Most people take graphic design for granted. Whether or not you're aware if it, however, someone designed everything you see that is in print or posted online. These days, with so much stuff all over the place, packaging your product well may be the only way to get it noticed. You may not consciously recognize whether a product design is good or bad, but your subconscious assessment of the package may help you to decide buy it. Maybe you shouldn't judge a book by its cover, but everyone does to some extent. Take advantage of that knowledge and find yourself a good graphic designer. A great-looking CD package gives your music an extra chance of being heard.
NEEDLE IN A HAYSTACK
It's not hard to find people who call themselves graphic designers. With the proliferation of layout and design programs such as Adobe PageMaker and QuarkXPress, anyone with a computer, scanner, and appropriate software can call him- or herself a designer. But that doesn't make it so; I may have a hammer and nails, but that doesn't make me a carpenter.
The best way to find a professional graphic designer is through a recommendation by someone you trust, which usually means another musician who's hired one. You might also look in local music or entertainment newspapers; designers who specialize in CD design frequently advertise in such publications (check the display and classified ads). When all else fails, there's always that good ol' standby, the yellow pages.
Once you have a list of designers, pare it down. Call the designers and ask about their work — what kind of products they've designed and who they've worked with. Ask what kind of music they like; if you can find a designer who shares your artistic bent, you're more likely to get a suitable design. Make sure the designer is receptive to your needs and concerns and gauge his or her enthusiasm about your project. If your designer is not really into it, the product will suffer. Finally, does the person seem easy to work with? That may sound silly, but it's a lot nicer to do business with someone you like than with someone you don't.
Another way to find a graphic designer is through your CD-replication house. Many larger firms have graphics professionals on staff and can include design in the overall price for your project. If you choose that route, you'll still want to ask questions, view portfolios, and even talk to other musicians who have used the company's house designers. You also may want to check on their workload, because that could have an impact on the amount of time and care they will invest in creating your package.
After narrowing down the candidates, ask to see their portfolios. Some will show you their work in person; others will have samples posted on the Web. Make sure the artist's style is compatible with your music; you don't want a techno designer if you're a traditional jazz musician — unless you're in a MIDIfied Dixieland band, that is (see Fig. 1).
Look at the type of products your prospectives generally design; it helps if the designer has experience designing CD packages. Make sure your artist pays attention to detail; a sloppy designer can cost you in more ways than one.
MONEY (THAT'S WHAT THEY WANT)
Money is the final piece of the puzzle. Graphic designers charge a wide range of fees. Some charge by the hour, others by the job. Hourly rates can vary from $25 to $200 per hour, so make sure you get an estimate from the designer on the time required to complete your project. If possible, it's best to pay a predetermined amount; that way, you know how much the work will cost from the beginning. It's hard to say just what constitutes a good or fair price. Try to get an idea of going rates in your area by calling designers and asking for ballpark bids or by talking with other musicians who've used graphic designers recently. Before work begins, get a contract that states the fee and outlines how expenses and other issues that affect the project will be handled.
Be prepared to pay a down payment and a kill fee. A down payment is a portion — anything from 25 to 50 percent — of the total fee paid up front. A kill fee is a stipulated amount to be paid to the designer if the job is canceled for any reason. Remember: designers are also business people, and if they put time into a project only to have it killed, that's money out of their pockets that can't be recovered. Often the down payment can serve as a kill fee, because the designer already has the money.
SOMETHING'S HAPPENIN'
Once you choose a designer, you can discuss ideas and concepts. A good designer takes cues from a variety of sources. Provide as much guidance and source material as possible.
To give the designer an idea of where you're coming from, provide him or her with any band biographies, promotional photos, and press releases you have. Give the designer your band's logo if you have one (a new logo design will probably cost extra). Such items can help him or her come up with appropriate design concepts. Some elements might even be incorporated into the design.
Music can inspire the designer, so be sure to give him or her a copy of your CD (if it's finished) or another example of your music. Also, look for other CDs, book covers, or print ads that have a vibe similar to what you want. They can help a good designer come up with something that fits your style.
You may even have a concept of your own, ready to be transformed into an award-winning design. In that case, communicate your idea clearly; sketch out a rough version and let the designer know of any elements you want incorporated into the package. For instance, if your album is titled Adventures in Lawn Mowing, you might want a lawn mower or a big field of uncut grass on the cover.
REV IT UP AND GO
Before the design phase starts, find out what type of proofs the designer will provide, what format they'll be presented in, and how many revisions will be included. Color printouts and PDF files are good ways to preview the design. Of course, most people want to see it printed out, cut to size, and put in a jewel case. But PDF files (which can be viewed on your computer using Adobe's free Acrobat Reader; see “Onstage Hotlinks”) are a great way to view the work without setting up a meeting or waiting for the mail.
Revisions are sometimes necessary; one or two is typical. Because a CD-package design is made up of many images and lots of type (credits, lyrics, and so on), nailing it the first time is not always easy. Make sure the designer lets you make a revision or two if they're warranted. Providing the designer with accurate information from the get-go can eliminate the need for excessive revisions.
The designer must work within specific guidelines governing the printing of CD inserts. You can get instructions from your chosen CD manufacturer (see the sidebar “Rules to Design By”). Once the designer knows the manufacturer's requirements, he or she can get to work. When the project is finished, your designer will provide the final artwork files on a CD or a Zip disk. With a little luck and with attention to the CD manufacturer's guidelines, you'll soon have a package that will help your product stand out.
GOOD VIBRATIONS
There are no hard and fast rules for choosing graphic designers or determining a fair price for their services. If you have a feeling that a person is inclined to rip you off, you're better off looking for someone else. Find someone you connect with creatively and personally and trust him or her to do right by you. Be aware of your own tendencies, too: if you know that you're a lowest-price shopper, for example, don't pick someone who's going to charge more than you're comfortable paying. Trust your gut instincts and keep the lines of communication open throughout the process.
Even if your music is hot, it stands a better chance of being heard if the package looks good. People do judge CDs by their covers, so make yours look good. The more people who grab your CD because it looks cool, the more discs you'll sell and the more famous and (presumably) the happier you'll be.
Rules to Design By
Even if you hire an outside designer, chances are that you'll use the printing and packaging services of your CD manufacturer. Such companies have their own sets of specifications and guidelines, and you need to give those to your designer. Some have design templates that can be downloaded from their Web sites.
Make sure your designer has the relevant information up front; otherwise, you may end up with a design that falls short (figuratively and literally) of your — and the manufacturer's — expectations. Designers are understandably finicky about having the rules changed after they've begun a project, so it is best to know what's required before you put them to work.
Most replication houses offer a complete package that includes the printing of two paper inserts and silk-screened art on the CD itself. A typical CD case contains two printed parts: the booklet (usually referred to as the insert) and the tray card (the piece that goes underneath the disc tray, becoming the back and spines of the CD cover). Typically, the insert is a two-panel affair folded down the middle. It's usually printed four-color (full-color process) on the outside and one-color (usually black) on the inside. The tray card is usually printed four-color and on only one side.
You can get a more ornate package — four-color printing throughout, gold-embossed logo, clear plastic tray with printing on both sides of the tray card — but it will cost you. As for the CD itself, most replication deals offer one- or two-color silk screening as standard. Again: if you want more, you'll pay more.
