We're coming up on the best time of Spring, and Summer's just around the corner. There are loads of reasons to hire a photographer, be that for an engagement portrait, an advertisement, a website, or for personal use.

Only a professional photographer can give your business the edge your it needs to effectively compete in this economy. Only Justin Schuck understands how

Give Justin Schuck Photography a call today: 301-300-1350

I've put together two graphics as part of my new spring marketing push. Check them out:




Justin Schuck Photography, since 1997
JustinSchuck.com / Facebook / Flickr / Twitter

Labels: Advertising, Justin Schuck, Justin Schuck + Company, Marketing, photography

In addition to publishing press releases, I thought it might be a good idea to showcase some projects I've been working on. The first design you see is from December 2006 when Justin Schuck Photography opened it's interactive photo/media studio in one of the Dubai Media City free zone with our GCC communications partner Sabi Communications.



The following two designs are current works-in-progress. They need help and I've been focused on other things at the moment, but I wanted to post these just to get a feel for what both of my readers (joke) think. I keep going back and forth as to whether I want them to be more of a poster or a magazine spread.

Labels: business, Case Study, design, Dubai, JSDS, Justin Schuck, Marketing, photography, studio

In 2005 I hosted a series of forums for energy providers discussing ways they could use energy conservation as part of a broader marketing campaign. The benefits of this new "greenvertising" strategy seemed obvious to me on several fronts. Energy providers, especially those in competitive energy markets, would be able to reduce consumption using a myriad of innovative power management devices like the EleSaver. Not only would they reduce the strain on the current electrical grid, but they would slow the need for increased capacity and the capital costs associated with infrastructure creation. In addition to these obvious benefits, line operator labor shrinkage would be offset by the creation of new jobs focused on installing power management devices at sub stations, industrial complexes and at an infinite number of other installations.

In my meetings with energy executives I stressed the need to appear ahead of the curve on energy policy. The market has always awarded the innovative thinkers and those who leap forward. As you might imagine, my predictions of a looming energy crisis were viewed with marked skepticism and brushed off as the rants of a young liberal. How prescient I now seem. These same executives are now frantically working to transform the image of the energy industry as one that is forward thinking and invested in responsible ways to reduce consumption.

And how are they achieving this? One word: Greenvertising. I started using this term when I was the Director of Marketing and Operations for SaveTech Ltd./Electric Energy Savings Systems. In 2005 gas prices hovered near $2.15 per gallon until hurricanes Katrina and Rita led to a surge in energy prices across the country. Oil was near $50 per barrel. Now we have seen a 200% increase in fuel costs. The bad news about our current energy crisis is that it's accelerating inflation and weakening the U.S. dollar. However, a side benefit of the changing market is that companies from every industry see value in reducing overall energy consumption and implementing green advertising campaigns.

I've just finished some ad designs for The Inn at Andrews-Green. Take a peek:




Greenvertising isn't an entirely new concept, but it is another effective way for companies to differentiate themselves from their competitors in any market. The smart thing about Andrews-Green is that their capital investments in energy infrastructure will save them thousands and potentially millions of dollars during the life of the inn. Now that's some green everyone can appreciate.

Labels: Advertising, business, Case Study, design, Gulf Coast, Hurricane Katrina, Identity, JSDS, Marketing, Maryland, washington dc

Often in design there's a tendency to go overboard, to over design, and I am guilty of this on every single design project I have ever worked from the original Foster Industries logo¹ that I designed when I was 16 to the current Justin Schuck Photography logo². The problem often lies in the drive for perfection clouded by wanting a project to be "everything," when design merely needs to be "something."

I know how easy it is to be carried away with a project. You've put together 3-4 different design directions, and once you've narrowed things down to your final choice you find yourself drunk with ideas and concentrate too heavily on unimportant details. You go over every individual pixel, but it is in this focus that you lose sight of the greater balance of a project.

When I think I have completed a design, I take a step back and ask myself what can I delete? What can I remove from the design? This is usually my saving grace and it is always my advice to other designers. The ability to self-edit in design, in production, in sculpture, in politics is the ability to understand your audience. Nothing was every made better by being made more complicated³.

Too often I see over-thought, over-wrought designs and logos. I see printed annual reports designed in PowerPoint using the same clip-art that Microsoft has included in its programs when Windows 3.1 was king. This disgusts me. Good designers know to remove elements that distract and emphasize elements that enhance the overall objective. If you're designing a report that covers dry subject matter, adding cheesy graphical elements isn't going to make the material any more interesting. In this case, smart font choices balanced with appropriate white space can create a document that is both a pleasure to read, but serves its function well.

I have seen great website designs using complex static and motion graphical elements, but the sites that get it right are the ones where the design is not overboard. (The only exception to the rule of self editing is if your product or client is over-the-top. Paris Hilton as a brand comes to mind, but I still urge caution.)

Another thing that works for me when creating brand identities is to visualize the logo on everything from a kitchen knife to a race car. When I've narrowed down my design to the final direction, I place the logo on hundreds of things I find around my house. Ovens, fans, phones, irons, printers, cars, bags, envelopes, paper, trash cans, buttons, ties, stickers, soda cans, detergent bottles... I could go on forever. This is important for one main reason: you never know what industry a company or organization may go next, or on what product they might want their logo for company-branded gifts. You'll know right away whether the design you chose will accurately represent the company. Even if you're not including more complex items appearing on the website, you'll know if the brand is reinforced.

Applying a logo across a broad range of relevant and irrelevant products also serves another purpose. By experiencing your design this way, you will be better able to argue the merits of the design in any meeting with a client because you have already thought your way down every path the company might grow in the future. And you might be surprised that the client is encouraged to think in a new way about corporate gifts. (It's the design equivalent to adding on to a sale.)

When I reach the end of a given project, I love putting design elements into a digital compost pile to be reincarnated in a future project. I'll keep elements in a complex Photoshop, Illustrator or InDesign file for safe keeping. I save everything, even ideas. I recently (about 6 months ago) returned to keeping a "Musebook." I use this to chart thoughts and ideas on designs, political marketing strategies, notes on meetings, you name it. For me and my oft-scattered mind, it's important to have not only all of my ideas in one place, but to have them on good old fashioned paper. It's surge-proof.

Bottom line: remove elements to simplify your design; use clean, easy-to-read fonts with balanced whitespace; lose the gimmicks and focus on how the brand can be represented across a multitude of platforms. Follow these rules and you'll find yourself doing better work.

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¹ The original Foster Industries logo does not exist in digital form, nor does the original font (Traffic) for the "FI" so the representation appearing above is not 100% accurate, but you get the idea. Yes, I know it's bad. I was sixteen!


² I think I'm happy with the current iteration. It conforms to my desire for symmetry in design and architecture. The current logo came out of a design study to determine what would fit best on our branded products like proof boxes, bags, polos, etc.

³ Stay tuned for a future blog on the logo of "TSG Holdings." I put the name in quotes because I'm not convinced it's a real company. Have you seen their visually offensive logo on M Street NW mocking designers everywhere? It's the worst company logo I have ever seen. Perhaps it wouldn't be so bad if it weren't new!

Labels: Advertising, business, design, Identity, JSDS, Justin Schuck, Marketing

I'm working on a few projects right now, including some case studies.



One thing I've been focusing on is a new ad campaign for Duron Paints & Wallcoverings (a division of The Sherwin-Williams Company). I've also tried revamping the logo and I'm working on a few slogans. "Paint in color" seems to be my favorite at the moment. Having "Paints & Wallcoverings" as part of the logo might not be necessary as they have an established brand identity with commercial clients. The idea with the "little boxes" design study is to test the idea of using "drab" paint swatches contrasted with bright vibrant colors while trying to create motion within the space. It's a work in progress, but the Flash potential is great. One thought is to create a paint game or tool using Shockwave to take people from "drab to fab" in no time flat. (This same tool could be applied across a broad range of brands and using in various other applications, including in-store kiosks.)

The hope/focus is to build on the brand and make Duron a designer's must-have. Designers appreciate good design, clean logos and a cohesive brand strategy. Duron does not have that. As a part of Sherwin-Williams, it might be a better option to market the Duron brand as the "green" division in order to capitalize on the current wave of eco-centric consumer interest.

As I've stated for many years now, if you look at economic downturns or slowdowns in market growth, you'll notice a trend after the initial shock of the lowered sales revenues and market adjustments: advertising and design budgets generally increase. Most companies understand that the best time to invest in smart, focused and brand-developing advertising is when the market is souring. There is never a more important time than an economic slowdown to prove to customers your company's value and to create or enhance a need. Aside from having a solid product or service, advertising and design is the most fundamentally important thing any company can invest in order to whether the storm while increasing brand loyalty and exposure.


We're also working on developing the branding for a new campaign strategy and design firm. The idea is to capitalize on the growing emphasis of campaigning through the web. The idea behind the above design directions is to no only think about potential slogans and their marketing potential, but also convey a non-partisan approach to campaign website design, administration and strategy. We're playing with color, but I'm a big fan of Pantone 412-406. Especially when it's paired with minty 351 or cool blue 3105. I'm liking 1767 pink this week too.

Labels: Advertising, Case Study, design, Duron, JSDS, Justin Schuck, Marketing