Personal & Professional Practise: April 2014

Thursday 24 April 2014

OUGD502 - Life's A Pitch: Run Through

The day before the presentation we put it on the projector in the room we would be presenting, and did a trial run. We wanted to make sure we all knew what we was saying, and if there was anything I needed to change.

There were a couple things I changed, such as info on the Terms and Conditions page, as well as adding the logo onto the last page.

Thursday 17 April 2014

OUGD502 - Life's A Pitch: Presentation

As a group, we discussed what needed to be included in the presentation and started working on different areas to get the content ready for it. I wrote down a list of what slides needed to be included in the presentation. I had already done content for the Employee Benefits, thought about what we would charge clients and did the timeline for where we would be in 1, 3 and 5 years time.

I put the presentation together.

I thought we could have a screenshot from google maps of the studio location, and then put our logo over it so you can see where it is.

For the manifesto, I thought about having it fill the screen to be bold and stand out. Usually I don't like text covering the screen, but I thought it was appropriate in this case.

For our services I thought about having our lime icon

I thought about having key words in green.

But I felt this was way too much info.

I put in a screenshot of the printers we are going to use.

I made some icons for the hosting page.

Here is the res of the development for the pages.

It took me quite a while to work out how to arrange the costs of everything, because I wanted to make it easy to digest and make sense.

Here is the final presentation:

Tuesday 1 April 2014

OUGD502 - Life's A Pitch - Employee Benefits

After researching into different digital agencies, I thought about how that could relate into our company.

We want our ethos to be fun, and full of personality so it got me thinking about things employee benefits we could have to keep morale up and the team close.

Charity races
Krispy Kremes on Monday morning briefings
Duvet day on your Birthday
Zorbing activity
Secret Santa
Office Yoga
Ping Pong Table
Air Hockey
Smoothie Maker
Friday afternoons dedicated to personal projects
Monthly bowling tournament

OUGD502 - Networking: Hey!Stac

I went to this month's hey!stac, and all three talks were really good.

However, there was one that stood out which was from Christopher Murphy. He was talking about mental health in the industry, as having so much work and pressure can lead to depression and anxiety. He actually tried to kill himself due to the stress of it all, and so his talk about coming out the other side was really inspiring.
He basically said how we get status anxiety, and worry about how many followers we have, and what people think about us, and spend too much time on social networks like this.
And how we go from working from 9-5, to 8-6 and 8-9 etc, until we have no life outside of work. I think everyone in the room was agreeing with what he was saying that we put too much pressure on ourselves, and 'do all of the things' - where we say yes to everything. Yes to every project, to working late, to doing talks, to everything. I realise that I do this - I say yes to every single project, and do it for free, and as soon as I wake up I do work until I go to sleep. Except I'm not very productive because I'm on Twitter and Facebook as well. It made me realise that I need to change my habits because it isn't enjoyable to just do work all the time, and I need to have a work life balance.

Here is the article he wrote on 'Managing A Mind', which was his talk for the night.

On 21 May 2013, I woke in a hospital bed feeling exhausted, disorientated and ashamed. The day before, I had tried to kill myself.

It’s very hard to write about this and share it. It feels like I’m opening up the deepest recesses of my soul and laying everything bare, but I think it’s important we share this as a community. Since starting tentatively to write about my experience, I’ve had many conversations about this: sharing with others; others sharing with me. I’ve been surprised to discover how many people are suffering similarly, thinking that they’re alone. They’re not.

Due to an insane schedule of teaching, writing, speaking, designing and just generally trying to keep up, I reached a point where my buffers completely overflowed. I was working so hard on so many things that I was struggling to maintain control. I was living life on fast-forward and my grasp on everything was slowly slipping.

On that day, I reached a low point – the lowest point of my life – and in that moment I could see only one way out. I surrendered. I can’t really describe that moment. I’m still grappling with it. All I know is that I couldn’t take it any more and I gave up.

I very nearly died.

I’m very fortunate to have survived. I was admitted to hospital, taken there unconscious in an ambulance. On waking, I felt overwhelmed with shame and overcome with remorse, but I was resolved to grasp the situation and address it. The experience has forced me to confront a great deal of issues in my life; it has also encouraged me to seek a deeper understanding of my situation and, in particular, the mechanics of the mind.

THE RELENTLESS PACE OF CHANGE

We work in a fast-paced industry: few others, if any, confront the daily challenges we face. The landscape we work within is characterised by constant flux. It’s changing and evolving at a rate we have never experienced before. Few industries reinvent themselves yearly, monthly, weekly… Ours is one of these industries. Technology accelerates at an alarming rate and keeping abreast of this change is challenging, to say the least.

As designers it can be difficult to maintain a knowledge bank that is relevant and fit for purpose. We’re on a constant rollercoaster of endless learning, trying to maintain the pace as, daily, new ideas and innovations emerge — in some cases fundamentally changing our medium.

Under the pressure of client work or product design and development, it can be difficult to find the time to focus on learning the new skills we need to remain relevant and functionally competent. The result, all too often, is that the edges of our days have eroded. We no longer work nine to five; instead we work eight to six, and after the working day is over we regroup to spend our evenings learning. It’s an unsustainable situation.

FROM THE WORKSHOP TO THE WEB

Added to this pressure to keep up, our work is now undertaken under a global gaze, conducted under an ever-present spotlight. Tools like Dribbble, Twitter and others, while incredibly powerful, have an unfortunate side effect, that of unfolding your ideas in public. This shift, from workshop to web, brings with it additional pressure.

In the past, the early stages of creativity took place within the relative safety of the workshop, an environment where one could take risks and gather feedback from a trusted few. We had space to make and space to break. No more. Our industry’s focus (and society’s focus) on sharing, leads us now to play out our decisions in public. This shift has changed us culturally, slowly but surely easing every aspect of our process – and lives – from private to public. This is at once liberating and debilitating.

If you’re not careful, an addiction to followers, likes, retweets, page views and other forms of measurement can overwhelm you. When you release your work into the wild and all it’s greeted with is silence, it can cripple you.

Reflecting on this, in an insightful article titled Derailed, Rogie King asks, “Can social popularity take us off the course of growth and where we were intended to go?” He makes a powerful point, that perhaps we might focus on what really matters, setting aside statistics. He concludes that to grow as practitioners we might be best served by seeking out critique through other avenues, away from the social spotlight.

ON STATUS ANXIETY AND IMPOSTOR SYNDROME

Following my experience I embarked on a period of self-reflection. I wanted to discover what had driven me to take the course of action I had. I wanted to ensure it never happened again. I wanted to understand how the mind works and, in so doing, learn a little more about myself.

I’ve only begun this journey, but two things I discovered resonated with me: the twin pressures of status anxiety and impostor syndrome.

In his excellent book Status Anxiety, the philosopher Alain de Botton explores a growing concern with status anxiety, a worry about how others perceive us and how this shapes our relationship with the world. He states:

We all worry about what others think of us. We all long to succeed and fear failure. We all suffer – to a greater or lesser degree, usually privately and with embarrassment – from status anxiety. […] This is an almost universal anxiety that rarely gets mentioned directly: an anxiety about what others think of us; about whether we’re judged a success or a failure, a winner or a loser.

We see these pressures played out and amplified in the social sphere we all inhabit. We are social animals and we cannot help but react to the landscape we live and work within. Even if your work receives the public praise you so secretly desire, you find yourself questioning this praise.

A psychological phenomenon in which sufferers are unable to internalise their accomplishments, impostor syndrome is far more widespread than you’d imagine. The author Leigh Buchanan describes it as “A fear that one is not as smart or capable as others think.” As she puts it, “People who feel like frauds chalk up their accomplishments to external factors such as luck and timing, or worry they are coasting on charm and personality rather than on talent.”

At the bottom, this was all I could see. I felt overwhelmed by others’ perception of me. Was I a success or a failure? Would I be discovered as the fraud I’d convinced myself that I was? These twin pressures – that I was unconscious of at the time – had lead me to a place of crippling self-doubt, questioning my very existence.

The act of discovery, of investigating how the mind functions, led me to a deeper understanding of myself. Developing an awareness of psychology and learning about conditions like status anxiety and impostor syndrome helped me to understand and recognise how my mind worked, enabling me to manage it more effectively.

MAKE IT COUNT

Reflecting upon my experience, I began to regroup, to focus on what really mattered. I’d taken on too much — as I believe many of us do. I was guilty of wanting to do all the things. I started to introduce pauses. Before blindly saying yes to everything, I forced myself to pause and ask: “Is this important?”

Our community offers us huge benefits, but an always-on culture in which we’re bombarded daily by opportunity places temptation in our paths. It’s easy to get sucked in to a vortex of wanting to be a part of everything. It’s important, however, to focus. As Simon Collison puts it:

I cull and surrender topics. Then I focus on my strengths, mastering my core skills.

We only have so much time and we can only do so much. It’s impossible, indeed futile, to try to do everything. Sometimes we need to step back a little and just enjoy life, enjoy others’ achievements, without feeling the need to be actively involved ourselves.

As Mahatma Ghandi put it:

A ‘no’ uttered from deepest conviction is better and greater than a ‘yes’ merely uttered to please, or what is worse, to avoid trouble.

Young India, volume 9, 1927

We need to learn to say no a little more often. We need to focus on the work that matters. This, coupled with an understanding of the mind and how it works, can help us achieve a happier balance between work and life.

Don’t waste your time. You only have one life. Make it count.

OUGD502 - Life's A Pitch: Questions

What is the nature of your business?
Where will you work from?
What must you consider?
Who is your market?
Are you a sole trader?
A parternship/co op?
Limited liability company?
Limited company?
Working from home?
From a start up organisation?
Renting on office space?
Rent desk space with another studio?
How much do you charge?
Things you need to take into consideration
What liabilities do you income?
What financial things must you put in place?
What records must you keep?
Will you pay tax's?

OUGD502 - Life's A Pitch: Cost

I looked at how much we should be charging and earning.

Asking Someone in Industry
I asked a freelance web designer based in Leeds how much he thinks a small business would charge. He said he charges £35 per hour, and that a small business would probably charge £100 per hour (for a website).
I had a placement at a digital agency in Grimsby and they charged £50 where there was four of them working, and he said that was really cheap.
As we are based in Leeds, £100 seems more correct, although it sounds expensive to me!

Creative Review Article
I read an article about how much designers earn on Creative Review.

Are designers badly paid? How much should you charge? What do ad agency creative directors earn? Could you earn more abroad? Our January issue tackles these and other cash-related questions. Here, we share some of the key findings of the research we conducted for the issue

Info graphic from our January issue

First up, to provide context, a snapshot of the UK design industry. According to theDesign Council's last comprehensive survey (conducted in 2010), there were 232,000 designers in the UK. While you are reeling from that figure, we should point out that this is an incredible 29% increase from 2005. By now (the survey was done in 2010 remember) it's safe to assume that figure has swelled considerably.

What do they all do?
That same Design Council Survey breaks the 232,000 figure down as follows:
Freelance designers: 65,900 (28%)
In design consultancies 82,500 (36%)
In-house 83,600 (36%)

How much does UK design earn?
Again, according to the Design Council, total fee income for UK design in 2010 was £15bn. Which breaks down as:
Design consultancy fees £7.6bn
Freelancers' fee income £3.6bn
In-house budgets £3.8bn

The £15bn figure sounds impressive and there are some major businesse involved, but not many. In fact, the UK design industry is mostly made up of very small businesses. Almost half UK design studios have annual revenues of less than £50,000. Only 6% generate more than £500,000 per year.

How much do UK design businesses earn?
Source: Design Council Survey, 2010
Annual revenue for UK design consultancies, 2010
£2m+ 2%
£1m-£2m 1%
£500k-£1m 3%
£250k-£500k 5%
£100k-£250k 17%
£50k-£100k 24%
Less than £50k 49%

This has a knock-on effect when it comes to the design industry's ablity to act in its own interests – we are talking about a diffuse, diverse industry with constituents who individually have relatively little money to spend on, for example, subscriptions to industry bodies, training and professional development and so on.

But not all design businesses are small or poor. Each year accounting firm Kingston Smith W1 conducts research into the top 30 UK design firms. Together, last year, they brought in £311m in gross income. Imagination brought in the most money with a gross income of just over £46m in the year ending August 2011. It also had the highest number of employees of the top 30 - 430.

Of the Kingston Smith Top 30, Venturethree had the highest gross income per head at £167,659. It was also the most profitable per head, recording £46,585 operating profit for each employee.

What about pay?

Are you earning the right amount?
Major Players 2012 salary survey worked out average national UK salaries for 2012 across a range of job titles in design and branding:
Junior designer: £21,000
Midweight designer: £30,000
Senior designer: £40,000
Design director: £55,000

NB: the figures for junior, senior and design director posts above have been updated as the previous figures were misquoted and relate only to integrated agency salaries. Apologies for the confusion

Pay varies only slightly according to sector
The Design Week 2011 salary survey revealed that designers in print graphics earned on average the least, with packaging, exhibition, interiors and branding higher, but not by more than 10%. More significantly, those working in the digital sector outside London were the big winners in that particular survey, earning a 19% average pay increase on the previous year. On average, designers in London were earning 10-15% more than those outside the capital.

Graphic design as the poor relation
The 2011 Coroflot design salary guide compared average US salaries across architecture, design management, fashion and apparel, graphic design, industrial design, interaction design and interior design from 2006 to 2011. Graphic design had the lowest average salary of all ($53,500 (£33,500)), with design management the highest ($95,000 (£60,000)). Graphic design salaries had gone down on average by nearly 2% in the period

Do US designers earn more?
The Creative Group, Paylandia 2013 survey worked out national average US design salaries by experience for 2012

Graphic designer
1 to 3 years $37,250 (£23,500) to $53,000 (£33,000)
3 to 5 years $48,750 (£30,500) to $68,000 (£43,000)
5+ years $61,000 (£38,000) to $83,250 (£52,000)

Web designer
1 to 5 years $52,000 (£33,000) to $76,500 (£48,000)
5 years + $74,750 (£47,000) to $103,750 (£65,000)

Creative director
5 to 8 years $89,500 (£56,000) to $124,500 (£78,000)
8+ years $97,250 (£61,000) to $169,500 (£106,000)

While these figures come from the AIGA/Aquent 2012 salary survey:

National US median average for designer in print: $45,000 (£28,000)
National US median average for designer in web/interactive: $55,000 (£35,000
National US median average for creative/design director: $100,000 (£63,000)

The New York premium
In the US, location matters. Thus, a graphic designer with 3 to 5 years experience in New York City can expect to be on between $68,700 (£43,100) and $95,800 (£60,100) while someone doing the same job with the same experience in Memphis will be on between $46,300 (£29,000) and $64,600 (£40,500). Source: Paylandia 2013 survey.Note: As Prescott Perez-Fox notes in the comments below, those figures seem high. The AIGA/Aquent Survey (link above) comes out with an average of around $50,000 for a NY print designer which seems closer to the mark.

Should I move to Australia? Can I earn more there?
Not necessarily. These figures are from the AGDA 2010 survey
Australia national average annual design salaries:
Solo designer A$57,000 (£37,000)
Owner, partner, principal A$106,800 (£69,500)
Creative director A$105,800 (£69,000)
Senior designer A$69,700 (£45,500)
Intermediate designer A$49,600 (£32,300)
Entry-level designer A$40,100 (£26,000)

I feel like I'm badly paid: how does design compare to other professions?

Designers often feel like they are badly paid compared to other professions, so we looked at some comparable careers.

Architecture
Source: Adrem Architecture Salary Guide 2012
National UK average salaries
Recently qualified architect (0-3 years experience) £33,000
Project architect (3-5 years experience) £38,000
Senior archtect £45,000
Associate director/project director £60,000

Journalism (source Prospects/NUJ)
National UK average salaries
Starting salary (trainee reporter) £12,000 - £15,000
Junior £15,000 - £24,000
Senior £22,000 - £39,000
Editor £50,000 - £85,000 on magazines/regional newspapers. National papers and large consumer magazines will be considerably more

Marketing (source: Marketing Week/Ball & Hoolahan Salary Survey 2012)
National UK average salaries
Graduate trainee £21,000
Digital marketing manager £37,000
Brand/product manager £36,000

Can I earn more as a freelancer?
Possibly. Here are the average UK design daily freelance rates (per 8-hour day) according to the Major Players Salary Survey 2012

Junior designer: £100
Midweight: £130
Senior: £250
Design director: £275

NB: the figures for junior, senior and design director posts above have been updated as the previous figures were misquoted and relate only to integrated agency rates. Apologies for the confusion

How does this compare around the world?
Source: 2011 Colorflot design salary guide
Current average graphic design hourly freelance rate in UK: £20
Current average graphic design hourly freelance rate in the US: $30 (£19)
Current average graphic design hourly frelance rate in India: R295 (£3.40)
Current average graphic design hourly freelance rate in Germany: €24 (£20)
Current average graphic design hourly freelance rate in Australia: A$29 (£19)
Current average graphic design hourly freelance rate in Canada: C$30 (£19)

What's the most I could earn?
The Kingston Smith top 30 pulls out the highest earning directors in each firm. Top of the list is Checkland Kindleysides where one (unidentified) director earned £1,745,000 in the year ending April 2011. There were high earners too at Futurebrand, where someone earned £584,000 in 2011, Design Bridge (highest director pay £483,000) and The Partners (highest director pay £380,000). Someone at Wolff Olins earned £302,000 while the most Lambie-Nairn paid one of its directors was £295,000.

What is my time worth/What should we charge?
If you are working in a design studio, your time will be charged out to clients at an hourly or daily rate. The Design Business Association worked out average hourly charge-out rates for UK design businesses in various sectors in its 2012 DBA Charge Out Rates and Salary Review (supported by co.efficient). Because different roles command different rates, the DBA survey is based on an average across four job titles – Principal / proprietor; Account / Client handler; Senior Designer; Mac operator. Here are the figures:

Advertising: £93
Corporate identity/Branding: £103
Digital: £103
Exhibitions stands/Displays: £105
Retail/Interior/Experiential Design: £105
Literature/Print: £92
Packaging: £95
Point of Sale: £95
Product/Industrial/Strategic: £121

How does that compare to advertising?

Does design undercharge for its services compared to ther creative industries? Unfortunately we were unable to obtain figures for UK ad agency charge-out rates. However, our coleagues at Econsultancy conduct a digital agency rate card survey. So, for 2011 here are the UK average daily charge-out rates for digital agencies by job title

Director/partner £891
Senior designer/creative £744
Group acount director £746
Midweight designer £611
Animator £598
Illustrator £559
Copywriter £541
Junior designer/creative £494

Which gives an average across all job titles of £648. Assume a 7-hour day and that is an average of £92.50 an hour, so many design studios appear to be charging more for their time that digital ad agencies.

What does a Mad Man (or Woman) cost?
Although we had no data for UK ad agency charge-out rates, the 4A's in the US did share data with us from their 2011 Billing Rate Survey.

There is a great disparity in the US between the rates charged by large and small ad agencies. A Chief Creative Director in an agency with 50 or fewer employees bills, on average, $277 an hour for their time to clients. For an agency with over 500 employees, that figure goes up to $776 an hour.

Agencies in New York charge the most. Average hourly billing rates for a mid-range New York agency in 2011 were:
Chief creative director: $590
Creative director: $326
Art director: $141
Assistant art director: $90

Do bigger agencies charge more in the UK?
We have no figures for ad agencies in general but digital agencies certainly do. The Econsultancy digital agency rate card survey 2011 compared charge-out rates to the size of an agency by turnover

Director/partner
£0-£1m £685
£1m-£5m £1,024
£5m+ £1,351

Junior designer/creative
£0-£1m £430
£1m-£5m £533
£5m+ £587

Do London agencies charge more?
Again, our source is the Econsultancy digital agency rate card survey 2011, which compares digital agency charge-out rates by region

Director/partner
London: £1,030
South-East £865
Non South East £777

Hopefully, all that has proved useful, or at least interesting. There's plenty more, plus articles on setting up a studio, how to tell if you are in financial trouble, day-rates versus project fees and much more in our January issue, details below.

All graphics shown here were created for CR's January issue by Mark McLure and Caroline Leprovost of the Guardian Digital Agency

What I took from this:

That branding and digital agencies earn more than other areas of design, which is what we are. This supports the fact I got told we would be charging about £100.

These are avg saleries for designers in branding:

Junior designer: £21,000
Midweight designer: £30,000
Senior designer: £40,000
Design director: £55,000

In relation to other countries, they are about the same so UK is a good option to stay. Plus Leeds has 25% creative industry, and plenty of events happening for designers so it is a good place to base an agency.

In London you will earn 10-15% more, so that is a possbility to open up a business there when we are more established.

A Designer's Guide To Pricing

Flat Rate vs. Hourly Billing.

When we started I was really in love with the concept of Flat-Rate billing. It seemed very clear and simple to me. I know that when I am buying something – I like to know what I’m going to pay up-front. And, so long as my prices were really low it worked out fairly well. Let’s take a logo design for instance. When I started I charged $300 for a logo. Most people thought this was a fair rate and I got lots of work. Some of those logo projects, however, took a really long time. As I began working with larger and larger companies they wanted more concepts, more revisions, more discussion about their logo. Obviously – a company’s brand is VERY important. Cost is not a deterrent for these larger companies. So, of course, my price kept going up. Soon, I was charging $900 for a logo. This was a fair price for a big company that wanted lots of concepts and revisions. But for the little guy, I would practically knock them off their feet when I told them I was charging $900 for a logo. They would say: “900 DOLLARS??!! All I want is a little logo – it will only take you an hour!” And they were right. I COULD design them a logo in about an hour.

This is where the flaws in the flat-rate billing system begin to surface. What does a “logo” really mean? I could spend 1 hour on a logo and I could also spend 50 hours on a logo. So you either create a crazy scale of products like “simple logo design,” “Average logo design,” “Complex logo design” and “Ultimate logo design” OR you switch to hourly billing.

In the end we decided to switch to hourly billing. This IS how most service industry firms work. If someone asks for a flat-rate we don’t turn them down, we just talk about their project and get all the details before we give them a rate.

What I Got From This

Hourly rates are best, because you can vary on the kind of project. If you have small and big clients, you can't charge them a flat rate, because a logo design will completely different projects for them.

OUGD502 - Life's A Pitch: Existing Digital Agencies

For the group project, my task for this week was to look at existing digital agencies in Leeds, and elsewhere, to see what their clients were, where they are based and the kind of work that they do. This is so we can have a better idea about the clients we want to target, as it can be quite broad and we didn't want to pigeon hole ourselves.

Epiphany Search

Home Page
This is the top of the home page, and features animated images like the bird, clouds and paper aeroplanes. It's also orange so shows immediately it is a fun company. It also shows you what they do - seo, ppc, web development, social and convention.

Offices

This is the footer, and shows where their offices are: London, Leeds and Sydney. I've noticed a lot of digital agencies in Leeds have an office in London and an abroad city like Sydney, New York or Singapore.

Office Tour

You can do a google street view tour of their office, showing you inside and where they work. It's shows a really fun and laidback environment, with astro turf, an orange postbox and a ping pong table. We have said we want our company to be quite fun as well, so this is a good place to look at.

Case Studies

They have two case studies on their website, going through a project they have worked on.

Clients

Here are some of the clients they have worked on, so quite a range of different projects. I think this shows us we don't have to define a particular market as we can have lots of different clients.

What They Do

This part of the website goes through what they actually do, which is a lot!! I think it just shows that when you have a business you don't just 'design', there's actually a lot of different work that is covered.

Blog

They also have a blog on their website, where lots of different employees write blog posts on related topics. I think this could be good for us to do, because we said we wanted personality to shine through in the company, and this would be a good way to display it.

About Us

This is what they have written on the about us page, which is short and sweet and gets the message across that they are a big company and what they do.

They also have photos of each staff member, and the squares turn around to reveal their name and occupation within the company which is a really cool feature.

It also shows how they are a great place to work, and these are links you can go onto.

Twentysix Digital
This is another big digital agency in Leeds, and the reason why I have chosen to look at it is because they have a wide range of clients which could give us all some ideas of who we want to market, and they also have a timeline of their business. This timeline shows how it began, and how it has grown, which is really useful to us because we don't know how much we should grow in 1, 3 and 5 years.

Timeline
This is the timeline, and it shows pivotal moments in their company, which really shows how they value it and the things that happen within it. I think this is really useful for us, cause it shows a realistic vision of how it can grow, and the things that happen, for example moving offices, expanding offices, how many employees come over time etc.

The first step is where they opened their office and how many people they started with (10).

One of their fun moments is that every payday the office gets pizza - something they still do to this day, 8yrs later.

Two months later, they gained five more employees.

They also get to drink beer on Fridays!

This highlights they won a competition a year after they opened, which was international.

By the next month it had five more employees.

Twentysix Search is born two months later.

Moved to new (big!) office space a year later.

Two months after that there was 10 more employees.

Five months after that there was another 10 more employees.

Adopted episerver platform 3 months later.

Another fun thing the company have done - Go Karting championship!!

A tweeting project was announced.

This shows how they value their employees by mentioning some personal news of an employee - makes it seem like a close knit family even though it is a big company.

Another tweeting project is launched.

10 more employees!

An office in NEW YORK is opened, four years after their first office in Leeds.

Another fun team activity!

More employee benefits:

Now there are 90 employees in the agency, after opening for 6 yrs.

Award nominations.

Launch an office in NY!

Raise money for charity.

Their mission statement.

What services they offer.

They have offices here:

These are some of their clients. It's a huge range, from kids shows, hair and beauty, computer industry and charities. They are all commercial clients.