https://annualreportbestpractice.com.au Annual Report Best Practice - Stuart Pettigrew Thu, 13 Aug 2020 05:15:30 +0000 https://annualreportbestpractice.com.au en https://annualreportbestpractice.com.au/Home Tue, 04 Aug 2020 00:09:54 +0000 Annual Report Best Practice - Stuart Pettigrew https://annualreportbestpractice.com.au/Home 01. The Brief 02. Strategy 03. Digital 04. Submissions 05. Budgets 06. Project Management 07.&nbsp; Design08. Writing09. Illustration 10. Photography 11. Production 12. Benchmarking 13. Fact SheetsAboutLinkedIn Contact The task of producing an Annual Report is easier and less stressful when working with us. ︎ Contact us We will guide you through the process from briefing to production and on-time delivery. Our first step will be to create a theme that focuses on achievements, milestones and future objectives balanced with compelling design elements to bring your annual report to life and help you tell a great story. Stuart Pettigrew is a Melbourne based brand strategy and graphic design studio. We have over three decades of experience designing annual and sustainability reports for ASX listed companies, government agencies and not-for-profits. We have created this website to share our thoughts with you on how to successfully plan, design and produce a business report, ensuring it brings your corporate performance and vision to life. If you would like to review how working with us can reduce the challenges you experience when designing business reports, we would love to discuss this with you.You can contact us by phone 03 9529 1037, email stuart@spdesign.com.au or visit our website spdesign.com.au 01. The Brief &nbsp;A successful brief is a comprehensive yet succinct document which outlines the theme for your report, the aims, objectives and milestones. 02. Strategy Publishing an Annual Report can be a difficult journey, but having a strong core strategy is one way to keep all the information to message, and that introduces a discipline to all aspects of the report.&nbsp; 03. Digital Digital annual reports are becoming the industry norm. There are many ways to showcase your report – from indexed PDFs to comprehensive annual report microsites. 04. Submissons Design submissions come in all shapes and sizes – this section outlines what we include in our submissions, commencing with a detailed scope of works. 05. Budgets Setting a budget involves a thorough understanding of the project, so each activity can be analysed and budgeted separately. 06. Project Management Managing a project successfully depends on the project manager having clear objectives and ensuring that each supplier understands their role and responsibility 07.&nbsp; DesignDesign is the most subjective part of the production – where one decision-maker may see genius in a design another may just see trash – so it is really important that expectations are clear before the design process begins.08. WritingStorytelling is key to the successful design of any report. It needs to take your audience on your corporate journey with you – however bumpy or smooth, direct or scenic, fast or slow that might be. 09. IllustrationIllustration has the ability to solve problems and communicate powerful messages to your audience – don’t underestimate the power of using illustration in your Annual Report. 10. Photography Images are the postcards that tell your story. Good use of high-quality, creative photography will engage your audience, and showcase your achievements and the people who helped make them happen. 11. ProductionThere are three areas that need careful management in the production of a printed annual report: Paper, pre-press and printing. The size of the report, both physical dimensions and weight, has huge implications for the cost of delivery.&nbsp; 12. Benchmarking The Australasian Reporting Awards are not a competition but an opportunity for organisations to benchmark their reports against world best practice and their peers.13. Fact SheetsDownload all fact sheets from this website. https://annualreportbestpractice.com.au/01-The-Brief Fri, 10 Jul 2020 01:08:33 +0000 Annual Report Best Practice - Stuart Pettigrew https://annualreportbestpractice.com.au/01-The-Brief 01. The Brief 02. Strategy 03. Digital 04. Submissions 05. Budgets 06. Project Management 07.&nbsp; Design08. Writing09. Illustration 10. Photography 11. Production 12. Benchmarking 13. Fact SheetsAboutLinkedIn Contact 01. The Brief A successful brief is a comprehensive yet succinct document which outlines the theme for your report, the aims, objectives and milestones. It is used at the beginning of the project to define the key message you want communicated, request cost estimates, and then as a reference during the production process. Best practice Key points: Always, always, always insist on obtaining a written brief from your internal client. And once you've got it, ensure it is signed off by all key decision-makers before it is circulated to designers. During the production process, if internal clients submit material that varies from the key message, the brief can be used to re-state the aims and avoid conflict. Any changes to the brief that arise throughout the process may lead to additional production costs. These should be costed as they arise and budgets approved before the work is commenced. This will avoid surprises at the end of the process. Request that designers sign a Non-Disclosure Agreement if confidential information is to be supplied.Write the brief as clearly as possible. A good brief is critical to avoiding conflict, because conflict usually arises from mis-communication. The more clarity in the brief the better everyone understands their role/responsibilities. Why?Three main reasons: The act of actually sitting down and writing a brief makes the client clarify their thoughts. Distributing the brief to all key decision-makers is one way of ensuring that everyone understands the aim for the report and shares the same view. A brief documents specifications. Accurate specifications means all suppliers are estimating to produce the same product. The more detailed the specifications, the more accurate the estimate, and that means no billing surprises at the end of the project. The brief can be used to check the objectives during the production process. Download a sample of a&nbsp;creative brief fact sheet. What should be in a brief?Three main objectives need to be communicated: 1. Expectations Your internal client’s&nbsp;expectations should be documented at the beginning so designers understand your needs and submissions can include the relevant information. Winning an award at the Australasian Reporting Awards is an example of an 'expectation'. Expectations – roles and responsibilitiesIt is not industry-practice to ask for free designs (a free-pitch), so designers need to be able to show their creativity as part of a written submission – the brief should give designers enough information to do that well. State the key message you want communicated: the aim of the report. This will help designers to prepare their response. List your expectations – the more clarity at the beginning, the less confusion/conflict during the process. Possible inclusions are: how much design you want to see/approve before proceeding to artwork: for example how many cover concepts? Text designs? Financials? any set criteria you expect the designer to meet: for example do you expect that they have prior experience in annual reports? whether you expect to see previous work as part of the submission if you have any pre-existing relationships with suppliers (for examples printers or writers) that you expect will be included in the production process what – if any – your expectations are in relation to use of photography or illustrations whether after-hours work is expected whether you expect copyright to be assigned. Also list what the designer can expect from you: when you will supply files roles and responsibilities of key stakeholders (for example, will the finance department check the financial pages directly or through the project manager?) what your approval process includes. Addressing these expectations at the beginning will be helpful in the long run. 2. Specifications Specifications are the objective part of the brief, the hard facts and figures like physical size and quantity. These may change as the project progresses, but documenting them at the beginning ensures all suppliers are estimating to produce the same product. The print and digital specifications are a vital part of a briefing because the production cost is often a major component of the budget. We’ve prepared a glossary to de-mystify the print language. Download the glossary fact sheet. Specifications – the facts The brief should state: the scope of the project. Outline clearly the areas you expect the designer to manage – for instance, will you be supplying copy or will the services of a writer be needed? the physical shape of the project, digital or print or both. Specify the number of pages (including the cover), the quantity you need, the finished flat size, the number of colours to be printed and the type of paper stock the budget (even if it is in a range) whether you expect itemised charges (for example additional hourly rates for author’s corrections) any additional work that may be needed&nbsp; (for example, extensive tables, charts or graphs)photographs of board members and senior executives. In 2010 the Victorian Government documented specifications for their reports – we don't think it has been updated yet. Download it here. Your criteria may change once the project is underway, but it is important to start with one set of specifications on which everyone bases their estimate. Don't know how many pages the report may be?It is difficult to judge how many pages will be needed to report on your year, but one way to start is to draw a flat plan of the document and allocate information to each page, or each spread. Don't know what a flat plan is? Download a sample of a&nbsp;flat plan fact sheet. Getting accurate print costsSome clients handle their own print, others prefer designers to manage the print as part of the design management of a project. Either way it's important clients understand what detail is needed to get accurate print costs because print is often the largest item of the budget, so the more accurate the print cost, the more accurate the budget. Download a sample of a&nbsp;print specifications fact sheet. 3. Deliverables Clearly stating expected deliverables early in the process is one way to avoid future conflict and misunderstandings. As a part of your deliverables it is advisable to discuss the scheduling at an early stage and book in your report for production. Download a sample Annual Report production timeline fact sheet. Deliverables should include: the schedule showing what is required from the creative and production team, and when key dates that must be met by each member of the creative and production team how you expect the production team to deliver – are you expecting PDF's or colour laser printouts? the type of response you will give to drafts submitted by the creative team when the project can be billed. Download a sample of a creative brief fact sheet. How many designers should you ask to quote? Aim for three submissions – four at the maximum. Preparing an estimate and/or submission takes time, so it’s unfair to ask a plethora of studios to submit. And it's important to make sure each of the invitees is appropriate for the job. Ask around for referrals (or find work that you like and track down the designers) to refine your list of candidates. A brief phone call to each to confirm that they are available/interested will ensure submissions will be returned. Deliver the brief via email re-stating the submission deadline in the covering email. https://annualreportbestpractice.com.au/02-Strategy Wed, 15 Jul 2020 04:18:06 +0000 Annual Report Best Practice - Stuart Pettigrew https://annualreportbestpractice.com.au/02-Strategy 01. The Brief 02. Strategy 03. Digital 04. Submissions 05. Budgets 06. Project Management 07.&nbsp; Design08. Writing09. Illustration 10. Photography 11. Production 12. Benchmarking 13. Fact SheetsAboutLinkedIn Contact 02. StrategyPublishing an Annual Report can be a difficult journey, but having a strong core strategy is one way to keep all the information to message, and that introduces a discipline to all aspects of the report. It gives the report a beginning, a middle and an end, and most readers will remember an interesting story rather than a bunch of facts and figures. Best practiceKey points: Align the strategy to the reason for producing the report When planning the contents, the structure should have a logical flow because building the story improves usabilityNavigation is the key to an accessible report – it makes it easy for users to dip in and out of the report Most readers will remember more from an interesting story than a bunch of facts and figures Showing is always better than telling. Design and photography can communicate your message better than just words.Publishing an Annual Report can be a difficult journey, but having a strong core strategy is one way to keep all the information to message, and that introduces a discipline to all aspects of the report. Why produce an Annual Report? Compliance Many areas of society, like government departments, listed companies and even some private companies, associations and not-for-profit entities, have to publish an Annual Report to comply with their rules of operation. This is part of acting in an open and transparent method and being accountable to others. Archival purposes Drawing a line in the sand once a year and documenting what you’ve done, how well (or not) you’ve done it and what you are planning for the next year ensures that your activities are documented for posterity. Marketing Marketing doesn’t have to mean ‘spin’. An annual document is a valuable tool to communicate your key message. Writing an Annual Report forces contributors to be succinct and write to a deadline. The final publication/website is a valuable marketing tool that can be included in submissions, used for orientation of new staff and as a lobbying document. Online or in print, the structure of an Annual Report is critical. Some organisations follow the same structure each year, and while it is easy to take the attitude of 'if it ain't broke then don't fix it', in a changing market place, the structure should be questioned each year to ensure the readers can easily access the information they want. Successful ways to structure a report: to reflect the organisational structure. The report could be ordered along product lines, business units or by geographical location — all are good ways to reiterate how the organisation functions put the important stuff up front. This is where you can highlight critical messages that must be communicated. 'Up front' means the inside spread – the very first part of the report. It could take the form of a list of bullet points, or one sweeping statement, or a key photograph that summarises your year address important issues in the first 8 pages — in fact, assume many readers are not going to read the rest of the report. Some call this the ‘helicopter view’ or ‘elevator read’ – it just means that you need to get the big picture across quickly. Imagine that someone waiting at reception picks up your report and flicks through the first few pages whilst waiting for a meeting. The aim is that this person will be able to understand your message within these few minutes ensure the information flows logically. Start with the big picture and continue through to the detail (even further detail could be delivered online). Design can help tie seemingly disparate pieces of information together.You can explore different options by writing each of the content items onto post-it notes. The notes can be easily grouped/clumped under different headings. Best practice dictates that the first few pages should document the year in a 'snapshot/highlights' section, but after that, the options are endless.&nbsp; The structure of your report can be documented in a flat plan and distributed to all key decision makers so everyone is clear on the contents and the amount of space allocated to each section.&nbsp; Download a sample of a flat plan fact sheet. Navigation Making the report easy to navigate You’d never expect to find your way in a large shopping centre with no signage – likewise readers of an Annual Report need a signage system – navigation. As reports get more and more dense, readers need help to locate the information they want. Remember that reports are not read like novels. Rather than starting at the beginning and reading each page until the end, most users of reports flick forward and back, dipping in and out of the report as key messages attract their attention. The contents listing is the obvious start to good navigation but rather than just list the contents as line items, use it to highlight major achievements and links to where that story is within the report. An index is also a useful tool in a very dense report. An interesting contents listing will draw people deeper into the report. Navigation can also be aided by: A good, logical, information flow with a beginning, a middle and an endActive, descriptive headlines to section startsSection headings that are located in the same place on each section startColour coding the sections and/or numbering the sections. <img width="2048" height="1497" width_o="2048" height_o="1497" data-src="https://freight.cargo.site/t/original/i/e61c657a57eb9d28f8bc9eeb6abc17c0079c311d562c5bbc8368bd7ca200563f/02-Strategy_Emphasising_Numbered.png" data-mid="85064299" border="0" src="https://freight.cargo.site/w/1000/i/e61c657a57eb9d28f8bc9eeb6abc17c0079c311d562c5bbc8368bd7ca200563f/02-Strategy_Emphasising_Numbered.png" /> A report with a good, logical sequence is easier to navigate than one without, so getting the navigation correct from the beginning makes perfect sense. Identify your message Start with clear and simple ideas, and never forget your audience. What do you want shareholders to take away from your upcoming AGM? What key financial and compliance information do you need to provide? Where are you going? Storytelling is key to the successful design of any report. Remember that reports are not read as novels, so some repetition may be necessary to strategically get your message across. Where one reader may read a section in detail, another may completely gloss over that section but read another. Once inhouse contributors have written their sections of the report it is usual for someone to edit all the copy to ensure that it speaks in the same voice. That same person may ‘top and tail’ the information – that is write active headlines and pull quotes that summarise/highlight key information. This ensures that each page reiterates the strategy of the report. Strategic writing introduces the key themes early in the report and then expands on them in later pages. Using design and photography strategically Design and photography can be just page decoration but if you use them strategically it adds volumes to your words. Showing will always work better than telling – and that's where images work better than just words. Use the cover to create interest and set the tone of your report. This becomes even more critical when it’s the only use of colour within the report. If you are using a cover image, choose one that starts the story you want the report to tell. <img width="1848" height="2214" width_o="1848" height_o="2214" data-src="https://freight.cargo.site/t/original/i/023a0bf60c05d30e51e630ffb66114197b1c5adce884b4ae2ed6fbc77d7a83e6/LH_Cover_2016.jpg" data-mid="81964802" border="0" data-scale="57" src="https://freight.cargo.site/w/1000/i/023a0bf60c05d30e51e630ffb66114197b1c5adce884b4ae2ed6fbc77d7a83e6/LH_Cover_2016.jpg" /> Emphasising key points Don’t assume that the readers can identify the important parts of your report – show them what’s important by using: pull quotesextensive captions alongside imagesactive, descriptive headlines, andinformation boxes where key points can be summarised. choose photographs that tell a story, and remember sometimes the background is just as important as the subject. One example is a portrait of someone in their work environment. Taking a wider shot of the person which shows more of the background may add heaps of information about how they work, where they work and who they work with. <img width="1420" height="1037" width_o="1420" height_o="1037" data-src="https://freight.cargo.site/t/original/i/a68380a534375befc7a091138710422996909a25a23787d7818e35833904e5b8/LH_2016_Spread_1.jpg" data-mid="81572477" border="0" src="https://freight.cargo.site/w/1000/i/a68380a534375befc7a091138710422996909a25a23787d7818e35833904e5b8/LH_2016_Spread_1.jpg" /><img width="1420" height="1037" width_o="1420" height_o="1037" data-src="https://freight.cargo.site/t/original/i/d22774059b04d290de4f2085b1b0b109dfb828d9eb824abda2585cf7f3b22800/LH_2016_Spread_2.jpg" data-mid="81572478" border="0" src="https://freight.cargo.site/w/1000/i/d22774059b04d290de4f2085b1b0b109dfb828d9eb824abda2585cf7f3b22800/LH_2016_Spread_2.jpg" /> https://annualreportbestpractice.com.au/03-Digital Wed, 15 Jul 2020 04:26:42 +0000 Annual Report Best Practice - Stuart Pettigrew https://annualreportbestpractice.com.au/03-Digital 01. The Brief 02. Strategy 03. Digital 04. Submissions 05. Budgets 06. Project Management 07.&nbsp; Design08. Writing09. Illustration 10. Photography 11. Production 12. Benchmarking 13. Fact SheetsAboutLinkedIn Contact 03. DigitalDigital annual reports are becoming the industry norm. There are many ways to showcase your report – from indexed PDFs to comprehensive annual report microsites. Best practice Key points: Contents and index linked to the main sections of the reportLinks to relevant sites of other documentsAbility to access financial information in spreadsheet formDownloadable sections for later reading and printingThe report available soon after the results are releasedAnimation that doesn’t slow down the file. While digital annual reports are the way forward it is important that the design engages your audience and doesn’t overwhelm them with complicated graphics or information that is difficult to navigate. The criteria which should be considered for a digital report is listed on the ARA site: Australasian Reporting Awards (ARA) Online Reporting Award. Why a microsite A microsite is a brand-specific website (or a single web page) that companies use to publish their annual reports or promote products, events or campaigns. These are hosted on the company’s subdomain and have a different URL than their company websites. Not only is publishing your annual report digitally more sustainable for the environment, but it is also more sustainable for your organization. The initial cost of developing a microsite for your annual report, can exceed the cost of the traditional format. However, that initial investment is a critical factor in how you will go about engaging as many stakeholders as possible when delivering your annual report. <img width="2808" height="1631" width_o="2808" height_o="1631" data-src="https://freight.cargo.site/t/original/i/498d71e140e5b4368cbef0642878e9be2a8b05d03662fd11f7fb339abdf59207/essity-australasia-microsite-12.jpg" data-mid="138244091" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/498d71e140e5b4368cbef0642878e9be2a8b05d03662fd11f7fb339abdf59207/essity-australasia-microsite-12.jpg" />Essity Australasia’s microsite - view here Increase engagement As traditional printed annual reports are being rapidly replaced by digital/interactive versions these platforms provide a different user experience (UX) for the online reader. Interactive versions are not only more engaging but allow businesses to increase their readership, measure engagement, test, learn lessons and adjust their messaging on the go. Using analytics Business managers use analytics to track and report more easily on their annual report’s performance. Being able to see who is reading sections of your report content from which devices is invaluable when planning to improve your report’s performance in the future. Mobile use Mobile usage is increasing rapidly and making sure your annual report is displayed optimally will reflect on how forward thinking and relevant your organisation is. Access to a responsive microsite that can be navigated easily on a small screen is an advantage. People are consuming all types of content on the go and single page annual reports allow the reader to scroll logically through the report. Search Engine Optimisation Using a microsite to present your data means that all the individual elements of your report are readily visible to search engines. That helps readers to find the exact content they are looking for, efficiently. In turn, that will ensure your data turns up in more search results and your website&nbsp;gets more traffic. <img width="2808" height="1631" width_o="2808" height_o="1631" data-src="https://freight.cargo.site/t/original/i/e82fc8bfd79da9be2a5c8f3296e3fa6451b6580aef5518e036ba222c842e239d/IFM-microsite-13.jpg" data-mid="138668826" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/e82fc8bfd79da9be2a5c8f3296e3fa6451b6580aef5518e036ba222c842e239d/IFM-microsite-13.jpg" />IFM’s microsite - view here Dynamic content Websites provide the potential for more animation and interaction than PDFs or flip style books. Creating an improved user experience can be achieved by using video, audio, animations and interactions engage the reader and make the information easier to digest. Flexibility is the key and a digital report allows you to turn static data into a dynamic presentation so that the information that matters is presented in an engaging way. Parallax scrolling Parallax scrolling is when the website layout sees the background of the web page moving at a slower rate to the foreground, creating a 3D effect as you scroll. Parallax scrolling's been around for a while but it's a web design trend that refuses to go away. Used sparingly it can provide a nice, subtle element of depth that results in a distinctive and memorable website.Contact us on&nbsp;03 9529 1037 or email stuart@spdesign.com.au to see how we can help you improve your digital report.&nbsp; https://annualreportbestpractice.com.au/04-Submissions Wed, 15 Jul 2020 04:19:01 +0000 Annual Report Best Practice - Stuart Pettigrew https://annualreportbestpractice.com.au/04-Submissions 01. The Brief 02. Strategy 03. Digital 04. Submissions 05. Budgets 06. Project Management 07.&nbsp; Design08. Writing09. Illustration 10. Photography 11. Production 12. Benchmarking 13. Fact SheetsAboutLinkedIn Contact 04. SubmissionsDesign submissions come in all shapes and sizes – this section outlines what we include in our submissions, commencing with a detailed scope of works. Best practiceKey points: The design studio’s methodology. A clear description of the processes we will follow to get the results you need. What the estimate includes – that’s the only way you will understand a detailed list of items you are purchasing from us. Capability A typical submission could include the following items: A capability statement The capability statement may range from a brief resume through to a previously printed brochure or a website. There is no correct format, but the content should confirm that the designer is able to deliver the expected results. A response to your key message It is important the submission acknowledges, and responds to, any key criteria that you have included. An estimate We will submit an estimate with a breakdown of costs based on our understanding of your brief with a total fee excluding 10% GST. It is not your responsibility to ensure that a designer has quoted accurately, however it is your responsibility to compare like with like and to understand where and why there are differences in costs. Assessing the submissions The aim is to identify the design studio that shows a positive understanding of your brief and with whom you would feel most comfortable working. A good working relationship will usually bridge any difficulties that may arise during a project. The cost is not the only method of differentiating between suppliers. It may be that the supplier with the lesser cost does not have the experience to understand all of the intricacies of the project. Remember that as designers we only have our time to sell, so don’t be dismayed if the estimate is very detailed and looks as though petty items are covered – the more detailed, the fewer surprises you can expect. Estimates Our design estimate includes a detailed scope of works with a total cost excluding 10% GST. Following is a breakdown of terms often used in an estimate. We will include each of these categories. Design / design development / concept &nbsp; This stage involves the development of a unique design appropriate to the project. It may include tasks like research, developing ideas and preparing the presentation. The estimate will detail how much design will be presented for approval (eg cover, text design etc.) and when requests for design changes start to be charged as author’s corrections. Artwork / formatting / layout When the design concepts is approved we commence formatting text into print-ready artwork. The estimate could be based on time, or it could be based on the number of pages in the report – either way it will show a total cost excluding 10% GST. Copyright A designer retains full ownership of design concepts and materials they produce. Once a final concept is delivered to a client and full payment is received, complete ownership rights to the concept transfer to the client. Unused concepts remain the property of the designer. Designs may not be used for other promotional items, website or printed materials without permission. The designer reserves the rights to certain elements used to create your images including fonts, patterns, stock images, textures, colour palettes and other non-exclusive items. Native Files All artwork is created using Adobe Creative Cloud software unless stated otherwise. The transfer of these native files will incur an additional 20% fee. These native files are the professional working files of designers and not templates. If template packages are requested as a part of the ‘Scope of works’, the native file transfer fees do not apply. All fonts, stock photography, stock illustrations or stock icons used within native files or template packages will be charged at market value. Copywriting / editing / proofreading (see also Writing) Copywriting delivers text written specifically to fit your brief. The estimate should show if the writer is taking responsibility for researching the information, or expecting to re-write from supplied notes. Editing involves taking existing words and changing them to suit another purpose. Editing may improve the communication, reduce the word count or adjust the language to fit a style guide. Proofreading is the checking of existing copy for inconsistencies and inaccuracies. It is usually done prior to printing. Design management / project management Design management involves all non-design administrative and management activities such as paperwork, briefings, meetings, managing suppliers, presentations. Reimbursables The estimate may include fees for additional charges such as couriers. They may be itemised up front as a range, or as a figure to be ‘allowed’ for. <img width="6427" height="5530" width_o="6427" height_o="5530" data-src="https://freight.cargo.site/t/original/i/36ff6ac655b0b99afe1370b43083f6b11a07cc0e36a04e3a3670e27b60a8ba05/03-Submissions_Diagram-11.jpg" data-mid="81964369" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/36ff6ac655b0b99afe1370b43083f6b11a07cc0e36a04e3a3670e27b60a8ba05/03-Submissions_Diagram-11.jpg" /> Production estimates We have the experience and expertise to manage your print if required. Not all designers manage print, but if they do, the costs may be identified within a production estimate. Pre-press and printing The specifications of the project should be stated alongside the cost so there are no misunderstandings about quantities, number of pages or type of paper stock. It is not uncommon for each of these figures to change once the artwork is done, so documenting a starting point is always beneficial. Print management We include a print management fee to cover our cost of the printing (deposit and withdrawal bank fees and taxes), and the administration of payment to the printer, sometimes before receiving payment from the client. Some designers will specify a percentage mark-up separately from the print cost while others may include it as part of print. https://annualreportbestpractice.com.au/05-Budgets Wed, 15 Jul 2020 04:19:05 +0000 Annual Report Best Practice - Stuart Pettigrew https://annualreportbestpractice.com.au/05-Budgets 01. The Brief 02. Strategy 03. Digital 04. Submissions 05. Budgets 06. Project Management 07.&nbsp; Design08. Writing09. Illustration 10. Photography 11. Production 12. Benchmarking 13. Fact SheetsAboutLinkedIn Contact 05. BudgetsSetting a budget involves a thorough understanding of the project, so each activity can be analysed and budgeted separately. Best practice Key points: Understand what the designer perceives as an author’s correction, so you can identify when corrections start to cost money. This will avoid future conflict.Understand your internal approval process because this is usually where author’s corrections are generated.Budget blow-outs usually occur at author's corrections stage. Guidelines A designer will submit an estimate of costs as part of their submission. It should interpret your brief but they can only estimate to produce the job as it is reflected in the brief. As an 'insider' it is the project manager's role to try to identify any potential ‘extras’ early and add a contingency to cover these additional costs. Issues that may cause additional cost: a difficult key decision-maker that may cause conflict, or may be away during the project and then ask for extensive changes when they return extensive author’s corrections because of a long-winded internal approval process additional graphs/tables/photographs may be added (those things that take additional time and therefore budget) during the project a larger quantity of reports needed than first estimated more pages within the report, therefore more weight, causing additional postage cost. There is no magic formula for a contingency – but as budgets become tighter and tighter, it is more realistic to include a margin for error. Typical author’s corrections It can be hard to identify what is, and what isn't an author’s correction. Especially if you've not managed an annual report previously. Download a&nbsp;typical author’s corrections fact sheet. This fact sheet is to be used as a reference – it's doesn't cover every eventuality, but it does describe some common occurrences. https://annualreportbestpractice.com.au/06-Project-Management Wed, 15 Jul 2020 04:19:11 +0000 Annual Report Best Practice - Stuart Pettigrew https://annualreportbestpractice.com.au/06-Project-Management 01. The Brief 02. Strategy 03. Digital 04. Submissions 05. Budgets 06. Project Management 07.&nbsp; Design08. Writing09. Illustration 10. Photography 11. Production 12. Benchmarking 13. Fact SheetsAboutLinkedIn Contact 06. Project Management Managing a project successfully depends on the project manager having a thorough understanding of the objectives and ensuring that each supplier understands their role and responsibility. Best practiceKey points: Identify possible conflict early and get together key stakeholders to diffuse the conflict as quickly as possible. Include contingency in the schedule to avoid missing a deadline. While there is not a lot of spare time during the annual report process, building in a contingency of a few days, or a plan for extra help if necessary, can be invaluable. Ensure everyone signs off on the schedule so responsibilities are understood. Deliverables Managing a project successfully depends not only on the manager having a thorough understanding of who is meant to be doing what and when, but on each supplier understanding their role in the chain.Three ways to do this: write and discuss a detailed schedule with the key stakeholders at the beginning of the project. This means that you can identify any holidays/conferences/commitments that may cause delays write a roles/responsibilities report for each of the stakeholders. This may be a short email, or a personalised copy of the schedule – either way it should be in writing, and it should itemise tasks and deadlines think ahead: identify where you think the delays may come from and have a strategy in place to avoid them.&nbsp;Getting the timing rightIt’s all about juggling the competing demands of a complicated production process.&nbsp;It is critical to identify the stages in an annual report production and get the deliverables sorted out.Download a&nbsp;sample Annual Report production schedule fact sheet. Scheduling A good schedule ensures everyone has enough time to do their job well without undue stress. It avoids conflict by ensuring everyone understands expectations. Ingredients in a good schedule ask your team to estimate the amount of time they think is needed for their part of the process. This many need negotiation as everyone wants more time than is available, but the result will be more accurate than a project manager estimating on their behalf. include a time contingency in the schedule to avoid missing a deadline. While there is not a lot of spare time during the annual report process, building in a contingency of a few days, or a plan for extra help if necessary, can be invaluable. Keeping the schedule up to date during the process keep looking ahead to judge the impact of decisions early – that way their impact can be assessed identify possible conflict early and get together key stakeholders to diffuse the conflict as quickly as possible ask for extra help if necessary to keep the project on time. Avoiding delays A project manager needs an understanding of factors that may cause delays. These could include: additional rounds of author’s corrections to the page spreads delays in one area of the schedule so the next supplier may not be available when the job gets to them photographic shoots postponed because of bad weather or unavailability of key people such as board members. Contracts Paperwork can be boring, but ensuring that everything is documented is crucial for a well-run project and it becomes invaluable when things turn pear-shaped. You may not use all of these, but some of the paperwork that should be considered are:Confidentiality contracts Used when the releasing of information could be detrimental before a report is published. Contract of appointment Used to document roles and responsibilities. Purchase orderUsed to document the description and price of the goods exchanging hands.The role of the purchase order is to ensure that you get the product you want for the price you expect. It is the one document that binds the client, designer and printer.Copyright assignment contract Used to document understanding of what copyright is to be transferred and when. Model release for photographic shoots Used to assign full or part copyright of shots from the model (amateur or professional) to the client. https://annualreportbestpractice.com.au/07-Design Wed, 15 Jul 2020 04:26:48 +0000 Annual Report Best Practice - Stuart Pettigrew https://annualreportbestpractice.com.au/07-Design 01. The Brief 02. Strategy 03. Digital 04. Submissions 05. Budgets 06. Project Management 07.&nbsp; Design08. Writing09. Illustration 10. Photography 11. Production 12. Benchmarking 13. Fact SheetsAboutLinkedIn Contact 07. DesignGood design communicates effectively and has the ability to transform people’s thinking. It is also the most subjective part of the production – where one decision-maker may see genius in a design another may not – so it is really important that expectations are clear before the design process begins.&nbsp; &nbsp; Best practice Key points: Identify key decision-makers earlyRefer to the brief early and oftenSeparate subjective from objective opinionsEnsure design feedback is thoughtful and clear Involve key decision-makers in initial briefing and design presentation meetings. Design is the most subjective part of an annual report project. Everyone has an opinion, and they all should be respected. It is important to refer to the brief early and often to ensure that every design element contributes to your story in a consistent way and brings the theme to life. Setting the parameters &nbsp; Inhouse discussions should include: who will be the key decision-makers, and who will have the final say on design approval who the target market is, and how they will be represented within the decision-makers what the key criteria is for judging the appropriateness of the design – the aim is to get it from subjective ‘I don’t like red’ views, to objective ‘blue is our corporate colour and should be used’ the identification of key milestones where the project team gathers to review progress who is responsible for which part of the report and whether they have any jurisdiction over other areas. Presentation Designers should be given the opportunity to present to the key decision-makers and get initial feedback. The presentation could be run as a meeting – this way everyone involved has the time to consider the design and give initial feedback. It is good practice for the chair of the meeting to refer to the brief when assessing the design – this ensures the judgements are objective rather than subjective. Remember there are no right nor wrong answers in design, but there are inappropriate designs that do not answer the brief. The aim of this process is a design that is approved on every level before you proceed to artwork. Changing the design once artwork has commenced is time consuming and expensive. Designers take different approaches to presenting their designs, but the first presentation may include: cover design(s) this could include 3 completely different concepts (for example; an apple, an orange and a pear), or one strong concept shown within 3 different designs (for example the concept of an apple but it is shown complete, peeled and cut into segments). text design(s) there could be as few as 4 pages presented or many more, depending on the difficulty of demonstrating how different aspects of the report will be treated. <img width="2253" height="1646" width_o="2253" height_o="1646" data-src="https://freight.cargo.site/t/original/i/44fa234724d00166741594dd2a611c0d1dee7eb26022c16fdab56c5deca90c48/SPD5330-ARBP_Web-Images-04.png" data-mid="81163658" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/44fa234724d00166741594dd2a611c0d1dee7eb26022c16fdab56c5deca90c48/SPD5330-ARBP_Web-Images-04.png" /> Examples of possible text designs include: how the cover theme continues throughout the text pages what the inside cover spread includes how tables, charts and graphs (bar and line graphs) will be treated treatment of photography: especially if there are case studies, or shots of board members, directors etc. how the financials pages will be formatted. The timeline for the design process varies but it is worth remembering that extra time spent on the research / design section can make a good foundation for the rest of the project. <img width="2253" height="1646" width_o="2253" height_o="1646" data-src="https://freight.cargo.site/t/original/i/8579194e8075483823386b3dbb24d5c3ad0845eef3946d06f57b2b52bc728f98/SPD5330-ARBP_Web-Images-08.png" data-mid="81163652" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/8579194e8075483823386b3dbb24d5c3ad0845eef3946d06f57b2b52bc728f98/SPD5330-ARBP_Web-Images-08.png" /> <img width="2253" height="1646" width_o="2253" height_o="1646" data-src="https://freight.cargo.site/t/original/i/a13298d3203e258c642369f6ccf3131746794865d5f6238080d8497073b58b1c/SPD5330-ARBP_Web-Images-09.png" data-mid="81163653" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/a13298d3203e258c642369f6ccf3131746794865d5f6238080d8497073b58b1c/SPD5330-ARBP_Web-Images-09.png" /> Feedback It is not unusual for the project team to consider the design for a few days before feedback is collated and communicated to the designer. Feedback should be verbal, followed by a written report to avoid confusion. It is usual for the design to be tweaked to include the feedback. Depending on the amendments, another presentation may be needed to view and discuss the revised designs. Design signoff It is imperative that the project does not move past the design point without complete agreement. Not everyone has to love the design, but they need to agree that it meets the brief. Experience shows that possible issues include: The designer appointed is not the preferred choice of one of the stakeholders. This can be handled by ensuring that all the key decision makers are asked if they have a key supplier they would like included in the quotation process followed by a transparent selection process where everyone understands the criteria. There is not a unanimous decision on the approved design. Reaching collective decisions based on individual preferences is hard. Use the brief as a checklist to ensure that the design meets the brief. Some feedback can be taken onboard as design modifications, or perhaps some people will need to agree to disagree. There must be approval of the design before proceeding. Someone ‘higher-up’ vetoes the design. This sadly is a common occurrence.Recommendations to avoid this include: ask the decision-maker early if they have a supplier of choice try to get this person to the initial briefing meeting document the briefing session and circulate it for discussion before releasing it to the designers. Include a deadline for feedback, and the date when it will be circulated once the winning submission has been identified, circulate the results internally for discussion before proceeding try absolutely everything to get the decision-maker to the designer’s presentation lastly, use the brief to show that the design is appropriate. Artwork&nbsp; When the design direction is approved by the key decision-maker final artwork suitable for reproduction and page proofs can commence. At this stage the designer will utilise the appropriate programs to develop the page layout, format the graphs and charts and prepare the images for reproduction. Best practice: Key points: Mark up changes clearly. Unclear or ambiguous changes make artwork slow, and can introduce errors. Supplying electronic files for any large sections of new text makes corrections to artwork faster, reduces opportunity for introduced errors and lessens the amount of proofreading needed. &nbsp;Ensure everyone knows their role. Changes should only be made by the person responsible for that section of the report. There can be a tendency for second/third page proofs to incorporate many more changes than are appropriate as ‘new’ eyes view the layouts for the first time. The danger is the schedule/budget blows out as additional author’s corrections are added. Agreeing roles/responsibilities and identifying the key decision-makers early in the process should avoid this.Keep true decision-makers in the loop. It is unwise to surprise the true decision-makers with page proofs for the first time late in the schedule. Their time is valuable, but exposing them to the project as it progresses allows you to manage their expectations and incorporate their feedback earlier. Artwork: The process The artwork process commonly includes a handover/briefing session, finished artwork (the formatting of the report) and approximately three rounds of changes. Handover / briefing A handover meeting is always advantageous so everything is clear right from the beginning. It should include the project manager, the designer and perhaps the writer (if there are details that need to be communicated clearly).It’s valuable to talk through the manuscript, discuss any changes that may have occurred in the writing and gathering of graphics and identify any pages that may need additional care. These may include flowcharts, maps, tables and graphs. Building the files / formatting the report Graphs and charts are built in one software program, photographs are treated in another, and then both are combined with the text in a third ‘assembly’ program.There are many programs that can do this – industry benchmarks are Indesign (part of the Adobe CC suite with Photoshop and Illustrator). These programs control the page layout, the typefaces and the graphics.The result is artwork suitable for a reproduction, and page proofs that can be circulated for approval.Artwork: First page proofs Expect the most changes in the first round of page proofs. Everything looks different – the text is set in different typeface to the manuscript, graphs/charts have been designed and placed next to the relevant text. Images are treated and placed on the correct pages. &nbsp;Sometimes the project manager will do an interim check before these first pages are distributed to the key decision makers. (The approval process has already been decided as part of the briefing process.) The aim is to identify and fix any major issues before circulation to others.To keep to deadline, it may be necessary to circulate incomplete first page proofs. This may be better than missing the deadline, but it is important to communicate what is missing and why.Ensure that the people checking the pages are clear about their role, what they are checking, and when their comments are expected. It is advisable for internal staff to check only the material they supplied, otherwise there are likely to be debates that are not appropriate at this stage in the process.Any replacement images/text/graphs should be gathered and ready for handover. It is beneficial to have another handover meeting at this stage so the more complex changes can be clearly explained, however it should not be necessary to go through changes that are straightforward and clearly marked.Artwork: Second page proofs It is usual for the second pages to go to ‘higher’ level decision-makers and there may be more corrections needed after these ‘new’ eyes. The proofreader may be introduced as part of the review of the second page proofs. If so, it is important to include all the internal feedback on the pages supplied to the proofreader.Again, a cover sheet identifying roles and responsibilities should be used so everyone understands their tasks and deadlines.Third and final page proofs There should be only a few corrections needed by the third round. There are no new eyes, and most of the detail should now have been finalised.The role of this final proof is to prove that all changes have been taken in correctly and the file is ready to print.Key decision-makers should sign off this proof as approved to print. Native FilesAll artwork is created using Adobe Creative Cloud software unless stated otherwise. The transfer of these native files will incur an additional fee. These native files are the professional working files of designers and not templates. If an Annual Report template is requested as part of the brief, the native file transfer fees do not apply. All fonts, stock photography, stock illustrations or stock icons used within native files or template packages will be charged at market value.Contact us on&nbsp;03 9529 1037 or email stuart@spdesign.com.au to see how we can help you improve your Annual Report.&nbsp; https://annualreportbestpractice.com.au/08-Writing Thu, 13 Aug 2020 05:15:26 +0000 Annual Report Best Practice - Stuart Pettigrew https://annualreportbestpractice.com.au/08-Writing 01. The Brief 02. Strategy 03. Digital 04. Submissions 05. Budgets 06. Project Management 07.&nbsp; Design08. Writing09. Illustration 10. Photography 11. Production 12. Benchmarking 13. Fact SheetsAboutLinkedIn Contact 08. WritingStorytelling is key to the successful design of any report. It needs to take your audience on your corporate journey with you – however bumpy or smooth, direct or scenic, fast or slow that might be. Best practice Key points:Prepare a clear brief.&nbsp;A writing brief is as important as a design brief. The scope of the project should be outlined clearly, including the roles and responsibilities. Have a writing style guide in place before writing commences.Common changes at the editing and proofreading stage include style inconsistencies like date formats, capitalisation of specific words, use of hyphenations and specific spelling. These detailed changes are costly and are easily avoided if the authors have a style guide reference.Use a professional proofreader or someone that can mark-up changes clearly.The more clarity, the faster, and more accurately the changes can be taken in, and that saves money and time so everyone can stay on budget. If you need help crafting your messages and telling your story, we work with writers who understand the compliance and reputational imperatives of annual reports, are experienced in working with executive teams, and can tell a good yarn. Writer The key to a good Annual Report is effective communication. Most people don't want to read spin, they want to read a balanced report that doesn't gloss over the tricky bits. Copy can be generated inhouse or externally by a writer specifically commissioned to produce new copy. They may do this by: collecting existing material researching new material, and conducting interviews with key personnel. A writer can take complete responsibility for preparing all of the copy. In that case, the project manager’s role is to help negotiate with internal departments and ensure deadlines for the supply of information to the writer are met. Sometimes all the copy is available, but written by different people and lacking consistency. In this case, a writer would assess the copy and re-write all or some of it to improve the flow. Writers also take responsibility to seek permission(s) to use copyright material. This needs to be done early because if permission is denied at a late stage, it can be costly. The writer’s fee could be negotiated as an hourly or project rate. It may be between a 3 and 6 month project. Download a guide to&nbsp;briefing a writer fact sheet. Editor Editors could be used in conjunction with a writer, or to clean up material generated inhouse by a variety of people. Editors do not usually introduce new text, instead they work with supplied material aiming to improve it. Imagine the text as furniture in a house, and the report as the house. The editor unpacks the house, and puts all the furniture on the front lawn to assess what is valuable and what needs to be replaced. They then repack the house, rearranging the furniture to try to make the house easier to live in and to meet the client’s requirements (the brief). An editor can help: correct spelling, grammar, punctuation and word choice check facts and references ensure that the structure of the Annual Report works. If the Annual Report has been written inhouse it is a good idea to check the copy before supplying it to an editor.There are a number of common errors made when writing. These can be avoided by putting together an internal brief for the writers.Download a guide to common punctuation errors fact sheet. The editor’s fee could be negotiated as an hourly or project rate. Proofreading Proofreaders are an invaluable part of the project. During the Annual Report process a proofreader may be used to check that corrections have been taken in correctly and they are often used at the end of the production process as a skilled ‘fresh eye’. Their role is not to re-edit, restructure or rewrite. Proofreaders are involved in the detail of the document. They will: check page numbers are consecutive and running headings and footers are correct ensure consistency – particularly of alternative spellings and hyphenation – by following a supplied style guide or by compiling their own identify necessary changes and mark them in the copy. This is generally done on hard copy. If proofs come in electronic format as PDFs, they can be printed out and marked up in the usual way. Page proofs, draft web pages and PDFs can also be read on-screen, but this is usually less successful than proofreading from hard copy and more difficult to mark-up changes check for typographical and design inconsistencies as well as textual ones cross-check chapter titles with the table of contents and that references to the appendices, index, etc. within the text correspond accurately check or insert numbers in cross-references eliminate bad word, line, column and page breaks ensure that illustrations and their captions and labels correspond with each other and with the text liaise with the copy-editor and/or the author to resolve queries or bring them to the client’s attention mark-up changes in a clear manner that makes them easy for the designer to take in, and therefore be less costly. https://annualreportbestpractice.com.au/09-Illustration Thu, 13 Aug 2020 05:15:30 +0000 Annual Report Best Practice - Stuart Pettigrew https://annualreportbestpractice.com.au/09-Illustration 01. The Brief 02. Strategy 03. Digital 04. Submissions 05. Budgets 06. Project Management 07.&nbsp; Design08. Writing09. Illustration 10. Photography 11. Production 12. Benchmarking 13. Fact SheetsAboutLinkedIn Contact 09. IllustrationIllustration has the ability to solve problems and communicate powerful messages to your audience – don’t underestimate the power of using illustration in your Annual Report. Best practice Key points: Prepare a clear brief and include design reference.Select a style of illustration that suits both the design direction and the key messaging.Before purchasing illustrations decide if they are for a one-off usage or will be used on other collateral. Illustration can help to add clarity and communicate complex ideas in a way that generic corporate photography cannot. Using illustration Illustration can have advantages over photography. illustration can create an environment that does not exist in the physical world illustration can 'strip back' content causing the reader to focus on the items you consider important illustration can show a process or concept in a simple easily understood way. There are two ways of purchasing illustration for an Annual Report: The first is to purchase copyright-free, royalty-free or rights-managed illustrations. There are a myriad of websites that offer illustrations. The positives are that the majority are extremely professional, available instantly and copyright/royalty free. The negative is that you cannot control who else is using the same illustration or when — hence a competitor could publish the same illustration for the same purpose at the same time. It is a risk. The second is to commission an illustrator to draw an original illustration to suit your brief. If you have very specific requirements you can prepare a brief for an illustrator as part of the initial design brief. The brief will need to cover a range of areas that are specific to illustration such as useage rights, reproduction types etc.Download a guide to briefing an illustrator fact sheet. <img width="794" height="1123" width_o="794" height_o="1123" data-src="https://freight.cargo.site/t/original/i/97a593a56d590dab524b73ad178d3c2c64010b56f08b9269bd59f29f8e9e5802/ARBP_08-Illustration_Infographics_OTA.png" data-mid="80857567" border="0" data-scale="51" data-no-zoom src="https://freight.cargo.site/w/794/i/97a593a56d590dab524b73ad178d3c2c64010b56f08b9269bd59f29f8e9e5802/ARBP_08-Illustration_Infographics_OTA.png" /> Illustrators Every illustrator works in a slightly different way – especially when they are developing original artwork. Here’s one common approach: A designer includes a sample illustration within their design proposal. They will try to find an illustration that compliments their design – it will probably not be the ‘actual’ illustration but a sample of the same technique, or colourway. It’s important to analyse the design and illustration separately to decide if they fit the brief. The design direction may be approved, but the illustration technique may not be liked/appropriate. In this case, a discussion about types of illustrations/appropriate techniques and likes and dislikes should help resolve the issue. At this stage it may be useful for the designer to submit a few alternatives for discussion. Once the design direction and the illustration technique are approved, the illustration brief needs to be honed. At this stage the designer may introduce the illustrator directly into the discussions, or they may choose to be the intermediary. Either way is right, it depends on the project and the amount of involvement the client expects. Decisions need to be made on how you are going to use the illustration. Use will dictate cost. (see Buying illustration). Once the illustrator has been chosen, it is usual to see further examples of their work at a briefing session. This meeting should also include discussions on client expectations and deadline. If it is a high-cost item, it may be wise to include the key decision-maker in the discussions. The illustrator will usually prepare thumbnails or rough sketches before final work is undertaken. The accuracy of these sketches depends on the illustration technique and the illustrator’s methodology. Discussion at this stage ensures that that the final illustration will fit the brief. Again, it's all about managing expectations. Buying illustration There are three ways you can buy illustration: One-off usage Purchasing a one-off usage for an illustration is straightforward. The illustrator will develop, design and draw the illustration to your specifications, but is free to onsell it for other usages at a later date. Multi-usage Similar to one-off usage, however this allows for the illustration to be used in other media. For example the illustration could be used on the Annual Report cover, a website and a poster. This type of usage may also include a further print run of the material in the short-term future. Again, the illustrator will develop, design and draw the illustration to your specifications, but is free to onsell it for other usages at a later date. Purchasing copyright Purchasing the copyright of an illustration means that you are entitled to use the illustration on other collateral for an unlimited time. This does not necessarily mean you are purchasing the actual artwork - that will need to be negotiated separately – but it does mean that you can reproduce the artwork as needed. It will usually cost at least 100% more than the usage cost, because the illustrator is selling off any future revenue they may get from that illustration. An illustrator will not do a lesser job for a one-off usage, and nor will they do a better job if you are purchasing copyright. It is purely an exercise in identifying the future dollar value of the illustration. If there is more than one illustration needed, illustrators may estimate per illustration, or per project. This is usually open to negotiation.Looking for an Illustrator? Check out - lllustratorsaustralia.com or&nbsp;jackywinter.com