where New York leads...

...does London follow?

After a brief visit to New York recently, there were a few things that struck me about the fast pace of life over there. It's historically been the case that, at least with new technology, where New York leads, we tend to follow a few years later – but is this still the case? And if it is, what might be headed our way?

Smarts

Even more than in London, it's clear to see that the 'smart phone' has really taken off over there, plenty of iPhone users, but lots of people using Android, Blackberry and Palm phones there too. Whilst the UK is still in the grip of iPhone fever, the US is starting to see much more competition within the smart phone market - with Android phones really starting to eat into Apple's early lead. Meanwhile, Blackberry seems to have left the confines of it's 'business only' reputation – mainly due to it's great instant messaging ('BBM') and it's physical keyboard.

And this proliferation of mobile internet users is having a knock on effect. I was very interested to see that QR codes (you know, those strange bar-code squares you've seen occasionally and always wondered what they were) have caught on in a big way over there, whilst they're still largely underused gimmicks over here. So, for instance, in the New York 'Time Out', many articles ended with a QR barcode – just point your phone at it, click and you're taken to the website containing further relevant information. I'm not entirely sure whether this is genuinely useful for users or just a symptom of the print industry feeling itself being left behind. But it was clear to see that on many large format posters, magazine articles and ads, prominent QR codes effectively work like 'read more buttons' leading to additional, up-to-date content online. I suspect we'll be seeing much more of these over here too as smart phone use becomes more commonplace.

Right place, right time

Another by-product of having more people with smart phones and 'always on' internet (apart from the constant barrage of emails, messages, tweets and Facebook updates, of course) is that these phones are 'location aware' – with built in GPS, our phones know exactly where we are.

This is obviously useful when browsing Google Maps, but it's spawned a new kind of social media too – location based. Handy if you want to tell people you're at a conference, or down the pub – just incase your friends or work colleagues are there too. But while we in the UK seem to be a little more reluctant to share such private information with the masses, location based services such as Foursquare, Gowalla and, to a lesser extent, the newer Facebook Places seem to have really taken off over there. Foursquare seems to be the current leader, being much more integrated into mainstream use, with brands such as Starbucks, Domino's, Time Out, New York Magazine, MTV and a host of other media companies, newspapers, bars, hotels and museums all using it as a new marketing channel, offering special offers to regular visitors.

The really interesting shift here is that, until now, the internet hasn't really concerned itself in any meaningful way with where we or our customers/visitors physically are. In a way, the power of internet marketing has been it's world-wide reach and it's ability to ignore specific location. Location based marketing brings things back to the importance of 'nearby' and, as long as our audience is willing to share their current location, gives us another, very important and relevant communication channel. As consumers, we're currently able to search for businesses near to us (either physically or online), but location based marketing offers businesses the opportunity to search for potential customers near to them. It's early days for this as a concept but, in New York at least, brands are getting excited about exploring it's possibilities.

It's interesting to see that while 'location' is being heralded as the 'next big thing' out in New York, hopping onto Foursquare over here is still a fairly empty experience for now (or maybe I just don't have enough cool friends in the know?). And while Facebook is as busy as ever, I'm not seeing many 'Places' check-ins yet – perhaps this is because there just aren't many advantages for those who do 'check-in' over here. For instance, after two check-ins at my local Domino's, I've been awarded 'Mayor' status on Foursquare – and the benefit of being Mayor is a free pizza every Wednesday! This would be great, if it wasn't for the fact that the local staff have never heard of this offer, or even of Foursquare itself – so I guess we have some catching up to do! The other reason it's still not made much of an impact is perhaps that culturally we're much more reticent to share such personal information. The denizens of New York seem much less worried about letting everyone know exactly where they are – whilst this provides marketers even more targeted data, it may of course result in unintended consequences - as the site 'pleaserobme.com' set out to highlight last year.

A Minority Report
 

Although not specific to New York, while I was out there, the new Microsoft 'Kinect' device launched to much fanfare and marketing hype (and was released not long after, over here). In short, it's a gaming device that allows you to interact without a controller – a little like the Nintendo Wii that's been around for years (just without the remote). So, apart from the obligatory dancing and fitness games, what's so special about this and why should it interest anyone not actually into gaming?

Well, in short, the technology is really quite amazing and it's light years beyond the giroscopes and motion sensors used in Nintendo's offering. Based on tech originally developed for the Israeli military, the device features multiple cameras (including infrared) – able to capture a whole room (and anyone in it) in 3D and in realtime. Once it recognises a person (yes, it has facial recognition), it's able to map their exact body movements – creating a 3D virtual skeleton model that can be replicated by an avatar on screen. This is similar to the technique of 'motion capture' used for movies such as Avatar and the character 'Gollum' in Lord of the Rings. And if that's not quite futuristic enough, it even features speech recognition too. All wonderfully techy (for more info on how it works, start here), but what impact will this have other than another variation on virtual ten-pin bowling? The initial games all look quite fun, but it's what the technology itself offers beyond the gaming applications that I find really exciting.

As is the way with new technology and the excitable IT crowd, people are already dissecting it and trying to find out how it works – and what else they can use it for. Remember the famous scene from Minority Report, where Tom Cruise manipulates a rather complicated computer interface just with swift hand movements (requiring special gloves to do so)? We all figured that was a good decade or two away. Well, Kinect has the potential to do all that right now (and no gloves required). Where touch screens have revolutionised the way we interact with our phones, it's really limited to smaller screens and in two dimensions only. So what does the future hold for this 3D motion control technology? Possibly a complete revolution in the way we interact with computers – finally doing away with the age old 'keyboard and mouse' user interface we've used since Xerox invented the idea 37 years ago (yes, it's that old and no, Apple didn't invent the idea). Am I getting carried away by a cheap gaming gadget? Perhaps, after all, there's still a few issues with accuracy and latency, but check out these first step experiments and imagine a future where kids laugh at the ancient idea of clunky and unintuitive keyboards, mice and even the touch screens we're so used to now. Unlike New York, I don't think that future's so far away.

hacking Kinect - experiments in realtime motion control:




(oh, and of course, where geeks experiment, Star Wars surely follows...)

Ben Jackson,
Head of Digital Media,
www.tothepoint.co.uk

On yer bike

Phew! It feels appropriate to be writing my first blog about a racing track as the past few weeks have been quite a whirlwind for me...

What started as a dream has grown into a full blown campaign and it’s with professional pride and personal interest that I want to write about the campaign to Save the Herne Hill Velodrome.

I have been a keen cyclist, racer and fascinated visitor to the Herne Hill Velodrome for many years now. However, this beloved landmark now faces closure due to deterioration and lack of funding, and with the country’s own Olympic moment just around the corner, it’s hard not to get sad at the prospect of the Velodrome closing forever.

The Herne Hill Velodrome is one of those rare things – an iconic landmark that’s in use and as relevant to it’s visitors today as it was in decades past. The oldest cycling track in the country, it was home to the 1948 Olympic Cycling Championships, with famous riders including Bradley Wiggins the three-time Olympic gold medallist, who began his competitive cycling career at Herne Hill. Today, it’s a favoured location for cycling enthusiasts the world over and local children alike, all training, riding and racing their way to a better time, fitter body or simply a fun day out. As I watch the children, including my own, gather for the various races and events made available to them, I hope and believe that there may be one, if not more, future Olympic champions among them.

With the threat of closure – and without forgetting Peter Cattermole and the unsung heroes who, over the last ten years, have kept the Velodrome alive – a new impetus was required. A group of us, led by Hillary Peachey, conceived the Save the Herne Hill Velodrome Campaign, with me in charge of the campaign’s identity, look and feel and of course all the materials. Many may think I can pull an identity out of a hat or cook up a campaign in my sleep but this was unlike anything else I’ve had to do in such a short time frame and with no budget. Fitting four days' work into a weekend, using matchsticks and only a handful of hours’ sleep later, I had produced the basics of a campaign including logo, website, stationery, posters, postcards, leaflets and helped with the Facebook page – branding and some content. Over the weeks that followed, I built on this with help on the campaign strategy and other materials including track banners, t-shirts, displays, stickers and badges as well as providing brand elements to third parties to produce their own materials.



One such party was Condor Cycles who believed so strongly in the campaign, that they devoted a large area of their stand at the Earls Court Cycle Show to help raise awareness to the wider cycling community.

It was great to work on something I felt so passionate about and personally connected to, and the collective enthusiasm and spirit kept me going during those sleep deprived weeks. I’m proud of the designs I produced and the message my work helped shape but, in a bizarre twist, I’m almost prouder of what’s happened since...

As a designer, I love what I do, but there’s something very special about people taking your designs and running with them. As this campaign is so personal to so many, taking ownership of the messaging is essential and creating a structure (with consistency across the various elements) gives people the tools to take it further and help grow the campaign. This is a true word-of-mouth, combined with social media, success story and the momentum the campaign now has, has really blown me away: we got widespread and heartfelt coverage in the country’s press including the Guardian, London Evening Standard and the Telegraph to name but a few. We’ve had BBC’s Newsround filming us, a tweet by none other than Stephen Fry (reaching his 1.8million followers), a hugely successful public meeting with over £70,000 pledged in support, backing by Tessa Jowell and a global Facebook following that now has over 4,600 friends.



To my family's amazement, I now even have knowledge of twibbons with Facebook profiles being updated to help show support for our campaign. I’ve learned more about the strength and spirit of communities and my own knowledge of how this can be harnessed and built on using today’s technology. After the whirlwind, sitting back to enjoy the fruit of our hard work to date and come up with ways to build on this success, I’m left with a smile on my face and a very warm feeling of satisfaction and achievement (or is that muscle cramp?). Make my day and show me it was all worth it – support us and pledge money at www.savethevelodrome.com.

Carl Ison
Branding and Design Strategy
carl@tothepoint.co.uk

Where the interiors come to life!

Our relationship with Newsprinters has been going steady now for over four and a half years. During this time we've concentrated on evolving their brand, from the identity and marketing materials through to onsite signage and internal wayfinding.

Our latest undertaking is to bring personality to their largest print plant in Broxbourne with the design and installation of interior graphics. Whilst Newsprinters as a business is setting the benchmark in their industry through state-of-the-art technology and a specialised workforce that is second-to-none, the building itself has suffered somewhat from being devoid of any character. Turning that to our advantage, we have literally treated the site as a blank canvas on which we can inject some fun and humour through 50+ wall graphics.

The project has been layered – starting with dividing the site into working zones and introducing colour coding that is translated through colourful walls and a co-ordinated internal wayfinding system. We are now putting the finishing touches to the next layer which applies a theme across the entire building that adds visual interest and provides a stimulating working environment. The concept is simple in its execution yet also thought-provoking for both employees and visitors.

Each graphic is centred around describing a working area or task and is titled 'Where the, Where we, Where it...' and so on... This straightforward, no-nonsense tone of voice is an integral part of their brand and reflects perfectly the people that work in this company, and this industry. Newsprinters' core aim is to simply be 'the best newspaper manufacturer in the world'. No corporate waffle, no long-winded mission statements, just straight to the point. Each 'strapline' is illustrated in a strong, bold and modern font and accompanied by an image of an object that then brings another meaning to that task/area, and in turn, adds a lighthearted element.

The paper reel storage area

The paper reel delivery area





















It has been refreshing to work with a client that is open to a creative solution and has the confidence to create a 'non-corporate' environment. Even from the initial brief, Newsprinters made it clear that the scheme should appeal directly to the employees, to provide an uplifting ambience in the surroundings in which they work. Much of the plant is windowless so bringing colour and visual stimulation was imperative. Alongside this, the graphics have to communicate to visitors, many of whom are groups of schoolchildren that take tours of the factory, and so far our humour seems to appeal to those who have seen the ideas.

The press hall

The press control area

We feel that we have fulfilled the potential of the project to the full – through our creative thinking and concept in providing an exciting environment that offers the unexpected but also brings a wry smile to those that see the theme unfold as they go from area to area within the huge plant. We have delivered a vibrant system through the use of various materials, bringing to life the environment in which the staff work, and all within a budget that could well have escalated when considering the sheer scale of the building and the amount of wall space available. We didn't get too carried away and installation takes place next month when the true results and benefits will be seen, and hopefully heard...

The logistics centre
The boardroom

Dragging politics into cool

I can't lie to you, I'm not the most politically intellectual account manager out there, but I do try and keep abreast of current issues the best I can. During the build up to the general election, the sometimes informative, rarely entertaining and generally repetitive leaders debates were earmarked as a key source of guidance in the build up to 'vote day'. But overall, the most memorable thing I took away from the Sky News coverage on 22nd April was some rather snazzy projection graphics shown on the Bristolian building after the big event was over. This technology is not a new phenomenon, but in my opinion, that didn't detract from the impactful nature of the medium. A series of video animations were shown, taking up the entire building in question, including a mix of logos, images, and culminating in the apparent destruction of the building itself. It certainly caught my attention.

Sky News Leaders Debate Projection News Final Edit from Projection Advertising on Vimeo.

Since then, tothepoint have been in talks with the company behind this often guerilla style marketing approach - Projection Advertising. The best way to get an idea of the potential scale achievable is to check out their site where you can be inspired by previous examples of their work. Our experience in animations lends itself perfectly to a partnership with such an agency - giving the client the opportunity to bring their brand to life on a huge scale.

Additional to the standard projection, there are interactive options including AdWall, AdTrace and AdFloor - a kind of animation which alters when you interrupt it. Clever stuff, which in it's simplicity, manages to really stand head, shoulders and sometimes literally metres above the standard competition of static large scale poster advertising.

Feel free to give us a call on 0207 378 6999 or email us to discuss how your brand could be at the cutting edge of experiential branding.

Access to grind

Increasingly we have been working with many of our clients to help them transfer their print materials into an appropriate digital format. As print becomes more of a unique medium it will still have its place in marketing strategy, helping with standout and differentiation which is still key, but digital can offer so much more if managed and implemented well.

Through research, advice and implementation of our digital strategies we have gained knowledge and experience. We have ensured standout and analytics, plus action based on related activity reports, has helped some of our clients to achieve a significant increase in readership, take-up and awareness of their offering.

As part of this communications change management, digital 'accessibility' is becoming an important growth area for our business and should be for all businesses. We all need to be thinking beyond just ticking the compliance box.

At its most basic, and not going into detailed website compliance, nearly all of our clients see PDFs as a quick and low cost way of converting their print to a digital format that all can access through the web or via email. True, PDFs are probably one of the widest used formats, and reader software is free. They enable people to share information in the way they intended, and the higher end Adobe Acrobat Pro gives some fantastic additional functionality and innovation. But how does this all work when you think of the new regulations and laws being actively enforced to ensure all content is fully accessible for all?

For some time we have been producing interactive PDFs and had moved on to developing these as accessible through basic tags and the Acrobat 'read out loud' feature. There is a plethora of information out there but as Adobe has such a large user base we, like many others, thought that this was all that was required to create a compliant accessible PDF.

However, as we have discovered, this is only the entry level for this area of accessible communication. We believe there are two key issues. The first is content and the second is technology, but I stand ready to be enlightened by any who know more on the second.

From a content perspective, you can structure how a PDF is 'read out loud' or made accessible for those with visual impairment, but does the final document truly convey the messages that someone, who can see the tables and graphs, would have access too? This issue needs to be addressed at content stage. Merely reading out tables or headings and captions of graphics is not enough. The text should be written in such a way that it explains the graphics for this wider audience. After all, the graphics are often there to support and help people speed read a document, often skipping the text. So expanding on the text to help the visually impaired, or even helping those that may not fully understand what you are trying to convey, should not be an issue, but rather a benefit for your audience.

The second issue is the technology. Like I've said, using and perceiving Adobe as the industry standard meant that we didn't test further than the this format. But there are issues with how these PDFs are then converted or used and read on the proprietary software and systems that are used by people with visual impairment to access websites and related content  (eg Text Braille, Jaws or Window Eyes). To truly test these PDFs, companies need to either invest in these systems or partner with companies who have them so they can test the accessibility. We have been working with one client, the EPSRC, who have this software, and have discovered anomalies that mean the read order is completely changed when you convert from an Adobe PDF to JAWS. The read out feature jumps around so you could start on the back page and the user would therefore be thoroughly confused. This issue is addressable but requires deeper understanding and training on the software to ensure the PDF is compliant with these different formats.

Our experience has shown that it is better to work on accessibility in the original programmes pre the PDF conversion stage. All of the content should be planned for the wider audience and then made accessible in programmes such as word, powerpoint, indesign or quark.

Without the help of the EPSRC we would have been unaware of these issues and believe many others may still be unaware, clicking a few buttons in acrobat and thinking they have an accessible PDF. This could mean that content currently in the digital arena isn't accessible and at a time when you really want to be seen to be transparent, helpful and accessible, you need to make sure you are fully compliant.

I have added a few extracts and some useful links but there's a lot of reading here so if you'd like some help or advice with the accessibility side of your communications, do get in touch with us. There are many business benefits to having accessible websites and content so it makes sense to ensure you are accessible to all.

USEFUL LINKS
http://www.adobe.com/accessibility/
http://webaim.org/intro/

Every time you use Google, a kitten dies

Yesterday I saw a comment on Twitter that really threw me. As both a long-time consumer and creator of digital material and also a believer in climate change, this statement really made me stop in my tracks.

"Making two internet searches through Google produces about the same amount of carbon dioxide as boiling a kettle!!"

Pretty controversial stuff, and shocking if true. For anyone concerned about the environment, this could have major implications. If we want to 'do our bit' should we stop using Google? Presumably 'Bing' and the rest are no more efficient, so does this spell the end of web search completely? Perhaps we just have to abandon the internet altogether in order to save the world?

Or maybe this is just a made up fact designed to get attention? Hmmmm.

Well, a couple of boiling kettles later, I found the origins of this statement. It wasn't made up, it wasn't just a casual tweet created to generate interest and site hits (as if THAT would ever happen!) - turns out this factoid has been going around since the start of the year. And worryingly (well for me anyway) it can be traced back to an article on the Times - so a pretty reputable source of information. You can read it here - and it's replicated in full here for those who are less keen on the new Murdoch Paywall.

A whole bunch of other sites followed up on the story. Here it is on the Telegraph and on the BBC - among many others - and it's obviously still doing the rounds. (Note: by this point I've probably boiled about 6 or 7 kettles and killed a small polar bear).

So, a shocking statement backed up by some serious journalism. But to me, it still doesn't ring true. Is that because I'm too involved with the web and can't let go of my preconceived notions that digital information is actually a GOOD thing for the environment? (saving on paper / waste etc.) Perhaps, perhaps it's worth just one more kettle to find out.

A day after the original article appeared online (and a lot harder to find on Google) this article was published on the Technology News World site, which says:

The Times reporters wrote about a new Harvard study that examines the energy impact of Web searches. One problem: the study's author, Harvard University physicist Alex Wissner-Gross, says he never mentions Google in the study. "For some reason, in their story on the study, the Times had an ax to grind with Google," Wissner-Gross told TechNewsWorld.

And the example involving tea kettles? "They did that. I have no idea where they got those statistics," Wissner-Gross said.

Obviously, Google weren't too happy with these statistics either, here's the view from their side.

Yes, of course computers use energy, but a single search is closer to 0.2 grams of CO2 and that's 35 times less than the Times article suggested. It's interesting to note that the original statement is still circulating around as assumed fact, while the refuting stories have a lot less impact - presumably because they're not associated with a bold, tweetable headline? Which in turn probably says something interesting about the dissemination of news as a whole, ie. the impact of sensationalism vs. more realistic (ie. more boring) information.

What have we learned here? Well, it's always important to check your facts - a growing problem now even within respected news journalism; if they don't do it, then we have to boil a few kettles and do it ourselves. Bias has a tendency to creep in - especially when people are trying to sell us news and there are always (at very least) two sides to every story.

Of course, while the figures reported are widely inaccurate, it does serve to remind us of the fact that using the internet does come with it's own environmental impact - and the more we use and rely on technology - the more PC's/Macs/iPhones etc. we buy - the more energy and CO2 we inevitably consume.

However, ultimately I think the moral of this particular story can be summed up neatly by the article that appeared on Physorg.com here:

"It would appear the London Times was trying to sell newspapers"

Shock news indeed.

Ben Jackson,
Head of Digital Media,
www.tothepoint.co.uk

Eco systems

Whilst many are jumping on the 'Green' bandwagon, it is important to remember that this is not merely a marketing tool to sell more things to more people, it is a social responsibility that we all should bear. From CEOs to low level staff, we should all be aware of our personal and collaborative impact on the environment. Radical steps can be taken to streamline efficiency and reduce waste, but small changes in our behavior can equally pay dividends.

Here at to the point, we fully acknowledge that, the very nature of our work as a graphic design consultancy involves recommending the use of printed materials where appropriate and, as a company, we may not be as eco-friendly as those businesses who enforce an entirely paperless workplace. We do, however, recognise our accountability for our part in how our environment has changed over the years. We have already helped many of our clients reduce their impact on the planet by recommending recycled stocks and employing digital media over printed materials when appropriate. More recently however we have turned our attention to our own working practices and have taken steps to adjust our own behaviours. Simon (our MD) has asked me to drive our green initiatives forward and invest time in reducing our impact and improving our behaviour and awareness. We now continually target areas in which we can improve and work to be as green as we can possibly be. It is important to note that this is not an overnight process and should not be seen as something that can be solved instantly and then forgotten. We continuously evaluate our ways of working and endeavor to improve upon them.

What we have already done

• We now produce our monthly newsletter digitally to reduce our print output.
• We have upgraded all computers and screens to new energy saving work stations: Mac minis and iMacs
• We have set up all computers to automatically shut down at the end of the day so they are not left on standby accidently.
• All computer screens are set to go to sleep within under 10 minutes if not being used, and computers sleep after 20 minutes if not being used.
• Halogen light bulbs have all been replaced with a low wattage energy efficient variety.
• All staff take public transport, cycle or walk to work.
• Individual bins have been removed to promote taking waste to the recycling points in the studio.
• We now recycle more than ever thanks to the new Better Bankside scheme
• We use double sided printing for all internal documents – reducing our paper output by 50%.
• Whenever possible we supply our presentation document as an interactive PDF rather than a printed document.
• We have invested in a better conference call system and remote access software to avoid travel to UK and overseas client offices unless essential.
• We have invested in a complete digital project management and accounts system to reduce paper consumption.
• We have purchased glasses for water so no more plastic cups in the water dispenser.

We continue to look for new ways to improve our environmental impact – any ideas (big or small) or working practices that may help us make a difference would be very welcome, so please post your suggestions below.

Free pitching - a shared responsibility?

Things are definitely picking up but with the upturn comes the prospect of even more pitches and tenders and increasingly we are being asked for free creative. The free pitch debate has raged since before I came out of college a few centuries ago, and not much has changed. Public sector has a lot more red tape to cope with and, once you are through that, often you still have to free pitch. Private sector are requesting free pitching without the red tape but are asking more people to take part than the traditional three.

I do understand that with some new accounts the client will want you to demonstrate your creative abilities. This is so they can see that the past work you've shown could be created by the current team and also that you understand their business, especially if this is a new sector or market. However, if you have a track record (20 years for us), most companies can review your existing work, check bank details for solvency and take up references from existing clients. On this basis they should be able to select an agency or, if still undecided, select up to three agencies to tender for a project. Requesting more agencies than this for a creative tender means they don't appreciate the time and value of the bespoke work that will be wasted by all those that lose, not to mention the time they will need to spend to meet and review all this work. Requests for sealed creative tenders (must be close to 99% public sector procurement), without the agency even meeting the client, shows a complete lack of understanding of the process required to come up with strategic creative solutions.

If a solicitor or an accountant tenders for new business, they would meet the prospective client and give an indication or firm quotation of likely costs. As the client, you'd judge them on chemistry from the meeting, take personal recommendations or references to ensure they were suitable and you'd look at their track record and fees. Could we pick three accountants, ask them to present ideas for tax avoidance (not evasion) and produce our draft accounts for free  - we'd then pick the one that has given us the advice we like and proved they can prepare accounts? I think not.

There have been articles about the DBA working with government agencies and marketeers for an improved procurement processes but it is in all our interests to look for ways to improve the pitch processes. This is a shared responsibility between client and designer. We've won some and lost some but recently lost one where we needed to explain the cost of pitching to our client and try to persuade them to look at new ways of working with their agencies. We had already achieved a place on their roster, had been through brand inductions and had worked on several projects but had lost two fairly big unpaid creative tenders.

We explained that roster designers invest time in building knowledge of a client brand and how to successfully implement materials in both print and digital formats. This knowledge has a value and, as long as none of the roster agencies become complacent or over charge, by all working together they can each add value and proactively evolve and develop the client brand and communications.

Pitching is acceptable if it is paid for but if not, and work doesn't rotate, one or more of the roster agencies will soon face losses that can not be recouped through the other work they do for the client. The account becomes unsustainable, a line has to be drawn and the client potentially loses a valuable resource. The client needs to understand the value of their investment in these agencies - we think this knowledge and experience is well worth protecting.

Our view is that for any creative pitch some fee should be paid to all (three) agencies for their creative work. An agreed pitch fee, either split equally from the pot or with 50% for the win and 25% to the other two agencies, would promote a better platform from which to work. This demonstrates some client recognition and respect for the value of the work and the time spent. This may mean agencies accepting slightly less than the value of the work that is produced as part of a pitch but it does mean that all the agencies get some remuneration and the client isn't over exposed financially.

We strive to build long term partnerships with our clients but creative pitches hinder this, especially if they are requested again after an initial pitch. A solid relationship built on trust promotes joint proactive engagement, where the design agency and client share ideas and innovations beyond any written brief or project. The benefits of a long term working relationship are something that public sector tendering does not seem to recognise.

We have seen two recessions, been around long enough to know how to run our business and decide in which client accounts to invest our time and ideas. Many smaller design agencies are often led by creative output rather than financial remuneration. It's easy to take advantage of this, but these businesses will not survive without a careful balance of creativity and sound business sense. It is the responsibility of both the design agency and the client to ensure this balance is achieved and both will benefit in the long term.