bLog-oMotives: Identity re-design

Showing posts with label Identity re-design. Show all posts

Toot! Toot!*: Jeff Fisher LogoMotives design for Portland law firm published in 'Relogo" book

The identity design work of Jeff Fisher, the Engineer of Creative Identity for the firm Jeff Fisher LogoMotives, is represented in the recently released book Relogo: Re-designing the Brand. The volume, from Chinese book company Sandu Publishing, features logo re-design examples from around the world.

Earlier this year, an editor from Sandu contacted the designer requesting the submission of any recent Jeff Fisher LogoMotives rebranding efforts for possible inclusion in the book. Fisher had just completed the implementation of his new identity for Portland law firm Samuels Yoelin Kantor LLP (above, lower right). The new logo is an update of the logo he originally created for business in early 1997 (above, upper right).

Over the years, the graphic representation of two heavy law books, forming an S letterform, has become a very recognizable icon for the business. The original identity was honored with a Bronze in the Summit Creative Awards. It has also appeared in the 1997 PRINT Regional Design Annual and the books International Logos & Trademarks IV, New Logo & Trademark Design (Japan), The Big Book of Logos, Global Corporate Identity and The Best of Letterhead and Logo Design.

Fisher, a 33-year design industry veteran, is the author of Identity Crisis!: 50 redesigns that transformed stale identities into successful brands and The Savvy Designer's Guide to Success: Ideas and tactics for a killer career. Other book projects are currently in the works. The designer has received over 600 design awards and his work has been published in more than 160 books on identity design, self-promotion and the marketing of small businesses.

More information about Jeff Fisher, and his design and writing efforts, may be found on the Jeff Fisher LogoMotives blogfolio.

(* If I don’t "toot!" my own horn, no one else will.)

Re-Design: RiverWest Acupuncture Website

A few months ago I tweaked and updated the logo of the RiverWest Acupuncture identity for the clinic owned by my good friend and acupuncturist Lisa Francolini, L.Ac. This was just the initiation of the process in rebranding the facility and an increased menu of service options.

I don't claim to be a "web designer" - in fact, with my focus on identity design, I have no desire to be a "web designer" and developer. That's a job for those really interested and skilled in those arenas. However, I do often participate in the design of the appearance of the website of a business or organization, as part of the overall brand of a client. (A previous example of such work was my creation of the new graphic "look" for VanderVeer Center as featured in my book Identity Crisis!: 50 Redesigns That Transformed Stale Identities Into Successful Brands.)

The webpage design that had been used by RiverWest Acupuncture for years (above) no longer suited the needs of the business. Much of the content was outdated and the site didn't begin to define the current services being offered. With the evolution of the clinic's logo, and future redesign of all print materials, the appearance of the web presence would not longer fit the graphic image of the facility. Personally, I felt the look was very dated, had major design issues, and the proportions presented problems as viewed on most monitors.

I don't think Lisa Francolini (or most clients) had any idea of the scope of taking on such a project - and what it would require of her in fine-tuning the definition of her business. Early on, another friend, writer Greg Coyle was brought in to assist in creating the text for what would eventually become the new website. His involvement was crucial in helping the client establish a tone in conveying the message and purpose of RiverWest Acupuncture.

Knowing that the client was a very visual person, I created a rough design (above) as a template in which all proposed text could be presented. The template allowed the client to see how things might actually look on the Internet - without going through the process of creating a live website for review. At this point, Jennie Vinson of Mission First Marketing became involved in the project as the marketing and public relations representative for the clinic. She was incredibly valuable in critically assessing text and evaluating potential online flow of the site content.

A potential client conflict of interest resulted in a web designer/developer with whom I wanted to work having to decline an offer to participate in the RiverWest effort. Andrew Barden, of Periscope Creative had a previous relationship with Mission First Marketing and was suggested as a possible solution to our need. I knew he would be a great addition to the team from the moment we first met.

Barden did a fantastic job of translating the essence of the initial design - which the client liked a great deal - into a series of options for all to review. He provided excellent advice in regards to placement of elements, navigation and implementation of all client requirements. The final new RiverWest Acupuncture web presence (above) went live this week and successfully conveys a strong image of the clinic.

Any business entity considering a website redesign, or an introduction to the web, should understand that it is not necessarily a quick and easy process. At times it is necessarily to coordinate a team of professionals to create and produce the required end result. Such projects seldom are completed overnight - even for a small business. In the case of the RiverWest Acupuncture project, the collaboration of the client, a writer, a marketing/public relations specialist, a web designer/developer, the RiverWest staff and myself resulted in a website that will best serve the client, patients and potential patients for some time.

With design elements securely in place, and corporate colors clarified, I can now complete the process of designing a stationery package and collateral materials.

(Note: My book, Identity Crisis!, contains case studies from 35 designers and firms located around the world. Learn more about the book on the Identity Crisis! blog.)

Re-Design: RiverWest Acupuncture

Logo redesign projects don't always require a total revamping of the image in question. At times I am hired to tweak, or slightly alter or update, a business or organization identity. Such was the case with the logo representing RiverWest Acupuncture.

I had always liked the identity and branding or the company owned by my friend and acupuncturist Lisa Francolini, L.Ac. Still, elements of the original RiverWest logo (below top) always bothered me. I liked the circular icon within the design and the interaction between the script and sans serif typefaces. However, I was really bothered by the letter-spaced script treatment of "River." The uppercase "R" within the word also created another visual problem for me. The flourish-like descending element of the letterform seemed to draw the eye to the left, while the reader would be trying to read the name from left to right. Closer inspection revealed that the "River" and "West" text treatments were not exactly on the same horizontal plane, and the word "Acupuncture" was slightly off-center. In addition, I felt the size relationship between "River" and "West" was a bit off.

With the business owner being a close friend, I didn't want to volunteer my observations about the design without being asked. Once, in a social situation, she asked for my opinion about the RiverWest Acupuncture logo - and I relayed my concerns. I was then hired to tweak the logo and begin the process of redesigning many elements of the company's brand (which is still ongoing).

In my alteration of the RiverWest identity (above bottom), the design and size of the circular icon remained constant. I selected Snell Roundhand to address my issues with the "River" type. The uppercase "R" has a visual "stop" where a flourish previously sent the eye off to the left. Proper spacing of the typeface eliminated the other visual pauses between letters within the word. I also made the "West" element more visually proportional to "River" and bumped up the size of "Acupuncture" when centering it under the rest of the logo.

When I showed the revised identity image to my friend and client she said, "Oh, it still looks just like RiverWest Acupuncture and it is so much easier to read."

(Note: My book, Identity Crisis!: 50 Redesigns That Transformed Stale Identities Into Successful Brands, contains case studies from 35 designers and firms located around the world. Learn more about the book on the Identity Crisis! blog.)

Re-Design: Balaboosta Delicatessen

The Japanese book Works in Progress: Graphics for Visual Presentations features a portion of the logo design process for Balaboosta. The following example of a logo re-design project by Jeff Fisher LogoMotives goes into a bit more detail.

Local chef and restaurant owner Lisa Schroeder was opening a new traditional delicatessen on a city block where she owned two other eating establishments. Initially the new eatery was also going to display and sell artisan furniture made from reclaimed products. A polished identity was needed to represent the new business.

Furniture designer Brett Bigham had created an initial image for use in promoting the establishment which would also showcase his creative efforts (above). A more stylized and finished business identity was desired by the owner of the business. Retaining the image of a waitress in the graphic was discussed, as was the incorporation of some retro restaurant imagery.

With "Balaboosta" being a rather unique word, I first presented the client the word in a wide variety of typefaces - both upper and lower case for each font presented (above).

The initial concepts (above) incorporated waitress imagery, a retro-like checkerboard pattern and all of the text elements desired by the client. The first two logo concepts included an oval shape - an element used in the identities of the client's tow other eating establishments.

Feedback on the initial concepts led to the elimination of the waitress image. The client suggested that I concentrate on promoting the food offerings of the delicatessen within the logo design.

I then decided to incorporate a cup of coffee and a bagel as replacements for the "O" letterforms in the word "Balaboosta." In addition, concepts were presented that conveyed a restaurant tabletop with coffee cups, bowl, plate and pitcher. (above) Again, one of the designs involved the inclusion of the oval shape.

The oval resonated with the client and I was asked to move forward with that shape as a graphic element. The coffee cup remained within the design; while the bagel was replaced with a half sandwich and a dill pickle slice. In simplifying the design, the name Balaboosta Delicatessen was the only text retained. A variety of background treatments were presented (above).

The client, who had a great understanding of design and typography, then suggested that I take a look at the font Serific/Serifa as a possible primary type treatment. Baskerville was discussed as a complimentary type selection for the word "Delicatessen" (above).

The simplification of the logo design continued with the elimination of all illustrative elements. The diamond pattern background of previous concepts brought my attention to the tile pattern on the floor of the historic building housing the delicatessen. I then brought that tile pattern - and the colors of wood, paint and tile within the restaurant - into the design (above).

The oval shape was a consistent element from the beginning of the process to create an identity for the Balaboosta Delicatessen. Through the process of distilling the design down to a simplified image, a final sophisticated logo was created.

The client was very pleased with the final identity image and how it complimented the logos of her other restaurants. Unfortunately, the design got little use, as the eating establishment was reconcepted shortly after opening.

In addition to appearing in the Works in Progress: Graphics for Visual Presentations, the Balaboosta design lives on in The Big Book of Logos 5.

A designer/author's travels through the State of Washington making multiple presentations

Over the past few days I had two speaking engagements and one day-long workshop in three different cities. I covered many different design-related topics in my presentations - and even more highway miles in my travels.

On Friday evening I was the speaker at a Yakima Ad Federation dinner. My presentation for the event was based on my book, Identity Crisis!: 50 redesigns that transformed stale identities into successful brands (HOW Books, 2007). An audience of advertising professionals, print house representatives, designers, design students and others made for a fun and interesting evening.

Paul Jones, of The Field Group, initiated discussions about a possible visit to the Yakima, WA group almost a year ago. I appreciate his persistence in working to schedule an event. In recent months, Brett Lamb, Programs Coordinator for the Ad Club and owner of BLAMB, has done a great job of putting together the special event in Yakima. I do want to thank the The Field Group for sponsoring my visit.

The next morning I was hosted by the Graphic Design Department at Central Washington University in Ellensburg. The well-attended presentation, with students from both CWU and Perry Technical Institute, focused on information about design graduates going out into the big, bad world. Much of the presentation content was from my first book, The Savvy Designer's Guide to Success: Ideas and tactics for a killer career. (Savvy Designer was recently released by HOW Books as a PDF on CD) Lola Gallagher, of the university's Campus Life Publicity Center, was incredibly helpful in coordinating and promoting my visit to the school.

My third event in four days was a day-long logo design workshop at the School of Visual Concepts in Seattle. It had been 22 years since I had last visited the school - as a reviewer of student portfolios when I lived and worked in Seattle.

A year ago I had contacted Director Larry Asher to introduce an author friend as a possible speaker for SVC. He informed me that "SVC was founded in 1971 with the philosophy that students should learn from top working professionals versus professional educators." The friend I was recommending really didn't fall into the category of "working designer."

Asher added, "[There is a] working designer whose work we admire and he'd definitely be an excellent choice to lead a one-day workshop on identity design. I think you know who I'm talking about!."

That interaction began the process of putting together a logo design workshop for presentation at SVC.

Over the years I've had many speaking engagements at high schools, design eduction facilities, universities, conferences and business meetings. However, in the past I have not presented anything in a workshop format - especially for a 6-7 hour time period. It was challenging for me to create a program for actually teaching a day-long class, with handouts, class activities and hours of related information.

In the end, I opted to base my workshop on my book Identity Crisis!. The discussion, and examples and case studies shown throughout the day, focused on the considerations and process involved in redesigning identities - design aspect I often deal with in my own client work. I now have a well-packaged workshop on identity re-design for possible use as a series of classes, or presentation elsewhere as a similar workshop. (I am currently working on setting up a similar workshop in Portland during the fall of 2009)

Thanks to Asher, and co-director Linda Hunt, for being so welcoming and accommodating in coordinating and hosting my School of Visual Concepts workshop. It was a pleasure to revisit the school after over two decades. I appreciate Hunt's offer to return next year after the release of my upcoming book, Logo•Type.

I have a great deal of appreciation for all of the attendees who participated in my three presentations in the past few days. It was a pleasure to meet so many business professionals, design educators, working graphic designers and design students. I wish you all continued success in your efforts.

Toot! Toot!*: Author Jeff Fisher cited as "marketing makeover" expert in Entrepreneur Magazine

Jeff Fisher, the Engineer of Creative Identity for the Portland-based design firm Jeff Fisher LogoMotives, is featured as an expert on design and branding in the February 2009 issue of Entrepreneur Magazine. Fisher, author of the book Identity Crisis!: 50 Redesigns That Transformed Stale Identities into Successful Brands, was asked by writer Gwen Moran to critiqued several marketing element redesigns for the article Five Great - and necessary - Marketing Makeovers.

Joining the internationally recognized identity designer in commenting on the highlighted redesign projects are branding consultant and author Karen Post, the Branding Diva from Tampa, FL; and Lynette Xanders, the founder of Portland branding and research firm Wild Alchemy.

The expert panel reviewed the retail store makeover of Philadelphia shoe seller Ubiq; the collateral redesign for Patriot Consulting, Inc. of Iselin, NJ; and the new identity for Portland's Jive Software. The website makeover for CoffeeCakes.com, of Castle Rock, CO, and the new packaging for the Phoenix-based Fairytale Brownies were also critiqued.

Jeff Fisher has received over 600 regional, national and international graphic design awards for his logo and corporate identity efforts and his work is featured in more than over 100 books on the design of logos, the business of graphic design, and small business marketing. His first HOW Books offering, The Savvy Designer’s Guide to Success, appeared on bookstore shelves in late 2004, and was recently re-released in PDF format on CD. Fisher is currently writing a book about typography in identity design. In 2008, Jeff Fisher LogoMotives was recognized as one of the top 100 U.S. home-based businesses by the web presence StartupNation

More information about Jeff Fisher, and his design and writing efforts, may be found on the Jeff Fisher LogoMotives blogfolio.

(* If I don’t "toot!" my own horn, no one else will.)

Re-Design: Private Parties

Back in 1994, a friend working for the catering company Private Parties contacted me about redesigning the firm's identity. The formal image conveyed by the existing logo (below left) was not successfully conveying the more casual and fun event planning being done for clients. Still, the business did not want to completely lose the public's visual reference to what had become an established identity in the local market.

The catering firm did coordinate some formal events, so I suggested maintaining the general look of the previous tuxedo image while changing out the bow tie element for a customized necktie. For the pattern on the tie I created simplified graphics (below) of a variety of fruits and vegetables that might be items incorporated in the menu offerings of the caterer. At the time, the owner even considered having similar neckties made for the staff. Instead of having the tie hanging straight down on the front of the shirt graphic, I gave it a little implied movement to project that the Private Parties personnel never stood still.

All these years later, the company represented by the logo is no longer in business. However, I do think the before and after images are still good examples of a company not totally losing an established business identity when updating the company logo.

Additional, before and after logo images may be seen on the Jeff Fisher LogoMotives blogfolio.

Before and after logo designs: Part VII

Many of my identity design projects have been redesigns of existing logos. Over the years I have been contracted many times to update or makeover the logos of businesses and organizations. My "before & after" images of such projects get a great deal of attention in my marketing packets and through previous blog entries focusing on redesign efforts. I thought I would create a series of bLog-oMotives visual entries showcasing some of the examples - with links to previous posts offering project explanations and anecdotes - allowing bLog-oMotives readers to easily review some of the past featured designs.

Balaboosta • Portland,OR (More info to come)

Diane Tutch • Portland, OR (More info to come)

House of Light • Portland, OR (More info to come)

Samuels Yoelin • Portland, OR (Read more)

Private Parties • Portland,OR (More info to come)

Check out the complete collection of "before and after" logo design posts on bLog-oMotives.

Re-Design: Peggy Sundays

It's not often that I do an identity redesign before a new business even opens. However, that was the case with the retail operation originally named Peggy Sunday's. Peggy Seaman, owner of the store that Portland Picks has referred to as "an ultra-girly housewares haven filled to the brim with fabulous finds," found me just over a decade ago by way of an article about my business that appeared in The Oregonian.

For the purpose of getting the store together, dealing with possible vendors and coordinating work with contractors, a temporary business card had been created (below left). The name Peggy Sunday's had evolved from a childhood nickname of the owner.

A more sophisticated and customer-friendly identity was desired for business cards, stickers, hang-tags, rubber stamp imagery, signage, ads and more. When Seaman herself mentioned the rubber-stamp need, the concept that would become the final logo started percolating in my brain. I immediately thought of a hand-cut circle with a sun element.

During the design process it was decided to drop the apostrophe in the name - to eliminate any confusion about the proprietor's last name possibly being "Sunday." I chose the font Caslon Antique for the name to tie-in with the rough-hewn appearance of the other design elements. The sun element was adapted from an old dingbat I had come across - with a bit of a facelift suggested by the store owner's sister.

With the simplicity and strength of the final logo design (above right) it was determined that the logo would remain in one color. In most applications it is black on sage paper stock. In some cases it has been produced in metallic gold. A decade after being created the identity still represents the store very well.

The logo for the high-end gift and home furnishings store is featured in the books The Big Book of Logos 3, New Logo & Trademark Design 2 (Japan), Letterhead and Logo Design 7 and The Big Book of Design for Letterheads and Websites.

Before and after logo designs: Part VI

Peggy Sundays • Portland,OR (Read more)

Monroe Orthodontics • Aloha, OR (More info to come)

Four Star Roofing • Beaverton, OR (More info to come)

Rutherford Investment Management • Portland, OR (More info to come)

Dan Anderson Homes • Aloha,OR (More info to come)

Check out previous "before and after" posts on bLog-oMotives.

Re-Design: Childpeace Montessori Community

In 1999 I was contracted to create a new identity for the Childpeace Montessori Community. The existing geometric logo seemed somewhat cold and impersonal in representing the education facility. I was asked to design an image that was softer, more inviting and played upon the school location on Portland's North Park Blocks.

With the school and its playground equipment so connected to the treed city park location, I chose to make leaves the primary graphic element in the design. A trio of elm leaves was positioned over the word "Childpeace," creating a situation where the descender of the "p" letterform hinted at being part of a tree branch. By extending that descender a bit, space was made available for the words "Montessori" and "Community" to fit in easily, forming a tight identity for the facility.

Making use of a gradation in the leaf elements gave the image a sense of warmth and energy. However, for ease of reproduction in some applications the logo was also produced in a version with solid leaves.

The Childpeace Montessori Community identity received a 2000 American Graphic Design Award.

With a move to a new location in the summer of 2003, and adoption of the name Childpeace Montessori School, the short-lived logo was retired.

Before and after logo designs: Part V

The majority of my recent identity design projects have been redesigns of existing logos. Over the years I have been contracted many times to update or makeover the logos of businesses and organizations. My "before & after" images of such projects get a great deal of attention in my marketing packets and through previous blog entries focusing on redesign efforts. I thought I would create a series of bLog-oMotives visual entries showcasing some of the examples - with links to previous posts offering project explanations and anecdotes - allowing bLog-oMotives readers to easily review some of the past featured designs.

Our House of Portland • Portland,OR (Read more)

VanderVeer Center • Portland, OR (Read more)

Childpeace Montessori Community • Portland, OR (Read more)

Portsmouth Community Development Corporation • Portland, OR (Read more)

Sunriver Preparatory School • Suniver,OR (Read more)

Check out previous "before and after" posts on bLog-oMotives.

Before and after logo designs: Part IV

Holocaust Remembrance Project • Tampa, FL (Read more)

Cooke Stationery Company • Salem, OR (Read more)

The Sentinel • Portland, OR (Read more)

Oregon Department of Forestry • Salem, OR (Read more)

B.A.S.I.C. • Portland Trail Blazers • Portland, OR (Read more)

Check out previous "before and after" posts on bLog-oMotives.

Never tell a potential client: "Your logo sucks!"

The one piece of advice readers seem to be taking away from my book, Identity Crisis!: 50 Redesigns That Transformed Stale Identities Into Successful Brands, is that you should "never tell a potential client that their current logo sucks." In the volume's introduction I write:

"In doing so, you can almost guarantee that the client, a family member of the client, or the individual with whom you are dealing played a major role in creating the current image. This seems to hold true whether the client is a one-person home-based business or a large corporation. Making such an insensitive introductory remark is not the best way to start the sometimes long collaborative process of putting the best new face on a client's business or organization."

Most designers have found themselves in the position of needing to deal with a less than stellar logo when it comes to designing marketing materials, a print ad, a new website or some other promotional material. It may be difficult to keep oneself from blurting out, "Your logo sucks!" In additional to conveying a more tactful message, the designer must take into consideration the emotional and historical perspective of the identity - for the business owner, employees and client base. Another major concern for the client will be the financial investment of having a new identity created and then having it implemented as a complete brand.

I'm always somewhat amazed when designers mention that, as a marketing tactic, they plan to approach a local business or organization to tell them their existing logo or website is "bad" - and that their own design talent and ability is the solution for the now potentially insulted business owner or manager. The designers also expect that ambushing the potential client with rough or finalized design concepts - without any prior information-gathering from the business or organization in question - will be met with open arms. Again, the potential for offending the possible future client may be great.

In addition, the designer will have invested a great deal of time in producing what is little more than another form of speculative work. Perhaps one of the greatest dangers in attempting to "sell" such a completed proposal or concept to an entity is that the business representative will not see the true value in work that is already completed. In the end, the designer may be cheating themselves out of time and income that can not be recovered, while also creating designed work that may not best serve the requirements and desires of the potential client.

It's best to approach such potential clients, or the in-house boss, through the initiation of a positive dialogue of possibilities. Occasionally, great opportunities to begin that process may be presented by a business or organization. Recent discussions with clients of mine, in regards to new identities, have come out of the following:

• A business moving to a new location - which immediately requires the redesign or updating of everything for the business; from business cards to website.
• A possible major capital expenditure - the remodeling of an office, need for new signage, purchase of new company vehicles, or potential website design may prod "the powers that be" to take a new look at all aspects of the corporate identity.
• A major business anniversary - taking a look back at a company history often initiates the discussion of the future of the business image.
• Actual changes in the business operations and/or scope - a publication client recently expanded the geographic area they serve, and changed the page size of the paper, which brought about a major redesign need.
• Changes in management or staff - a long-time owner, or management person, leaving the firm - or the hiring of new marketing or administrative staff - can "jump start" the redesign of a company's brand.
• A specific need for a new promotion or advertising piece - the investment in a major marketing brochure or print ad may bring about the re-evaluation of an identity.
• Simply having the time and opportunity - with the economic downturn several clients have found the time to take on redesigning the business identity.
• The realization that an identity is "tired" - every once in a while a client surprises me and, out of the blue, suggests that a business identity facelift may be needed.

Designers should make themselves aware of such opportunities with clients, potential clients or employers - and be ready to react. Have a finely-tuned online or physical portfolio in place to showcase your capabilities, a marketing packet or proposal ready to present, and questions prepared to begin the discussion about the future of the entities identity and marketing. Queries need to be worded in such a way as to not put the business decision-maker on the defensive. Some possible questions might include:

• What is the significance of the logo design and how does it represent your business?
• What is the history of your business identity and its creation?
• Does your current logo best identify and represent your business in reaching your target market?
• With the creation of a new website in the works (or any of the possible scenarios listed above), is it time to review the impact and effectiveness of your business identity?
• Is the current image the logo that you hope to have represent your company for up to decade?

Of course, there are many other questions you might want to ask. Again, once you have a signed agreement for the redesign project, remember to reflect on the emotional and historical perspective of the identity in question.

The emotions around a logo, whether a client did it themselves or not, can be very strong. I just completed the identity for a business, that had made use of a less than ideal logo for over two decades, where there was an understanding that the logo wasn't going to be touched until the founder was no longer involved in day-to-day operations. He had designed the original logo himself. After a very productive identity design process the only historical aspect of the logo retained was the original color.

Another potential client is having difficulty moving forward on an identity redesign due to the emotional attachment to a logo the founder created almost 20 years ago. I provided them with my marketing materials, a number of before and after case studies, and a copy of my book, Identity Crisis!. The message I've repeatedly stressed to the founder is that an identity redesign does not necessarily require tossing out all graphic references to the history of the organization - but the identity should be updated as they move into a new facility.

Do remember that the re-design of any business or organization identity usually requires a fairly decent financial investment for the client - the cost of the logo itself, the design and printing of a stationery package and all marketing/advertising materials, the creation of new signage, and so much more. Hesitancy, on the part of a client, to dive into a total rebranding may be due to financial considerations above and beyond the actual cost of having a logo designed.

Identity redesign projects do not need to be painful for designer or client. In many cases, a designer needs to realize they should not necessarily be putting their personal "mark" on the business or organization, but rather working in collaboration with the client to produce the best solution for extending the life, recognition and success of the identity being addressed.