Original Source: http://feedproxy.google.com/~r/1stwebdesigner/~3/YFIeZbujxqI/

The illusion of per-project profitability can be a tough mindset nut to crack. I’ll talk with digital agency owners that say things like, “I have a 70% profit margin!” What they are telling me is that they have a seventy percent gross profit margin. They sell a project for $10k and pay some offshore team $3k to deliver it.

What they fail to consider is their business’s fixed costs – or their competitive wage – into the equation. The reason these numbers are significant is that they happen every month, regardless of how many projects you bring in. Your mortgage doesn’t care how fat your per-project margins are, just that you have their dough every month, relentlessly for 360 months.

I can’t tell you how many times I have heard someone say how profitable his or her work is, only to discover that his or her business is unprofitable. I will hammer this point until all agency owners understand it, or you decide to punch me in the face.

How This Works

The math to figure this out is simple. The problem I find when consulting with most digital agency owners, especially those with agencies less than a million dollars a year, is that they don’t pay themselves a fixed wage. They pay themselves whatever is left over at the end of the week or month (or they charge those plane tickets for their upcoming vacation to their business credit card because their personal account is broke – I speak from experience).

To figure out profitability, I always ask an agency owner to tell me what they should get paid every month. Thinking about their salary makes the math I’m about to show them more painful, but alas, more realistic. Let’s take a virtual agency of one as a baseline example. They sell $10,000 projects here and there, and the owner (should) makes a $60k per year salary with another thousand in fixed costs for hosting, internet and the like.

That scenario looks something like this:

 
Month 1
Month 2
Month 3

Revenue
$10,000
$0
$10,000

COGS/Labor
$4,000
$0
$4,000

Gross Margin
$6,000
$0
$6,000

Fixed Op Ex
$6,000
$6,000
$6,000

Net Profit
$0
-$6,000
$0

This business is now $6,000 in the hole. Since the owner isn’t paying themselves a fixed wage, they don’t pay themselves that second month and might still hold the illusion that the business is ok, they just are putting in sweat equity or something.

No, the business is not ok, and you’re not ok.

Wake Up Now

Before I showed this digital agency owner this math on the back of a napkin, they had proclaimed to me that their work was indeed profitable. My response is, “who cares, you’re not getting paid, and the business is redlining!”

At this point, I usually ask something like:

“How does it feel to know what’s going on in your business?”

Which gets a response of varying degrees of:

“It makes me depressed.”

Good. An unprofitable business makes me depressed too. However, now we know. And the more we know about what is going on, the more clear we are on the actual issues at hand. We can solve problems with better solutions than just not paying us.

“Deciding not to pay yourself to solve a business problem should be the last solution on the table. Not the go to each month because you are avoiding hard decisions.”

When people realize this injustice they are putting on themselves, I want them to go to bed fuming. I want them to think, “How have I let this happen?!”

We can put that energy and frustration to good use.

Channeling the Energy

If we run with the above example, we could make two relatively simple changes to this business and see lasting benefits.

The first would be a small update to their pricing model. I’m not talking about getting all hardcore by doubling their prices (which wouldn’t be wrong, but probably a bit reckless). In my head, I would be targeting at least a 15% net margin after paying themselves a wage. Since this example uses nice round numbers, month one and three operate at a 0% margin, so we can raise prices by 15% with everything else holding true we’d have the target margin.

The second would be to hammer into their head that they need to sell a $10k project EVERY month. If they told me that they didn’t get that many leads, then we’d solve that problem. If they said to me that they couldn’t deliver that much work, then we’d solve that problem. With enough time maybe we’d solve both problems.

With those two changes, here is how their situation changes:

 
Month 1
Month 2
Month 3

Revenue
$11,500
$11,500
$11,500

COGS/Labor
$4,000
$4,000
$4,000

Gross Margin
$7,500
$7,500
$7,500

Fixed Op Ex
$6,000
$6,000
$6,000

Net Profit
$1,500
$1,500
$1,500

Now we have true profit! The magic of pricing and volume.

Your Marching Orders

Getting clear on this issue in your business requires you to get clear on your financial numbers. I have been (unpleasantly) surprised at how many agency owners are not clear on this. This issue doesn’t affect the small shops as I illustrated in my example. I’ve worked with agencies with over $100k in monthly revenue that were unprofitable (but were convinced that shouldn’t be so because of the per-project illusion!).

The other thing that I demand of people is that they set a baseline salary for themselves and any other owner. The more this number equals a competitive wage for the position you fill in your business the more accurate our net margin number will be.

It’s just too easy for an agency owner to vary their pay and push this issue under the rug. Maybe it’s because we get beat around by our clients so much that we don’t think our salary is that important.

When in fact, it’s the MOST IMPORTANT NUMBER when running a business. When an airplane is going down, you put your oxygen mask on first. Then you take care of those around you. If your pay fluctuates, you lose respect for yourself. Your peers or spouse will think your business is not dependable. These views will seep into your mindset.

If you don’t pay yourself regularly, the chances of you going out of business go up significantly. Set a target wage. Get clear on your fixed monthly expenses. Make sure you track your company’s monthly performance.

How much margin you make on an individual project matters. Putting that number in the context of your month-to-month profit and loss statement is more important. I’d rather hear you say, “I have a 15% profit margin!” and for that to be real business profit margin after paying yourself a competitive wage than some 70% blasphemy.

If you don’t know this stuff, stop what you are doing, and figure it out RIGHT NOW. That client can wait. Your future depends on it.

Original Source: http://feedproxy.google.com/~r/abduzeedo/~3/iDjb__0FbhY/fresh-new-brand-identity-sweet-films

Fresh New Brand Identity for Sweet Films

abduzeedo
Jun 26, 2018

 

Elvis Benício and Diego Bolgioni were invited to create a new brand identity for Sweet Films. The goal of this rebranding was to adapt to the new strategic position and vision of the studio and communicate the message to the market. Sweet Films is a Brazilian boutique studio specialized in video production for advertisements. The design solution that they created included dynamic visual elements made up of fresh components and a new typeface.

The final deliverables included a visual identity guideline book, website (UI/UX), stationery and animated signature.

Credits
Motion graphic: Rafael Fernandes /
Graphic Design: Elvis Benicio, Diego Bolgioni
Brand identity

Concept.

After going through many possible ideas about shapes and graphic concept Diego and Elvis realized that it could be interesting to build a metaphorical connection with a fly (as a client) and something that looks yummy (sweet). From this starting point, everything pumped up in their minds and the process began to be playful, upbeat and consistent. The project was approved with success by the client without any changes. (all in!)

Stationery.

Social kit

Visual elements

Website

Signature

Before / after

branding

Original Source: http://feedproxy.google.com/~r/tympanus/~3/qynS_pAghHk/

Today we’d like to show you a little slideshow design with a “triple panel” layout. The infinite slideshow shows a preview of the next and previous slide on both sides of the page. When navigating we use a reveal effect for all three images and animate the titles. The animations are powered by TweenMax.

The demo is kindly sponsored by monday.com: The visual project management tool for designers. If you would like to sponsor one of our demos, find out more here.

Attention: Note that we use modern CSS properties that might not be supported in older browsers.

The image slideshow has two lateral previews and a main image in the center. When hovering over the “Explore” link, the main image will zoom in a bit:

When navigating, we animate a reveal element that covers each image. Depending on which direction we are navigating, we make the revealer appear from bottom or from the top. All title elements have an animation except for the “Explore” link.

We hope you enjoy this demo and find it useful!

References and Credits

Images from Unsplash.com
TweenMax by Greensock
imagesLoaded by Dave DeSandro
Building icon designed by Freepik

Triple Panel Reveal Slideshow was written by Mary Lou and published on Codrops.

Original Source: https://inspiredm.com/how-to-rescue-a-logo-that-has-been-saved-as-a-bitmap/

Every designer at some point will encounter the client who brings in a blurry, pixelated JPEG copy of their logo (the only copy they have) and requests for changes to the logo.

Redesigning the logo entirely from scratch is one option, but it can be hard work, as you’ll have to figure out exactly how the original designer achieved the result. This isn’t always so difficult with simple logos, but it’s definitely an issue with logos that have non-standard fonts or very complex artifacts.

As a designer, you know that clients should always have a vector copy of their logo with transparency in the background, but clients don’t know that. They also don’t always know how terrible it looks when a logo is recycled for different purposes using anything other than the vector copy.

Clients also may not understand about the necessity of their logo to contrast with whatever background it is placed on. You can help them with this kind of thing, but first you’ll need to rescue that logo from Bitmap Hell, and bring it in to the glorious paradise of Vector Heaven.

The following is a method that will help you do this.

Start a new vector project.

Many vector graphics applications let you import a file directly from the file manager, but this is not the best way to do this job. If the imported image is the background layer, it can be difficult to delete it in some vector applications.

To save difficulty, it is better to start a brand new project, and discard unwanted layers later.

Create a transparent layer called “background”.

Most of the time you’ll just need to rename the background layer, but if the background layer is not automatically set to transparent, then you should create a new fully transparent background layer and delete the original one. This is to be completely certain your image does not have a background color behind it.

Lock the background layer.

Having gone to all the trouble of creating a proper transparent background, you don’t want to accidentally mess it up. Locking the layer prevents you from changing or moving the layer.

Create a layer above background called “import”.

This is where we’ll import our original logo to. This step might not be needed if your software automatically creates a new layer for imported images. Renaming the layer to “import” will help you to identify it more easily than if the full path name of the imported file is used for the layer name.

Import your logo file to the import layer.

This is the most obvious step. As stated above, your software might put this on it’s own layer. If that happens, just delete the “import” layer and then rename the layer your software just created.

If you are asked if you want to embed or link to the image, choose the embed option (this is fine, because you’re going to delete this layer later anyway).

Resize the image to fit the import layer.

This step is necessary to make sure parts of the logo won’t be cropped out of the image when you save it. What you see is not always what you get when it comes to vector illustrations.

After resizing, you won’t have all that empty page space around the image any more (this is important for when you export the file, because the whole page is exported, not just the image you create).

Lock the import layer.

Now we need to lock the import layer so that we don’t make any accidental changes to the original image. You also won’t want to accidentally move the layer, and locking it prevents that.

Create a transparent layer above import called “trace”.

This is the layer we’ll be working in. You can create additional trace layers (trace1, trace2, etc) for a very complex logo with a lot of different parts.

Carefully trace over the logo.

This is the part of the job you’re going to hate, but it’s obviously the most important one. It’s where the magic happens. If you’re working in multiple trace layers, remember to lock each layer as you leave it.

Sounds like way too much work? A possible way to save time and effort is to use an “edge detect” filter or color matching filter to detect the parts of the logo that need tracing, and copy these to a new layer. The problem with this quicker way of doing things is that it’s not always reliable or accurate.

While tracing, you’ll need to zoom in very tight. The image will be difficult to look at due to pixelation. Try to work out which pixels are “true” and which are “false”. Avoid tracing false pixels.

Lock the trace layer(s).

When you have finished the trace completely, make sure all trace layers are locked, so there is no danger of the work you’ve just done being wasted.

Delete the import layer.

We don’t need the import layer any more because it has done its job. Deleting it makes your image less cluttered.

Flatten the image.

This is an optional step, but again the idea is to make the image less cluttered by reducing everything to a single layer. That may not always be what you want, so think carefully before committing to this action.

For logos with multiple trace layers, you may find it useful to preserve each layer so you can modify individual logo parts more easily in the future.

Save the file.

You wouldn’t want all that work to go to waste, so save the file. Actually it’s best practice to make incremental saves as you work, but it’s not always easy to remember to do it.

Export to other formats if requested.

Now you have the saved new copy of the logo, you can export it to whatever other formats the client needed. If they’re requesting a jpeg, bitmap, or other file type that doesn’t support background transparency, make sure you know the color of the background the logo is going to be placed on.

You also should ensure the client knows the importance of contrast. If the logo is being placed on a background that does not contrast with it appropriately, you should make a copy of your vector modified for better contrast with the desired background color, and you can again export it to other formats as requested by the client.

header image courtesy of Domestic Society Design Co.

The post How to rescue a logo that has been saved as a bitmap appeared first on Inspired Magazine.

Original Source: https://www.sitepoint.com/learn-angular-the-collection-released-june-2018/

Angular is not just a framework, but rather a platform that empowers developers to build applications for the web, mobile, and the desktop.

This collection is a set of books aimed at getting you up to speed with Angular. It contains:

Learn Angular: Your First Week, a collection of articles introducing Angular
Learn Angular: Build a Todo App, an in-depth project tutorial that builds a complete Angular application from start to finish
Learn Angular: 4 Angular Projects presents four practical Angular projects
Learn Angular: Related Tools & Skills contains a collection of articles outlining essential tools and skills that every modern JavaScript developer should know.

This book is for all front-end developers who want to become proficient with Angular and its related tools. You’ll need to be familiar with HTML and CSS and have a reasonable level of understanding of JavaScript in order to follow the discussion.

Where To Buy

Get the collection on Amazon or on SitePoint Premium – all our books and courses for only $9 a month.

The post Learn Angular: The Collection, Released June 2018 appeared first on SitePoint.