Updating (or overhauling) a web design is a big deal for most organisations.  More often than not, ‘out with the old’ brings a welcome breath of fresh air.  But with organisations with a long and significant history, integrating specific elements – especially specific images - from their old site into the new one can be a bit of a challenge.  Especially when at first they don’t have a place in your vision.

I recently completed the site re-design for the London Centre for Personal Safety, an organisation that provides gender-aware personal safety training, as well as advising organisations on personal safety issues and campaigning with like-minded organisations to end violence against women. 

LCPS' old website

There was no design brief; they simply wanted to reflect the organisation in a more professional light and appeal to organisations not just in the voluntary/non-profit sector, but in the public and private sectors as well.  During the brainstorming process, I asked their Director, Claudia da Silva, what was the main characteristic that embodied the organisation’s work.  As well as safety and security, she said, “The feeling of freedom, like a bird being set free and flying into the sky.”

LCPS' new website

A number of years ago, LCPS found out about a programme where you could get some postal stamps printed to support your organisation.  They created some mock-ups of the stamps and, although nothing ever came of them, they have been used in the organisation’s materials ever since.  One of the organisation’s early requests was that these stamps be incorporated into the site’s design in some way; this was especially important given that this organisation has yet to have their logo designed, so I was keen to keep any existing branding collateral that would identify them to the organisations with whom they already work or want to work with.

After many consultations, I was left with the impression that the people they work with are as integral to the organisation as the unique training programmes for which they are known.

Although the website’s defining image (which you can see on the homepage) is a woman in silhouette, arms raised in celebration against a sunrise, capturing the spirit of liberation and freedom that the organisation embodies, I wanted to incorporate photos of the organisation’s target groups. It was a perfect opportunity to incorporate some of the photos from the original stamps.

A mock-up of LCPS' stamp for their children's projects



The header on the children's projects page incorporating the stamp's photo

Their legacy stamp, used almost in place of their logo, was somewhat more difficult to incorporate.  It’s a very definitive style from a very specific period – completely unlike the clean, bright images of the people in the headers.

LCPS' legacy stamp

I decided to keep the image intact and place it on a background of clouds in a blue sky.  I tweaked the original strapline so that it read ‘Over 25 years of preventing, protecting, empowering and liberating…’

LCPS header on the 'About Us' page incorporating their legacy stamp

The new header now underlines the organisation’s status as an established authority that only age can bring, while the blue sky background represents its innovative approach (literally, blue sky thinking!) and the feeling of freedom and liberation that it seeks to impart to all of its project participants.

A few weeks ago, I was putting together a post intended for the Life On Fletcher blog.  It was going to be a bit of a how-to based on our experiences of making the show.  As we’d just announced our development deal, we were feeling a little reminiscent, so the angle changed to ‘what we wish we’d known before making our show’.

I opened out the question to a number of web series producers whose shows I’d discovered via connecting with them on Twitter. Within a couple of weeks I had accumulated six great responses that needed to be shared with an audience wider than our blog.  The resulting article, Confessions of Indie Web Series Creators: Things They Wish They Knew, ended up on Tubefilter.tv (thanks to Tubefilter’s Marc Hustvedt for having us!).

That was last Tuesday; today is Sunday, and a lot of the emails and messages I’ve received since then have been requests to see, in full, what everyone sent in.  Their contributions were very different from each other.  I have to say that it was quite overwhelming in the first instance to receive it all, but then to read it all…

Susan Miller, Executive Producer & Writer of Anyone But Me

“Here’s what I wish I’d known:

“How freakingly awesomely totally cool this would be, dudes!  Could have saved me hours of sitting on my shrink’s well worn couch crying over the terrible state of the world and where to relocate my lost place in it and how ever would I make my voice heard again.

“But, then, if I had known then what I know now I might have been just a little too happy. And, after all, it was my discontent with the confines and dictates of the mainstream that moved me to venture into this great unknown. To say yes to this web series madness.  To say yes to Anyone But Me.

“Of course, there are things I wish I’d known, only because I would have prepared by taking vitamins, going to the gym, getting an MBA and learning how to talk in P.R:  

“That you have to ask. A lot of people for a lot of things. Favors. And how to’s. And please watch and please, please, please.

“That you have to scour web sites and blogs to find other web sites and blogs to make connections. You have to get your schmooze on and walk into rooms and hand out cards and be able to describe your show in one sexy killer sentence.

“That you have to reach out. To CEO’s and store owners and people walking down the street and sell them your wares and not be daunted. Even though you used to sit alone in a room or café and just write or think all day and talk to no one. You do it all for the show. And the show becomes all that you do.

“That there are remarkably generous people out there. That the fans make you. That we are a community. That we have to keep the faith.

“Whatever I didn’t know, I’m learning.  Which makes me feel forever young. And part of something. Something uncharted.  Something without rules. Something we’ll define for ourselves. Something big. And something freakingly, awesomely, totally cool.”

David Nett, Executive Producer, Writer, Actor, Director, Boom Operator on GOLD

“The thing that I knew, but didn't really comprehend fully was, since Season 1 of GOLD was a deferred pay gig (basically, everyone was a volunteer), we'd have a lot of drop-outs and last-minute replacements, and a lot of scrambling to fill gaps. I knew it would be rough, but wasn't really prepared for the sheer amount of wrangling I'd have to do, during both production and post. I now know, if I can't scrape together strong pay packages, to line-up back-ups for my back-ups.

“But I guess the biggest thing I wish I'd known (and better prepared for) was the long-term commitment to the project after shooting was complete. I come from the world of theater -- however rough the production is, once a play closes and all the bills have been paid, it is all over, save the fond (or not so fond) memories. Not so with web series, I found.

“I came into GOLD with a pretty decent shooting plan and a rough post production plan, but no real understanding of the massive amount of ongoing promotion, paperwork, decision-making and just plain grunt work that would continue not only after shooting was done but even after our Season 1 finale dropped last month. It is certainly not all bad, and I have a deep commitment to my series and doing everything I can to keep it going into Season 2, but it is a little more than I bargained for. Had I known those things ahead of time, I'm not certain what I'd have done differently, but at least I wouldn't have kept saying to my wife, "we'll have our life back soon, I promise." I didn't mean to lie to you, sweetheart. I swear.”

Robb Padgett, Creator & Actor, Life From The Inside

“How do you get people to WATCH?!

“Not as if we've figured this one out exactly. But we sure know more now than we did. Of course, back when our show first hit the web in January of 2007, there weren't as many shows online. It was easier to get the attention of web show watchers (though there were fewer web show watchers back then too). But it still took us a while to figure out how to get noticed. In fact, I'm not sure we ever really DID figure it out. If it weren't for the help of people like the producers of Break a Leg mentioning our show in interviews and people like Sunny Gault noticing our show and profiling it on her old show Viral, we might not have ever gotten noticed.

“I guess what I should say is that I wish I would've known how to PROMOTE the show before we started making it. It took us WAY too long to do stuff like tell the good people at Blip.tv about our show. And they've been some of our biggest supporters of all (Blip is good to a lot of shows. I sure wish Felicia Williams was still at YouTube though, she was a true champion of independent content).

“We're still learning how to get our show out there. And we've discovered just how big a task promotion actually is. I'm not a huge fan of publicity, but I like having people watch our show so...

“Oh, one other thing I would've liked to have known is that it's much easier to shoot your entire season ALL AT ONCE than to shoot it as you go. Though our current show with it's full-length episodes might have been hard to do that way.”

Justin Marchert, Creator of Big Bother

“The most helpful piece of knowledge that I could have used before making Big Bother is that everything takes longer than you think it will. I had the initial idea for my web series in May 2007. I was an actor-turned-filmmaker who thought I'd have a finished product ready in two months. Oh, was this the underestimate of a lifetime. I spent nearly a year writing the script and doing preproduction. Then, the two weekends I'd initially allotted for principal shooting somehow stretched into several months. Next, I thought I was ready to go to the editor and put it all together. But, you then learn that there is a whole phase called "capturing." This means spending months digitizing, logging and filing all of the footage. Your editor won't even speak to you before this is complete. Alas, we come to editing. We average 15 hours of editing for each 3-minute episode of Big Bother.

“Consequently, most episodes are finished the night before they're released (feel free to read the chronicles of creating Big Bother on our Bblog).

“In hindsight, I'm actually glad no-one told me it would be a two-year process.  Otherwise, I don't think I'd ever have begun.”

Renée Olbert, Actor & Co-Creator, and Rosemary Rowe, Writer & Co-Creator of Seeking Simone

Renée and Rosemary pointed me to this article that they had written on their blog entitled Things We Learned About Making a Web Series – no sense in reinventing your wheel, right!?

This is my favourite tip from their list:

“7. You will not have time to knit. You just won't. So give it up.”

Regan Latimer, Creator, Executive Producer, Director, Writer, Editor of B.J. Fletcher: Private Eye

“If you had asked me a year and half ago if I'd ever considered making a web series or producing web content, I probably would have responded with something very close to, "the what?". My knowledge of web series, or producing any kind of content for the web was in it's absolute infancy. That said, I believe that my ignorance on the subject probably worked in my favour. Having no idea just how absolutely all encompassing and life absorbing it would become is probably one of the main reasons Fletcher came into being. Not to say that if I had known then what I know now I wouldn't have done it, more that I certainly would have adjusted my expectations and game plan accordingly…”

You can read the rest of Regan’s contribution on the Life On Fletcher blog.

And in case you were wondering…

Rochelle Dancel, Associate Producer, B.J. Fletcher: Private Eye

“I’m actually glad that I didn’t know what I know now because I would have said a resounding, “No!” - not only to the sleep deprivation that comes with being ahead in the five hour time difference, the elevated stress levels and having to be the go-to person on subjects that I know fuck-all about, but also to the education I received, to the opportunity to push myself beyond what I thought were my limitations and the richness of my new community, the people I have met, and the new opportunities in my life that this show has brought.”


Artwork is copyright of their respective shows.