This document provides an overview of graphic design and the graphic design process from the Australian Graphic Design Association (AGDA). It discusses how graphic design is used in marketing and business to enhance positioning and messaging. The document then outlines the typical steps involved in a graphic design project, including briefing, proposal, design, artwork, and reproduction. It emphasizes that the process requires problem-solving, creativity, and technical skills to translate a client's goals into an effective visual solution.

1. Australian Graphic Design Association
AG D A
‘35% growth in an orchestra’s
subscriber base over three years –
no increase in marketing activity,
just profound, communicative and
emotive design, year after year.’
AGDA Member
UNLOCKING THE GRAPHIC DESIGN PROCESS
DESIGN
management

2. We live in a consumer
environment constantly surrounded by graphic design
in one form or another – corporate identity systems
applied to stationery and signage, architectural graphics,
packaging, corporate literature, product brochures,
posters, internet home pages – in fact, anything that
visually represents an organisation to its markets
or stakeholders.
Most businesses use graphic design
as an integral part of their
marketing strategy to enhance
the competitive positioning of their
product, service or company.
The graphic design process is a problem solving process,
one that requires substantial creativity, innovation and
technical expertise. An understanding of the client’s
product or service and goals, their competitors and the
target audience is translated into a visual solution created
from the manipulation, combination and utilisation of
shape, colour, imagery, typography and space.
Successful graphic design powerfully aligns consumer
perception with the marketing message, elicits the desired
consumer response and confers
competitive
advantage.

3. [
= V I S U A L C O M M U N I C AT I O N
T H I S P U B L I C AT I O N
This publication has been produced
by the Australian Graphic Design
Association (AGDA) to support client
understanding of our profession.
What buyers of design services will
gain from this explanation of
the graphic design process is the
knowledge to manage their own
projects better. Just as the client
What buyers of design services will
gain from this explanation
of the graphic design process is the
knowledge to manage
their own projects better. GRAPHIC DESIGN &
QUALITY CONTROL
A good graphic design process
is structured around ensuring that
the client gets the highest quality
and designer benefit enormously
solution and service appropriate
from a solid understanding of the
to their business, marketing or
client’s business and marketing
communication problem.
activities, so too can the same
Quite often there is a temptation
team benefit from an understanding
to ‘crunch’ the time allowed for
of the designer’s activities.
graphic design. Clients who face
The graphic design process map this temptation should remember
provides an overview of the steps that reproduction processes,
involved in a typical project. The text such as printing and electronic
provides a short explanation of each publishing, are ‘garbage-in,
step, including the responsibilities garbage-out’ processes.
of client and designer.
If clients want to ensure that
This publication is not intended their investment not only in design,
to be the definitive guide to graphic but also in reproduction, is
design project planning. No single maximised, the focus should be
document could possibly on making sure that the input,
‘
35% growth in an orchestra’s
subscriber base over three years –
encompass all the permutations and
unique details that each graphic
design project generates during its
the design and artwork, is right.
If clients face irresolvable time
constraints, AGDA recommends
development and implementation. that the client discuss with the
no increase in marketing activity,
just profound, communicative and
‘ AGDA recommends that the client
and designer take the time to
designer how these constraints
may be dealt with in a manner
establish an actual project plan for that does not irretrievably
emotive design, year after year.
each project, using this information compromise the commercial
AGDA MEMBER as a guide. value of the entire project.

4. graphic design
process map
1 2 3 4 5
(OVERVIEW)
BRIEFING PROPOSAL DESIGN ARTWORK REPRODUCTION
( D E TA I L )
re s e a rc h
initial p re p a re p ro j e c t commission handover to
+ concept
discussion outline other suppliers printer
development
p re p a re
p re l i m i n a r y design artwork p re p a re f i l m +
design + artwork
re s e a rc h development p re p a r a t i o n f i l m p ro o f s
quote
o rg a n i s e f o r concept +
briefing artwork p ro o f c h e c k
other suppliers design
meeting p re s e n t a t i o n + a p p ro v a l
quotes p re s e n t a t i o n
a p p ro v e d design artwork commence
w r i t e p ro p o s a l
brief re f i n e m e n t a p p ro v a l printing
p re s e n t design
p re s s c h e c k
p ro p o s a l a p p ro v a l
p ro p o s a l delivery
a p p ro v e d to client
LEGEND:
stage involves client input
Note: AGDA recommends that designers adapt this generic process map to fit their actual working style and
type of projects before using it to enhance client understanding of design project management issues.

5. IS A PROCESS
[
2
1 PROPOSAL
WRITTEN PROPOSAL
BRIEFING • Design firm prepares a written
proposal detailing:
INITIAL DISCUSSION BETWEEN
- what is required
CLIENT & DESIGN FIRM
( in communication/design/
• Client and design firm discuss production objectives ).
project objectives timing and
- design and production fees,
budget in broad outline.
treatment of author’s
PRELIMINARY RESEARCH corrections and material
expenses.
• Client prepares and reviews
background material. - timetable from approval of
proposal to delivery to client.
• Client begins to prepare
briefing information (see Briefing - terms and conditions
Checklist, back page). of engagement, including
copyright assignment.
• Design firm reviews their own
background material and/or This stage may also include
previous projects, in preparation procuring subcontractor quotes,
for briefing meeting: this research e.g. photography, illustration,
helps the design firm to focus copywriting, etc.
on the key issues in the context
C L I E N T A P P R O VA L O F P R O P O S A L
of the work (competitors, other
products/services within the • Client checks proposal and
line, etc.). compares it to brief to confirm
the design firm’s understanding
BRIEFING MEETING
‘
Telstra had some challenging news for
a key industrial users’ segment – this
• Client and design firm meet to
discuss brief in detail and clarify
of the project’s purpose and
strategic directions, as well
as technical considerations.
any technical issues ( budget,
• If the design firm’s understanding
was addressed through a well-designed timetable, corporate identity
of the project cannot be
guidelines, etc.).
direct mail piece that achieved a confirmed, client reviews written
‘
94% recall rate and even had customers
C L I E N T A P P R O VA L O F B R I E F proposal with the firm and
a new proposal is prepared.
• Client seeks internal approval
ringing for extra copies!
of brief, including budget • Client accepts proposal and
AGDA MEMBER and timetable. prepares order for design firm.

6. 3
DESIGN
5
CONCEPT AND DESIGN
DEVELOPMENT REPRODUCTION
• Designer reviews brief, ARTWORK HANDOVER &
background material and identity PRINT BRIEFING
standards to ensure that the
• Designer and/or client hands
project context is understood
over artwork files, proofs and
and corporate requirements
related materials to prepress
are met.
house or printer/print broker,
• Designer develops creative with film specifications, print
concepts, with designs being specifications and an order form
produced from the concepts.
• Preliminary designs are reviewed
4 specifying quantity, delivery date
and shipping instructions. It is
also useful to provide samples
and critiqued to select the most
of work that demonstrate the
appropriate designs for further
ARTWORK print quality required.
development or presentation.
A P P R O VA L O F F I L M P R O O F S
CONCEPT AND DESIGN F I N I S H E D A R T P R E PA R AT I O N
P R E S E N TAT I O N A N D P R E S E N TAT I O N • Designer and/or client checks
colour proofs prepared from film
• Designer prepares visuals • Client provides signed-off text.
to verify the technical accuracy
and design rationale for client
• Designer commissions remaining (registration) and colour of the
presentation.
photography/illustration. expected printed result.
• Client and designer evaluate the Since this quality control step
• Designer prepares artwork files
presentation against the brief focuses on technical accuracy,
and final laser proofs for film
and written proposal. If the initial it is generally the designer who
production (prepress).
briefing is adequately prepared, reviews the chemical proofs first.
it is rare for a presentation to be • Designer prepares
SUPERVISION OF PRINTING
totally off the mark. Personal comprehensive prepress and
taste should not be used as the print specifications to ensure that • Once the film proofs are
primary criteria for a design’s the client’s and designer’s quality approved, plates are made
acceptance or rejection. expectations are understood and printing commences.
and maintained throughout the The authorised print buyer
• Criticisms should be specified
reproduction process ( client /designer/broker ) checks
as tangibly as possible, using
the printed results at the
the Briefing Checklist. These • Designer delivers artwork
commencement of printing –
criticisms are important for the files, final colour and/or laser
this is known as ‘press checking’.
next stage of development. proofs and related material
The printed colours are
( transparencies, illustrations,
DESIGN REFINEMENT compared to the designer’s
etc.) to client.
original colour specifications, the
• Criticisms of the design
F I N I S H E D A R T A P P R O VA L transparencies and the chemical
recommendations are addressed
proof. Print registration is also
by the designer. • Client approves artwork and
checked. Any discrepancies
related material ( with a signature
• A second design presentation between the desired result and
on every laser proof ). This
is held, using the same actual printing are corrected
stage may also include legal
evaluation process, including before the entire print run
department approval of any
the list of criticisms. is completed.
statutory requirements.
D E S I G N A P P R O VA L DELIVERY TO CLIENT
• If client-requested changes
• Client accepts design in terms ( also known as ‘author’s • Printer or designer organises
of the visual appearance and corrections’ ) are necessary they delivery of printed items as per
construction. are corrected at this point. the client’s instructions.

7. The following checklist
can be used as a guide in
preparing a brief for
a graphic design project.
PRODUCT / SERVICE DESCRIPTION
s History/present position/ future
s Competitor information
MARKETING BACKGROUND
s Previous marketing activity
s Present marketing activities – research, advertising, direct mail,
graphic design, public relations, distributor promotions
s Future marketing activity
C O M M U N I C AT I O N TA S K – ‘ T H E M E S S A G E ’
s Context of specific marketing message in relation to business plans
s Information to be included in the designed item
s Medium of transmission
s Target market ( see next section of this checklist )
s Function or desired response
s Evaluation procedure
TA R G E T M A R K E T
s Segmentation
s Demographics – age, gender, income, employment,
geography, lifestyle
s Purchase motivations – needs, wants, corporate image,
product /service positioning
s Purchase decisions – decision initiators /influencers /makers, end user
BUDGET
s Similar past projects
s Estimates ( based on past projects and other information )
s Future budgetary allocations (what else needs to be done in the
current budget period)
s Contingencies
T I M E TA B L E
s Consultation ( research, strategy, brief development )
s Creative ( concept and design development )
s Production ( artwork, printing and other production )
‘
Advertising pushes the consumer
‘
towards the product but design brings
s
s
Distribution
Contingencies
the product to the consumer.
All suggested topics are considered relevant, although not all will be
AGDA MEMBER necessary depending on the type of project.

8. [
GRAPHIC DESIGN...
ABOUT AGDA
The Australian Graphic Design
Association’s mission is to advance
excellence in graphic design as
a discipline, profession and cultural
force. AGDA is a member
organisation of ICOGRADA, the
International Council of Graphic
Design Associations, which holds
consultative status with the Council
of Europe, UNIDO and UNECSO.
By channelling the experience of
successful designers into a single
resource, AGDA assists designers
in improving their design quality
and professional practice, and also
enhances clients’ ability to make
informed decisions when buying
design services.
AGDA conducts an extensive range
of activities at State and National
level, including biennial National
Graphic Design Awards, biennial
Design Conference and 40-50
state-based seminars annually.
AGDA produces a web site and
publications, including a Code
of Ethics, an Industry Study, a
Benchmarking Report, Designer
Selection, template contracts and
other professional practice topics.
ENQUIRIES
AGDA National Secretariat
PO Box 283
Cammeray NSW 2062
Australia
Tel 02 9955 3955
Fax 02 9955 0566
Email gm@agda.asn.au
Web www.agda.asn.au
This publication was prepared by Andrew Lam-Po-Tang
in conjunction with Kate Dilanchian and Andrew Lewis
(Lewis/Kahn). It is based on original material developed by
Andrew Lam-Po-Tang and John Frostell (Dialogue Visual
Communication) for a marketing communications seminar
commissioned in 1992 by Sheryn Lister of the National
Marketing Communications Department of National Mutual.
AGDA gratefully acknowledges the generosity and support
of National Mutual in allowing this material to be redeveloped
for AGDA publication. © AGDA, 1996. While every care
has been taken in the preparation of this material, neither
AGDA nor the author gives any warranties as to the
correctness of the information contained in it and no liability
will be accepted for any error, misdirection or omission.
Design by Annie Schwebel.
Cover Photography by Paul Henderson-Kelly.
Printed on Saxton Brilliant White 140gsm.
Paper sponsored by Australian Paper.
Print sponsored by Inprint.