Web Marketing, how to calculate the advertising ROI, Designoptimus.com

Web Marketing, how to calculate the advertising ROI

ROI is an acronym that everyone who chews at least a little ‘ Web Marketing know. It stands for Return on Investment, or return on investment made. It is a term borrowed from finance, but also widely used in advertising and is used to measure, using a special formula that we will now see, how much has been recovered compared to an investment made. Recovery is generally understood in money (and investment as well).

Problems Face Creatives

10 Problems That We Face Creatives And How To Solve Them

You are sitting at your desk, the stack of tasks accumulates in whatever application you use to give some sense to your workload. You look at the screen or the white paper and you start, reluctantly, but you start.

A new project, a new challenge that comes with the usual doubts and, as usual, you wonder which will be the stones that will appear on the road.

But do not despair, today I have some tips for designers where I will talk about the main problems that we face creative people to work professionally and how to solve them.

Errors that you commit when you want to create and your solutions

  1. You are your worst enemy.

Yes, you are your worst enemy, but you should not be; you should be your best critic, the one who builds instead of destroying, and the one who collects the pieces and puts them back in place to lessen the creative chaos.

So forget about the word enemy and become your best friend.

  1. You fear criticism.

If you cannot with the enemy, join him. It’s that simple.

If criticism affects you too much, do not see it as criticism, think of it as a gift that comes in a wrapping paper that leaves a lot to be desired.

Of course, it will be very difficult to reach this level of Zen where criticism does not affect you so much, but it is very worthwhile.

Remember, it’s not about ignoring, it’s about turning the issue around and detecting what works for you and what does not. It’s about learning.

  1. You do not have a routine.

A proper routine will allow you to focus on what is really important and then leave those things that, by quantity and frequency, make life impossible, as are the usual emails.

You can start by identifying which are the times of the day when work and inspiration are most fluid. Compare them with those in which in your head there are dancing little ones.

This will help you organize the day in moments of creative work and moments of mechanical work. As the geniuses of custom logo designers Dubai say, “Stop doing busywork, start doing your best work” or what would be “Stop working mechanically and start working well”.

Identify also the things that can activate your creativity and energy to work. It can be a song, a coffee with colleagues in the office or even exercise.

Keeping in mind these points you will have more tools to build a routine that allows you to give your best during the day.

  1. You feel little prepared.

If in case you see that you get orders for which you are not academically prepared, do not be discouraged. Find an hour of the day to learn things that can serve you as a professional and you will see that over time those moments of doubt will be increasingly scarce.

Learn from everything that surrounds you, learn from your clients and colleagues, from your bosses and family members. Never stop learning.

  1. You’re tired all the time.

This is, perhaps, one of the biggest problems of creative people: chronic fatigue.

This is one of the best tips for designers that I can give you: look for a moment of the day to rest, close your eyes for a moment and disconnect.

Not only will it help you to perform more, but it will also allow you to concentrate more and better.

  1. You do not know how to say NO.

A very important part of valuing yourself is knowing how to say no. Value yourself, value your time and what you are capable of doing.

Say no to excessively large orders for you, say no to clients and harmful colleagues. Study the pros and cons of commissions and people alike to defend yourself and your interests.

If you tell him that if all the clients that come to you are not doing what you like, if not what others want.

  1. You do not know when to say you have finished a job.

For this, it is important to be very clear about what you have to do. Establishing primary and secondary objectives when receiving a job will allow you to be clear when it is time to say “I’m finished!” And move on to the next project.

Create processes and adhere to them so that you have clear in each stage of the project what your progress is

  1. You do not socialize.

For those of us who spend most of the day sitting in front of a computer in our office, socializing can become an adventure.

In the case that you are independent / freelance, leave home, get a hobby that allows you to meet people and leave the freelance labor lock in which you are probably. Find Meetups that may be in your area or go to work from time to time co working spaces.

If you work in an office, you are invited to interact with your colleagues, to go out for a coffee at mid-morning or even to eat with a co-worker. Knowing the people around you will not only allow you to have a more relaxed work environment, but it can also help you find like-minded people and new work projects.

  1. You have a creative block.

Do not be afraid of the creative block, it is probably a way for your brain to tell you that you have to stop or that you need a new angle of vision to face your order.

In any case, if necessary, for as long as you can, disconnect completely and when you are ready to come back and look at your project from another perspective.

You may just need to do something as simple as go for a walk, watch a movie or prepare your favorite food.

Any activity that moves you away from your “blockage” and gives your mind that much-needed distraction.

  1. And by way of conclusion, you do not seek help.

This is our star problem, not only as creatives but also as human beings.

We must learn to seek help. Do not carry burdens alone, or fear reprisals when seeking help, it is not a sign of weakness, and it is being aware of your limitations and recognizing that there is room to grow as a person and as a professional.

So seek help from someone who knows what you are going through whenever necessary.

Now you know, no problem is a mountain whose top is unattainable, you just have to know which way to go to get there.

The first illustrations 2

The first illustrations

This summer I was enjoying the Egyptian Museum of Turin, Italy. It is one of the most important Egyptian art museums in the world. In it, I could see the “Ostracon of the dancer” and read the analysis made by the curators of the museum. There it was indicated that the ostraca were disposable stone slabs that the artists used to practice or make sketches and plans. This is particular for two reasons, the first was the effort made by the artist, because he did not save in details or materials, despite being a painting on an ostracon, making it a preciousness; the other reason was that they argued that the dancer’s position was not the position that complied with the painting canon of the time and therefore was prohibited.

Investigating a bit more about this ostracon I discovered that this type of postures was used in representations of parties in the area of Thebes, so it is not a forbidden position, as the museum suggests, however, it is evident the artistic ability of the creator of the work.

Ostraca de la Bailarina, Egyptian Museum of Turin

This led me to wonder about artistic skills at other times in our history and what those artists or illustrators wanted or could tell us.

As Miguel Tanco tells us in his article, Hommo industries were born at the moment he was chosen to tell stories using images, “through fire and imagination”.

In this sense, we know from the archaeoacoustic studies carried out by Margarita Díaz Andreu and her colleagues that there is a direct relationship between caves and shelters with rock paintings and their acoustic characteristics. These sites have reverberation and special echoes. Perfect to tell a story or to make a special ritual, using images, lighting, and sound.

Prehistoric art covers a long period of time and space in human history, making it difficult to generalize. Although the best known are those located in the Franco-Cantabrian zone, there are manifestations of rock paintings all over the world. Several have been found in Australia, in India where one of the paintings shows a man being pursued by an animal, in Russia and his camel, in the American continent, and of course in Africa. In fact, there are so many that I did not know that I felt quite overwhelmed. On the other hand, the rock manifestations extend in a long period of time, although the moment of realization of the paintings still cannot be dated actually because the techniques that are available are not 100% reliable.

Lions, Chauvet Cave

What objects are represented in prehistoric art? Animals mainly, both in groups and solitary, almost always recognizable; human beings, although less frequently in hunting attitudes, or in sexual attitudes; stencils of hands, artists or other members of the group? schemes and symbols, mainly sexual. However, as Jean Clottes mentions, the images do not represent the landscape, the moon, the sun, the plants, the rivers, only rarely, a line of the horizon. Why?. This absence of representation seems to be as important as the continuous representation of animals.

In any case, what did they want to tell us? what was the object ? were they narrations to maintain the group’s history ? was it part of a magical-religious act? many hypotheses have been made about it, possibly never we will know the answer.

We can not forget the magical characters that have been found in several of the caves, among them: Chauvet’s man-bison; the man-bird of Lascaux; the magician of Les Trois Frères, or the mushroom man of Tassili n’Ajjer. All, a combination between human and some animal, even the last one, that although it is also decorated with mushrooms, the head is of a bee.

Something that can be affirmed is that the technical and artistic capacity of the prehistoric illustrators is undoubted. From the more sophisticated figures such as those found in the Cave of Altamira, Lascaux or Chauvet, to the more schematic ones such as those of the Cueva del Castillo, one can observe the use of a very expressive line, the use of shading, use of the same form of the cave to give three-dimensionality to the figures they represent. The images tend to have movement, both those of animals and the few times they represented humans. Even in places like Chauvet, it seems that the site that was chosen to locate a children book illustration was not trivial, but important for the whole.

It is curious to see how the bison are grouped in the cave of Altamira, and in Chauvet rhinoceroses or lions are grouped, giving the impression of herds in movement or the movement of the same animal.

In Africa, in the figures found in Tassili n’Ajjer, Algeria, much more recent than those mentioned above, human figures seem to be dancing while they hunt or perform other activities. They are highly stylized and funny.

Tassili n’Ajjer, Algeria

Andre Leroi-Gorham established, with Annette Laming-Emperaire, a systematic analysis of cave paintings, analyzing through time and space the location of images, grouping, frequency, gender, position and their relation to symbols and the handprints that accompanied them. He discovered that in almost all of them a precise organization of the decorated space could be established: that there was a pattern in the relations of proximity or distance of the figures, and in their position with respect to the topography of the caves in which they are found. Its conclusion is a symbolic interpretation of the representations of each of the images as binary signs that oppose, alternate and complement each other. For Leroi-Gourhan, these elements were masculine and feminine.

More importantly, Leroi-Gourhan indicates that “the great quality achieved in” the trade “by the architects of the great sanctuaries, allows us to see that the artist could -as it happened in so many societies of” primitive contemporaries “, or in the so-called art tribal- receive compensation for their services or, at least, enjoy the applause or religious approval of their contemporaries. His production had, then, to keep more and more to what was expected of him. If the perspective was left open with the innovation of artistic technique (and in this, the decorated caverns give sufficient faith), such innovation had to abide by the limits prescribed by the social solicitation. “That is to say, we return to the same comment that they make in the Egyptian Museum of Turin on the ballerina’s ostraca,

And I ask myself, are we, as illustrators, also limited by society? Although it may not be the same way it was done in prehistory or ancient Egypt, it is certainly true, for the simple reason that it is a society that consumes our products. It is important? I think so since I firmly believe in all kinds of art as a way of critical thinking in society.