Keeping on Task – Completing Event Tasks


Keeping on Task – Completing Event Tasks

On of the hardest parts of planning any event from beginning to end is keeping on task and ensuring that tasks are being completed in a timely manner.

Most people have trouble staying focused on the task at hand. We live in a multitasking world. The phone rings, the cell phone dings to notify that there is a new text message and you are trying to confirm the menu via email for the keynote speaker dinner. Keeping on task is a challenge for anyone, but especially with so much to complete before the event.

What do most people do? They check the cell phone, while typing the email quickly and attempting to pick up the ringing phone. This lack of focus can lead to mistakes that might seem small now but can turn out to be costly later on. On top of that, it can be difficult to know whether or not you actually completed the task when you’re distracted with other things.

Tips for Keeping on Task

  • Create a checklist. You should have a master checklist of all the tasks that must be completed, a monthly breakdown, a weekly breakdown and a daily list. Each day, check off the items that have been completed, one at a time.
  • Stay focused on the task  at hand. Although it is tempting to glance at that cell phone, resist the urge until other tasks are completed.
  • Complete the most important tasks on your daily list first. This ensures the big ticket items are completed in a timely manner.
  • Don’t put too many big tasks on your daily list. Ideally, you’ll have one or two big tasks each week and a lot of smaller ones that are quick and easy to complete.
  • If you delegate some of the tasks to others, be sure to follow up with a quick phone call or email to make sure the tasks were still completed. If you have to add the follow up on your daily task list, then do so.
  • Remove the distractions. If your cell phone is a distraction, set it to “Do Not Disturb.” This will allow calls from people you designate to come through and block the others. For example, if you want to be sure you can receive calls from your child’s school, you can put that number on a preferred list and the call would still come through.

Train Your Brain to Focus

In an article in Entrepreneur, Nadia Goodman points out that our brains are tuned in to pay attention to distractions. It is part of survival and signals to move your attention. It is an automatic response, but researchers believe you can train your brain to maintain focus even in the midst of distractions.

  • Complete tasks that require creative thinking first. In the article mentioned above, Goodman states that most people focus on menial tasks first, but this drains energy and can impact creativity. Instead, do the creative tasks first and the mindless tasks later when you have less focus.
  • Figure out what time of day you focus best. This varies widely between different people. Pay attention to when you are most productive and get the most work completed. This might be morning, afternoon, evening, or in the wee hours. Adjust accordingly.
  • Spend five minutes every day training your brain to focus on a single task. If you’re been multitasking for years, you’ve trained your brain to be distracted. Practice focusing five minutes at first and then ten and build up to as long as you can.

All that said, it is also important to take frequent breaks so you don’t get overly stressed and overloaded. Sometimes a quick walk around the block can free your thinking and let you come back to the task at hand with more focus and determination.

Author Biography:

Posted by Attendee Events, written by Lori Soard giving you tips and feedback on how to stay focused. Lori shares great ideas and tricks as the content editor and publisher of many articles at Attendee Events.

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Typography Tutorial for Beginners: Everything You Need to Learn Typography Basics

Like many of you, I’m a trained marketer and more of a “do-it-yourself” designer.

Sure, I read through The Marketer’s Crash Course in Visual Content Creation and learned some sweet PowerPoint and Photoshop tricks that have helped me a lot with my content marketing job. But I really wanted to take my design skills to the next level.

So I asked all my designer friends what my next step should be — and every single one said to take a course on typography.



Download our free do-it-yourself design guide here for more tips about using typography in your content/designs. 

Why typography? Turns out that while the importance of typography is often overlooked, it plays a critical role in strengthening your brand, creating interest in your product, and highlighting your central message. Knowing that, I decided to sign up for a typography course at the Massachusetts College of Art and Design. Couldn’t hurt to learn how to identify a good font from a bad one, right?

I learned a lot more than that. I realized that paying attention to even the littlest details of type can make all the difference in the world when you’re laying out an email, ebook, or image for social media.

This is why I wanted to write this post: to share the most important learnings and resources with my fellow marketers.

So, what do you say? Are you ready to take your DIY design skills to the next level? Let’s get started.

Click on a section header below to jump to that section:

What Is Typography?

Before taking this course, typography — to me, at least — was more the art of scrolling through a dropdown menu until I found a font that looked like it could work. But it turns out there’s a lot more to it than that.

Typography is the art and technique of arranging type, type meaning letters and characters.

Notice that it’s about more than just the design of letters and characters; the arrangement of those letters and characters is just as big a part of it all. That refers to the selection of point size, line length, and spacing, both on a single line and throughout an entire page or piece of work.


To understand where the importance of arrangement comes in, I like to think back to Johannes Gutenberg’s printing press. At one point in time, people practiced typography using printed materials — meaning they were literally taking letters and characters and arranging them in physical space.

Today, thanks to computers, open source fonts, and scalable computer typography, it’s a lot easier to arrange letters and characters. But that physical piece remains important, even in the digital sphere.

Why Is Typography Important?

Typography is absolutely everywhere. Just look at your phone, a billboard, your coffee cup, or even the different styles used in this blog post. Every font, letter, and character arrangement plays a part in determining how a message is conveyed.

Sure, it might seem trivial at times, but even the smallest of type adjustments can impact the look and feel of your work. For example, back in June, Facebook tested a new font on its users called Geneva. While the new font was only slightly thinner and lighter than the original, Helvetica, it made a noticeable difference to some.

“The overall effect is a lighter, more modern looking block of text,” explained Chris Mills for BGR.

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Same goes for when Apple changed its default font from the dramatically thin Helvetica Neue to one they developed in-house called San Francisco.

“The differences between Helvetica and San Francisco are subtle, even to the trained eye, but they’re there,” wrote Liz Stinson for WIRED“While still an austere sans serif, San Francisco is bolder and friendlier than Helvetica Neue. Based on the German typeface DIN, San Francisco gives characters more breathing room, which will make it easier to read on relatively tiny mobile screens. Tall and skinny, San Francisco is space-efficient, like Google’s custom typeface Roboto, which you could consider a close cousin to Apple’s font.”

The takeaway here? The little details do matter.

In fact, one of the only college courses Steve Jobs took was on calligraphy and typography, which he believed played a critical role in the success of Apple. As he once said in a Stanford University commencement speech, “If I had never dropped in on that single course in college, the Mac would have never had multiple typefaces or proportionally spaced fonts.” Can you imagine a world where Apple products didn’t have a focus on beautiful design? I certainly can’t.

Once you realize how much thought goes into carefully selecting a typeface, it becomes much easier to recognize the differences between typefaces and understand why they might’ve been chosen in the first place. Take a look at some of the examples below to get a better sense of what I mean …









Ready to move on to some typography terminology? Let’s go.

Typography Definitions & Terms

Typefaces vs. Fonts

If you thought these two words were interchangeable, you’re not alone. But they actually mean two different things.

Typographer, Nick Sherman, once used a great analogy to explain the differences between the terms “typeface” and “font.” He suggested comparing these typography terms to the musical terms “song” and “mp3.” When you’re explaining how much you enjoy a particular tune, you say, “I love this song!” You wouldn’t say, “I love this mp3!” The song is the work of art, whereas an mp3 file is just the delivery mechanism.

The same rules apply in typography. You should use the word “typeface” when describing the creative work (i.e., what you see). This is a more abstract design term used when referring to the way a specific collection looks or feels. For example, Helvetica is a typeface.

If you’re describing the physical embodiment of the collection of letters and characters, you should use the term “font.” It refers to what you use — whether that’s a file on your computer or a case full of metal letters. This is the tangible representation of that collection of letters and characters. For example, Helvetica Bold and Helvetica Light Oblique are fonts.

Here’s how you could use these two terms in a sentence:

  • “Wow. The typeface you chose really pulls this design together.”
  • “I’ll change the font size to 12pt so it fits in the box.”


The Anatomy of a Typeface

It’s way easier to communicate with designers when you actually speak their language, which is why it’s important to understand the anatomy of a typeface.

Each part of a letter has its own special term, similar to bones in a human body. Below, you’ll see three diagrams that explain the makeup of individual letters, how these elements interact with each other, and how they sit on a line.

For example, let’s take with the word “Faulty” as it’s shown in the picture below.


Here’s how each of the terms here are defined:

  • Baseline: The line where the letters sit.
  • Cap height: The distance from the baseline to the top of the capital letter.
  • X-height: Located in between the baseline and the cap height, it’s the height of the body of the lowercase letter. (In this case, it’s the letters ‘a,’ ‘u,’ and ‘y.’)
  • Bowl: The curved part of the character that encloses the circular or curved parts of some letters, like ‘d,’ ‘b,’ ‘o,’ ‘D,’ and ‘B.’ (In this case, it’s that round shape sticking off the letter ‘a.’)
  • Serif: The slight projection finishing off a stroke of a letter in certain typefaces. (In this case, it’s that little foot sticking off the letter ‘l.’)
  • Descender: The longest point on a letter that falls beyond the baseline.

Now, let’s look at the word “flash”:


Here’s how these terms are defined:

  • Ligature: The stroke that joins adjacent letters. (In this case, you’ll notice the ‘f’ and the ‘l’ smush together to form one character.)
  • Stem: The base of a letter, similar to the stem of a flower.
  • Spine: The curvy body of the letter ‘s’ — and only the letter ‘s.’ It gets its own term because the spine can be almost vertical or mostly horizontal, depending on the typeface.
  • Ascender: The portion of a letter that extends above the mean line of a font — i.e., is taller than the font’s x-height. (In this case, you’ll also notice the letter ‘h’ is actually taller than the x-height.)

Still with me? Just a few more here. Let’s take a look at the word “Beef”:



Here’s how these terms are defined:

  • Cross bar: The bar that goes across the inside of the letter and connects one side to another. (In this case, it’s the bar inside the capital letter ‘B.’)
  • Counter: The empty space in the middle of letters such as ‘B’, ‘O’, or ‘A.’
  • Finial: The tapered end of letters such as ‘e’ or ‘c.’
  • Terminal: A type of curve that you see at the top of the letter ‘f’ or the end of the letter ‘j.’

Good work. Now that you know the anatomy of letterforms, let’s get into the terms related to spacing: kerning, tracking, leading, and hierarchy.


Kerning is the modification of the space between two letters. For example, check out the image below:


Here, I used Franklin Gothic Medium to showcase the natural space you see between two letter T’s. It looks a little too snug, right? By customizing the spacing between just these two letters, you’ll be able to increase readability.


Similar to kerning, tracking deals with a modification to letter spacing. However, instead of adjusting the spacing between just two letters, tracking is an adjustment to the spacing between all letters an entire word. See the difference below:


For this example, I chose to make an extreme adjustment to the tracking. Typically, you’d want to apply tracking in small increments to avoid causing readability issues.


Remember in high school when you had to double-space your essays? Well, the terms “single-space” and “double-space” can also be called “leading,” which is the distance between the baselines. See leading in action:


You can choose to increase your leading, creating more space between the baselines, or decrease your leading, which pushes your lines of text closer together. The reason high school teachers asked for essays to be double-spaced was because it’s much easier to read, and they could make corrections to the text more easily.


As you read through this blog post, you’ll notice certain words stand out more than others. That’s what designers would call creating a hierarchy. You can use different weights (bold, regular, light), styles (italic), and sizes to create a sense of order within your text. Not only does this help create a legible flow, but it helps the reader see what the most important points are.

Here’s an example of what hierarchy looks like:


In most cases, you want people to read the title first. That’s why you’ll see most titles are much bigger and bolder than the body text. Call-out quotes and descriptive sentences can also stand out above the rest of the text using techniques such as bolding and italicizing.

With effective hierarchy, the reader should be able to jump from one section to the next to identify the most important points.

Got all these typography terms down? Cool. Let’s move on to how typography is organized with type classifications and type families. (Takes you back to biology class a little, doesn’t it?)

Type Classifications

The two main type classifications you see are called serif and sans serif. Other classifications include slab serif, blackletter, script, modern, and decorative. Let’s start with the most common two, and then touch on just a few others to give you an idea of what they’re all about.


Remember when I pointed out the little foot in the word “Faulty?” Typefaces with feet like that are called serif. You can see where I highlighted these little feet below:


Common serif typefaces include Times New Roman, Georgia, and Garamond. If you’re reading a novel, you might notice the body text is a serif. That’s because a serif is much easier to read in long, printed works due to the distinctiveness between letters.

Sans Serif

In French, the word “sans” means “without.” So the term “sans serif” literally means “without serif.” In the image below, you’ll notice the words lack serifs, as I pointed out with the red arrows.


Common sans serif typefaces include Arial, Verdana, and Futura. You’ll see a lot of sans serifs being used in blog posts and documents on the web because it feels more modern and looks great even at lower screen resolutions.


Blackletter typefaces, also referred to as Gothic, Fraktur or Old English, are known for its dramatic thick and thin strokes and its elaborate swirls on the serifs. These typefaces are based on early manuscript writing — in fact, blackletters were used in Gutenberg’s Bible, one of the first books ever printed in Europe. They were much more popular before 1500 than they are today.



As you can tell, blackletters are pretty hard to read, which is why they’re not typically used for body type. You’ll usually see them in headers, logos, posters, and signs — like on newspaper nameplates (New York Times’ logo, anyone?), or on the headers of certificates, diplomas, or degrees. Common blackletter fonts include Cloister Black, Deutsche Zierschrift, and Germanica.



Script typefaces are based upon the varied and often fluid strokes created by handwriting. As scalable computer typefaces, characters in these scripts can now string together with one another automatically so they convincingly mimic handwriting, rather than users having to manually pick and choose which letters go after which — which you can imagine was a painstaking process.

Under the umbrella of a script typeface, there are two basic classifications: formal and casual. Formal scripts are often reminiscent of the handwritten letterforms common in the seventeenth and eighteenth centuries, and they’re used for elegant designs like invitations and diplomas, not for body copy.


Casual scripts, or informal scripts, are just that: less formal script typefaces that look more like everyday handwriting


Those are just a few examples of type classifications to give you an idea of how they work. But, since this is a blog post, not a typography course, let’s move on to type families.

Type Families

The term “type family” or “typeface family” is used to describe a range of designs that are all variations of one basic typeface.

For example, you’ll see that Proxima Nova has variations such as bold, extra bold, black, regular, light, light italic, and regular italic:


Sticking to a single type family will help add variation to your designs, while keeping it consistent and uniform.

Designers might use various fonts within one family to create a sense of hierarchy — designing so that the most important elements, such as headlines and quotes, stand out above the rest of the text.

Typography Fonts

Before we wrap up here, I figured I’d leave you with a few great resources for where to find free fonts to download from the web, along with eight free ones I handpicked from these resources to get you started.

Great Resources for Free Fonts

  • 35 of the Best Free Fonts You Should Download“: A HubSpot blog post curating 35 of the best free fonts on the internet.
  • Google Fonts: Hundreds of free, open-source fonts from Google that are already optimized for the web.
  • Behance: A great resource for finding beautiful design work, including unique fonts that are free to download.
  • HypeForType: Over 25,000 typography designs from top designers, many of which are available to download for free.

8 Cool Fonts That Are Free to Download

1) Crimson Text

Here’s one that’s great for body copy. It was meant for book production, according to Google Fonts, so it’s easy to read. But at the same time, there’s a lot to it that makes it special: old-style figures, small caps, fleurons, and math characters and the like. It comes in three styles — Regular, Light, and Bold — along with the italic styles of those weights.


2) Harmattan

Harmattan is a typeface on Google Fonts that was actually originally intended to suit Arabic scripts, but it also looks great on Latin characters — and would love attractive in either headline or body copy.


3) Torcao

Torcao is a unique combination of letters that are “half square, half circle,” robust and technical while at the same time, light-hearted and inviting. It a great headline typeface, but it still quite legible in longer text. The family comes in nine weights (slender to black) and has both condensed and extender selections for a complete set of forty-eight fonts.


4) King Basil

This free brush font posted on Behance is great for commercial materials like social media images and flyers. It’s a Lite version of the designer’s “Full King Basil,” and it contains many swashes and connecting letters that make for a beautiful, script-like font.


5) Merriweather

Merriweather was designed to be a typeface that’s pleasant and easy to read on screens, making it perfect for a web asset like your homepage or blog. It’s an evolving project on Google Fonts and will be updated, but right now, you’ll find four styles — Regular, Light, Bold, and Black — along with the italic styles of those weights


6) Poiret One

Poiret One is a long-time favorite of mine. It’s described on Google Fonts as “a fresh, decorative, geometric grotesque with a hint of Art Deco and constructivism.” It’s sleek, simple, decorative, and great for short texts. Try it on large signs, labels, posters, T-shirts, titles, or headlines.


7) True North

A vintage-inspired headline typeface from HypeForType with sixteen different styles and a monoline script. It also includes free labels and extras like wild animals, numbers, symbols, tools, and other icons. True North comes with labels, extras and free banners. Extras include wild animals, catchwords, numbers, symbols, tools, maple leaves and trees. True North is a headline font with alternate capitals.


8) Bravery

Here’s a cool free font posted on Behance created by a professional font creator who was kind enough to accompany the free download with the mockups below. These mockups show folks how they can play around with the font in their own designs. It comes in capital letters and numbers only, and is great for headlines or social media images like the ones below.


Of course, there’s always more you could learn when it comes to typography. When graphic designers get a degree, they usually have to go through several rounds of typography courses to become a professional.

But now you know some key terms to get you started and — at the very least — you’ll be able to sound super smart when talking to your designer friends.

What other design lessons would you like to learn? Let us know in the comments.

Editor’s Note: This post was originally published in June 2014 and has been updated for freshness, accuracy, and comprehensiveness.


Author Biography:

Written by Brittany Leaning who works as a marketing strategist at Hubspot. This post explains the basics along with picture dialogue what is expected and looked at in the world of typography. There are many links and resources throughout the post to follow to gain further knowledge.

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Life at Liveworm

 Who are we?

We are a professional graphic design studio based on the Gold Coast and we take on a variety of work within our field. Out studio is staffed by a rotation of QLD College of Art’s leading art, graphic, digital and 3d design interns who are guided by our Creative Director  – Alejandra who has over 10 years experience in the field. Our clients connect with our administrator who ensures that the design process is smooth and accurate. You can find out more about us by visiting our various social media pages or by contacting us directly via email or phone.



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 What do we do?

As our studio is based on campus at Griffith University Southport, a high proportion of our clients are based at the University. An example of this would be the getamungstit magazine – our interns create the cover designs, page layouts and design. This year we will be completing six issues of the magazine which is available for free on campus. If you would like to see what we are talking about, jump over to our work section of our website and follow the Student Guild work to see more. As a fully functional design studio we also complete work for external clients, one of our most recent projects include promotional materials such as the logo, banners, cheques for Funk Fitness as well as the award winning Getamungstit magazine.


Columbia spread mockup

Our Interns

Throughout the following you will find a few testimonials written by current interns here at Liveworm.


“Liveworm is great! I’ve already learnt so much about being in a great design studio surrounded by positive and influential people. Overall I feel that my knowledge has expanded and Liveworm has taught me what it takes to be a good designer and a good collaborator.” – Gabriella Turro.


“Liveworm is such a awesome gateway to the Creative Industry. Not only has it given me the opportunity to collaborate with other emerging designers, but it also has enabled me to explore my own creative expression on another level.” – Kelsea Grant.


“Liveworm gives you real life work experience in a fun and creative atmosphere. It allows you the opportunity to work on your strengths and weaknesses as a designer and learn more from your peers. The best part is getting to work straight away on projects that you could then see being used.” – Jessica Wood.




Feel free to check out our Facebook or Instagram page for some awesome inspiration and to keep up with our newest projects!



7 Useful Things I Have Learned From Being a Freelance Developer

This article has been contributed by Norman Arvidsson.

A little more than 5 years ago, I was working full-time in the IT department as a level III help desk technician, and moonlighting in the evenings as a web designer. I was bored out of my mind during the day, but I absolutely loved what I was doing in the evenings.

So, I made the decision that I would quit my job and go into freelancing full-time. Today, I could not be happier that I made that choice. However, that doesn’t mean that the process went perfectly. I made plenty of mistakes when I started. I lost a few clients, and cost myself more money than I would like to admit.

Fortunately, with mistakes come lessons. Here are 7 that I have learned.


1. To Demand What I am Worth

When I first began working as a freelancer, I was so afraid of not making ends meet that I literally took any job I could no matter how much a lowballed my bids. I even made the classic mistake of doing work for referrals and exposure. What I learned was that you don’t get much exposure working for nearly nothing. I also learned that the people who want to get free work in exchange for referrals, don’t usually follow up on their end of the deal. Today, I charge a rate that matches my skills and experience, and I deliver quality in exchange for that.

2. That Keeping a ‘Scrapbook’ is Extremely Useful


I never thought I would spend so much time on Pinterest. After all, I’m not an interior design or arts and crafts person. However, what I have found is that Pinterest is a perfect place for me to store useful things that I have created or found that can be used on future projects. I have pin boards for design ideas, tips and techniques, and templates and frequently used snippets of code. Now, rather than reinventing the wheel or trying to find something on the internet once again, I just look through my pins. It’s helped me get a project done quickly more than once

3. That Starting With a Plan is Essential

One of my specialties is taking over broken projects and dealing with post implementation emergencies. Basically, what this means is that I jump in when other designers get in over their heads, flake out, or when things go badly south on something that is already running in production. As a result, I’m used to jumping right in and coding. Unfortunately, I’ve shot myself in the foot a few times because I didn’t take the time to make a plan before I got to work. I’ve learned that I must have a plan in place before I start working, even if that plan if formulated extremely quickly.

4. You Have to Follow The Technology Even When You Don’t Like it

Smartphone with finance and market icons and symbols concept
Smartphone with finance and market icons and symbols concept

It would be wonderful if I could only code in languages that I love, on platforms that I love, using tools that I love. Unfortunately, that just isn’t reality. When a client begins using a technology I dislike, I learn that technology anyway. The same is true when it becomes apparent that industry trends are going in a direction that I dislike. I learn what is going to allow me to successfully market myself and earn money.

5. That Scope is Absolutely Crucial

Somebody once told me that designers and developers need specs to stay on track, and clients need scope to do the same. Starting a project without establishing the scope and getting buy in from everybody involved is a recipe for a disaster. The results are mismanaged expectations, no real way of measuring whether or not things are being finished on time, and no way to get to the end of the project.

6. That it’s Nice to Have One or Two Sources of Ongoing Work

Digital Communication Connecting Searching News Concept
Digital Communication Connecting Searching News Concept

One of the most stressful elements of being a freelancer is obviously income uncertainty. On the other hand, it is so exciting to work with a variety of clients on a variety of projects, that I have always found the idea of ‘chaining myself to a desk’, and going to work full timeabsolutely appalling. So, to balance out my need for financial security with my need for change and growth, I focus on a variety of clientele. I have a few ongoing contracts with bigger companies that provide me with a guaranteed income each month. Then, I focus the rest of my energy on finding work that excites me.

7. The Importance of Checking in With Clients

I have learned that the most important thing that I can do to maintain future success as a freelance developer is to create strong relationships with my clients and to nurture those relationships even after a contract has ended. I email past clients once a month or so to check on how things are running for them, ask them how they are doing, and to remind them that I am always happy to help if they have a question or concern (no I don’t charge for that). I want my clients to know that I am concerned with the success of their businesses, not only with the money I can make from them.

Author Biography:

Jacob Cass is the founder of JUST Creative, he offers multiple services as a freelancer who travels the world. You can follow the link to check out the blog post as well as finding out more about Jacob.

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16 Top Marketing Blogs and Publications You Need to Be Following

The best marketers are incessantly learning. Why? They can’t afford to stop.
CREDIT: Getty Images
CREDIT: Getty Images

How to Rule Social Media Armed with Only Your iPhone

iPhones are powerful little devices, but is it powerful enough to create and foster an entire social media marketing strategy? Oh, you bet.

Social media marketing is a crucial step for emerging brands — it connects you and your brand to your audience in such specific and important ways. One of its most important aspects is immediacy, so knowing how to grow and run your brand socials from your phone is a must for any marketer on the go.

In this guide we’ll break down seven ways that you can grow your social media brand when only armed with your iPhone. And the best place to start? With the new Canva app for iOS. Create stunning designs on the go using the fully stocked library of free and premium elements, photographs, and layouts, and share your designs with the tap of a button.


01. Keep it Visual

In the realm of social media marketing, visual content is king. With consumers scrolling through hundreds of ads, posts, and notifications at any given moment, it takes a bold visual content strategy to set your brand apart from the rest.

But how can we create eye-catching content worthy of engagement from our phone? Get acquainted with Canva’s social media layouts. Beautifully designed and fully customizable, you can find a template to suit just about any need and create content in a flash.

Check out how athletic wear brand Lululemon uses custom visuals to promote their various links to content. A stylish and beautiful graphic is always far more engaging, eye-catching, and enticing to click on than a simple URL.

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Whenever you post a link or interesting piece of information from your phone, consider quickly dressing it up with a simple graphic to encourage those clicks. Canva has a selection of visually engaging templates you can easily access on your iPhone.


02. Get Persuasive with Language

All good marketers know the value of a few carefully crafted words. And, the beauty of this is that you can craft a strong call to action from anywhere, even just your iPhone.

With Canva’s iOS app, you can easily add text to your images and designs in no time at all. Pair your persuasive call to action or inspiring quote with a powerful image and a beautiful font combination and you can create a striking piece of visual content on the go.

Need some inspiration? Check out how Hotel Quickly create inspiring quote graphics for their Facebook page by pairing beautiful images with simple typographic combinations. Simple, strong, and successful!

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For inspiration on combining typefaces to unlock the perfect combination, check out this complete guide that takes the hard work out of mixing and matching fonts.

03. Keep It Up to Date

 Social media is a constantly working machine, perpetually churning out live, up to date and current news and information, so in order to stay on top of the social media game, your brand needs to stay relevant. And what better way to do that than by sharing in-the-moment content directly from your phone.But, live content doesn’t mean it has to look rushed or rough. Check out how food van Pinchy’s share in-the-moment content by snapping a photo, and running a simple on-brand graphic and type over it.image09-3-530x656image10-2-530x654Canva’s new iOS app is equipped with a handy live camera that allows you to snap photos from directly in the app, meaning you can keep your audience in the loop too. Check it out in action:Live_CameraHave something interesting happening in your office, a live update, or a cool event unfolding? Snap a photo, upload it into a design, and share it to keep your followers updated and in the moment.

04. Enhance Your Photos

So you’ve got a beautiful image saved on your phone that you want to share. Before you do, have you considered enhancing it with a filter or two?

Filters are incredibly easy to use tools that can enhance, dress up, or change the whole tone of your image with the simple tap of a button.

Filters are also fantastic for helping to keep your imagery on brand. Check out how subscription box service Lucky Dip Club use high-saturation, neon filters to bring out the exciting, animated, and playful tones in their imagery, keeping each image consistent despite the varying subject matter.

image03-2-530x269Apply a preset filter or customize your own directly from your phone using Canva’s easy to use image tools. Use the preset filter gallery or tweak your image to pixel perfection by using the image adjustment tools.


05. Collect Powerful and Consistent Imagery

Stunning imagery is the foundation of successful visual content. A powerful image has the ability to grab users’ attention and direct it in very specific ways.

When using imagery it’s important to keep it on theme and tailored to your brand. Does your brand post inspirational, scenic shots of mountaintops and serene landscapes? Or do they focus on emotive images of consumers and people?

And the good news? You don’t have to be a master photographer to unlock stunning images. Discover a fully stocked library of breathtaking content from your phone with Canva’s photo library. Full of beautiful free and premium stock images that are ready to use in your designs, there’s truly no excuse to have a lacklustre photo album.

Be sure to check out the striking social media templates available made with images from the Canva photo gallery, as shown below, or start from scratch by uploading your own!


06. Create Valuable Content

There are a lot of different types of content that you can offer your audiences, and one of the best types by far is content that is valuable to your audience.

A popular way brands have taken to offering valuable content on the socials, is by providing access to ebooks.

As author Rachel A. Olsen notes, ebooks can act as the modern day business card. “It adds a level of credibility and seriousness to what you are providing and makes you stand out in your field as an expert.” She says, “The benefits include raising your profile, obtaining traction with potential customers, and creating awareness.”

Brands like Hubspot make the most out of this technique by offering users free ebooks that help to establish their brand as a paragon of marketing know-how.

image12-4-530x501But how do we create such valuable content from our phones? Well, having Canva on your iPhone makes it possible. Thanks to the multi-page tool, you can instantly create multi-page documents that look beautiful, read cohesively, and engage your audience.


07. Get Your Content Out There

Arguably the most important part of a successful social media campaign is putting your content out into the world. At any given moment, countless other brands are pumping out content to users, so to keep up with the clamour, you need to be doing the same.

There are many schools of thought and varying opinions on how often you should be posting content on each of your socials, pictured below is one outline by DowSocial. But, for your own brand, embrace trial and error and see what works for you.


Try not to commit to an overly ambitious posting schedule if you don’t think you will be able to keep up with it. Just be sure to keep your posting consistent, regular, and interesting.

Whatever your chosen posting schedule may be, the Canva app makes it easy to get your content out onto the socials. Once you’ve finished with a design, easily share it directly to social media, email, and/or Slack.

Over to You

 It doesn’t take a whole host of complicated software, apps, and complex strategies to foster a successful brand on social media, but rather, it takes a strategic approach to your content.

Keep it visual, keep it engaging, keep it up to date, and keep it regular. If you are consistently posting eye-catching content that is of value, people will eventually start to take note, and your engagement numbers will begin to reflect that.

Plus, be sure to check out Canva’s new iOS app to get started with creating your own beautiful visual content right from your iPhone.

Do you have any tips or tricks for curating a successful social media marketing strategy from your phone? Or have you encountered a brand that you feel really nails social media? Feel free to leave your thoughts down in the comments below!


Author Biography:

Design school, Canva posted this blog all about how to rule social media with only your iPhone. This article has interactive content that allows the viewer to engage with and really grasp the content given. This article was written by a Mary Stribley who is a recent graduate from Perth University where she studied creative writing creative writing and graphic design.

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Tactile Typography by Dominique Falla


As designers, we appreciate the beauty of good Typography, but in case you were wondering what could make it even better, here’s your answer… Tactile Typography! Australian based artists Dominique Falla has explored different techniques and media over the years, creating typographic pieces for exhibition, using different tactile media. Check out some of her intricate and playful work after the jump!

Originally from Melbourne, Dominique Falla is also known as the “Tactile Typographer” now divides her time between the Gold Coast and Byron Bay, and her artistic career spans more than 20 years as a graphic designer, illustrator, artist, author and university lecturer.

Dominique has lectured at various educational institutions, and given papers at various conferences including the Queensland College of Art, Central Queensland University, Kingscliff TAFE, Swinburne TAFE, Monash University, SMAANZ conference in Melbourne, INTED Conference in Valencia, SPAIN and AGideas Melbourne.

Dominique has had features in art and review publications including: Gold Coast Creative, Twofold, ArtBox Magazine, Winter For Elbows and The Herald Sun. She also writes for Desktop Magazine and the Design Federation and has authored several creative publications, including: ‘The {Tague} Project’, ‘Looking Better in Print’ and ‘Goodbye Helvetica’.





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Author Biography:

Thee Blog posted this blog post all about Dominique Falla and her creative tactile art pieces. Only some of her amazing work has been shown throughout this blog post. Dominique has over 20 years of vast experiences within the Graphic Design industry and she has proven so by working alongside names such as Google, Bing, Penguin,  Random House, Woolworths and many more. 

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Creative Arts

Admiring the works posted to, these images can be posted by individuals from all around the world to show off either their own handy work or something that they’ve seen around that they admire. describe street art as art created in public places, often without permission. Street art is made in a number of mediums, including stencils, stickers, posters, paint, and sculpture. In mathematical, political, criminal, and philosophical terms, streetart is a subset of graffiti.


“Muros y canales” first intervention of the artist “Grip Face” in the city of Amsterdam, after season residence in the Netherlands. July 17th, 2016.


RAE BK in Lower East Side, NYC. July 11th, 2016.



Author Biography:

Streetsy is a place where people in the street-art and graffiti world post pictures and videos.  Artists post their recent work, and fans post stuff they’ve seen and liked and want to share with others.  We also have a popular group on Flickr with around 400,000 images, and a graffiti statistics site, called GrafRank.  The site is run by Jake Dobkin, a graffiti photographer.

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On reaching your creative potential

Credit: Creativity at Work
Credit: Creativity at Work

5 members of 2015’s ‘Most Creative People in Business’ list who will inspire you to reach your creative potential

Many would argue that creativity emerges from strange places and there is no universal formula for improving innovative thinking. However, there are ways you can aid the creative process and improve your chances of reaching your creative potential. Every year, the Fast Company release their list of the ‘Most Creative People in Business’ and you can often learn a lot just by glossing through the list and reading some of the inspiring messages and stories. Here are five members of this year’s list whose inspiring stories and insightful advice should help you apply new approaches when it comes to tackling creative tasks.


Dao Nguyen

Popular online media company Buzzfeed owes a lot of its most recent success to Dao Nguyen, an innovative data analyst who employed a pioneering new approach to the site’s content and distribution strategy last year. Nguyen’s data driven approach focused on improving referral traffic through email sharing and enhancing the site’s social media platforms. By analyzing onsite and offsite traffic statistics, Nguyen was able to use data to transform the company’s traditional distribution methods and, as a result, increased visitor volume to over 150 million a month. Nguyen’s ability to listen to data and make effective and creative solutions has had a huge effect on the company’s growth and Buzzfeed is now valued at an estimated $850 million. These results, alongside her gregarious personality and a desire to ‘be part of the internet revolution’, has seen her career sky-rocket as she is now the company’s first publisher.

Ngeuyen has said that a lot of her creativity has been spurred by her mother becoming a Buddhist nun at 75. She argues that her mother’s Buddhist beliefs are “based on the ideas of impermanence” and “reinventing yourself” and that these beliefs are “valuable things to keep in mind in life.”


Dana Mauriello

Dana is the creative force behind ‘Etsy Craft Entrepreneurship’, a groundbreaking new charity programme which aims to equip underprivileged students with the digital skills they need to succeed in business. Her programme allows students to set up their own stores on the Etsy marketplace and get an opportunity to learn about marketing and accounting in the process. Over 450 people have joined since the classes launched back in 2013 and the project is now expanding on a national scale.

Mauriello is an optimistic and tenacious individual who starts every morning by thinking about what she is ‘most excited about in the day ahead’. She consistently updates notes of her ideas and inspirations: ‘I am obsessive with finding, cataloging, and doing new activities. A dancefloor meditation? A talk on game design? A tattoo convention? Done, done, and done. I am on an endless quest to learn about and personally experience as many diverse subcultures as possible’. Israeli architect and designer of the iPad, Ron Arad, is also a strong believer in embracing new hobbies and experiences and has always stressed that creative professionals should ‘always be keen to acquire new skills and work with new people’ when developing new ideas.

Mauriello also stresses that ‘anything fitness related’ will always aid the creative process as she argues that working out and being competitive often allows her to become ‘more refreshed, clear minded, and empowered’.


Amy Poehler.

Actor, producer and comedian Amy Poehler utilises her success to promote upcoming talent and to offer aspiring comedians a platform. It’s always been a struggle for females emerging on the comedy circuit, so she is particularly determined to give females a voice and an outlet to display their creative talents.

Her work ranges from hit shows on Comedy Central and NBC such as Saturday Night Live and Parks & Recreation; voiceovers for Pixar Studios; starring in the movie Sisters; writing her bestselling book ‘Yes Please’ and achieving an Emmy nomination.

More recently, Poehler has been instrumental in helping emerging comedians find their feet in the industry and has helped propel a number of fledgling YouTube shows into cult TV hits on Comedy Central.

Poehler feels that her creative output stems from “flexibility” as she argues that many of her peers feel uncomfortable when it comes to “not knowing what’s going to happen next’. She therefore argues that ‘you have to listen and stay in the moment. You have to get comfortable with being uncomfortable.’


Gregg Hoffman

As Vice President of Global Brand Creative and Experience at Nike, Hoffman spearheaded two of Nike’s most successful campaigns during the 2014 FIFA World Cup and the 2015 NBA All-Star Game in New York. The animated video ‘The Last Game’, which has received over 85 million views on YouTube is significant, since Nike wasn’t even a main sponsor during the events, but still managed to take the spotlight.

Hoffman states that he is a “big believer in the operational side and how it can empower creativity.’ His methodology is to maintain extreme focus and meticulous organisation, but he also places emphasis on teamwork: ‘I want people to be extremely confident and supportive. That’s how you make connections you need to make in the creative process.’


Maria Claudia Lacouture

Maria is President of ‘ProColombia,’ a government agency which has set out to rebrand an entire nation and put Columbia on the tech map. Previously assumed to be a violent drugs haven, Colombia is now considered to be a major player in the tech industry and a popular travel destination amongst tourists. This has largely been down to Lacouture’s pioneering rebranding project which aims to encourage the country’s growth in the tech sector and nurture homegrown tech professionals.

Lacouture has always been determined “not to allow stress to prevail” and says that her creativity has always been aided by ability to surround herself with “nice people, with a good sense of humor.” She takes inspiration from many things but reveals President Juan Manuel Santos’ social media accounts have always been her go to source.

— Contributed by Jason Smith, Blog Editor at Speakers Corner


Author Biography:

Linda Naiman is the Founder of Creativity at Work, she helps organizations develop creativity, innovation, and leadership capabilities, through coaching, training and consulting. Linda created this blog is where she would post a variety of topics that personally interest her—especially the interplay of business, art, design, and science as inspiration for creativity and innovation. 

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Inspiration vs Imitation

Jessica Hische

Every now and then I get a really lovely email from an aspiring letterer that is about to publish a passion project of his or her own. They tell me my work was an inspiration and that they can’t wait to share their creation with the world. I feel all warm and fuzzy inside for a moment…until I click on their link and realize that much of what they intend to publish is nearly a direct tracing of my work.

A lot of established illustrators and designers deal with the same thing—students or young professionals that rip them off without realizing it. Addressing these young designers can be really heartbreaking because you know that they had the purest of intentions. So here’s a little post to all the hungry, young designers that are struggling to find their own voice, but end up a bit too close to their inspirations. There are definitely people that maliciously rip artists off left and right, and this post is not for them. They are evil and cannot be helped.

1. It’s OK to copy people’s work.

To be a good artist / letterer / designer / guitar player it takes practice. A lot of it. More than you can even fathom when you’re starting out. If you wanted to become a great guitar player, you wouldn’t buy a fancy guitar and immediately start composing songs… you would pick up a song book, or look up some tablature music on the internet, and teach yourself how to play using other people’s music. You would emulate the greats and learn from them, as they learned from others in the past. You’d spend hours alone trying to be like Jimi Hendrix or Jimmy Page or whomever you really admired. Then, once you were well practiced and felt confident in your abilities to play, you’d form a band, you’d write your own songs, and you’d find your own voice.

When you’re learning, it’s not wrong to copy people—to learn from them the way that they learned from others before them. What many young artists have a problem realizing though, is that the work you create while practicing and learning is completely separate of what you do professionally. Just because you can play OK Computer cover to cover doesn’t mean you should record an album of your renditions and release them under your name, not making any reference to the original. You know that any such action would leave you up to your eyeballs in legal problems. Copy all you wish in private, and once you feel confident in your skills, create your own original public work.

2. Not everything you make should be on the internet.

Young designers and illustrators are plagued by an issue that didn’t really affect those of us that are in our late 20s or older—they think that everything they ever create should be published to the internet. Blogs weren’t really in full swing when I graduated college. Swiss Miss was in its infancy. Behance didn’t exist. Dribbble wasn’t even a twinkle in Dan Cederholm’s eye. As graduating college students, we were told that having a website was important so that future employers could check us out, not so that the dieline could post about us and an army of bored designers could drool over our work during their lunchbreaks.

When you’re starting out and have a teeny portfolio of student work, it can be very very tempting to publish everything you’re working on, whether it’s practice or actual published work. It’s especially hard because, more often than not, the work you’re doing at your day job is less than inspiring when you are starting out. It will be really hard to resist showing off the illustration you created that was inspired heavily by one of your heroes, because in reality it is probably one of the nicest things you’ve made. But that’s the thing, every new thing you make will be (should be) the nicest thing you’ve made so far, because you’re learning and getting better with each and every new project. Resist posting the practice—the piece that you know is too close to its inspiration. Let that practice fuel original work and then publish to your heart’s content.

Note: A number of folks misinterpreted this sentiment—yes, it is wonderful to show process online and there are very excellent forums, such as dribbble, for receiving feedback on work as you are progressing. Showing process for projects you’re working on is different than showing exercises in which you practice by tracing others work.

3. Diversify your inspirations

I did a little post about inspiration vs. imitation before, and one of the main points was that it is easy to accidentally rip people off if your inspirations are too limited. If you’re heavily inspired by only two people, your work will look like a combination of those two people’s work. The more work you look at and the more work you are inspired by, the more diluted those inspirations become in your own work. Your ultimate goal should be for people to look at your work and NOT immediately think “oh she is a big fan of this person”. If you diversify your inspirations, the chances of this happening become much smaller.

4. Tain your eye

In order to avoid ripping other artists off, you have to first be able to identify other people’s work. Before you went to art school, art was just one big category that everything non-boring fell into. The more you learned the more you started to see the differences in technique, the themes that happened during specific movements, the way one artists put brush to canvas vs. another. By the time you graduated you could hopefully tell the difference between a Picasso and a Braque, even though when you were a freshman it all just looked the same.

As you study design and illustration, something similar will happen. At first all print-makery illustrators will look the same, but soon you’ll be able to point out who did what and eventually the differences will become so clear that you’ll be shocked when your non-art friends don’t see them. And then the nerds will welcome you into their world with a parade and cupcakes.

When you are starting out, you accidentally rip people off all the time because your eye just doesn’t see the difference between what you’re doing and what someone you’re inspired by is doing. You think (anti-awesome) thoughts like “she doesn’t own swashes!”. Over time though, once you spend a few months examining a lot of people’s work, you can look at 10 different script letterers and think “OMG they are SO different! How did I not see it!” If you don’t train yourself to spot the differences, you’ll never be able to see them in your own work and it will be very difficult to make anything original.

5. Just because it’s not illegal doesn’t mean it’s ethical.

Something that I sadly hear too much is that “it’s not illegal to copy someone’s style”. Sure, if you create an illustration that is completely derivative of someone else but not a direct rip-off or tracing, they might have a hard time suing you. That doesn’t make it OK to make derivative work. Remember when you were on a road trip as a kid and your brother played the “I’m not touching you” game by putting his hand/finger as close as possible to your face without actually touching it? It annoyed the shit out of you. When you complained to your parents, he shouted “but I didn’t touch her!” Sure. What he did wasn’t a total violation of your space, but it didn’t feel good, right? If your parents weren’t completely annoyed with the both of you by then they’d hopefully explain that just because he wasn’t officially breaking the rules it didn’t make what he was doing OK. It’s very unethical to knowingly copy someone else’s illustration style when not doing work that is an obvious homage to them. It is illegal to actually copy someone’s intellectual property or claim all or part of their work as your own. If you’ve ever retorted with “well it’s not illegal” you already know you’ve done something wrong and are just trying to justify your actions.

6. Everybody knows everybody.

The design and illustration community is teeny tiny. It’s shocking how many people in our world know and talk to each other regularly. Thanks to the internet, fans can reach out to artists and alert them of people ripping them off. There’s even whole blogs set up to watch over this kind of stuff. If you’re ripping people off on purpose, I’m glad that there are a thousand ways for you to get caught and that there are oodles of people out there that will secretly think you are a bad person. If you’re ripping someone off accidentally, this can be severely detrimental to your career without you even knowing it. When you try to apply for a job with a portfolio full of derivative work you might not get the job and never know why. That person took one look at your portfolio and thought “they’re rippin-off my friend!” and then politely showed you the door. It seems crazy that this would happen, but I get emails all the time from friends pointing out people that applied for internships with portfolios of work that rips-off everyone we know. It is very very important to acknowledge your inspirations and try to distance yourself from them as much as possible.

Whenever I’m alerted of a possible rip-offer, I try my best to educate rather than chastise and gently nudge them to find their own voice. If you see someone ripping-off someone you know or admire, I suggest you do the same—initiate the conversation as a helpful and concerned new friend, not an angry enemy. Most of the time the offenders aren’t aware of how obvious their inspiration sources are. We’re all guilty of it when we’re starting out, but hopefully this article will remind some of you to keep that practice work out of your portfolio, which will keep the angry blog commenters off your back.

Always keep practicing (and practicing, and practicing), keep looking at beautiful work, keep researching others to look up to and be inspired by. In no time you’ll be making beautiful original work of your own.

Jonathan Hoefler wrote an amazing comment that I want to share as a part of the post: If I can propose an 8th point, which is especially apropos in the type design world: “There’s a difference between making an imitation and selling it.”

At the Metropolitan Museum of Art, you’ll often find high school students with their sketchbooks out, camped out in front of the Giottos and Dürers. It’s a time-honored way of learning: see, try to reproduce, and discover. I think about this whenever I receive a heads-up that someone had made a derivative of one of our fonts: the Requiem-with-snipped-off-serifs that we’ll see in a font distributor’s website, or the Gotham-with-a-different-M that’s profiled to great applause on some online showcase. What makes these acts so troubling — and, by the way, unquestionably illegal (it’s not at all a grey area) — but makes the eager high schooler so charming?To me, the key difference is that the aspiring serif-clipper is not only passing off the artist’s work as his own, but is doing real damage to the artist he purportedly admires by competing in the same marketplace. It’s a time-consuming and expensive distraction to investigate these things, but one we’re compelled to do every single time, since each purchase of a knockoff represents lost revenue. And when we share these discoveries with the organizations that have unwittingly bought the knockoffs, it invariably reflects poorly on our young serif-clipper: if there was a relationship there, it is now ended. Everybody loses.

But the 17 year old with the sketchpad is entirely different. He’s not passing off his Velasquez as a Velasquez, and he’s not passing it off as his own — in fact, he’s not passing it off at all. It’s a learning exercise, and if it’s presented at all, it’s always with the appropriate context. (“I did this in art class, from the Gubbio Studiolo at the Met.”) It also reveals what young artists finds fascinating, what they struggled with, and what they learned. It’s been my experience that these kinds of acts are met with great encouragement and support from the professional community.

Frederic Goudy’s commandment to typographers was “stop stealing sheep.” My advice to aspiring type designers is “stop selling sheep.

Stefan Sagmeister made the most compelling and positive remark I’ve ever heard on this topic and I’ll summarize it here: When you create something original you give birth to an idea and then nurture that idea until it’s mature enough to send into the world. If you copy someone else, you’re depriving yourself of the amazing feeling of creation, of making something that is yours and yours alone. You’ll undoubtedly love and care for the baby you’ve created more than the baby you stole from the grocery store.

Author Biography:

Jessica Hische is a successful designer that has been making it on her own since 2009 and has had the chance to work with some amazing clients over the years. Jessica is well known for her hand lettering although she also does a lot of public speaking, as well as loving what she does for a living, you really can’t get any better than that!

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