Perhaps you’ve wondered what ‘those group of rucksack-slinging juveniles who sport hoodies and beanies and show up only twice a week’ really do for the organisation you work for, and if, by chance they are worth all the quid they are paid.
Very valid question!
Say I spoke to you and gave you details about a house down the road with a particular door colour and fence design, you are likely going to try visualizing it in your mind and develop an image that would guide your search, especially as your listen to the inflection in my voice. What aids your processing is how you recollect my tone when aspects of the house were described to you. This is of course, assuming that we are either having a face-to-face, virtual or phone conversation.
But we aren’t.
In fact, there is usually no human present when your organisation attempts to speak to the world about what they do. Often, they just express written forms of their community’s language and assume the readers catch on the message. But hold on a bit, this is where the magic happens.
Readers will process texts based on how they feel towards the information source. These feelings are sparked by appearance and texture – easels of the designer. So, elements of visuals, look and feel must be properly expressed to induce a type of feeling in the reader: so much of it that they take a single decision – to be closer to it, to be closer to you. The graphic designer is therefore the spark of your audience’s feelings and the first offered handshake from your organisation to the world, a criticality that is make-or-break.
To put it plainly, they are not a fancy option but a vital necessity to your outbound communication which holds together the soul of your organisation – and its essence.
So, far from what you initially thought about the beanie-heads, they aren’t loafing, they are aiming the firm’s scope at the best targets to get the best response for everyone.
