5webdesign.com's blog is a place for us to educate small business owners and company managers about 5webdesign's creative business group... it provides design and branding ideas as well as advice and education when needed. We help with any questions you might have with regards to creative services, from website creation to storefront signage. From brochures to logos and corporate identity packages. We are a network of similar-scope businesses for the sharing of resources and networking.

Monday, June 18, 2007


Size really does matter! Large format design such as billboards, bus ads and vehicle wraps can have a profound impact towards the success of your business. It produces greater visibility and brand awareness not found in other mediums. In my next couple of blogs, I’ll address the benefits of this medium.

Vehicle wraps are the next greatest thing in large format advertising. A vehicle wrap is made of vinyl and adhered to the exterior of a vehicle. It provides your business with a mobile billboard. It provides constant impressions–a free set of constant impressions–so that you can drive your vehicle and receive free advertising for as long as you’re driving. Even an act as simple as going to the grocery store can increase your visibility among potential clients!

My vehicle wraps are located at www.5webdesign.com, check em out.

Wednesday, August 31, 2005

Brand Unity

Brand unity matters for everyone. Whether you’re a major corporation or a small corner store, you’ll find that marketing your business is an easier proposition if you can ensure that common themes, ideas and designs run through all your marketing materials.

All businesses – and consumer businesses in particular – are dependent on their advertising. But it’s very easy to design advertising materials in a piecemeal way, as their needed or as funds become available. If you’re a small start-up, you may begin with a website and a few printed flyers. Then, as you grow, you might want window displays, decals for your car or truck, or maybe trade show displays.

Even if you’re not going to have all of these things manufactured right away, it’s a good idea to plan for them from the start. When you’re starting a new business you have a million and one things to do, and thinking about next year’s marketing campaign may not be too high on the agenda to start with. But one of the secrets of a good brand is that it is planned – you know (or hope you know) exactly where your brand is going to be in a year’s time.

So what can you do to make sure that your marketing materials are consistently strong? Well, the first thing to do is make sure that you have defined clear brand values from the start. If you’ve decided that your business stands for ‘reliability’, ‘localness’ and ‘value’ before you’ve even opened your doors, bought stock or even mentioned the business idea to your significant others, you’re a good long way down the road to having a well-planned brand. The thought that goes into your branding before your business’s launch is among the most valuable planning you will ever do.

Second, make sure you’ve got a good designer and stick with him. Designer A’s idea of what kind of graphics represent reliability, localness and value might be very different from Designer B’s idea. Both designers’ views might be equally valid, but you’re after consistency of style. You want people to recognize your brand and build up a sense of familiarity with it.

Third, consider planning a whole campaign from the start. We were recently invited to design some marketing materials for a hairdressing business in Florida. Initially, we were only down to provide material for brochures and print marketing material. However, after touring the business – and showing the owners what we could do - we were taken on to produce a variety of other materials, including window displays, in the same style. The business owner was sensible: she knew that if her materials all worked around a similar theme she would stand a better chance of building a strong brand identity. Folks are bombarded with advertising every day – thousands and thousands of pieces. If all your marketing materials are different, you’re going to dilute to power of your brand to the extent that potential clients won’t notice, but will maybe instead be seduced by one of your rivals’ campaigns which has the virtue of consistency.

Think of your marketing campaign like a battle. Each separate item of marketing material is a division of troops. If each piece is different, it’s like throwing the divisions into battle one at a time – so they get beaten easily. What you need to do is to throw your whole army in at once: a combined assault by every item of advertising and marketing collateral that you have, each of them sharing a design that one designer or design house has built up from the core brand values of your original vision.

Press Kits

These days, one of the most popular ways of getting your business known is to issue a press kit. You’ve spent good money on glossy brochures and leaflets, you’ve hired a copywriter to fine tune your sales texts, and now you need to get your company’s brand out where it belongs – in the badlands of the media. Put together a press kit and send one to carefully targeted media organizations.

But what does a press kit need? Well, no two are exactly alike, but most have certain things in common. To give you a little inspiration, here are 5webdesign’s recommendations:

A press release. OK – this goes without saying. But what should your PR be like? There are hundreds of websites out there that’ll tell you how to lay one out, but really it’s pretty simple. Make sure your name and all your contact details are at the top. State that you’re available for interview. Add the date of issue, plus the words FOR IMMEDIATE RELEASE (just like that, in caps) if you want it to go out right away. If you want to delay it to synchronize news stories with other events, use EMBARGOED UNTIL: (DATE) instead. Give it a snappy headline, and finish the copy with (ENDS). Try not to run over two line-and-a-half spaced pages. Oh, and try to give it an angle. Journalists are interested in news – so give ‘em some, even if you have to make it up. Remember to include the six vital ingredients of a story: what, why, when, how, where, who. The more you make it like a news story, the better. By doing so you’re making editors’ lives easy – all they have to do is a bit of tweaking and they have a ready made item.
All your current publicity material. That means three or four pieces, including brochures, leaflets and copies of any print or web ads that you’ve run. Send them as hard copy – not on a disk. The contact you send them to may not need them, but equally s/he may leave them lying around the office for other newshounds to browse through.
White papers and reports. Any recent company reports or public financial documents are useful – journalists like hard evidence of your success.
Bios of you and your key players. These should be quite brief, and there shouldn’t be too many. But try to make them at least a little interesting. Journalists know that people like reading about people, so they’ll always grab the human interest in a story. If you had the idea for your business while rescuing a kitten from a tree, say so. If you didn’t, say so anyway. It gives the whole story a starting point and a framework.
Samplesand/or free stuff. Journalists like to paint themselves as the high-minded guardians of the nation’s freedoms, but, like the rest of us, they’re suckers for freebies. If your product is small enough (and cheap enough) to go in the press kit, include it – free sachets of your shampoo or copies of your software will be seized upon. If you’re selling something large, expensive or intangible, include some goodies all the same. Pens and key rings are cool. But the killer freebie – if you work out a way of protecting it from breakage – is the coffee mug. They sit on people’s desks for years, advertising your business 24/7 and reminding journalists that you exist when they need a story on a quiet day.
Box it all up and send it out. Your press kit shouldn’t be huge – anything much bigger than a shoebox is too big, and something that’s shoebox-sized had better contain some really cool free stuff. Remember to plaster your logo and your return address all over it, and send via a major carrier – in the current climate journalists are a little wary of boxes arriving from strangers. They’ll probably accept it, but the chances are the office junior will be sent into a room with thick walls to open it with a broom handle, just in case it goes boom. For that reason, including a ticking clock as a freebie is not a good idea – the military gets pretty cross when its UXB teams get hit with false alarms.

Also, check out this site:

The Web site address is: http://www.prweb.com

This is a great service and I highly recommend it for getting the news about a product or service you want to feature!

Remember: be comprehensive without swamping your target in paper. And be memorable. This is your shot at the big time!

What Viral Marketing Can Do For Your Business

Maybe you’ve heard some stuff about viral marketing. It was very fashionable a couple of years back, and plenty of ‘gurus’ made plenty of money by writing books about it.

Not the kind of thing for your business, you’re thinking. You’d be wrong. Like most marketing strategies, viral marketing basically boils down to common sense. It’s cheap, and if you do it right it can be easy.

But what is it?

Viral marketing, very basically, is the oldest kind of selling there is. It means harnessing people’s natural social networks, and getting folks to talk up your business, product, or service. In a nutshell, it’s word of mouth.

Word of mouth, you see, has achieved enormous new power in the age of the internet. But harnessing it isn’t as straightforward as you might think – you can’t just go email a bunch of people and expect them to spread the joyous good news about you an your business. It’s more likely that such a tactic would backfire on you and you’d get blacklisted a spammer.

But there are some viral marketing methods you can use, and your design team should be an integral part of helping you use them. Some are old fashioned, others are rather newer. Below are a few suggestions to get you started….

Put a game on your website. This is becoming a classic viral marketing trick. Most decent web designers can design an online game for you, using Java or Flash technologies. Folks come to your site, play the game, tell their friends. They come to your site, play the game, tell their friends… and so on. If you’re going to jump on this bandwagon get jumping quick, because popularity is soon going to kill it.
Sponsor an event. If you sponsor a local charity, event or kids’ organization you get a nice warm glow inside from giving something back to your community – and a heap of free publicity. Put up posters and make sure your logo is plastered all over everything. Everyone’s a winner.
Organize a publicity stunt – the more spectacular the better. Have a good-looking guy and a pretty girl stand in a shopping mall handing out free chocolate while wearing t shirts with your logo on. To be truly ‘viral’ it should be cheap and effective. But remember to stay legal: 5webdesign won’t be standing your bail if you get on the wrong side of the law!
Remember the basics of viral marketing: it depends on people coming across something cool – something that’s related to you – and telling their friends about it. Viral marketing is better for building general brand awareness than selling products direct – but it’s one of the best ways out there of getting your name known.

Viral marketing is usually considered the internet age’s development of ‘Guerrilla Marketing’ – the small business sales trend that took off with the publication of Jay Conrad Levinson’s book of the same name. If you can get hold of a copy of Guerilla Marketing – and it’s still in print – it still holds many valuable lessons, despite being way pre-internet.

This is a good example of viral marketing

This site will increase your traffic if you recommend it to others. The network self replicates - all on its own. Even if you sign up just 10 webmasters you can generate 100,000 links. In fact, there`s no limit!

Monday, May 09, 2005

Names, Names, Names

Today we're going to do a little Shakespeare. Bear with us. It is relevant.

You know Romeo and Juliet? It's Act 2, scene 2, and Juliet is standing on her balcony. She's recently met Romeo, though she doesn't know that the little peeping-tom is crouching feverishly in the bushes below. She's worried, because he's a Montague, and she's a Capulet - and their families are involved in a bitter feud. But, she wonders, why should she hate him just because he's called Montague? Riffing on the idea, she muses:

What's Montague? It is not hand, nor foot
Nor arm, nor face, nor any other part
Belonging to a man. O, be some other name!
What's in a name? That which we call a rose
By any other name would smell as sweet.

Now, Shakespeare was a pretty fine playwright, but this passage suggests that like many so-called 'geniuses' he only went into producing timeless works of art because he couldn't cut it in the advertising and design business. No copywriter on earth would tell you that '..a rose/ By any other name would smell as sweet'. Because copywriters know that names matter. If a rose was called a "gurglewort" or a "breedleclatch" it probably wouldn't smell as sweet. Or, at least, the people you tried to sell it to wouldn't imagine them as sweet-smelling. The brand "rose" depends on the aesthetic quality of its own name.

Now, obviously, this principle doesn't work at extremes - you can think of as many cute names as you like for rotten eggs ("ovalsnoops"? "Snufflepies"?) and they'll still stink. But it's a good illustration of the fact that names affect people's perception of things. You wouldn't call a brand of razorblade "Mr Softee" for the same reason you wouldn't name a brand of toilet tissue "SharpEdge".

Think about the name of your product or brand right at the start. And get the professionals in to help you.

Adam Fiveson

Wednesday, May 04, 2005

Woolly Briefs

We've been reflecting lately - we won't tell you the exact reasons why - about the nature of woolly briefs.

Nope - this isn't the ultimate revelation of some hitherto undisclosed underwear fetish, but rather a disquisition on the bane of the creative life. A "woolly brief" is the name we give for client instructions that are vague, obtuse or downright unhelpful. They come in two types.

Type one: client say things like, "uh - right. Yeah we kinda want a brochure that says we're kinda cool, um, yeah." Now at this point amateurs (we're not amateurs) would go ahead and slap something together. Probably some pre-1993 clipart on a magenta background, thinking that the client - who has been so vague - will be happy with something from the William S. Burroughs school of design. Of course, they very really are. Client/Designer argument ensues. We don't like those. SO what we do is ask lots of lots of questions until we've found out what the client maybe likes, and maybe doesn't like. Only we're still not too confident, as woolly briefs are woolly briefs. Jobs like this usually work out in the end (because we're professionals) but they take ages. And ages. And ages.

Type two: client says "I got this great idea". Cue sinking feeling in chests of designer, copywriter, printer, and also in chests of designer's and copywriter's spouses, children and pets. This client wants us to SEE INSIDE HIS HEAD. We may be professionals, but we are not professional psychics. Client will doubtless be dissatisfied that our design isn't exactly what he envisioned. So endless drafts and redrafts follow. They take ages. And ages. And ages.

You want excellent work and reputation as a client so good that every morning you will wake to hear the sound of creatives beating on your front door? Give us an idea of what you want, why you want it, who it's aimed at and when you need it. Then trust us to do the job right. We'll do the job right. After all, you wouldn't have hired us if we weren't the best in the business, would you?


Adam Fiveson
Creative Director

What is great design?

A painter will tell you that the greatest design is the most meaningful and aesthetically satisfying. An account executive in an ad agency will tell you it’s the design that sells the most boxes of soap powder.

Most everyday folks, if asked, probably couldn’t tell you. But they sure know great design when they see it. You’ll know this feeling: you go to a website, or pick up a magazine - and you just know it looks awful. Or great. But it’s hard to pin down why. That’s why it’s a good idea to have someone who really understands design put together your site, brochure or logo.

Let’s look at three famous designs and see what makes them so good.


The layout of the Yahoo.com main page embodies the key principle of great design: simplicity. It’s not fussy, or cluttered. There are just two columns and six instantly recognizable icons along the top. There’s an enormous amount of content in this simple space. The design is clean and well proportioned. It does its job – helping people find information fast – very well.


The Nike logo has got to be the most famous in history. The guy you’ve just dragged off the street to interrogate about design: ask him to think of an example of a corporate logo off the top of his head. Chances are it’ll be the Nike ‘swoosh’ he comes up with. The logo, designed by Carolyn Davidson in 1971, represents the wing of Nike, the Greek goddess of victory. (To settle all those arguments you always had, it’s pronounced ‘nee-kay’ – ‘niki’ remains the modern Greek word for ‘victory’). It also adheres to Phi – the divine proportion. Phi was first mentioned by Euclid around 300BC. If you drew a rectangle enclosing the swoosh you would find that the longer side was roughly 1.6 times as long as the shorter side. This proportion (a plus b over a equals a over b, math-heads) is uniquely satisfying to the human eye, and has been used in art and architecture for two millennia. Check out the White House. Its façade (minus the wings) and all its windows adhere to Phi. The other thing that makes the swoosh a great logo is, once again, its simplicity. It is instantly memorable.

USA Today

USA Today has a long record of technical innovation in its printing processes, and its images are among the cleanest you’ll find in newsprint. Newspapers call their logos ‘mastheads’. USA Today’s masthead is unlike its competitors’ logos, and the whole paper has succeeded because of great design. A really simple idea – color-coding the different sections – has made it one of the nation’s top publications.

So great design contains a paradox. The best ideas, it seems are the simplest. But the simplest ideas are often the toughest to think of. A professional designer, trained in the right ways of thinking about visual problems, knows how to nail simplicity.


Adam Fiveson
Creative Director

What is branding?

To understand it, you need to know about two things: soap and cattle. A brand, originally, was a red-hot piece of metal used to mark the hides of steers in the old West. Because the animals roamed freely, and fencing huge areas wasn’t practical, individual cattle were ‘branded’ with their owners’ unique mark to aid identification.

So a ‘brand’ came to be the distinguishing mark associated with a product. Later, as the word spread through the marketplace, it also came to refer to the ideas, values and style associated with that product. Modern day branding is all about aligning a product with a particular value-system and market sector, and nothing to do with making marks on cows’ backsides - though you never know what marketing guys get up to at weekends.

Modern day branding started with soap powder. Back in the twenties and thirties, radio was huge. In the US, popular networked programs reached an audience of 40 million per day – those are the kind of viewing figures modern TV executives dream about. It was realized that a large proportion of day time listeners to drama serials were housewives. So advertisers decided to use breaks in these serials to advertise products aimed at this market sector. The product they advertised more than any other was soap powder, and the great detergent campaigns of the thirties laid the foundations of modern advertising. They also gave TV and radio serials their popular name – soap opera.

These days branding is a multi-billion dollar industry. Large corporations spend fortunes creating brands, and will go to enormous lengths to protect the integrity of established ones.

Arguably the greatest branding triumph of all time was Coca Cola’s use of Santa Claus in a 1931 ad campaign. Before that time Santa Claus had been portrayed as an elf, or a spirit dressed in green. Designer Haddon Sundblom redrew Santa, creating the popular image of the pot-bellied, jolly old man we have today. And he dressed him in the Coca Cola colors – red and white. Through clever marketing, Coke took one of the central icons of modern western culture and made it completely their own.

You know your brand has made it if people begin to use your brand name generically to refer to all products of that type. Until the advent of the mp3 player, every personal tape player on the market was considered a Walkman – whether it was made by Sony or not. The same thing has happened with Band Aid, Scotch Tape and a few other lucky brands. Brand managers call this ‘saturation’.

Today the marketplace is much more crowded than it was in the thirties, and no brand manager can hope for quite the same success that Sundblom or the soap ad agencies achieved for their clients. But sensible, consistent brand management can bring great rewards. There are hundreds of books out there on branding, but all the advice boils down to three simple stages:

1. Decide on the target market for your product, and which product values would appeal to them most – reliability, value for money or whatever. The market should come before the product.
2. Create design that embodies those values.
3. Propagate those designs across your business and advertising, being consistent throughout. To ‘protect’ your brand ensure that all of your people from the factory floor to the boardroom understand the core values of the product and how to support them.

And maybe one day Santa Claus will have your logo on his back!


Adam Fiveson
Creative Director

Cutting The Costs, Keeping The Quality

OK: so you’re not Nike. You’re not Coke, or Johnson and Johnson. You’re a guy or a gal, a partnership, or a small group with a small to medium-sized business, and you need some advertising.

It’s probably not a good idea to try Madison Avenue. There are lots of top-flight agencies and design houses out there, but they cost a fortune. They’re also going through something of a crisis right now, trying to work out if there’s a future in TV ads in the internet age. So unless you’ve got in excess of, say, $3 million to spend, they won’t risk creasing their expensive suits to talk to you.

You could try a more middle-of-the-road organization. They’ll probably put together your brochure, ad or display materials for you. But the chances are they’ll reserve their in-house talent for their biggest clients. They’ll probably farm your job out to freelancers. So you pay the freelancers’ fees and the agency fees. And you help pay the agency’s electricity bill, their receptionist and janitor, the guy who fixes their photocopier and the CEO’s daughter’s piano teacher – and any other small costs that they need to pass on.

You might as well cut out the middleman and find the designers and writers yourself. But there are more dangers lurking – see this month’s other article, Who Is Your Designer? At least an agency will know some good ones. Trawling the internet for lone wolf freelances will throw up some real talent and some complete jokers. In the initial stages of negotiation it can tough to tell one from the other – and a lot of money, potentially, is resting on your ability to do so.

There is a third option – a virtual design house. There are plenty of guys out there who form a single creative unit – designer and copywriter – although they might live on opposite sides of the world. Virtual design houses don’t have to pay the rent on several thousand square feet of downtown Manhattan real estate, and they’re often just as talented as the guys in those ivory towers. Also, the fact they’re working as a team is more of a guarantee of their talent: nobody likes to work with a partner who’s no good.

So the VDH hiring model can be the best option for small-to-medium businesses. 5webdesign offers a VDH service through our network of contacts in the creative community: outsource you material to us and we can be a ‘one-stop-shop’ for your design, publicity and advertising needs.

We can do for you nearly anything an upmarket design house can – at a fraction of the cost.


Adam Fiveson
Creative Director

In the beginning was the Logo.

Now, if you were the kid who used to jump up and down at the back of class waving your hand in the air and making ‘ooh, ooh!’ noises whenever teacher made a mistake, your pants are probably on fire right now. The wiseguy eleven-year-old still living in your head wants to tell me that in the New Testament the Gospel of John starts: ‘In the beginning was the Word…’

Well done little Jimmy or Jane. Have a popsicle and go ahead and jump out of the window. You’re smart, but not quite smart enough, and besides we’re not in any kind of Bible study, no matter your persuasion, we’re here to inform when we can.

It’s time to look at that particular passage in the language it was originally written, Greek:

ν ρχ ν λ γος

Yep, a spider crawled over the page. Let’s put that in Roman letters:

En arch hn o logos

The Greek word for ‘word’ in this sentence is logos, and there’s a good chance you already knew that, of course. The fact that logo comes from the Greek word for ‘word’ is common knowledge in the advertising and design world – although it’s slightly wrong. Logos doesn’t simply mean ‘word’. Logos is a word which is spoken with authority and which embodies a concept or idea. So when St John wrote ‘in the beginning was the Word’ he was referring to the idea or concept of God.

That’s why the thing companies’ slap on their tins of beans is called a logo. It is a simple, authoritative statement expressing a single concept or idea. (Note to Jimmys and Janes: despite what you may think, ‘logo’ isn’t related to ‘slogan’. That word comes from the Gaelic Slaugh Ghairm, meaning ‘war cry’.)

Of course modern logos often don’t contain words at all – Nike in the modern world broke the use of language in “the logo” back in the seventies. But the basic principle remains: your logo, whether it uses language or symbols or both, should be a clear statement of your brand. That’s why developing a logo is so important for a new venture or for established businesses seeking to get back to their core brand values. Working with a designer on a logo forces you to think hard about the one or two values at the heart of your brand. Unless you focus on what they are, you’re never going to live up to the idea of logos – a simple concept authoritatively expressed.

Consider a couple of wordless corporate logos and what they express. The Nike Swoosh: speed, energy, success, approval. The Lucent ‘rough-edged’ red circle: priority, precision, and a willingness to improvise and think outside the box. Logos don’t work in isolation (‘hey look, there’s a red circle. Guess that company does high-end communications and networks in a funky yet professional way’). Logo, product and company give each other value. The logo, if you like, is the third point of the branding triangle.

So it’s important to get your logo done properly. Give your designer as much information as you can about your business and your brand. Once he has an idea of what you really stand for he can put together a logo that swiftly and authoritatively puts across what your firm represents.


Adam Fiveson
Creative Director

Who is your designer?

Who Is Your Freelance?

There are a lot of creatives out there these days. Have a look around Elance.com, or Guru.com – these sites are packed with guys who will happily design your site or logo, or write your copy. Some of them promise the earth for very low prices, and while its true that the increased competition that the internet has permitted has driven the price of creativity down in recent years, the old rule still holds good:

You Get What You Pay For

There it is, in nice big letters. It’s not just ‘the old rule’. It’s ‘THE old rule’. It’s the law of nature Newton forgot to write down. It’s the eleventh commandment that didn’t fit on the stone tablets. It’s often found in other permutations: ‘there’s no such thing as a free lunch’, and – my personal favorite – ‘if you pay peanuts, you get monkeys’.

And boy, are there a lot of monkeys out there. A client recently came to us for a redesign of her logo. Her original had been commissioned from an Elance provider who offered to do it for $100.

$100. Pretty good price for a corporate logo, huh? Let’s consider some of the stages in logo design, and how long they take.

· Talking to the client, focussing on ideas, looking at the client’s competition. Four to five hours, minimum. Usually twice that.
· Producing drafts – all good designers come up with a number of ideas and let a client choose their favorite. Five to six hours, minimum
· Taking client feedback. An hour or two.
· Producing the final design in Adobe Illustrator (for vector graphics) and/or Photoshop (for bitmaps). Three to four hours, minimum.
· Sorting out paperwork and billing, writing mail, and other miscellaneous tasks related to the project. Two hours, minimum.

So the shortest possible time in which it’s possible to produce a professional logo is around fifteen hours. Mr Hundred Dollars was working for $6.66 per hour – an appropriate wage for the Designer From Hell.

No pro in the world works for that amount. Mr Hundred Dollars falls into one of the following categories:

· A complete amateur – probably a kid – who knows a little about Photoshop and knocks off some designs his mom thinks are cute.
· A crook that puts together logos in under an hour from clipart or dingbat fonts.
· Someone in Asia for whom $6 is a reasonable wage. It is possible to find great Asian providers, especially in India. But you should bear in mind two things: first, are they culturally sensitive to the needs of a western market? Second, why aren’t they making more in their home country? India has a huge corporate market and lots of great agencies and studios – a talented creative can make as much in New Delhi or Mumbai as he can in London or New York.

Our client’s Mr Hundred Dollars fell into the second category, and delivered a logo stuck together from Dingbats. We re-did the job properly. Why not save your money and appoint the right design team first time around? Give the job to someone who will:

· Show you a detailed portfolio of work
· Can provide verifiable references from satisfied customers
· Set out in advance exactly how s/he intends to work with you and how long s/he will spend on the project
· Has a website
· Will talk to you on the phone

5webdesign, of course, are happy to do all these things. Why not get in touch to discuss your project?


Welcome to our new blog.

5webdesign's blog is a place for us to educate small business owners and company managers about 5webdesign... its design principles as well as provide branding advice and help with any questions you might have with regards to graphic design, from website creation to storefront signage. From brochures to logos and corporate identity packages.

It's also going to become a place for other designers, developers, printers, writers and advertising specialists to tell us about their services. Creating a network of similar-scope businesses for referrals.