Five Famous Graphic Designers Who Changed The Industry Forever

Much of the process of finding your own style in graphic design involves surveying what has come before you and building upon it, as well as getting to grips with the fundamentals of the craft as taught at graphic design school and figuring out which rules you can bend.

In the spirit of standing on the shoulders of giants, here are five famous graphic designers who are just that: giants in the industry who have changed the playing field forever with their iconic works.

Milton Glaser

As far as graphic designers go, Milton Glaser is up there with the most iconic names in America. Don’t know his name? You’ll recognize his work , and it demonstrates what we mean when we say that Glaser is the living embodiment of New Your City: he designed the “I <3 NY” campaign. But it doesn’t stop there. Glaser also created the main DC Comics logo used between 1977 and 2005, as well as the cursive B logo for the Brooklyn Brewery (which is still used today and for which Glaser received shares in the company on its creation in 1984.) Oh, and he also cofounded New York Magazine, a publication that is still enjoying a four-decade long run where similar lifestyle magazines have fallen.

Paula Scher

Another NYC luminary, and arguably the most famous female graphic designer on the planet, the award-winning Paula Scher is as much celebrated for her individual design work as she is for her revolutionary overhauling of theatre promotion standards behind the scenes.

Almost single-handedly, Scher gave a fresh identity to such institutions as the New York City Ballet, Metropolitan Opera, The Public Theater, and the New York Shakespeare Festival. Her work on the Museum of Modern Art’s unified logotype – seen above – is perhaps the most famous across the entire global museum industry.

On top of all this, she is also renowned for her poster and album artwork, which finds itself rooted in the aesthetics of Russian Conservatism (something we’ve covered previously on this blog.)

Saul Bass

With a 40-year career that created some of the most recognizable company logos of his era, as well as movie work which permeated into many corners of pop culture, the late Saul Bass is one of the most revered graphic designers of the 20th century (and quite rightly so.)

Bass became very well known for creating film title sequences with Alfred Hitchcock and others, and practically invented the art form of having title sequences to illustrate the credits before the movie began. Viewable above was Bass’ innovative sequence for 1955’s The Man with the Golden Arm, which elevated the young designer to the public eye and matched the film’s controversial subject matter.

Stefan Sagmeister

“Design that needed guts from the creator and still carries the ghost of these guts in the final execution.”

Austrian-born Sagmeister has long been known for his memorable work in the music industry, having rose to prominence in the early 90s, creating conceptual artwork for the likes of Lou Reed (below) and The Rolling Stones.

More recently, Sagmeister has decided to branch out. Alongside continuing his musical work, he is now devoting his talents to science, social causes, and the wider art world.

Paul Rand

It’s entirely arguable that the above four names owe their careers (or at least a large portion of it) to Paul Rand.

It is impossible to summarize Rand’s century-spanning career in the space we have here, but suffice it to say that it was he alone that brought the idea that good graphic design is essential in the world of business and branding. As fellow designer Louis Danziger puts it: “He, more than anyone else, made the profession reputable. We went from being commercial artists to being graphic designers largely on his merits.”

Rand was not only an unparalleled graphic designer, but also a professor, contributing a wealth of theoretical advancements to the craft that are still taught as fundamentals at graphic design school today. Working long into his nineties, one of his last projects was in collaboration with the notoriously difficult-to-please Steve Jobs, who referred to Rand as “the greatest living designer.”

Over to you. Know of any other famous graphic designers that should feature here? Let’s get some discussion going down in the comments below!

E3 2015 Recap: Why It Was One Of The Best

E3, for a lot of us, is comparable to Christmas; an entire week when our favorite websites and social media pages serve as a floodgate through which we receive exciting new from the press conferences, expo floor, and more. Whether you’re all about new game reveals, innovative tech demos, or learning what people have to say after going hands-on with anticipated titles, one thing’s for certain: it’s a very good time to be a gamer.

An E3 All About Games

Although every E3 has its highlights, it was awesome to see just how game-focused this year’s show was. As a trade fair specifically focused on the video game industry, it can be odd to say that some of the past few E3’s have been more about tech and future plans. This was due to both Sony and Microsoft doing their best to convince fans that their shiny new console was the one to buy, which meant giving the actual games less attention.

Fortunately, this year was one of the better shows in a long time for the fact that almost every major company and publisher focused on games and nothing else. No accessory demos, console specs, or talk of entertainment apps; just game reveals, trailers, and gameplay footage. What’s also great is that it wasn’t only big-budget AAA titles but also indie games that were shown off.

Learning From Past Mistakes

Of the three major contenders in the console market, Microsoft was perhaps the most impressive when it came to having a solid game lineup to show. It was almost expected after the negative response they had received for their previous conferences that most felt gave too much time to entertainment apps and other neat but non-game features. Microsoft came in full force at E3 2015 and did not disappoint, especially after delivering perhaps the most unexpected yet exciting announcement of all: backward compatibility for Xbox One.

Plenty of upcoming games like Halo 5: Guardians and Rise of the Tomb Raider were shown off. Both look incredible. As with every generation, it has taken the latest consoles a while to finally start showing us what they’re truly capable of, and the previously mentioned titles are prime examples.We also got to see the first reveal trailer for the highly anticipated Dark Souls 3, which also looks fantastic visually.

Even more memorable, however, were the slew of new titles Microsoft revealed, one of the most exciting ones being Gears of War 4. It was a title we all knew was in the works, but it was great to see some gameplay, especially when it looks to draw from the original Gears of War’s small but interesting horror elements. ReCore, which is being made by the legendary Keiji Inafune and ex-Retro devs, and Gigantic, a free-to-play shooter MOBA, also look promising. Of course, most people still can’t get over that amazing Hololens demoed with Minecraft.

Affirming That The Best Is Yet To Come

If there’s’ one word to describe how Kazuo Hirai and team arrived at E3, it’s “confident”.

Boasting plenty of momentum after months of seeing the PS4 outsell its competitors, Sony did an amazing job of reminding fans why picking up their console was the best choice. Even if their biggest surprises involved looking at the past, it was nonetheless a conference to remember for any PS4 owner out there.

In the big reveal department, Sony stole the show (even if there were only two new titles that really captured attention). The first was The Last Guardian, a game that was announced in 2009 only to never be mentioned again until now. The other exciting reveal was the long-awaited remake of Final Fantasy VII, a title that, despite Square Enix mentioning various times that they didn’t want to develop, is finally coming soon.

Also worth mentioning is Horizon: Zero Dawn, a title that was revealed via a captivating gameplay trailer that had a female warrior taking down a large robotic dinosaur. Sony also did a good job of showing off titles we already know are coming, including Uncharted 4, No Man’s Sky, and Firewatch.

A Window To The Immediate Future

Unlike the other companies, Nintendo opted to only discuss titles that were making their ways onto store shelves and digital stores soon. For this, they received quite a backlash from fans who were disappointed by the lack of heart-stopping reveals the Japanese company is known for. Even though we didn’t get the new Metroid or F-Zero reveal most of us wanted, Nintendo still did a decent job of showing us why it’s good to be a Wii U and 3DS owner.

Perhaps the most impressive showing was from a game that has already received a lot of attention in previous Nintendo Direct: Super Mario Maker. Being able to craft your own levels using the art style of several iconic Mario games has plenty of people counting down the days until September. Star Fox Zero, which is being co-developed by PlatinumGames, suffered a few gripes from its unimpressive visuals, but nonetheless looks exciting due to its classic Star Fox gameplay and transformable vehicles.

Also revealed was The Legend of Zelda: Triforce Heroes, a 3 player 3DS game that no one saw coming, but looks to be a highlight for 3DS owners this coming holiday season. Of course, you’ve probably already heard of the backlash for the reveal of Metroid Prime Federation Force, a game that looks neat but people already hate because it isn’t Metroid Prime. Mario Tennis: Ultra Smash, Hyrule Warriors Legends, Fire Emblem: Fates, and Mario & Luigi: Paper Jam were other notable title announcements.

[su_note]Want a career in game design? Learn more about the School of Game Design at the New York Film Academy. [/su_note]

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Trends in Ad Spending Affect Broadcast Journalists

Ad Spending

Recent estimates of current U.S. ad spending by Strategy Analytics show that while digital marketing continues to grow, it’s still almost $30 billion behind TV ad dollars. The report estimates total ad spending will be close to $187 billion for 2015, with the digital space at around 28%, or 52.8 billion. While this makes digital the fastest growing category, TV still has the largest share of ad spend, with almost $79 billion, or about 42%.

Why TV is Tops Even in the Digital Age

TV advertising still offers significant advantages to many advertisers. While video and news clips on social media now carry advertising, this space is much more limited. Most video clips only have thirty seconds or less of ad space before the video rolls, generally limiting each clip to only one advertiser. During a thirty minute newscast, on the other hand, each ad break is several minutes long and includes room for multiple advertisers. Because ad space is at less of a premium, advertising on local TV sometimes offers a lower cost per thousand, depending on factors like market size and time slot.

TV advertising is also still more pervasive than digital advertising. If you put down your phone and walk into the kitchen to get a drink while an ad rolls, you probably won’t hear any of the commercial. If you’re watching television and leave the room during an ad break, you’ll probably still hear the commercials booming out of your TV’s powerful speakers.

TV Consumption Still High Among Most Adults

Most importantly, despite the rise in digital consumption of news and entertainment, consumers are still watching TV at a high rate. According to a Fiercecable report, the average U.S. adult spent 5 hours and 10 minutes watching TV daily in the first quarter of 2014. While that was attributed to mostly older viewers, even younger viewers (in the coveted 18-24 demographic) logged a weekly average of 18.5 hours of traditional TV viewing time in a report on the latest Nielsen study.

TV Ad Spending Especially Important for Some Target Markets

While TV advertising is still important for products aimed at younger viewers, it’s especially critical for advertisers who wish to reach Baby Boomers. A recent Pew Research Center report shows that Boomers and Millennials are opposite each other in news consumption: Roughly 61% of Millennials rely on Facebook for political news, with only 37% depending on local television. On the other hand, Baby Boomers rely on local TV for their political news, with 60% seeking news from local television vs. 39% searching for news on Facebook. Gen Xers fall in the middle, with 51% citing Facebook as a source of political and government news, and 46% relying on local TV. For marketers whose target market includes adults 35 and older, TV ad spending is critical.

How TV Stations Can Protect Ad Revenue in a Digital World

This TechCrunch article predicts that TV’s share of ad revenue will fall to around 40% by 2018, with digital revenue increasing to 35%. But that’s not necessarily bad news for broadcast journalists. The author goes on to point out that TV’s ad share decline will mostly reflect a shift from TV ads to online video, and many broadcasters will continue to profit from both formats.

To keep both digital and traditional ad revenues flowing, journalists should produce unique, compelling content for both online and broadcast channels, and use both formats to promote each other. Posting shortened clips of longer packages on social media can encourage readers to view the full package on the evening news. Contests and promotions can be devised to engage viewers on both fronts. Meanwhile, advertisers should be advised to purchase spots in both digital and traditional spaces so they can expand both reach and frequency. Click here for more on How to Maintain and Improve TV Ad Revenue in the Digital Age.

[su_note]Pursue a future in broadcast journalism. Learn more about the School of Broadcast Journalism at the New York Film Academy. [/su_note]

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9 Must-Watch Illustration And Graphic Design Documentaries

Documentaries about design, typography, and illustration don’t usually rise to the forefront of public conscience, but that doesn’t mean there isn’t some superb viewing out there for those who are interested in – or practicing – in those fields.

In fact, we’ve found ten such titles that serve to inspire, educate, and entertain… and sometimes all three simultaneously.

Essential Documentaries for Graphic Designers

Let’s start off with our top five picks in the field of graphic design. From individual portraits of highly celebrated luminaries in the industry, to documentaries that provoke deep thought on the conventions behind graphic design, all of the titles here will be of great worth to those who love great design.

Helvetica

An indie-produced graphic design documentary which stands at an impressive 88% on Rotten Tomatoes, a film examining typography – and one font in particular – has no right to be this engaging, but Helvetica is just that.

Examining the ubiquitous font itself, as well as wider themes underpinning the principles of typography, it’s an essential watch for anyone working with text or simply curious about the craft. As director Gary Hustwit, himself, puts it: “Fonts don’t just appear out of Microsoft Word – there are human beings and huge stories behind them.”

Also see Objectified and Urbanized, the two followup documentaries which make up Hustwit’s design ‘trilogy’.

Bauhaus: The Face of the 20th Century

Operating between 1919 and 1993, in only a short spate of time the Bauhaus art school (spread between three different cities) deeply influenced the world of design in a profoundly fundamental way, and those changes still echo on through the teaching of top modern graphic design schools today.

Design is One: Lella and Massimo Vignelli

“If you can design one thing, you can design everything.”

Charming and eccentric, Design is One charts the giddying successes of Lella and Massimo Vignelli, possibly most famous for designing the New York City subway map. The married couple worked together and brought their unique Modernist style to a number of high-profile projects over the decades, before Massimo’s passing last year. This documentary stands as a poignant tribute to two great design characters.

Milton Glaser: To Inform and Delight

Milton Glaser is a name that most graphic designers will recognize and revere, and was also covered recently in our post on the most famous designers in the world.

To Inform on Delight – available on Netflix – is a terrific portrait of the man who created the world famous I Heart New York logo, and a documentary that every graphic designer should treat themselves to.

Essential Documentaries for Illustrators

Moving on to those who work in more traditional media, the following five documentaries make for must-watch viewing for not just illustrators, but for anyone who appreciates great art (and the minds from which it springs forth). We’ll start off with a title that has generated a huge amount of discussion since its release:

Exit Through the Gift Shop

Banksy has long been a divisive artist, and Exit Through the Gift Shop is his magnum opus.

The documentary in itself is a very meta work of art, and could quite possibly be one of the most elaborately crafted hoaxes ever conceived… but that’s a debate that continues to rage on, five years later.

While not strictly related to illustration, it’s one which every artist of any discipline (and even non-artists) should put high up on their to-watch list. And if you saw it when it first came out in 2010, it’s definitely time to dust it off and give it another watch.

Making It

Made by three highly talented illustrators, Making It covers the all-too-real topic of how to balance a love of illustration and the ongoing necessity to pay the rent at the end of the month… ideally, from the proceeds of one’s art.

While never pulling its punches as to the reality of life as an illustrator, Making It will also reaffirm, like never before, why you went to illustration school in the first place.

A128

From Toronto comes this indie documentary which examines the lives and work of those who are trying to find their feet as the next generation of talented young illustrators.

A128 is a great watch, because it successfully conveys the dreams of these bright individuals, as well as the challenges that stand in the way. In addition, it’s inspirational to see how the art of illustration shapes and fulfils the lives of both the creator and the audience who gets to enjoy the work.

Sign Painters

A long-standing American tradition turned underground and niche trade, Sign Painters is essential viewing for those who find themselves awkwardly sandwiched between art and business.

Directed by Faythe Levine and Sam Macon – both artists in their own right – the documentary is as much an examination of the craft of sign painting as it is a celebration of the community which strives to keep the art form alive.

Drew: The Man Behind the Poster

Drew Struzan is the name to know when it comes to movie poster history, and this documentary is his amazing story.

Having illustrated the iconic posters used to promote Indiana Jones, Back to the Future, and the original Star Wars trilogy as well as numerous books and album covers, The Man Behind the Poster features interviews from both Struzan’s family and those he worked with (including George Lucas, Steven Spielberg and Guillermo del Toro, with whom he had a particularly fond working relationship).

A truly impressive career and a documentary worth watching in its own right, but particularly if you’re a filmmaker who’s ever been interested in creating your own movie posters.


So there we have it, 10 excellent documentaries covering the fields of graphic design and illustration, all of which come highly recommended to anyone working in related fields or even those who simply have an interest in what goes on in the minds of some of the world’s most gifted artists.

Seen any other documentaries which should be listed here, or learned anything great from the titles above? We want to hear from you – leave your thoughts and suggestions in the comments below!

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Bethesda Tests A New Market With Their Highly Successful Fallout Shelter

Over the past few years we’ve seen many big name developers and publishers enter the mobile game market. From Sega and Blizzard Entertainment, to Epic Games and Konami, there are quite a good number of veteran game companies known for their high-profile console and PC games that are finding success with their iOS and Android titles. Even Nintendo has recently struck a deal with DeNA to start putting their iconic franchises on our portable devices. With the mobile game market expected to reach 28.9 billion by 2016, who can blame them?

Bethesda Softworks was one of the few developers that hadn’t tested the waters for themselves, despite releasing some of the most successful AAA titles in recent years. This all changed during the 2015 Electronic Entertainment Expo, when they simultaneously revealed and released something hardly anyone saw coming: an iOS game based on the acclaimed Fallout franchise.

Fallout Shelter almost instantly reached the top of the App Store, and even stayed in the Top 5 in terms of grossing for many days. As of this writing, it sits just one position outside of the Top 30, which is not bad for a game that serves as Bethesda’s first mobile game. Even more interesting is the fact that the main devs didn’t even expect it to reach the level of success it has. Pete Hines, the Vice President for Marketing at Bethesda, had the following to say during an interview with Gamesindustry.biz:

“To be honest, I’m not sure what we expected. It’s not like we’re a pretty well-known iOS and iPhone developer where we’ve been down this road before and it’s going to go like this. But it seemed like it ought to be pretty popular, the whole idea of, ‘This thing exists and you can go play it today.’”

The Importance Of Timing

Of course, Hines also notes that timing had a lot to do with Fallout Shelter’s success. Much like Nintendo’s Metroid Prime: Federation Force, which received backlash from fans due to not being the main franchise entry players want, releasing Fallout Shelter before the reveal of Fallout 4 may have proven disastrous. Instead, the iOS title not only became a financial success, but is also doing its part to raise hype for the upcoming Fallout 4 set to release November 10th on Xbox One, PlayStation 4, and PC.

Having their first iOS title become a big success is good reason to continue releasing games in the mobile gaming market, but Hines has also made it clear that, for Bethesda, it isn’t all about the money. Instead, they want to make sure they develop something fun that a wide range of players can enjoy. Doing so requires plenty of preparation, which was done with Fallout Shelter. In fact, the E3-revealed title was already finished and ready for release long before the unveiling of Fallout 4.

As more and more developers shift some of their resources to the growing and profitable mobile game market, it will be interesting to see how this affects the AAA titles we’re used to seeing on PC and consoles. Like Konami, who has already announced their future plans of focusing more on iOS and Android titles, it wouldn’t be surprising to see Bethesda take longer to develop the next Elder Scrolls in order to release a mobile spin off beforehand instead.

[su_note]Dream of becoming a game designer? Learn more about the School of Game Design at the New York Film Academy. [/su_note]

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Five Things Your Free-To-Play Game Should Have (And You Should Track)

When creating a free-to-play (F2P) game, most developers focus on tracking the obvious: number of downloads, installs, and in-app purchases. While there’s nothing wrong with keeping an eye on these metrics, it is important to study how your players are interacting with your game by receiving details on the performance of specific elements.

This will help you make the necessary tweaks and adjustments you otherwise wouldn’t know you needed. For example, realizing that no one is trying to complete your game’s achievements can say a lot about their level of difficulty or fun. As we’ll mention later, achievements can even affect how many people stick around long enough to use your cash shop.

Below are five ways to help you see which parts of your game are acting strongly, and which are making you lose players.

1. Have stages to complete

The first one on this list is perhaps the most important because it could be the easiest way to compare players based on their level of skill and progress. Although time-based measures can sometimes be effective, you may not receive very useful information if you’re comparing data from a player who just installed your game with someone who has been checking it out for a month or two. And since outside factors such as poor internet, or gamers who multitask while playing games, can mess up your time-based data, developers with experience instead recommend stages, levels, or whatever you’d like to call them.

Stages are perfect because they allow you to measure different groups of players based on their progress. You can then see which stages need to be toned down in terms of difficulty, especially when a low percent of the players that completed the previous stage are able to complete the one in question. The more stages your players check out, the more likely they are to invest at the cash shop.

2. Analyze the First Time User Experience (FTUE)

Studies show that most players tend to open up a F2P game and only play it a few minutes before deciding if it’s worth keeping or not. That is why it’s very important to track the user flow during this initial time, and see at what point players lose interest. Like we previously said, the longer someone plays your game, the more likely they are to buy something with actual currency. The best way to track the FTUE of your game is by either flagging certain events the first time they appear, or having players go through a specific sequence of events.

For example, you can set it up so that you know when players install the game, open the title screen, start and complete the tutorials, collect the post-tutorial reward, start the first stage, complete the first stage, and so on. If a large percentage of players stop playing during your tutorials, you know there’s something that needs to change.

3. Know what players are buying

There’s nothing more exciting than seeing that a good number of players like your game enough to spend their hard-earned virtual currency on new stages, items, and more. Of course, it’s even more thrilling when that virtual currency was obtained by paying actual money, and not just grinding for it in-game. Either way, you should keep track of how many players are earning your game’s currency by playing the game and how many are doing in-app purchases.

Like many popular F2P games, such as Clash of Clans, your game probably gives (or will give) players two options for earning currency: pay actual money or perform certain goals that earn you the currency. And like Clash of Clans, you want to design a perfect balance between the two so that players keep coming back never feel like the only way to truly enjoy the game is by paying real cash.

4. Ask them to link their social media sites

You’re not likely to find an F2P game that doesn’t ask you to link your Facebook, Twitter, or other social network profile to the game. This feature is very useful to developers, as it not only allows players to invite others to the game, which is a great way to gain popularity, but it also gives them access to specific demographic information.

The reason you want to track his is simple: if no one is linking their social media profiles with your game, then perhaps the incentive isn’t enough. In other words, you should be giving them rewards for doing so to increase the chances of it happening. Study which rewards convince players to link their profiles so that you have a better chance of drawing in new players.

5. Have achievements or objective system

A good number of F2P games feature achievements that are not necessary to progress further, but allow players to give themselves a pat on the back and feel good. If there’s one thing that Gamerscores, Trophies, and Steam Achievements have taught developers over the last decade, it’s that gamers love receiving that sense of over-achieving, and being able to show it off as well.

So what do achievements have to do with earning profits via a F2P model? Simply put, players that find your achievements interesting enough to try and complete are more likely to spend money in your cash shop. This is because they will spend more time in the game and get more invested, which usually results in buying items that will help them earn the remaining achievements.

[su_note]Dream of becoming a game designer? Learn more about the School of Game Design at the New York Film Academy. [/su_note]

5 Tips to Make Your Illustration Portfolio Outrageously Attractive

When it comes to getting your name out there and landing paid gigs in illustration, your portfolio is everything; your calling card, a representation of all your talent and experience, and quite often the only opportunity you’ll get to make an impression.

The question is, how do you make that first impression count?

Today, we’ll be sharing…

5 Tips to Make Your Illustration Portfolio Outrageously Attractive

illustration portfolio tips

1. DO Make Your Portfolio Easy to Revise

As you progress in your career, what you’ll consider to be your “best” work, or even just work that you feel most represents your style as a whole, will change. Frequently.

As such, don’t make it difficult for yourself by formatting the portfolio in an extremely precise way that doesn’t lend itself to easy modification; or worse, saving it in some kind of rigid, un-editable file format.

You may even want to go one step further and tailor it to each individual job you apply for (which is always a good practice), so make your life easier from the start.

2. DON’T Include Your Early Work

This may sound like very basic and intuitive advice, but it’s surprising how many illustrators – both amateur and professional – seem to think that their portfolio should demonstrate how they’ve grown as an artist over the years.

illustration portfolio format

Don’t. A prospective employer doesn’t particularly care how far you’ve come; they just want to see your best stuff. Of course, you can tell your story by listing your illustration school experience and notable milestones in the text introduction, but it’s best to keep that brief and to the point too.

And that brings us neatly on to:

3. DO Observe the “Less is More” Rule

As you can imagine, a prospective employer may end up with a whole stack of portfolios to sort through and will only spend a minute reviewing each. With this in mind, try and pare yours down to around ten examples (with anything under 5 being too little, and over 15 probably being too overwhelming).

Not only that, but your portfolio can probably benefit from a little minimalism. Keep the design clean and uncluttered, putting the focus squarely on your illustration examples. In addition, try to stick with one piece of illustration per page (as long as this doesn’t create too much negative space), with a couple of lines detailing what the commission was for.

It can be a tough process to select only ten images to represent your entire body of illustration work, so consider asking a friend or fellow illustrator to lend a second pair of eyes.

4. DON’T Just Throw It All Together

Even if you’ve managed the above and figured out a killer set of only your finest illustration, don’t simply collect them together, whack an intro and contact details on the front, then call it a day.

illustration tips

Instead, take the other person on a journey. Start off with a really strong image to grab their attention, and order subsequent images in a way that maximizes the “flow” of the whole portfolio. Make it a real page turner, and you’ll increase the chances of getting that gig.

5. DO Drive it Home With a Website

As we covered earlier in our guide to creating a professional photography website (and much of the advice there applies to illustration), you’ll want your portfolio to lead people back to your house; a one-stop shop featuring all of the good stuff, and a place which makes it very easy to get in contact with you. In fact, if your physical portfolio is the starter, the website should be considered to be the main course.

All in all, make sure you put your best foot forward and try to see your portfolio as would an observer who has never met you. By putting into practice some, or all, of the above illustration portfolio tips, you’ll hopefully be attracting paying gigs from all over…

… best of luck!

How To Get Your Movie Soundtrack Onto iTunes/Spotify

If you’ve got a soundtrack for your movie, chances are you’re looking to distribute it as a separate entity from the film itself.

Even if you’re not expecting to make oodles of extra cash from music sales (and let’s be honest, with Spotify, you won’t) it is still a very worthwhile thing to do from a movie marketing perspective…

… but at the same time, getting your movie soundtrack onto iTunes or Spotify (or both) can be a real head scratcher and has left a fair number of even seasoned producers walking away from the task in frustration.

Let’s demystify the process and explore the steps behind:

How to Upload a Movie Soundtrack to iTunes & Spotify

Now, for the purposes of this post, we’re going to go ahead and assume you own the rights to the music you want to put out there. For more info on producing and publishing your own film music, check out this earlier post which delves into the finer details.

Firstly, let’s start off with:

Uploading to Spotify

The question most people start off wondering is if you need to be signed or get a record label in order to get music onto Spotify. If you’re a movie producer who happens to have ties in this area, you’ll be able to arrange this with a single phone call. But the good news is, you don’t necessarily need a label.

The bad news is there’s no way of uploading music directly.

What you’ll need instead is what is known as an ‘aggregator’—sites that handle all of the revenue, royalties, licensing and distribution; it’s the latter that’ll get you picked up by Spotify itself.

The streaming service has put out a small list of such sites that it works with, but they do all come with fees and/or percentage cuts in exchange for getting you onto Spotify:

Tunecore – $30 per album for a year, then $50 per year thereafter (and you get to keep 100% of the royalty and sales revenues.) Alternatively, you can pay a one-off fee of $75 for unlimited uploads but you only get 90% of the royalties.

CDBaby – A little more pricey than the above at between $59 to $89 per album, but it does not charge annual fees.

EMU Bands – $84.95 per album (of up to 20 tracks.) You keep 100% of the royalties, and there are no annual fees.

Record Union – Between $16 to $25 per album, per year. Packages are customizable depending on which platforms you’d like to upload your movie soundtrack to.

You’ll want to check out the fine print and pricing variations of each of the above to decide what’s right for you, since the range of services—and platforms they upload to—all vary. 

Speaking of which, the above fees usually include not just aggregation to Spotify but also to iTunes (and a whole host of other outlets), so the initial fee might be worth it just to get the entire job done in just a few clicks.

Speaking of which, let’s move on to:

How to Upload Music to iTunes Directly

By this, we’ll assume you’re looking to work directly with Apple in order to get your movie soundtrack onto the iTunes store… but you’ll have to submit an application first and there are quite a few boxes to tick before you’ll be able to do that.

In short, you must have at least 20 albums to your name and own ISRCs (International Standard Recording Codes) for every single track you’re looking to have listed on the iTunes store. If you’re in film producing school or even if you have a few features under your belt, you’re not likely to fit this criteria.

This leaves you with only one option: yep, you guessed it. We’re back to aggregators.

Unlike Spotify, Apple has a massive list of approved aggregators that can get your movie soundtrack up there and the variance of services—as well as prices—is severe, so there’s no blanket answer as to which aggregator is the best.

In summary, if you want to get your movie soundtrack on streaming services and digital stores, your only option is pretty much to sign up with an aggregator. Luckily, it’s a very easy and reasonably inexpensive process… the harder part is trying to spread the word and making people aware of the soundtrack’s existence, but that’s a post for another day.

Had any experiences, good or bad, with a particular aggregation service? Feel free to sound off in the comments below and share with the group!

Finding a Balance Between Traditional and Digital Advertising

Balance between digital and traditional broadcast advertising

According to a recent Tubefilter article, the U.S. Media Industry Forecast predicts digital ad spending will reach almost $42 billion in 2015. The study suggests digital spending might exceed TV spending for the year, although other reports predict television will remain in the lead for a few more years. Either way, broadcasters should focus on retaining – and even gaining – ad dollars for television, as TV ad revenue remains the primary source of income for most broadcasters.

Tout the Benefits of Television Ad Spending

Both digital and TV ad spending are good sources of revenue for broadcasters, and there are advantages of both for advertisers. In an increasingly digital world, however, some advertisers are eager to put more, or even all, of their eggs in the digital marketing basket. While TV stations can still earn revenue selling thirty-second pre-roll spots for video on their websites, retaining television revenue is important.

It’s essential to remind advertisers that they benefit from continuing to spend in the television market as well. With new updates for business Facebook feeds, business content appears less often in the feeds of consumers who like a company—such as a TV station. Broadcasters can combat this problem by doing their own ad spending on Facebook, but even so, not every fan will see every video link a station posts. Other social media feeds, like Twitter, are often even more crowded than Facebook. Consumers can easily scroll right past that video and never see its pre-roll ad.

There are other concerns for advertisers. Even if high numbers of consumers see a broadcaster’s content and click the link, the advertiser could still be missing people who don’t see or take the time to watch the content. Remind businesses that including television spending in their media plan enables a larger reach. In some cases—depending on the market size and time slot of the ads—TV spending may be cheaper per impression than digital advertising, so including both allows greater reach and frequency without additional cost.

Pay Special Attention to Advertisers Who Benefit the Most

While most advertisers benefit from including at least some TV spending in their media plan, certain products will find broadcast dollars offer a particularly good ROI. A 2014 Fiercecable report shows that TV viewing has been declining among teenagers, but remains steady among adults 35 and older. A Pew Research report indicates that while Millennials get 61% of their political news from Facebook, Baby Boomers get 60% from local TV.

Do any of your advertisers offer products aimed at Baby Boomers? If so, remind them that while their target market is increasingly branching out into social media, their media plan will still benefit from heavy TV spending. Baby Boomers might be joining Facebook in growing numbers, but they still get most of their news from television. If you’re looking for new business, spend the most time on companies whose products are of interest to those 35 and older.

Special Promotions Tie Broadcast and Digital Advertising Together

Spending on both digital and TV ads opens up new possibilities for all advertisers. One common trend for local TV stations is to run contests or special promotions that engage viewers on both fronts. For example, many stations ask a question on social media that can only be answered by people who saw the latest newscast. Then they randomly select a winner from the correct answers. Advertisers can sponsor these contests, giving away branded merchandise to the winner. Whether they win or not, viewers are exposed to the advertiser’s message at least twice—once during the newscast and once on social media. These promotions can be local, national, or a combination of both.

These types of promotions are great for products with a younger target market. Millennials are more likely to get their news online, but a contest can encourage them to watch a local news broadcast so they have a chance to win on social media.

But don’t forget the 35 and older demographic. Even though this age group is more likely to get news from television, 79% of adults 30-49 use Facebook, and 60% of those in the 50-64 demographic use the site. Combined social media/news promotions encourage older adults to interact with your feed.

Follower Engagement is Key

Interaction is the key to social media success with any demographic. With the new Facebook feed rules, most people who like a TV station’s page will see few, if any, of its posts unless they specifically visit its page. There are two ways around that problem: The broadcaster can pay Facebook to put its posts in more feeds, or it can build a high level of engagement with fans. When “likers” interact with a page, by liking a post, sharing it, or commenting on it, they’re more likely to see future posts—at no cost to the page owner.

Combined promotions and contests that utilize both traditional TV and digital ad spending not only help advertisers improve reach and frequency, they also grow a station’s social media following and encourage interaction, ensuring more future posts will be seen by fans. To capitalize on this opportunity, you can offer additional chances to win or special prizes to followers who share content or tag friends.

[su_note]Pursue a future in broadcast journalism. Learn more about the School of Broadcast Journalism at the New York Film Academy. [/su_note]

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