Tummy Ice Cream’ or you got a deal to do a set of 20 illustrations for the book ‘Why Little Kids Are Afraid of The Dark’. You have to do a time estimation for yourself and also for the client. For the logo, suppose the client is looking for 5 options and then he’ll be picking out three from which you’ll both finalize one brilliant logo. Say you’ve got a knack for drawing logos, even then you’ll be churning out options at a certain rate and let’s say that rate is a logo in 3 days so for 5 options you’ll take at least 15 days, then say refining the logo would take another week and then there will be feedback from the client and time lost in convincing him what the best logo out of the lot is, let’s add another week for all of this. So now we know you’ll take 15 days + 7 days + 7 days = almost a month to do the logo with 5 options. Now you already know your net worth is Rs. 45,000 a month so you could pretty easily say that you’ll charge Rs. 45,000 for the logo. For the set of 20 illustrations: let’s say you take 2 days to do an illustration so 20 illustrations should take 40 days. There will also be feedback from the client so add another 20 days for that. So it means you’ll take 2 months for the project. But, you’re also doing a book cover and another website along with this project. Say for the website you’re getting Rs. 15,000 and for the book cover you’re getting paid Rs. 20,000 so you’re already making 35,000 for the first month. So for the fist month your deficit is Rs. 45,000 – Rs 35,000 = Rs. 10,000 and for the next month you’ll be completely focusing on the illustrations so you expect a full remuneration of Rs. 45,000. Therefore, you would now quote Rs. 10,000 + Rs. 45,000 = Rs. 55,000 for the project and not Rs. 90,000. If you were working on only this project full time, you’ll certainly finish it early. Stil this is a rough approximation. If you have a pretty good client aka a rich mogul then you could charge more but bear in mind that most distinguished clients wouldn’t have approached you (a freelancer or a student) if they wanted something done.
  5. Market situation: We all know that warm beer is pretty bad, you know what else sucks? The economy or so people have been saying or using that as an excuse. Still, this is something you might want to consider. Say you’re working for the hospitality industry and your client runs a hotel and you really know that hotels in West Virginia have had a lean season, then in such a situation you’ll have to be considerate. A hotel wouldn’t be making as much money in West Virginia as one would make in Las Vegas and if the hotels is listed in CheapHotels.com you know what to expect. In such a case I would suggest you stick close to your minimum price as discussed in point number 3.
  6. Aftermath: So a logo is a one time process, right? Wrong… in most projects the client will expect you to provide some sort of after sales service. You might get a call some day and the client may complain that he’s not able to get this thing printed on a high gloss plastic coated card. So you’ll have to take out time, maybe a day and explain to him that this logo isn’t supposed to be printed on a plastic coated card and that hand made paper might work better. This will take time and your involvement. So if you’re apprehensive about providing customer support to your client, then do add this on your bill so you’re not frustrated later. Now your monthly asking rate is Rs. 45,000 so your daily wage is Rs. 1,500. If you think the client may pester you for a week after you do the logo, then instead of charging Rs. 45,000 you should quote Rs. 45,000 + (Rs. 1,500 x 7) = Rs. 55,500 and you’ll be providing service + support with a broad smile.
  7. Where are you from: Say you’re from India and have just read an article on AIGA that says graphic designers make US$5,000 a day. Sounds ridiculous right? So should you charge that much? Yes & No. ‘Yes’ only when you are one of those designers AIGA is talking about and ‘No’ in most cases. US economy is different. A pizza costs much less here than it would in US so you’ve got to set your price accordingly.

I guess 7 is a good number for any list. Makes it look profound, like the ‘7 Spiritual Laws’ or something like that. Once again I’ll like to point out that this is not a formula but can certainly help you in asking a fair price for your work. Sending your client a good quote is important. If you get greedy and ask for a lot, you might end up losing the project… if you’re too unaware of how market works and in your humility and shyness ask for a price too low, you end up being exploited. Design is an honest profession or at least should be one and my only suggestion for students / young professionals is that put in your 100 percent, grow with each project and don’t hesitate to ask for what your work is worth. I hope this article was useful. You can post your feedback in comments below.

Comic Sans Enters Hall of Fame

Image courtesy: Wikipedia

Comic Sans is a misunderstood typeface, says Ivan Belikov, a Russian born Graphic designer who moved to Chicago in late 80’s. Comic Sans is going to be recognized as the most influential typeface in the last 100 years by the Lyov  (Лёв) Museum of Contemporary Design, Potyomkin. Comic Sans was chosen over Helvetica, Din 1451 Std, Gill Sans & Gotham Rounded for its sheer versatility and ease of use.

We think Comic Sans is a brilliant typeface. We tested it with 18 different cosmonauts and they could effortlessly read the type in space. No other typeface offeres this flexibility. Cosmonauts tested the typeface in simulated Zero-G environments and could read elaborate service manuals upside down. Comic Sans is the first certified font by the Soviet Space Restoration Program (SSRP) that can be used in space. — Igoryok Basilevsky, Functional Design for Space Center, SSRP

Due to lack of fundings the SSRP program was closed in mid 2008. However, the tests conducted between 1999 & 2005 have brought some irrefutable proof that Comic Sans is actually a very dynamic typeface.

The United States is also not very behind. In 2010, Belikov started The United States of America Department for Comic Sans with a vision to promote the use of Comic Sans in all spheres of life in the US.

So far the agency has been quite effective and the typeface is spreading like a wild fire, says Belikov. The following images are testaments to the agencie’s success.

Europe is also following the trail. French designers Thomas Blanc and Florian Amoneau have sought to spark a movement that aims to bring the respect Comic  Sans has always deserved.

Just before this interview Belikov revealed that NASA might also follow SSRPs footsteps and use Comic Sans for its next space programme.

We are slightly baffled and confused but with so many powerful agencies backing up Comic Sans, we think it’s time for some  retrospection. The omnipresent font has just become omnipotent.

Our sincere thanks to Miss Dvora who was instrumental in bringing this article to VSUAL.

Dvora Kulik, Design Intern
The United States of America Department for Comic Sans
Chicago, USA

The Wonder Hospital [Full film, 12min]

Introduction

The Wonder Hospital, a 3D & puppet animated film, is a surreal journey of oddity and empty illusion.

In a mysterious hospital, modification of physical beauty is not what you would expect. A girl’s desire for superficial beauty leads her to chase after the luring ‘After’ images on a path of advertisements throughout the hospital. But in the end she finds something unimaginable and irreversible.

Film Stills










What is Motion Design? [video]

This introductory video made by Motion Plus Design educates us on what exactly constitutes motion design or motion graphics. The various infographics used in this video come to life with some simple and crisp animations. This video is a good vantage point for all those interested in the field of motion graphics.

“Motion Plus Design” is a project which aims to create the first exhibition center dedicated to Motion Design in Paris, france. This is a non-profit project. Students, professionals and anyone interested could discover artists, meet and learn. This centre will also provide an opportunity to promote artists in other design departments so the different graphic design worlds could cross.

You can find out more about the project on the official website here.

Halfway: animated short-film

The story of Halfway, an animated short-film, was inspired by many of the events of the past year, both across the globe and in the personal lives of the animators. The central theme of this film is ‘dealing with immediate circumstances and connecting with the past while realizing one’s potential.’

The animation has storybook kind of illustrations that are simple and mesmerizing. The music is soothing and adds another dimension to the film. Enjoy the film and take a look at some of the beautifully crafted images from the film below.

The film is one of the many beautiful & inspiring projects by Overture. You can have a look at their website here.

Ralph Baer: Big Daddy of Video Games

Brief Biography

Ralph Baer was born in Germany in 1922, and left this country for the USA in 1938. Once he graduated National Radio Institute (NRI) as radio service technician, he ran several radio service shops in NY City between 1940 and 1943, serviced all types of home and auto radios and built PA systems.

He served in the US Army between 1943 and 1946: one year stateside, two years overseas in Europe during WWII – He was assigned to the Military Intelligence (MI), attached to Eisenhower’s HQ in London, but stationed in France. He became a recognized expert on military small arms (and returned to the US with18 tons of foreign small arms).

Between 1946 and 1949, he attended to the American Television Institute of Technology (ATIT) in Chicago. He graduated with BS in Television Engineering and built television studio equipment while at ATIT.

Between 1945-1950, he was the Chief and Engineer at Wappler Inc, a small electro-medical equipment firm in NYC.

Between 1951-1952, he worked at Loral Electronics (Bronx, NY) as a Senior Engineer; there he worked on IBM time punch clock equipment, developed an analog computer for military radar systems, and also built a complete television receiver.

Between 1952-1956, he worked as a Chief Engineer (later VP Engineering) at Transitron,Inc in NYC. He moved to Manchester, New Hampshire in 1955 with the firm.

1956-1958 is the most important period. He joined Sanders Associates Inc (Nashua, NH) as a Staff Engineer to the Manager of Equipment Design Division. In 1958, he became the manager of the Equipment Design Division himself.

1958-1970 is the most interesting period. Ralph worked on alpha-numeric projection displays, as well as multi-layer printed circuit boards and many other R&D programs.

It is in 1966 that Ralph made a revolutionary invention: the video game. This long story started at Sanders Associates. Later in 1972, the first commercial video game system was released by Magnavox: Odyssey.

Interview Courtesy: David Friedman

MyFonts.com recently announced their most popular fonts of 2011. The results are based on the font sales from all of their typeface categories. The list includes “Reina,” an award- winning font that was inspired by classic fonts from the 1960s, “Alana,” a script font based on hand lettering, “Hera Big,” a display font that has eight different weights and italics and “Populaire,” a font with a hand-drawn feel that was inspired by posters that were made during the May 1968 student revolt in Paris.

Reina

Lián Types from Buenos Aires and its sister foundry Typesenses have been a staple of this list for several years now, and their typefaces are becoming more intricate each year. Introduced in March, the award-winning Reina is a sophisticated and imaginative variation on the high-contrast Didone model. Inspired by the classics Didot and Bodoni, and spiced up with influences from 1960s New York magazine lettering from the likes of Herb Lubalin, Reina is up there with the most whimsical of classicist and modern-face display type. A fine toolkit and plaything for making dazzling headlines.

Calluna Sans

Calluna Sans font sample

It can be a big help to the discerning typographer when an oldstyle text face comes with a sans-serif companion that harmonizes beautifully with it, yet is different enough to add a new color to the typographic palette. This is exactly what Calluna Sans is to exljbris’s popular Calluna family. Like its older sister, the new family member respects oldstyle proportions and makes lucid statements with crisp details — but it does so in its own calm, sans-serif way. Its humanist qualities make it wonderfully readable; it comes with all the attributes needed for sophisticated typography: small caps, four numeral sets, and more.

Alana

Alana font sample

Lettering artist Laura Worthington added several beautifully made script fonts to her popular typeface collection last year, including Samantha Script and her latest offering, Rosarian. But it was Alana that outsold all her other work — one of the year’s biggest hits. Natural-looking and subtly irregular, Alana strikes a nice balance between a casual and a formal script face. Based on hand lettering, it indulges in elaborate swashes and ornaments without losing its friendly character and slightly nonchalant look and feel. We recommend OpenType-enabled design software to get the full effect of Alana’s features.

Sánchez

Sanchez font sample
After a string of display faces that embody the “latino” approach to type — colorful, original and a bit cheeky — Sánchez was Latinotype’s first extensive family suitable for body text as well as headlines. A confident alternative to Rockwell, this modern-day slab serif offers more personal lettershapes than most slab serif classics, and subtly rounded edges. Its success in 2011 was greatly helped by the fact that the regular weights are free — a minimal extra investment in SemiBold and/or Bold weights gives you a very affordable small family. Plus, it’s on sale through January 21 — a 40% discount!

Belluccia

Bellucia font sample
Belluccia was the first typeface by the newly formed team comprising lettering artist Debi Sementelli and type designer Brian Bonislawsky ofAstigmatic fame. Their joint venture Correspondence Ink was immediately successful with this lovely handwritten font — a semi-formal script with a rugged edge. Belluccia successfully mimics custom calligraphy, using the wizardry of OpenType to automatically replace letter combinations with alternate forms: ligatures, swashes, stylistic and contextual alternates. For those who work with software that doesn’t handle OpenType magic, there are separate Standard fonts that make up the styles contained within the Pro font. Check out the wonderfulFlourishesBorders and Ornaments.

Hera Big

Hera Big font sample
Brooklyn-based Lucas Sharp of the newly founded studio Pagan & Sharpmade quite a splash last year with his first typeface Hera Big. Successfully exploring the extremes of vertical stress and high contrast (think Bodoni and Didot) in a contemporary mood of playfulness and exuberance, the family members cover a huge range of weights, from Extra Thin to Big Black; gutsy ball terminals play a defining role across the family but work a bit differently in each weight. With eight weights plus italics, Hera Big provides a fine set of display fonts for many occasions.

Centrale Sans

Centrale Sans font sample
The Bulgarian studio Typedepot scored a big hit with their chic Centrale Sans. Released at a bargain price, it sailed smoothly to the number one spot in MyFonts’ Hot New Fonts list, and continues to do well. As shown by various cases during the past year, it takes more than just a great introductory discount to capture customers’ attention. Centrale Sans is a well-made sans-serif with a personal touch, adding a welcome new color to the well populated category of multi-functional, readable sans-serifs. It combines geometric cool, humanist friendliness and clear, open shapes, making Centrale Sans a good performer on the screen as well.

Burgues Script

Burgues font sample

Burgues Script is yet another monumental script face from Sudtipos. Based on the work of American calligrapher Louis Madarasz, Ale Paul’s typeface is an interpretation rather than a straightforward digitization. In order to be able to produce digital calligraphy with a natural flow, Paul had to reinvent many of the letterforms, adapting the flexibility and connectivity of the original lettering to the logic of digital machines. The digital flourishes of the prize-winning Burgues are no less dazzling than Madarasz’s hand-lettering. Burgues is a great choice for spectacular lettering — from wine bottles to tattoos.

Cassia

Cassia font sample

One of the year’s nicest surprises was the emergence of the one-man foundry Hoftype, directed by Dieter Hofrichter. A veteran of the Berthold studios, Hofrichter worked with the late Günter Gerhard Lange, who was probably the most exacting taskmaster German type design has ever known and whose meticulously corrected proofs are the stuff of legend. In less than a year, Hoftype launched a stunning collection of text families — well-made, versatile and affordable — with Cassia as the biggest success. A dynamic modern-face, somewhere halfway between a humanized slab serif and an updated Clarendon, it is more individual and agile than most slab serifs. Superbly readable, Cassia comes with small caps for all weights, a wealth of ligatures and multiple figure styles.

Melany Lane

Melany Lane font sample

This year’s crop of most popular fonts has more connected, swashy scripts than ever — and yet, each is surprisingly different from the rest. For Melany LaneYellow Design Studio took the flourished shapes of traditional lettering, and added the quirks and warmth of informal hand-drawn type. The regular version is monolinear — its strokes don’t change in thickness — which gives it the feel of an alphabet drawn with a felt-tipped pen. Melany Lane comes with swashes and stylistic alternates for extra funkiness and fun, as well as 118 lovely ornaments and a free set of fourteen seamless background patterns.

Code Pro

Code Pro font sample

In September we interviewed Svetoslav Simov, the young Bulgarian designer who runs Fontfabric. An admirer of 1930s and 1960s constructed letterforms and icons, Simov has a knack for geometric alphabets with a logo-like quality. Of his 2011 releases, Code Pro did extremely well, and has remained a steady seller to date. It is a kind of ITC Avant Garde on performance-enhancing substances. Even the lighter weights have a muscular assertiveness thanks to the disciplined geometry of their glyphs. Its extreme Light and Black weights offer great possibilities for spectacular headlines, while its middle weights will work both in headlines and medium-length text settings. The demo versions of Code Pro Light and Regular are still offered free of charge.

Mishka

Mishka font sample

Mishka is part of a series of pleasant script-like typefaces launched bythe Fenotype foundry, recalling hand-made pub and shop lettering. While several of the earlier fonts — fonts like Verner and Pepita Script — were mildly successful, the playful Mishka joined the year’s elite of best selling fonts. Mixing clear and informal lettershapes with a taste for the exuberant, Mishka is a pleasant upright script with a decorative touch. It offers plenty of options to customize headlines — just activate Swashes, Stylistic Alternates or Contextual Alternates in any OpenType-savvy program. Its small caps are a font within a font: an energetic set of caps that combine well with the scripts but offer a distinct style.

Populaire

Populaire font sample

Brazil’s PintassilgoPrints found its groove last year, producing a stream of spirited display fonts with a playful, handcrafted feel. As they pointed out in their recent Creative Characters interview, they like the happy mistakes of hand-drawn letters, the “wrong notes” in the design — but at the same time they want their fonts to be technically perfect and eminently usable. Populaire is a case in point. Inspired by the postersmade during the May 1968 student revolt in Paris, Populaire taps into the energy of that period’s hand-drawn and silkscreened posters, while using digital font technology to offer four exchangeable glyphs for each letter. The result is a flexible font that looks as fresh and spontaneous as hand-rendered lettering.

Gelato Script

Gelato Script font sample

The mouth-watering, smoothly flowing Gelato Script lives up to its name (Italian for “ice cream”), and consequently became the year’s most successful brush script font — ideal for packaging, café menus and magazines. Influenced by both formal scripts and mid-twentieth century hand lettering, its luscious curves make it attractive to a wide audience. For expert users, it has the additional benefit of being equipped with all the amenities of meticulous OpenType programming. With 781 glyphs, this font has many faces and speaks many different languages.

Pluto and Pluto Italics

Pluto font sample

Berlin’s HVD Fonts has a knack for coming up with the right typeface at the right moment, and marketing strategies to match. Pluto’s release at an introductory offer that seemed too good to be true resulted in sensational sales; some months later, Pluto Italics all but repeated that meteoric success. As the fonts are decidedly lovely — a happy-looking, lively sans-serif family with a strong personality — it comes as no surprise that Pluto continues to sell well at the full, but still quite reasonable, price. There is little doubt that MyFonts’ best-selling typeface of 2011 has a bright future ahead of it.

MyFonts is a digital fonts distribution, location based in Marlborough, Massachusetts, selling fonts through the www.myfonts.com web site. It launched in September 1999 (during the ATypI conference in Boston), and started selling fonts in March 2000.

MyFonts pioneered a new model of font distribution, based on the long tail phenomenon: an all-inclusive inventory from which total sales can beat those of a carefully chosen collection. Every font that meets basic technical and legal criteria is accepted for distribution. Designers set their own license terms and their own prices, while MyFonts gets a 50 percent cut of sales.

 

We may accuse each other of exaggerating when we say our jobs are killing us, but it might not be that much of an exaggeration. Dozens of studies over the years have linked job stress to increased incidences of disease and death. With this infographic, discover who is most at risk, what causes workplace stress, what the likely consequences are and how both employers and employees can reduce the problem.

This infographic from humanresourcesmba.net shows that 40% of workers say their job is excessively stressful, heavy-workload is the most common cause of work stress and coworkers cause stress by manipulation and pressure. Work stress has been linked to heart disease, depression and sleep problems and shockingly it also quickened progression of HIV/AIDS and death from working is for real. As a consolation, the infographic does shed some light on how workers can reduce stress and points you towards food, exercise and counseling when necessary.

A Dragon is caught up in the hustle & bustle of daily life. Office commuters seem to have forgotten this mighty beast completely. The creature that was once a legend has now been literally diminished to street level and people just don’t care as they roll over him in their little cars. No one can see that there exists but one road that can take you to the moon.

It took me a while to understand what Lauren was trying to say but once i could read her poster, the message struck me like lightning out of a magic wand. In this era of technology and corporations, Graphic Design has become a tool to serve businesses reach out to the masses. This relationship is so strong that often this creative field is referred as ‘commercial art’. Lauren stands as an exception here. Her work is playful and childlike but never gets childish as each artwork is embedded with a deep thought and meaning. She not only succeeds as a wonderful children book’s illustrator but her craft also carries over gracefully to film & concert posters, social communication and beautiful illustrations.

I asked Lauren how she consistently manages to come up with such wonderful ideas and she was kind enough to share her secret. I’m sure this process will be very helpful to students and all aspiring illustrators and graphic designers. The following images reveal her unique process followed by some amazing artworks.

She begins her illustrations by drawing on her chalkboard. This gives her a large canvas to think and pour out her ideas freely. Also, a chalkboard allows her to rectify mistakes easily.

When she gets an idea and composition she is happy with, she redraws the image in the proportions of the assignment. Here the final artwork was a poster so she sets the composition to the proportions of a poster size.

Here is where the real fun begins: She begins to create her illustration by cutting out the shapes of her drawings out of different papers. This is where art and craft are united as one expression.

In addition to paper cuttings, she also uses graphite, oils, and acrylics for my works. She then scans all of the pieces into the computer to assemble her complete illustration where different pieces come together like a jigsaw-puzzle. She also sometimes creates her illustrations directly on the computer with her Wacom Tablet.

Now over to some more amazing work from the artist, followed by her brief biography.











Lauren Rolwing uses various techniques to produce her works: from the most traditional such as collage, graphite, oil paints, acrylic paint, to the more modern computer programs. She received a B.F.A. from the Savannah College of Art and Design, and she has received numerous international awards in the areas of poster design & childrens’ book illustration. She is currently working as a freelance illustrator. To view more of her works, please visit laurenrolwing.com.

There are currently 50 million mobile Internet users in India, and they are using mobile in a big way. 40% of all Google searches in India are made using mobile phones, whereas only 14% of search queries in the USA, 11% in Russia and 6% in the UK are run from mobile phones. Furthermore, 67% of e-commerce is conducted on mobile devices in India. With smartphone adoption increasing at a rate of 56% year-on-year, we can expect mobile activity, especially social activities conducted on mobile phones, to increase drastically as well.

Though the rates of Internet users are low, online Indians are quite savvy. Seventy percent watch web videos. Two-thirds check online reviews before making purchases. Thirteen million are registered on matrimonial dating websites. The country is home to the second-largest base of LinkedIn users. Facebook beats out Orkut as the most popular social network, followed by Twitter and LinkedIn. Seventy percent of India’s Internet users are male. -Mashable
























Source: wearesocial.sg

Put Yourself in Their Shoes is a series of ‘social posters’ by Irish graphic designer Christopher Scott. Inspired by the works of Stefan Sagmeister, Christopher blends elements of nature, man-made objects and certain props to deliver a strong typographical statement. Sometimes thought-provoking and sometimes shocking, these posters aim to stir-up the audience and bring them face-to-face with the harsh realties of life that millions confront everyday. Featured here are 7 of his posters that deal with a variety of topics ranging from fear to life and from the homeless to hope. This series is an inspiration that encourages students to get away from the computer and experience how expressive and powerful graphic design as a medium of communication is.







Christopher Scott is an award winning internationally recognised social awareness poster designer from Northern Ireland. His work has been exhibited all over the world including Louvre Paris, Triennale Milan, Peru, Korea, USA and many many more. Paramount to his designs is for them to have substance that communicate a strong and meaningful message. His sensitivity and passion make him a unique designer which has humanity at the very core of his work. You can find more about ‘Put Yourself in Their Shoes’ here on this facebook page.