hornsbybrandesign.com ~ knoxville, tn ~ 865-660-7261 ~ A Client's Guide to Design ~ Brand design & web development


A Client's Guide to Design: How to Get the Most Out of the Process... Created by AIGA, the professional association for design. (Edited for brevity by Hornsby Brand Design) Unlike so much in today’s business world, graphic design is not a commodity. It is the highly individualized result of people coming together to do something they couldn’t do alone. When the collaboration is creative, the results usually are too. The following is about how to get creative results. Developed by AIGA, and edited by Hornsby Brand Design, the discussion that follows will give you realistic, useful information about the design process–from selecting a design firm to providing a clear understanding of objectives, evaluating cost and guiding a project to a desired end. It is a kind of “best practices” guide based upon the best thinking of many different designers with very different specializations and points of view, as well as clients of design who have a long history of using it successfully for their companies. The fundamental premise here is that anything worth doing is worth doing well, but if it’s to be done well, it must first be valued. The value position Design is a human act (which often affects conditions) and, therefore, subject to many variables. When the word design is used here, it is always in the context of good design. A lot of famous people have written many famous books on the importance of design and creativity. The subject matter ranges from using design and creativity to gain a strategic advantage or make the world a more livable place—and more. Much more. The focus here is on how to make the process of design work in the business environment so that the end product lives up to its potential. We live in a time of sensory assault. Competing for “eyeballs”—which is to say, customers—is more than just an Internet phenomenon. The challenge for companies everywhere is to attract consumers to their products and services and keep them in the face of fickle markets. The answer to this challenge starts with each company’s people, products and services, but it doesn’t end there. How companies communicate to their markets and constituencies is becoming the primary means of differentiation today. Never, in fact, has effective communication been more important in business. And it has increased the pressure within companies to establish environments and attitudes that support the success of creative endeavors, internally and externally. More often than not, companies that value design lead the pack. What design is and isn’t Design often has the properties of good looks, which perhaps is why it’s often confused with style. But design is about the underlying structure of communicating—the idea, not merely the surface qualities. The late, great designer Saul Bass called this “idea nudity”—messages that stand on their unadorned own. Certainly, it’s possible for a good idea to be poorly executed. But bad ideas can’t be rescued. The objects of design Design is about the whole, not the parts. If you wear your $2,500 Armani suit with the wrong pair of shoes, you are apt to be remembered for the shoes and not the suit. Inconsistency raises doubt and doubt makes people wary. This might not matter much if customers didn’t have alternatives, but customers do. And they know it. So? So, it isn’t enough for a company to have a great logo if the communications effort isn’t carried out across the full spectrum of the company’s interaction with its marketplaces— from how the telephone is answered to corporate identity; branding; packaging; print materials; advertising; Internet, intranet, interactive multimedia and web-related communications; and environmental graphics. Finding the right designer People with a great deal of experience—both as designers and as clients—will tell you that if you really do your homework in the selection process, the chances are excellent that what follows will bring about the hoped–for results. What to look for Locating designers to interview is a fairly uncomplicated proposition. What to look for among the potential candidates—what makes one or the other the right firm for you—is more complex. It’s not a beauty contest. Seeing work that you like is important and altogether appropriate as a point of departure. But it’s not enough to warrant a marriage proposal. The nature and technology of what is designed today is changing and expanding, and so is the discipline of design. As with many businesses and professions today, there’s more to know and the knowledge itself has a shrinking shelf life. Some design firms have organized themselves to do everything, adding new capabilities as the demand warrants. Others do related things, such as corporate identity and annual reports. And still others do one thing—interactive multimedia, for example. If you have a retail packaging project, a firm that designs only environmental graphics might not be your best choice. Why? Well, the reasons have less to do with design than with technical requirements, vendor knowledge, pricing and scheduling. The designer who knows how paint and materials hold up in weather or how signage is viewed from a moving vehicle may not know a thing about seam wraps and how products are treated on retail shelves. Still, there is no litmus test to say one firm can do the job and the other can’t, or that a firm without a certain kind of experience can’t learn. In fact, some companies see a real benefit in hiring a design firm that brings neither prior experience nor preconceptions to their project. If you’ve identified a firm you’d like to work with and are comfortable making a leap of faith, you probably should. The “discovery” process is where you can make that determination. And the more thorough you are, the more likely you are to find a firm with whom you can achieve great—who knows, perhaps even spectacular—results. So ask questions. Lots of them. Top 10 questions How does the firm like to work? Who are its clients? How knowledgeable is it about them? How is it viewed by them? By its peers? What is its design process? What kind of design experience does it have? What kind of results has it achieved? Who will work on your project? Does the firm understand the business? Do you like the people you’ve met? If you find yourself wondering whether all of this is really necessary, ask yourself how seriously you want to compete in the marketplace. Because that is exactly what a good designer will help you do. The design brief A design brief is a written explanation given by the client to the designer at the outset of a project. As the client, you are spelling out your objectives and expectations and defining a scope of work when you issue one. You’re also committing to a concrete expression that can be revisited as a project moves forward. It’s an honest way to keep everyone honest. If the brief raises questions, all the better. Questions early are better than questions late. Why provide a design brief? The purpose of the brief is to get everyone started with a common understanding of what’s to be accomplished. It gives direction and serves as a benchmark against which to test concepts and execution as you move through a project. Some designers provide clients with their own set of questions. Even so, the ultimate responsibility for defining goals and objectives and identifying audience and context lies with the client. Another benefit of the design brief is the clarity it provides you as the client about why you’re embarking on a project. If you don’t know why, you can’t possibly hope to achieve anything worthwhile. Nor are you likely to get your company behind your project. A brief can be as valuable internally as it is externally. If you present it to the people within the company most directly affected by whatever is being produced, you not only elicit valuable input, but also pave the way for their buy-in. When you think about it, the last thing you want is for your project to be a test of the designer’s skills. Your responsibility is to help the design firm do the best work it can. That’s why you hired the firm. And why you give it a brief. How to write one A brief is not a blueprint. It shouldn’t tell the designer how to do the work. It’s a statement of purpose, a concise declaration of a client’s expectations of what the design should accomplish. And while briefs will differ depending upon the project, there are some general guidelines to direct the process. Among them: Provide a clear statement of objectives, with priorities Relate the objectives to overall company positioning Indicate if and how you’ll measure achievement of your goals Define, characterize and prioritize your audiences Define budgets and time frames Explain the internal approval process Be clear about procedural requirements (e.g., if more than one bid is needed from fabricators, or if there’s a minimum acceptable level of detail for design presentations). In the final analysis, design briefs are about paving the way for a successful design effort that reflects well on everyone involved. Budgeting and managing the process If the briefing effort is thorough, budgeting and managing a project is easier. It takes two to budget and manage a design project: the client and the designer. The most successful collaborations are always those where all the information is on the table and expectations are in the open from the outset. Design costs money As one very seasoned and gifted designer says, “There is always a budget,” whether it is revealed to the design team or not. Clients often are hesitant to announce how much they have to spend for fear that if they do, the designer will design to that number when a different solution for less money might otherwise have been reached. This is a reasonable concern and yet, it’s as risky to design in a budgetary vacuum as it is to design without a goal. If your utility vehicle budget stops at four cylinders, four gears and a radio, there’s no point in looking at Range Rovers. If you have $100,000 to spend and you’d really like to dedicate $15,000 of it to something else, giving the design team that knowledge helps everyone. Then you won’t get something that costs $110,000 that you want but cannot pay for. The trust factor is the 800-pound gorilla in the budgeting phase. Without trust, there isn’t a basis for working together. The ideal approach is to bring in your designer as early as you can. The design team can then help you arrive at realistic cost parameters that relate to your objectives in lieu of an arbitrary budget figure. At this stage it is quite feasible to put together a budget range based upon a broad scope of a project or program. Individual estimates can be provided, for example, for design concepts, design development and production, photography, illustration, copy writing and printing for a print piece (or, in the case of a website, estimates for programming, proprietary software and equipment). Who leads? Who follows? It is the client’s responsibility to lead a project and the designer’s to design and manage the design process. Don’t confuse leadership with involvement. As the person representing the client, you might want a great deal of involvement, or very little. If you provide leadership, your participation can be whatever you want it to be. “The first responsibility of a leader is to define reality. The last is to say thank you.” Max DePree, CEO, Herman Miller, Inc., Leadership as an Art There are countless volumes on the subject of leadership, so we won’t presume to give leadership lessons here. The same general principles apply. In a design project, leadership requires that you give clear direction at the outset. You must be available when needed by the design team and ready to make decisions in a timely manner. You should understand how the design supports your objectives (so you can sell it). And you’ll need to monitor major delivery points and be prepared to get the necessary approvals. On this last point, some designers are excellent presenters, and, in fact, like to present their work to the final authority. But while they can be persuasive, they are not the ones to get the final sign-off. As the leader of the team, you are the deal-maker, the closer. If you identify and articulate your objectives, establish your process early, see that the design team has access to what it needs from you, have a detailed budget and schedule to measure progress with, and lead the process from beginning to end, there is no reason that you won’t be able to enjoy the design process as much as the end product. The designer’s responsibility to clients A professional designer shall acquaint himself or herself with a client’s business and design standards and shall act in the client’s best interest within the limits of professional responsibility. A professional designer shall not work simultaneously on assignments that create a conflict of interest without agreement of the clients or employers concerned, except in specific cases where it is the convention of a particular trade for a designer to work at the same time for various competitors. A professional designer shall treat all work in progress prior to the completion of a project and all knowledge of a client’s intentions, production methods and business organization as confidential and shall not divulge such information in any manner whatsoever without the consent of the client. It is the designer’s responsibility to ensure that all staff members act accordingly. The designer’s responsibility to other designers A professional designer shall not knowingly accept any professional assignment on which another designer has been or is working without notifying the other designer or until he or she is satisfied that any previous appointments have been properly terminated and that all materials relevant to the continuation of the project are the clear property of the client. Fees A professional designer shall work only for a fee, a royalty, salary or other agreed-upon form of compensation. A professional designer shall not retain any kickbacks, hidden discounts, commission, allowances or payment in kind from contractors or suppliers. Clients should be made aware of mark-ups. Business expectations for a professional designer In today’s information-saturated world, where an organization’s success is determined by the power of its brand, professional designers become even more important in ensuring that companies communicate effectively—an imperative with bottom-line impact. Furthermore, a professional designer’s ability to execute communications projects efficiently and economically is more critical than ever. When a client invests in the services of a professional designer, he or she hires an individual who aspires to the highest level of strategic design, ensuring a higher return on investment. If a designer meets the following criteria, he or she will demonstrate the integrity and honor of the professional designer. Experience and knowledge A professional designer is qualified by education, experience and practice to assist organizations with strategic communication design. A professional designer has mastered a broad range of conceptual, formal and technological skills. A professional designer applies his or her knowledge about physical, cognitive, social and cultural human factors to communication planning and the creation of an appropriate form that interprets, informs, instructs or persuades. Strategic process A professional designer combines creative criteria with sound problem-solving strategy to create and implement effective communication design. A professional designer solves communication problems with effective and impactful information architecture. A professional designer becomes acquainted with the necessary elements of a client’s business and design standards. A professional designer conducts the necessary research and analysis to create sound communication design with clearly stated goals and objectives. A professional designer will submit an initial communication strategy to an organization’s management for approval and meet with a client as often as necessary to define ongoing processes and strategy. Compensation and financial practices A professional designer provides the client with a working agreement or estimate for all projects. A professional designer will not incur any expenses in excess of the budget without the client’s advance approval. A professional designer may apply reasonable handling and administrative charges to reimbursable items that pass through the designer’s account with the knowledge and understanding of the client. Ethical standards A professional designer does not work on assignments that create potential conflicts of interest without a client’s prior consent. A professional designer treats all work and knowledge of a client’s business as confidential. A professional designer provides realistic design and production schedules for all projects and will notify the client when unforeseen circumstances may alter those schedules. A professional designer will clearly outline all intellectual property ownership and usage rights in a project proposal or estimate. Clients can expect all Hornsby Brand Design employees to live up to these business and ethical standards for professional designers. Through consistently professional work, Hornsby Brand Design employees have documented substantial bottom-line contributions to corporations and organizations. For more information please contact Hornsby Brand Design at 865-660-7261 or visit us online at hornsbybrandesign.com Hornsby Brand Design Hornsby Brand Design specializes in building charismatic brands. They mix the magic of creativity with the logic of business strategy. Hornsby Brand Design has garnered more than 70 local and international awards for creative/strategic solutions in print, web development and broadcast, along with being published in Print and How magazines' prestigious design annuals. A few of the regional, national and international organizations Hornsby Brand Design has served are the American Cancer Society, Regal Entertainment Group, Jewelry Television and the Brunswick Boat Group. Services and products provided: Brand Identity and Development, Advertising, Graphic Design, Web Development, and Consultation. Contact Us Hornsby Brand Design P. O. Box 51204 Knoxville, TN 37950 Tel: 865-660-7261 Fax: 865-690-7265 Feedback--Ask a question, make a suggestion? E-mail us at info@hornsbybrandesign.com. Visit us at http://hornsbybrandesign.com. \

A Client's Guide to Design: How to Get the Most Out of the Process...

Created by AIGA, the professional association for design. (Edited for brevity by Hornsby Brand Design)

Unlike so much in today’s business world, graphic design is not a commodity. It is the highly individualized result of people coming together to do something they couldn’t do alone. When the collaboration is creative, the results usually are too. The following is about how to get creative results. Developed by AIGA, and edited by Hornsby Brand Design, the discussion that follows will give you realistic, useful information about the design process–from selecting a design firm to providing a clear understanding of objectives, evaluating cost and guiding a project to a desired end. It is a kind of “best practices” guide based upon the best thinking of many different designers with very different specializations and points of view, as well as clients of design who have a long history of using it successfully for their companies. The fundamental premise here is that anything worth doing is worth doing well, but if it’s to be done well, it must first be valued.

The value position

Design is a human act (which often affects conditions) and, therefore, subject to many variables. When the word design is used here, it is always in the context of good design.

A lot of famous people have written many famous books on the importance of design and creativity. The subject matter ranges from using design and creativity to gain a strategic advantage or make the world a more livable place—and more. Much more. The focus here is on how to make the process of design work in the business environment so that the end product lives up to its potential.

We live in a time of sensory assault. Competing for “eyeballs”—which is to say, customers—is more than just an Internet phenomenon. The challenge for companies everywhere is to attract consumers to their products and services and keep them in the face of fickle markets. The answer to this challenge starts with each company’s people, products and services, but it doesn’t end there. How companies communicate to their markets and constituencies is becoming the primary means of differentiation today. Never, in fact, has effective communication been more important in business. And it has increased the pressure within companies to establish environments and attitudes that support the success of creative endeavors, internally and externally. More often than not, companies that value design lead the pack.

What design is and isn’t

Design often has the properties of good looks, which perhaps is why it’s often confused with style. But design is about the underlying structure of communicating—the idea, not merely the surface qualities. The late, great designer Saul Bass called this “idea nudity”—messages that stand on their unadorned own. Certainly, it’s possible for a good idea to be poorly executed. But bad ideas can’t be rescued.

The objects of design

Design is about the whole, not the parts. If you wear your $2,500 Armani suit with the wrong pair of shoes, you are apt to be remembered for the shoes and not the suit. Inconsistency raises doubt and doubt makes people wary. This might not matter much if customers didn’t have alternatives, but customers do. And they know it.

So? So, it isn’t enough for a company to have a great logo if the communications effort isn’t carried out across the full spectrum of the company’s interaction with its marketplaces— from how the telephone is answered to corporate identity; branding; packaging; print materials; advertising; Internet, intranet, interactive multimedia and web-related communications; and environmental graphics.

Finding the right designer

People with a great deal of experience—both as designers and as clients—will tell you that if you really do your homework in the selection process, the chances are excellent that what follows will bring about the hoped–for results.

What to look for

Locating designers to interview is a fairly uncomplicated proposition. What to look for among the potential candidates—what makes one or the other the right firm for you—is more complex. It’s not a beauty contest. Seeing work that you like is important and altogether appropriate as a point of departure. But it’s not enough to warrant a marriage proposal.

The nature and technology of what is designed today is changing and expanding, and so is the discipline of design. As with many businesses and professions today, there’s more to know and the knowledge itself has a shrinking shelf life. Some design firms have organized themselves to do everything, adding new capabilities as the demand warrants. Others do related things, such as corporate identity and annual reports. And still others do one thing—interactive multimedia, for example.

If you have a retail packaging project, a firm that designs only environmental graphics might not be your best choice. Why? Well, the reasons have less to do with design than with technical requirements, vendor knowledge, pricing and scheduling. The designer who knows how paint and materials hold up in weather or how signage is viewed from a moving vehicle may not know a thing about seam wraps and how products are treated on retail shelves.

Still, there is no litmus test to say one firm can do the job and the other can’t, or that a firm without a certain kind of experience can’t learn. In fact, some companies see a real benefit in hiring a design firm that brings neither prior experience nor preconceptions to their project. If you’ve identified a firm you’d like to work with and are comfortable making a leap of faith, you probably should.

The “discovery” process is where you can make that determination. And the more thorough you are, the more likely you are to find a firm with whom you can achieve great—who knows, perhaps even spectacular—results. So ask questions. Lots of them.

Top 10 questions

How does the firm like to work?
Who are its clients?
How knowledgeable is it about them?
How is it viewed by them? By its peers?
What is its design process?
What kind of design experience does it have?
What kind of results has it achieved?
Who will work on your project?
Does the firm understand the business?
Do you like the people you’ve met?

If you find yourself wondering whether all of this is really necessary, ask yourself how seriously you want to compete in the marketplace. Because that is exactly what a good designer will help you do.

The design brief

A design brief is a written explanation given by the client to the designer at the outset of a project. As the client, you are spelling out your objectives and expectations and defining a scope of work when you issue one. You’re also committing to a concrete expression that can be revisited as a project moves forward. It’s an honest way to keep everyone honest. If the brief raises questions, all the better. Questions early are better than questions late.

Why provide a design brief?
The purpose of the brief is to get everyone started with a common understanding of what’s to be accomplished. It gives direction and serves as a benchmark against which to test concepts and execution as you move through a project. Some designers provide clients with their own set of questions. Even so, the ultimate responsibility for defining goals and objectives and identifying audience and context lies with the client.

Another benefit of the design brief is the clarity it provides you as the client about why you’re embarking on a project. If you don’t know why, you can’t possibly hope to achieve anything worthwhile. Nor are you likely to get your company behind your project. A brief can be as valuable internally as it is externally. If you present it to the people within the company most directly affected by whatever is being produced, you not only elicit valuable input, but also pave the way for their buy-in.

When you think about it, the last thing you want is for your project to be a test of the designer’s skills. Your responsibility is to help the design firm do the best work it can. That’s why you hired the firm. And why you give it a brief.

How to write one

A brief is not a blueprint. It shouldn’t tell the designer how to do the work. It’s a statement of purpose, a concise declaration of a client’s expectations of what the design should accomplish. And while briefs will differ depending upon the project, there are some general guidelines to direct the process. Among them:

Provide a clear statement of objectives, with priorities
Relate the objectives to overall company positioning
Indicate if and how you’ll measure achievement of your goals
Define, characterize and prioritize your audiences
Define budgets and time frames
Explain the internal approval process
Be clear about procedural requirements (e.g., if more than one bid is needed from fabricators, or if there’s a minimum acceptable level of detail for design presentations).

In the final analysis, design briefs are about paving the way for a successful design effort that reflects well on everyone involved.

Budgeting and managing the process

If the briefing effort is thorough, budgeting and managing a project is easier. It takes two to budget and manage a design project: the client and the designer. The most successful collaborations are always those where all the information is on the table and expectations are in the open from the outset.

Design costs money

As one very seasoned and gifted designer says, “There is always a budget,” whether it is revealed to the design team or not. Clients often are hesitant to announce how much they have to spend for fear that if they do, the designer will design to that number when a different solution for less money might otherwise have been reached. This is a reasonable concern and yet, it’s as risky to design in a budgetary vacuum as it is to design without a goal. If your utility vehicle budget stops at four cylinders, four gears and a radio, there’s no point in looking at Range Rovers.

If you have $100,000 to spend and you’d really like to dedicate $15,000 of it to something else, giving the design team that knowledge helps everyone. Then you won’t get something that costs $110,000 that you want but cannot pay for. The trust factor is the 800-pound gorilla in the budgeting phase. Without trust, there isn’t a basis for working together.

The ideal approach is to bring in your designer as early as you can. The design team can then help you arrive at realistic cost parameters that relate to your objectives in lieu of an arbitrary budget figure. At this stage it is quite feasible to put together a budget range based upon a broad scope of a project or program. Individual estimates can be provided, for example, for design concepts, design development and production, photography, illustration, copy writing and printing for a print piece (or, in the case of a website, estimates for programming, proprietary software and equipment).

Who leads? Who follows?

It is the client’s responsibility to lead a project and the designer’s to design and manage the design process. Don’t confuse leadership with involvement. As the person representing the client, you might want a great deal of involvement, or very little. If you provide leadership, your participation can be whatever you want it to be.

“The first responsibility of a leader is to define reality. The last is to say thank you.” Max DePree, CEO, Herman Miller, Inc., Leadership as an Art

There are countless volumes on the subject of leadership, so we won’t presume to give leadership lessons here. The same general principles apply. In a design project, leadership requires that you give clear direction at the outset. You must be available when needed by the design team and ready to make decisions in a timely manner. You should understand how the design supports your objectives (so you can sell it). And you’ll need to monitor major delivery points and be prepared to get the necessary approvals. On this last point, some designers are excellent presenters, and, in fact, like to present their work to the final authority. But while they can be persuasive, they are not the ones to get the final sign-off. As the leader of the team, you are the deal-maker, the closer.

If you identify and articulate your objectives, establish your process early, see that the design team has access to what it needs from you, have a detailed budget and schedule to measure progress with, and lead the process from beginning to end, there is no reason that you won’t be able to enjoy the design process as much as the end product.

The designer’s responsibility to clients

A professional designer shall acquaint himself or herself with a client’s business and design standards and shall act in the client’s best interest within the limits of professional responsibility.

A professional designer shall not work simultaneously on assignments that create a conflict of interest without agreement of the clients or employers concerned, except in specific cases where it is the convention of a particular trade for a designer to work at the same time for various competitors.

A professional designer shall treat all work in progress prior to the completion of a project and all knowledge of a client’s intentions, production methods and business organization as confidential and shall not divulge such information in any manner whatsoever without the consent of the client. It is the designer’s responsibility to ensure that all staff members act accordingly.

The designer’s responsibility to other designers
A professional designer shall not knowingly accept any professional assignment on which another designer has been or is working without notifying the other designer or until he or she is satisfied that any previous appointments have been properly terminated and that all materials relevant to the continuation of the project are the clear property of the client.

Fees

A professional designer shall work only for a fee, a royalty, salary or other agreed-upon form of compensation. A professional designer shall not retain any kickbacks, hidden discounts, commission, allowances or payment in kind from contractors or suppliers. Clients should be made aware of mark-ups.

Business expectations for a professional designer
In today’s information-saturated world, where an organization’s success is determined by the power of its brand, professional designers become even more important in ensuring that companies communicate effectively—an imperative with bottom-line impact. Furthermore, a professional designer’s ability to execute communications projects efficiently and economically is more critical than ever.

When a client invests in the services of a professional designer, he or she hires an individual who aspires to the highest level of strategic design, ensuring a higher return on investment. If a designer meets the following criteria, he or she will demonstrate the integrity and honor of the professional designer.

Experience and knowledge

A professional designer is qualified by education, experience and practice to assist organizations with strategic communication design.
A professional designer has mastered a broad range of conceptual, formal and technological skills.
A professional designer applies his or her knowledge about physical, cognitive, social and cultural human factors to communication planning and the creation of an appropriate form that interprets, informs, instructs or persuades.

Strategic process

A professional designer combines creative criteria with sound problem-solving strategy to create and implement effective communication design.
A professional designer solves communication problems with effective and impactful information architecture.
A professional designer becomes acquainted with the necessary elements of a client’s business and design standards.
A professional designer conducts the necessary research and analysis to create sound communication design with clearly stated goals and objectives.
A professional designer will submit an initial communication strategy to an organization’s management for approval and meet with a client as often as necessary to define ongoing processes and strategy.

Compensation and financial practices

A professional designer provides the client with a working agreement or estimate for all projects.
A professional designer will not incur any expenses in excess of the budget without the client’s advance approval.
A professional designer may apply reasonable handling and administrative charges to reimbursable items that pass through the designer’s account with the knowledge and understanding of the client.

Ethical standards
A professional designer does not work on assignments that create potential conflicts of interest without a client’s prior consent. A professional designer treats all work and knowledge of a client’s business as confidential.

A professional designer provides realistic design and production schedules for all projects and will notify the client when unforeseen circumstances may alter those schedules.

A professional designer will clearly outline all intellectual property ownership and usage rights in a project proposal or estimate. Clients can expect all Hornsby Brand Design employees to live up to these business and ethical standards for professional designers. Through consistently professional work, Hornsby Brand Design employees have documented substantial bottom-line contributions to corporations and organizations. For more information please contact Hornsby Brand Design at 865-660-7261 or visit us online at hornsbybrandesign.com

Hornsby Brand Design

Hornsby Brand Design specializes in building charismatic brands. They mix the magic of creativity with the logic of business strategy. Hornsby Brand Design has garnered more than 70 local and international awards for creative/strategic solutions in print, web development and broadcast, along with being published in Print and How magazines' prestigious design annuals. A few of the regional, national and international organizations Hornsby Brand Design has served are the American Cancer Society, Regal Entertainment Group, Jewelry Television and the Brunswick Boat Group.

Services and products provided: Brand Identity and Development, Advertising, Graphic Design, Web Development, and Consultation.

Contact Us

Hornsby Brand Design
P. O. Box 51204
Knoxville, TN 37950
Tel: 865-660-7261
Fax: 865-690-7265

Feedback--Ask a question, make a suggestion?
E-mail us at info@hornsbybrandesign.com.

Visit us at http://hornsbybrandesign.com.

Hornsby Brand Design \