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How
We Work
THE
WAY WE WORK naturally varies slightly with the type of project.
Nonetheless, a welcome leaflet, site or town guide, teaching pack,
walking guide, or even a large hardback book all feature a surprising
number of common elements. What follows should give you some idea
of the central processes.
Contact
At first
contact, all we need to know is roughly what you want and when you
need it.
We'll
ask basic questions to discover what stage you're at: Who are your
intended audience?; How much have you thought about the project?;
What are your ideas?; Do you have an existing outline?; What information
and resources are available? Can you provide images? From this we
can gauge the scale and likely duration of the project.
Outline
and Quotation
The next
step, in most cases, is to arrange a meeting with you to find out
more and discuss and develop ideas. Where applicable, we'll appraise
the job, make notes, look at the site, sketch plans, etc. We'll
also ask for any currently available information and images.
Back
at the office, we'll consider our approach, outline what the project
entails, think about structure, list likely elements and get costings,
and advise you of the likely overall cost. We'll send you a letter
detailing both our approach and price. Depending on the project,
this usually includes initial annotated drawings showing what the
finished publication may look like, detailing possible elements
and the thinking behind them.
The
Agreement
Once
both parties are happy with what's expected, we'll need a letter
of agreement or an official job order. We'll also send you a copy
of our Standard Terms and Conditions
which you should read carefully and keep for future reference.
The
Brief
Around
the same time, you should send us a proper written brief, outlining
more specifically what you want. You may already have a good idea
of what's required; alternatively, we can help you develop your
ideas. The brief can be either a short yet precise description,
or a fuller, more formal document covering everything from the spirit
of place to visitor profiles, key messages, and desired behavioural
and emotional outcomes.
Collecting
Information
The next
step is collecting and marshalling information. As the larger picture
emerges, salient themes and storylines surface. It's from these
that we'll construct our larger concept, specific interpretive themes
and narrative.
Archival
and Picture Research
This
is where our long experience of research comes to the fore. We'll
decide what and how much information we need, and then go out and
look for it.
To avoid
reinventing the wheel, we'll need to know what information and images
you already have. In both cases, we'll provide you with an early
information 'shopping list'.
Where
necessary, we'll identify, contact and visit relevant archives,
record offices and museums to collect any (further) information
that may be needed. This may include books and booklets, periodicals,
anecdotal and first hand accounts, theses, maps, plans, postcards,
posters, artefacts, archival and historical information ... in fact,
anything pertinent to the project.
It's
worth remembering here that picture research often takes as long,
if not longer, than collecting other information, and should begin
as early as possible. Where necessary, we'll contact picture sources,
record offices and libraries.
Photography,
Maps, Illustrations, Cartoons
When
the right images aren't available, we'll commission photographers,
illustators, artists and diagram specialists, cartoonists or map
makers to provide exactly what is needed. We've built up some oustanding
contacts over the years.
We also
create stunning 3D aerial picture maps and birdseye views in house;
these are often used as key images on brochures, panels and guides.
Analysis
and Theming
Marshalling
the collected information helps us clarify key themes. Interpretation
is all about being selective. We're looking for the essence of your
site or attraction around which to build our interpretive story.
Our aim is to make the complex clear®.
Concept
Development
With
all the available information and images to hand, we then look at
a number of other criteria, brainstorm ideas, and come up with our
considered approach. In the case of educational material, we'll
naturally bear in mind the guidelines for the appropriate subject(s)
and key stage(s) in the UK National Curriculum. When everything
has been considered, we'll then refine our ideas to form the so-called
concept.
Mock-Ups
Much
talking and sketching later, we'll produce annotated mock-ups of
the various elements of the project. These show what each publication
will contain and what they're likely to look like. The annotations
show where and how each key message from your brief or management
plan is employed.
Mock-ups
mean you can see and understand our suggested approach. They also
allow the client to suggest changes and alternative ideas. Mock-ups
often evolve further but are a useful way to show an initial vision.
Copyfitting
Mock-ups
also allow us to work out what goes where, and how much space we
have for each element of the content and design.
Structuring
information means applying a definite form to the way words and
images are laid out on the page. Information moves from the general
to the particular and adheres to selected themes; it also addresses
target audiences and specific behavioural and emotional outcomes.
And it conveys its message within a distinct narrative structure.
What's
more, there are definite titles, and taglines; and, for clarity's
sake, text is broken into discrete paragraphs, some with their own
subheads. The aim of all this careful structure is to make the message
clear, easy to read, and interesting.
These
considerations mean that words must be made to fit in to allotted
spaces, using particular fonts, and particular line spacing. Captions,
quotes, text boxes, and timelines must be fitted in too, each with
their own fonts, leading, and type sizes. This arcane art is called
copyfitting.
Writing
the First Draft
Using
an outline programme, the underlying structure, themes and content
of the text are sketched in. Layers of information for different
users are worked out. Headers, taglines, quotations and subheads
are added. Timelines are built up and refined. Images are chosen
and captions outlined. The body text is outlined, written and copyfitted.
Colour coding and walks information may be included. Separate text
boxes may also be added, as well as credits, acknowledgements and
other secondary text.
Word
counts and instructions to the designer are keyed in at draft stage,
too. The first draft and mock-up together give the client a good
idea of the final product.
Changes
and Amendments
You'll
get several opportunities to change or amend the text at different
stages. These are usually factual or textual amendments that can
easily be rectified. When all client changes have been incorporated
into the text, we'll ask you to sign it off and return it to us.
We're now ready to go to design.
Bilingual
Text
Where
necessary, we can produce bilingual guides - for example Welsh/English
guides. We work with recognised translators to very high standards,
producing balanced work that reflects the needs of both communities.
Text is translated, checked, correctly set, and proofed at various
stages to ensure absolute veracity.
Graphic
Design
'Heritage
and Countryside Guides' has worked with the same accomplished
professional graphic design company - Aquarium Graphic Design Limited
- for over a decade. They work with Quark Xpress, Adobe Illustrator
and Photoshop software, among others, to turn the text, images and
mock-up into a finished design based on our concept. When necessary,
we'll work very closely with the designers to ensure we get precisely
what we, and you the client, want.
Testing
All guides
are audience tested to improve usability. Walking guides use only
selected and tested routes. Educational material is tested on children,
families, and teachers. Feedback is incorprated in to the next draft
or proof. Careful proofreading is also imperative at every stage
to spot errors and omissions. Proofs provide yet another opportunity
for both client and user feedback.
Client
Proofs
A high
resolution colour proof, cut and folded, where applicable, to closely
resemble the finished article, is then sent to the client for approval.
We normally allow for two colour proofs per job. Remember to proof
read each item very carefully, and to look for omissions as well
as any more obvious mistakes. In design terms, getting it right
is often an evolutionary, iterative process. Attention to detail
is critical all the way through; remember, it's not finished until
it's finished!
Sign
Off
Once
you, the client, are satisfied that everything is OK, sign and date
the proof using the attached form, and return it to us. We can now
transfer the approved, finished artwork to CD ready for print. All
high resolution scans and fonts are now in place.
Production
We'll
happily provide either full text ready to go to design, full ready-to-go-to-print
artwork with all high-resolution scans in place on CD, or printed,
finished and folded publications, packed and delivered to your door.
The choice is yours.
Payment
Payment
is usually by instalments, with a percentage due on contract, at
the completion of the draft text, and on delivery.
Guides
and Guidebooks: From Concept to Completion
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