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P L A N N I N G C R E A T I N G I M P L E M E NT I N G
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P L A N N I N G
C R E A T I N G
I M P L E M E N T I N G
LITTLE YELLOW
DUCK
“Once upon a time, a young art
director was waiting at a photo-
graphic studio for some products
to arrive for a shoot,” Lawrence
Everard says. “The products were
late; the camera and the lighting
were set up, and while they were
waiting impatiently, the art director
and photographer were casting
around for a stand-in object to
check the light levels. Eventually,
the photographer’s assistant
found a little yellow plastic duck
in the ladies’ room, which proved
to be the perfect subject for the
test shot. That young art director
always remembered how the little
yellow duck had helped him out
on that stressful afternoon, and
years later decided it would make
the perfect name for his own
agency. And that’s a true story…
good night.”
delivery, then we know we will enjoy
working with them. And we have
been proved right. Making follow-up
phone calls to check that the book
has arrived is a joy. People remember
it (and our name). The books have
usually been passed around, and if we
can get the receptionist on our side
our job is almost done.”
Some have been sent to existing
clients to pass around to friends and
colleagues, while others have been
used for prospecting. And, as Everard
explains, the book has more than
paid for itself in terms of business
generated, from both new clients and
new projects from existing clients.
To be cost-effective Little Yellow
duck’s initial (and only) print run
of the book was 1,000 copies. The
attention and recall the book gener-
ates has been outstanding—many of
the firm’s contacts report that they
receive new business promotions
every day, but Little Yellow duck’s is
the one that really stands out.
“The book makes it very easy to
engage in conversation with pros-
pects and for them to think creatively
about solutions to their own commu-
nications,” Everard says. “As a result,
we attract clients who are willing to
be brave with their own activity. The
bonus is that if they are the type
of client who enjoys this method of
Albeit childlike, the illustrations complement
the single message within Little Yellow Duck
and the Big Idea. With a little help from your
friends, your business is sure to succeed.
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π
This promotion was themed on Big Al’s
Farm Fresh Design—comparing the design
industry to the chicken farming industry. The
promotion included a screen-printed place
mat; a wire spiral egg cup; a laser-engraved
wooden egg, with teaspoon; plus a full-
cover, French-folded booklet portfolio with a
two-color plus white foil cover. All items were
placed on a bed of wood wool (coarse, long
wood shavings) inside a cardboard carton
and finished with a custom-printed wrap.
L Loyds Graphic d esiG n (n ew ZeaL and)
p L a n n i n G C R E A T I N G i M p L e M e nT i n G
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π
Design Revolution in a can—themed
around the Russian Revolution, with
visual cues from that period of history, but
some contemporary license in the design
and typography—was an end-of-the-year
promotion to thank clients. The tin included
a candle, custom-wrapped chocolate cigar,
and an A2 poster featuring various identities
created by Lloyds Graphic Design during
the previous year on one side and a call
for designers everywhere to join the design
revolution on the other. A printed tea towel
features a tag that reads, “Unfurl this one-of-
a-kind, custom-designed banner and show
your true revolutionary colors to the world.
Hold it high, walk tall and dare to resist the
design despots who commit their crimes
against our visual senses with impunity.
Failing that, you can always dry the dishes
with it.”
L LoyDS GrAPh I c DESIGN (NE w ZEALAND)
P L A N N I N G C R E A T I N G I M P L E M E NT I N G
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