Season your Greetings

'Tis the season once again for designers to thank their clients for their business, wish them well, and perhaps take one last shameless opportunity for a little subtle holiday plugging of their services before the end of the year.

There are several ways to leave a jolly ol' mark, but the common denominator in all of them is "tailor it."

If you can afford it, give your valued clients the ho-ho-whole enchilada. Take a page from design firms and create custom greeting cards and gift packaging. Think of it as another vehicle to showcase your talent. It can also lead to business in the future—after all, a client may see your nice presentation and decide to hire you to design their own holiday greeting cards for next year. It's also the ultimate personal touch that makes the guys and gals that sustain your business feel like they're your "number one."

Regarding gifts, if you can also spring for it (and in some measure, you should) find out what the company heads have an interest in, and buy them a nice gift that in some way reflects it (don't forget to include a nice assortment of holiday goodies for their employees...or the department with whom you've worked with).

It doesn't need to break the bank to be special. For example, I plan on surprising a good client of mine who is launching a fashion line branded around Ancient Egypt with a magnet. Not just any ol' magnet, mind you, but a 3D magnet replica of "William" the faience hippo that resides at the Metropolitan Museum of Art (one of his favorite museums). I plan to create a unique little shipping crate "seared" with the Archetype Design Studio mark. Hopefully he doesn't follow this web log otherwise my surprise is ruined, but I digress. It's an affordable, customized gesture to show my appreciation for his continued patronage.

Failing time to even do that for whatever the reason, there is always the fall back plan of gift card giving. All major stores have them and it takes no time to figure out what store or drink or sport or restaurant a client likes and just buy them a simple card. And for the exceedingly, shall we say..."overwhelmed"...designer who has time as their enemy, pay a visit to Gift Certificates.com. They have such a broad selection of merchants ranging from home improvement to fine dining that they're bound to walk away happy. If you aren't going to mail directly from the site to the client, buy a nifty gift card tin.

If you can't afford (neither in time nor finances) to create a unique card or gift package from scratch, at least try to buy the best that you can afford from what's available. The simple action of selecting a card that a client can identify with will resonate with them far more than some generic card. There are a few designers and shops who have lovely and/or whimsical selections to choose from, which I'll list below. You can also take a walk around your local shops to see what you find. You'll never know when or where a nice, client/vendor worthy card will capture your attention.

Dear Nic
Sunlit Media | Letterpress
Jane Hancock Papers
A Little Hut
Tea Leaf Design
LSV Galleria
Kate's Paperie
Melissa head Designs
Luxe Paperie

For clients or vendors that may be from out of state or country, you can purchase a card that identifies with your region, or with theirs and add a little special personal touch inside. Artist Alexander Chen licensed a line of cards through Tim Binder Fine Arts that identifies with Christmas in my hometown of New York City. They ended up being so nice that I just may be persuaded to send a couple of out of state/country vendors a taste of the holidays in NYC along with a nice little gift.

In the end, it's not so much what you buy or create more than how much they will ultimately enjoy—and thus appreciate—a thoughtful gift over a generic one.

"Merry Christmas" holiday card by Sunlit Media. All rights reserved.

Creative Hustle and Flow

I can appreciate creativity in everything. It's everywhere, especially here in the Big Apple. I can sit and admire a well conceived campaign in a subway car, or take in the myriad of outdoor sculptures that adorn many a Manhattan building entrance, appreciate excellent architectural styles from Harlem to the Bowery and beyond, check out galleries, cuisine and museums, sidewalk exhibits, the list goes on. It's just wonderful to just sit somewhere and absorb all the buzzing culture and rhythm that permeates this place. I feel as though I live and breathe it from dusk til' dawn.

But mostly, I like to doodle and lose myself with great books on design or art or anything that stimulates ye olde senses. When I take a bike ride, walk or drive I can't help but pick a scenic route...nature's beauty is the best and I'm always motivated when I'm somewhere with nice atmosphere. When I'm lounging at home I lose myself in Home and Garden channels. Can't get enough of good interior design. I often enjoy cooking a good meal or take photographs (although developing them is another matter). I don't take up an instrument like I used to, but I certainly appreciate a good beat. And I'll give whatever craft that catches my fancy a shot at least once. Lately for example I've been "gettin' knitty wit it." Made a pretty neat bag after a slew of scarves.

I also collect things. I have a massive comic book collection, for example. And I like to write. That's pretty obvious for those who know how often I support my forum habit as well as blog.

A stimulating workspace is also key. I've got a few posters and nice or meaningful chatchkas that adorn my desk (among the clutter, which is why I'm not posting an image of it...oh, the "humanity"). For example, Crayola™ recently re-released a series of "vintage" 64 color crayola boxes. I kept one on top of my DVD drive, behind the little ceramic Met™ bag which has one of my Google Guys™ dangling from the strap (remind me to post a "how-to" on that one day).

So that's just a few ways on how I draw upon the creativity around me to stimulate my own without the need for a tropical getaway or participating in a cultural event. I see it just by taking a minute to stop and take in my immediate surroundings.

Who to Be, or Who Not to Be...That is the Question

The topic of naming one's independent (freelance) business has come up quite a few times during my forum romps lately. It usually unfolds like this: a grad or in-house designer wishes to branch out on their own and are seeking sources of inspiration by asking folks who are already entrepreneurs on how they decided on their business names. I thought I'd journal my own process here because a name...though not the most important factor in one's business, bears as much thoughtful "tailored" consideration as designing the identity itself. It should to some degree be a reflection of one's aspiration, motivation or personality as well as service. That said, I considered several factors:

1. Who do I want to woo? If I came up with a name that's too cute, kitschy or quirky, it might scare off corporate prospects because it didn't exude enough professionalism. If I decided on a name that was too stale, it would rub against the creative grain. I knew I couldn't appeal to everybody, but I did want to toss as wide a net as possible. That said, I decided that "clever" was going to be the operative word.

2. I wanted a name that would come up high in any alphabetized directory listing. My former incarnation of "Seahorse Productions" left me way too low—it was doubtful that any prospect looking for a designer wouldn't find someone else before reaching the "S" listings. I wanted a name that was high up enough to come up (hopefully) in the first page of any given listing.

3. I didn't want to use my own name. Why? Partly because I thought "Dagmar Designs" or some such name was too silly sounding to even consider, partly because it wasn't creative sounding enough to satisfy me and because I also wanted a name that was versatile enough to grow with my business' goals.

4. The domain had to be available. Just a given these days that a dot com denotes professionalism more than any of the others. Either way I did buy the dot net as well. Incidently, that's one reason why I settled on Archetype Design Studio..."Archetype" was bought by a broker and I didn't want the dot net. I also thought it was more descriptive of my services (see 5).

5. It had to be understood what I did for a living to a degree. I can't tell you how many times I had to explain my services with my former, more vague incarnation. Just felt it did more harm than good for enticing any "window shoppers," aka potential clients.

So with all that in mind, I searched dictionaries and domain availability. I finally settled on "Archetype" because it worked on so many levels for me. "Type" implied my niche of design to a degree and "Arche" can be easily interpreted as "Architect" therefore "Architect of Type" (many who are familiar with design jargon have told me that they also refer "type" as a shortened form of "typography"). What really sold the deal for me was the actual meaning of archetype (the original pattern or model of which all things of the same type are representations or copies : prototype; also : a perfect example) which vibed quite well with my personal creative ambitions.

Here are some examples of clever and distinct name solutions within our industry. I tried to show a nice variety of typographic and pictorial graphic solutions.

I wanted to add that for Jeff Fisher's Logomotives, (lucky for us) he wrote about the evolution of his own identity not too long ago. It's worth including a link. I would also be remiss if I didn't mention that a good old fashioned google search would probably yield volumes on the topic.

Everyone has their own personal criteria for settling on a name—as such, there is no standard formula. So long as the name is one that in some way reflects not only you as a designer, but also does it in a way that will generate interest from the target market, as they say, "let it flow."

All design identities are copyrighted by their respective individual authors.
William Shakespeare's Identity Crisis cartoon by Dagmar Jeffrey. All rights reserved.

Forum Anecdotal Nuggets—How to Estimate Time Well Spent

I very recently came across a thread from someone who was inquiring how much she should charge for logo design/stationery package. Upon reading some suggestions in calculating an accurate method for as she put it, "a one-word mark" she decided that coming up with a price is "up to interpretation" and deadpanned, "guess I'll have to figure it out..."

Arriving at an estimate is not quite as difficult nor "open" to interpretation as one would think.

I told her to think of it in this way. If two people were both working on the same project, it's doubtful that both would complete it simultaneously, or even close. One might be faster, or vice versa.

Another thing to consider is region. Cost of living in one person's region may not be the same as the cost of living in another's. So if in response to her query I were to suggest, "Charge him roughly $10,000.USD for the logo" some folks may find that difficult to comprehend why so steep. Meanwhile here in my home town it just might even be considered a low figure.

So in that respect, that's where the "relative" comes in.

Easiest way to arrive at an estimate is to base your calculations on your hourly rate. How long will it take you design a one word mark? That includes how many concepts you plan to ultimately present to the client, how many revisions allowed thereafter, perhaps even including a "redo" if he/she doesn't like what you've presented...see? These things start to add up in valuable time and effort. No matter what anyone will tell you, the intangible creative process is often more valuable than the final digital execution—anyone with a computer, some "acquired" software and a couple of manuals can learn to use the programs to create, but to develop a mark that meets your clients promotional criteria and is effective in representing and stimulating interest in his business? Priceless.

So once you've factored how many hours you'll relatively spend researching and brainstorming...let's hypothetically say one week (40 hours in a regular work week) to research, brainstorm and sketch out three to five nearly finished good concepts.

Then after the initial concept presentation, let's suppose the client decides that he/she likes two—albeit with a few revisions—plus a third (only he/she didn't like the other ideas, meaning that you will create a completely new one based on the exchange of ideas during the meeting). P.S.- it helps to create an informative brief—basically a client questionnaire that will give you some insight on the client's target demographic, likes, dislikes, details on the business location/market, style, favorite color, etc. that you can use as a guide as you tailor the mark. Lets say all of this will take you another 10 hours or so.

This is when you can turn on the computer and start digitally rendering in black and white (not greyscale) your approved concepts. Figure that you end up spending another 12 hours, give or take (always best to err on the side of caution and not calculate your minimum time, because you will end up going over at some point for whatever the reason). After the second client presentation, he/she accepts one for final development. After a few more tweaks here and there, that is. Applying color palette variations and revising "tweaks," say 4 hours. Include the itemized expense of proofs and a spec sheet, another fifty bucks. Then finally when the client is happy, signs off on the proofs (one copy for your records, another for the client's) you burn a high resolution pdf disk of the spec sheet (that's "specifications" not "speculative," which is "s-p-e-c" bad, btw). Include that price as well (Whatever it costs for you to buy and burn a cd for him as an itemized expense) and voila.

So what have we got in this particular little hypothetical process for logo design from start to finish? 66 hours total plus a couple of itemized bills? Now let's suppose that your hourly rate is $50.USD per hour (depending on your region, cost of living, etc. this could be seen as a pretty low rate, but it's just an example). That would come out to $3,300.USD plus $45.USD bucks for itemized bills, $3,345.00USD, plus a 10% mark up (again, I'm erring on the exceedingly modest side) $3679.50USD plus about 2X that for the sale of rights to the client (because the design is yours until you transfer rights in a transaction...or give them away which isn't exactly a common "business" practice, but I digress). Suppose that this fictional client is a "mom and pop." That comes out to $7,359.USD total. If the client is in a somewhat better, good earning business with 5+ years, mark it up to 3X your total cost instead for a total of about 11,038.50USD.

As you can see, there is a lot to factor in (there are probably steps which I have missed as well). And when the client gasps in alarm at the ticket price (because they almost always seem to), the non-business designer's first inclination is to lowball themselves. I know, I've been there. But as you can see, even using very modest figures, the time is not ill calculated or drawn form thin air. And as I said, chances are your time will end up exceeding your estimate depending on your client relationship and how many revisions they will end up making during the course of it's development. These reasons and more are why logo design is the most lucrative niche in the creative industry.

And this of course, didn't even include the business card and stationery system design, which is far easier to calculate and normally far more inexpensive by comparison. If you're working out a package, I'd probably try to work in any "deals" here rather than the logo design.

PS- Remember to work with a contract that includes "kill fees" as well as details on how many revisions, comps, etc. to allow. Work without one at your own peril, even if it's for a friend or relative.

Hope this little scenario helped organize what's in store and how to somewhat price accordingly a bit. Another forum frolicker offered some wonderful resources from folks who have been there and back, which I'll post next time.

"Dollar Sign Question" image source: Vinfolio
"Calculating" image source: Piper Report

A Little ARCHE•Plug—Taking Care of the Business End of Design Series

Dagmar Jeffrey of Archetype Design Studio was recently invited to contribute an article to the Juggling Man design blog. Jason Newcomb is a graphic design student from Canada who in his sage words, "...wish to make a living by the strength of my ideas. I am in the process of finding the true range of my talent." His virtual journalistic tidbits and insights are pertinent not only to fellow students of the creative arts, but to professionals of all levels.

After some deliberation, it was decided to devote the topic to discuss the brief in's and out's of Taking Care of The Business End of Design. Part One, launched today, will touch on marketing oneself. Part two on Wednesday will go over the ills of speculative design. Part three will cap the series by reviewing contracts over verbal agreements. ARCHE•BLogGER will be sure to also give a virtual holler when the other installments go live.

For those about to venture out into the corporate world of interviews and self promotions, or if anyone would like to discuss any personal insights on this important topic, feel free to tune in.

A design:related Buzz

I love forums. Really I do. Amidst the camaraderie threads one can always run into some very useful resource tidbits every so often. design:related is one such tidbit.

It's essentially a network (one of many—but that's an article for another day) that uniquely targets Creatives, a big "pro" over other networks like Facebook, which although good, was originally meant to cater to the scholastic crowd, then adapted. As with other networks, they have the obligatory "profile" interface, where you can input likes, interests network groups (basically your base of operations) and so forth. Because it's catering to designers, illustrators and other creative ilk, it also offers a dedicated page just for you...like a free webspace server...and a section to upload a portfolio of work along with room to post the project details beneath the image (client, description, etc). When a person viewing the piece clicks on the image thumbnail, it acts as a link to that project. When clicking on the larger image header, it opens it at the center of the browser window (think "flash" pop-up) and...best of all...allows one to upload up to three different images related to the project. Just think—you can put up different product shots, or variations. It adds a refreshing dimension to the usual "one product image per portfolio piece" norm.

Taking a page from other sites like the new blogger, design:related doesn't bog you down with too much copy. Wisely catering to this visual (likely ADD rampant) market, they let the image stills of their site do the talking in their quick tour. Although I would've preferred the option of a short video tour with a narrator entailing the benefits in brief detail as well, what they had was sufficient enough to seal the deal.

There are also other issues that could have been addressed, like a dedicated "help" page. I for example had to discover some of the better bits on my own. I know many designers who neither have the time nor patience to sit and play for extended periods of time. They are however aware that there might be some kinks in the works and are eager for our input, which is good. Time will tell just how adeptly they apply the suggestions that are offered.



If you are a designer like myself who doesn't have a live web site for whatever the reason, this is a nearly perfect alternative. "Nearly." To ensure a higher degree of visibility, I resorted to taking a snapshot of their logo (no, it's not pirating, read on) and create my own affiliates link from my splash page to the site (yet another resource they should offer, to increase their viral power). Creating your own link and adding it to one's sig (if they are forum advocates like myself) is another good advertising tactic.

Even if you do have a website, it doesn't hurt to try design:related if for any other reason than to extend your networking base in a site that specifically caters to our creative ken. I imagine as their popularity continues to grow, more prospective clients will visit when looking to hire a designer.

Webinars—Or, Self Improvement in Underoos

It's happened. The internet has become so evolved that one no longer has to worry about leaving their home computer to attend a seminar. No surprise really, considering that one can do just about everything else at the click of a button, from grocery shopping to dry cleaning. So long as you have a high speed set up and decent hardware, you can just pull up a chair in your favorite underoos and plug into a self improvement seminar. Oh, the irony.

You'd think I would berate the fact that folks have become such ridiculous digital couch potatoes that they can be easily confused for agoraphobics. However, I'm forced to admit that the idea of a live "webinar" intrigues me. Online seminars are hardly a novelty—corporations commonly employ them. However it's starting to now evolve to the point where the self-starter can also benefit from this resource, so long as one knows where to look.

Take HOW Magazine's upcoming webinar, in September. Here's what they plan to cover:

WHAT YOU'LL LEARN

• Why you must focus on a market if you want to succeed in business
• How to identify the ideal target market for your design business
• How to choose a market that blends your skills and interests with the needs of the market
• How to determine if the market you've chosen is viable
• How to find and reach the best prospects in your target market

What I Like:

• They're addressing particular needs of a specific group...in this case, the entrepreneur. In the words of my sister, I "skeeve" generalisations. HOW didn't try to hit a non-descript mass audience with vague "fortune cookie" topics in the hopes of bringing in numbers. Contrary to what some might believe, John and Jane Q. Public do not have completely identical business marketing agendas.

• The sponsors are a relevant industry role model. Some of Ilise Benun's accolades during her career include numerous spotlights in magazines and is author of multiple books on self promotion. Point blank, I want to learn the secrets of her success...I want to pick her brain...I want her success to help inspire my own success. Having someone who's success you wish to emulate is quite naturally a big factor in investing in a seminar. Peleg Top has an equally impressive resume, especially when you take into consideration his "modest" beginnings.

• You get swag delivered to your doorstep. Well, not "swag" more than presentation materials to aid in following along, because when you think about it, you can't bring a recorder to this session, now can you? And speaking of which, you also have access to an archived recording of the seminar for an entire year, so who the heck even needs it in this brave new webinar world.

What don't I like? Well, I never like the price ("self starter" should be another name for "starting strapped,") but it's a necessary evil. You would however, think that the price wouldn't (or shouldn't) be as steep since the actual venue is eliminated, but I digress. As with a seminar you physically attend, you still gotta pay to play. For what it's worth and considering the sponsors that will be hosting, in this case, it should prove to be worthwhile.

So final consensus: Webinars good? Depends. If you're not in the mood to hop on mass transit to schlep to a hotel ballroom teeming with a crowd that's waiting on a line to enter, then jostling for the perfect vantage spot to sit in on the seminar, this could be your ideal cuppa. So long as the hosts are worth the price of admission, the presentation and site are stimulating and engaging and the topic addresses in a modicum of detail the needs of your business, I say give it a shot—I plan to.

Melting monitor faces drawing by Anthony of Frenetic Pen Project

Tooting Your Own Horn Series—P3

Crank up some Sondheim and parade your talent in a forum today! Forums are a wonderful...and often underused...venue to showcase your work. And depending on which sites you participate in, it could lead to some very promising prospects before they even clicky the linky to your website.

Many design sites offer plenty of opportunities to showcase one's talent. Both HOW forums for example not only have a dedicated showcase section to put up one's creative accomplishments, their Lounge/Watercooler section (respectively) also contain threads where the locals often display completed professional or recreational work, for exposure or just for kicks. The Graphic Design Forum as another example also has a similar permanent section where it's design denizens often proudly tack up their creativity. In many cases, it resulted in referrals by fellow designers who are looking for a capable hand or a studio/firm/[insert business here] who might be looking for a position to fill.

Show and Critique?

One of the things I enjoy about forums (aside from the camaraderie) are the benefits. A Creative from any niche or level can come for advice (not simply for a crit mind you, but business management, promotions, software help...you name it). Some of the pros quite naturally include the fact that peers from all levels of experience can guide or weigh in on one's direction. There are other more subtle benefits. For those who open-mindedly endure the slings and arrows of harsh criticism from peers who ordinarily hold loftier standards than the average layman, there's the reward of attaining an understanding of how to better carry themselves as a professional. When critiquing projects, one tends to appreciate that one's intangible brainstorm development is often more important than the final execution itself. *Poof!* Before they even realize it, their A-game improves. And for those who give the critique, the bonus lies in not only mentoring or aiding their right-thinking Brethren, they also display their own conceptual skill and experience as well. They spotlight the importance of arriving at effective, creative, promotional solutions.

Forums addicts wisely utilize their dedicated sig space to link to their various websites, blogs or similar endeavors, increasing traffic. This in turn positively affects ye olde Google rating. Using my own as an example, often a link to one of the forums I haunt will often appear on the first page. And if it's in a thread where I'm either imparting my two bits, showcasing my work or expanding my knowledge (potential employers like people who demonstrate the ability to learn and adapt)—I get bonus exposure points. Sah-weet.

A little caveat regarding forums—watch what you write. Employers/potential clients (or acquaintances therein) HAVE been known to monitor these forums, more frequently than you'd think. Try to maintain enough professionalism to avoid slandering or whining about PITA clients/jobs, particularly by name. I have heard tales of folks losing their gig because a client/employer received wind of some callously posted complaints that were directed at them by disgruntled designers.

Tooting Your Own Horn Series—P2

Budget-Friendly Promotions For the Whole Design Family

Little Recent Grad can do it, Grannie Design Vet can benefit, too. Heck, even Still-in-the-creative-womb Student Designer can start putting their name out there if they think their stuff is that good. How, you ask? Industry Competitions. I'm not talking about any run of the mill contests (pun intended)...most tend to end up utilizing a spec model and is therefore not good for the designer. There are better alternatives than the choice of giving in to exploitation for another's profit. Yearly industry competitions are held by respected sponsors like:

HOW Magazine
Print
Communication Arts
ICOGRADA
Rockport
and award sites like the Summit Awards

...that have entry levels for students on up. They ordinarily only allow work that has already been commissioned or work that is not for active projects. Moreover the designer retains ownership of their submissions. And like Design Recital and The Three Thumbs Up Awards, there are other online avenues of promotion available within our little community.

There are also sites like Word It and Illustration Friday where you can submit your work to showcase amongst your creative peers. You'd be surprised who scouts these sites from time to time, and who knows—it could possibly lead to future client projects or a worthwhile job opportunity. Never underestimate the power of viral marketing.

Finally you have the wonderful world of blogging. As before, you never know who's reading your blog at any given time and when a passing fancy can turn into a business opportunity, all because you showcased outside the confines of a mere portfolio.

Print Campaigns...Vote for Me!

Not to be forgotten (and because it's my niche, how could I?) there is the tried and true method of print campaigns. It doesn't have to be anything fancy, but clever is often the name of the game. Doing something as simple as a targeted direct mailer with something as simple as an attractive postcard with a catchy tag can do the trick. By "targeted mailer" I mean that you roll up your sleeves and do a bit of research. I like to always walk or drive around with a pad and pencil handy. Every time I see an identity that could possibly benefit a re-branding, a new business that's starting up soon, or even simply jotting down the numbers of businesses you've always wanted to work with and send them your mailer, it serves as sort of a subtle reminder in the event they might be considering hiring a designer as well. It's more personal and because of your research just might yield some business for you later on.

I also recommend reading books along the lines of The Savvy Designer's Guide To Success: Ideas and Tactics for a Killer Career, by Jeff Fisher and relevant marketing and branding books like Punk Marketing: Get Off Your Ass and Join the Revolution, by Richard Laermer and Mark Simmons. Books like these detail much of what I discussed here and offer some examples that others used to promote themselves. It might inspire some ideas of your own to try.

I've mentioned Jeff quite a bit, but hey you've got to admit, he and others of his marketing ilk know how to toot their own horn...and often with favorable results.

You can come up with all types of campaigns and viral ideas that can start to get your name out there without breaking the bank. You can research a common need and use that as the basis of your promotional campaign. You can even do something as simple as cleverly mailing your business card, if it's creative enough to stand on it's own and promote your talent.

French horn photo Illustrations by Yukio Miyamoto

Next: Part three

Tooting Your Own Horn Series—P1

As some of you might have read in my previous entry, I thought it a good idea to take a page from award winning industry leaders like Jeff Fisher of bLog-o-motives and start promoting myself here. After all, we're essentially in the business of effectively promoting others, so why do visual designers find it such an obstacle to do the same for themselves?

Designers or Businesspeople?

Designers seem to have a hard time remembering...or accepting...that they are running a design business. They conduct themselves as people who happen to be talented designers, but not as professionals who are selling design as part of their range of services.

If one doesn't see themselves as a business first and a designer second, then they won't think to shed their "student" mentality of only working on a good portfolio and start to promote their business as other entrepreneurs do. For instance, utilizing targetted marketing campaigns throughout the year and attending networking events as marketing tools largely end up being passed over. Their business likely won't grow as much as it could because they didn't think to tap into all of that promotional potential.

While a smart looking portfolio and website presence is important, it shouldn't be the "end all" of self-promotion. Truth of the matter is, for those who had a formal college education, the latter is the only thing that is often emphasized in their curriculum, and so it's the option the end up focusing on without considering alternatives.

Employees Need Promotion, Too

Just because one isn't an independent contractor or running their own firm doesn't mean that one shouldn't promote their creative accomplishments. While I'm on it, note that I didn't say, "freelancer." I don't particularly like to use that reference, because these days, potential clients seem to think that it's some sort of code for "you-can't-land-a-real-job" or that "free" means just that...work for virtually nothing.

A designer should always think about promotions because you never know where your next business opportunity will come from. You never know who's going to flip through a design annual of inhouse communications work and run across an ad campaign you did for your employer. Or perhaps see your latest illustration submission in Illustration Friday and present you an even better position at an esteemed firm. At best, it's another means to just get some positive exposure and generate interest in your work, possibly build up a referral base for the possibility that you do branch out on your own, use as leverage when vying for a promotion or a better position elsewhere, or for those who's submissions are accepted into celebrated industry design annuals or industry accolades like The Summit Awards, the chance to add "award winning designer" to your name.

The Good, The Bad, and the Ugly of Word of Mouth Referrals

I originally generated a good deal of business through what's called word of mouth referrals. Basically, one good design gig lead to another because the original client referred me to friends, and they referred me to other interested parties. It was a sweet deal really. I didn't have to go through the "portfolio interview" or work very hard to convince them the pros of hiring an experienced designer who can effectively develop creative solutions to communicate their promotional goals. The person who referred them to me did most of the sales for me and the deal was already pretty much in the bag before I even met them.

Life was indeed good, but "life" being what it is, it didn't last.

For one thing, 9/11 happened. Being a New Yorker and having most of my client base affected by the events of that day blindsided my business. Businesses either suffered, folded or moved away. Of those who remained, they struggled to recupperate losses, which essentially meant that they couldn't afford my services as they tightened their belts. My referral base was a pretty mess, indeed.

I had to rebuild. However I wouldn't have had to do that if I had worked to promote myself during the good times—if I had been submitting my work to annuals and erected a professional web site even if I felt it wasn't necessary at the time. If I had been sending out periodic self promotional collateral to build my business, I might've been minimally affected. I wasn't prepared because I didn't see the hard times coming. Who ever does, really.

And I feel that in part, promotions are not just a means to generate more potential clients, but also use as leverage to build a strong marketing base that can keep your business afloat long enough to weather the storm of the lean times.

Next: Part Two

Arche-Toot!* Valley of the Kings and Valley of the Queens CD and poster included in Design Recital

A double CD album and poster design for the budding Valley of the Kings and Valley of the Queens authentic pharaonic apparel line by Dagmar Jeffrey of Archetype Design Studio, was recently included in the innovative market oriented blog, Design Recital. In essence, it showcases captivating promotional designs within the music industry.

Design Recital is the brain child of noted award winning designer Randy Hill of Hill Design Studios, a Pacific Northwest-based graphics communication business, with an impressive design resume that spans over thirty years. Designers who have created compelling illustrative, photographic, multimedia and digital design creations geared towards the music industry are invited to submit their pieces for inclusion amongst their talented peers. You'll find a multi-faceted showcase of targetted promotional material that caters to all genres, from soulful gospel to heavy metal. For anyone interested in exploring the myriad of creative solutions for promoting music artists in the industry, it'll be worth your while to look through the array of visually stimulating graphic designs presented there.

The submission came by way of an invitation after sending Mr. Hill the CD packaging and poster images presented in the online article, with a brief description behind the concept. It also detailed some of the printing choices that Dagmar believed would enhance the color's brilliance while selecting a paper stock that would compliment the texture and epic feel that the client wished to communicate. For example, in the CD (covers shown below), and poster (image detail here) it was decided to output a separate specific pantone spot color for the color blue because an ordinary four color high resolution offset didn't sufficiently enhance the deep azure that the client intended. Here, because color is key to the branding itself, the added expense was well worth the dividends.

Dagmar Jeffrey utilizes the internet in part as a medium to promote her creative versatility to prospective clients within the global market. It is also a great way to network with potential clients, colleagues, vendors, keeps Dagmar abreast of trends and pertinent issues and makes for an invaluable resource tool. And every so often, online games are a welcome quick stress relieving respite during the work day.

*No need to ventilate—an "arche-toot" is just my little blurb for promoting any noteworthy accolades, press releases or "pat on the back" accomplishments related to Archetype Design Studio. It's a phrase that was partially coined and totally inspired by Jeff Fisher of Jeff Fisher Logomotives (illustrated here in his widely read bLog-o-motives). In innovative Bojangles fashion, he has made his famous "toot toots!" a positively copacetic self-promotional term. The little asterisk was gleaned by him as well. As he so aptly explains at the footnote of every "toot" post in his blog, "If I don't 'toot' my own horn, nobody will." A good reminder for the creative masses, methinks. Incidently, the royalties are in the mail Jeff, heh.

The Gradient Stigma

Here's my brief personal take on gradients and why they've unjustly received such a bad break.

Ordinarily gradients were largely frowned upon by the professional community for technical reasons. They were either created in a raster based program like photoshop and then improperly refitted in print collateral, or suffered incompatibility (banding) issues with a printer or pre-press bureau's technology.

Solid color to color gradients were once often applied using a raster program like photoshop—a pretty effective medium if the design were intended to be used on the web, but not so for print. Take identity design as an example. There were plenty of creative denizens who were commissioned to somehow utilize gradient filled rastered logos with the expectation of resizing and outputting them as crisp and clean as if it were originally made in a vector program. Clients didn't understand that applying it cross platform this way was a recipe for bitmapped spew. Why would they, when they didn't even consider the stark differences between high print and low screen resolution, let alone raster pixel technology and vector's mathematical computations. For those who may want to expand your knowledge on these distinctions a bit more, try to google keywords along the lines of Raster vs. Vector for a start. As I say, the internet can be your friend.

Then there were those who did apply gradients using vector software. As I mentioned earlier, there were banding problems depending on the equipment printers used, plus somewhere along the line it sometimes had trouble translating a consistently smooth gradation in print because of the nature of the software itself. The latest technology in large part addressed these problems, but you can't guarantee that all printers are up to date because it is very expensive to upgrade. They will use what they have, for as long as they can remain a competitive force in the market.

Finally, gradients should be treated the same way as solid colors. They shouldn't be used to "carry" a design, yet more often than not that's what happens. That's why I'm a supporter of designing in black and white first when developing logos. Not only is it easier to pinpoint any design flaws, but without the added distraction of colors and gradients, a Creative can focus on the primary task at hand—developing a good strong mark.

I feel that all things considered gradients can most certainly be applied to compliment or accent a strong mark/design/what-have-you in proper context. That's why I'm not against using them. But the fact remains that there seems to be more instances where it's used to mask poor design instead.

It's About That Time

With the warming weather come the notices of all the major networking events in store for the summer. Yes, they can be pricey, particularly the major ones. However it would behoove you to attend at least one of the big industry events. Not only is it a great hobnobbing opportunity, they provide seminars and workshops with industry leaders that you couldn't find anywhere else if you paid in gold for it. It's a wonderful mecca of inspiration to immerse yourself in. So if you can sweet talk your employer into paying for the trip (work related seminar type of thing) it can double as the ultimate Creative's vacation. If you work for yourself it makes for a handy dandy write-off.

The first big one scheduled is HOW magazine's conference in Atlanta, GA in June. Do visit their website for a schedule of events. Do visit their forum, even if you aren't sure if you're attending to meet some of the creatives who will be attending or doing a workshop/seminar. Hobnob, people...hobnob.

For those of you who can't make it to the East Coast, there will be an unofficial get together in Seattle called HOW-About-CL in May. Basically formed by forum regulars who visit the respective HOW, About Graphic Design forum and Creative Latitude members. If you start frequenting those places, chances are you might also be able to gain passage and join the tidy host of industry professionals who will be getting together here as well. Unlike the HOW Conference, the HOW-About-CL is more of an informal social gathering. But hey, any opportunity for spending a good time with industry greats should never be passed by. Plus...well, I shouldn't spill, but designers always love a good time. It's in the genes.

AIGA also has their NEXT Conference lined up in October, which will be held in Denver, CO. They also have other more concentrated networking events lined up in the months ahead. Another interesting notable they're holding will be a conference that is in conjunction with Harvard Business School which targets principals from mid to large creative firms and Senior Designers who work in-house. A very worthwhile event for those who fall under this category.

There are many other local network Events during the summer that are worth the price of admission like the National Stationery Show in New York City this May. Any way you look at it, there is a conference out there to meet the needs of every professional level of designer. Its the ideal means to socialize and network with industry peers, to soak in some creative atmosphere, unwind or just cut loose with forum friends that you're finally able to meet for the first time. I've been told that the workshops, although very good, usually are forgotten when not applied. It helps to take notes, join the forums and ask questions beforehand. If you're allowed to record the session so much the better. It's also recommended to register early as many of the workshops fill up fast and space is limited.

If attending can improve or at least enlighten your personal game it's still a worthwhile step ahead and ultimately a win-win investment. If it's an event that is associated with the industry that can lead to possible business liasons, even better.

Getting Back Your Giddyap

Ever get into one of those creative ruts where nothing you do fails to inspire you? Your routine was no different from the past and yet for some reason, it takes every last drop of effort towards squeeze enough motivatation to your fingertips to finish the project at hand. Even your favorite tunes or yelling at yourself fail to get those juices flowing. You look around, your office is the same, your computer and peripherals haven't been moved out of order and even the light's wattage is unchanged. Everything is the same as it's always been...and perhaps that is part of the problem.

I've arrived at a realization...I've found that creatives are affected by their environment.

No, really.

Think about the kind of work you do. Think about where you're doing it. Perhaps it's not satisfying because you don't particularly find your surroundings satisfying. Or, it's quite possible you also don't particularly consider your work stimulating nor overly creative. The vigor you once had, has been drained. And without it your lackluster projects or surroundings could now be affecting your workflow on a subconscious level.

Thats why as others have already mentioned it pays to immerse yourself in good design—the kind that you find creative and engaging. It makes sense, no? After all, we are the sort of lot that strive off of visual stimuli all the live long day.

So here are some simple suggestions to combat this. Head to the bookstore and look through design annuals. CA, Rockport, Print, Carter's are just a few that put out several volumes a year of the cream of the crop's worth of submissions they receive which are quite a lot let me tell you. Lots of inspiration there. Head to museums. Go to clothing boutiques. Peruse through fashion and design magazines. Browse through CD selections. Hang out at the trendy part of town every other afternoon, sketch pad and pencils in hand and your favorite tunes in ear. Get inspired with your surroundings. Thats a couple of ways I re-charge and re-immerse myself creatively when I'm in a funk.

Everyone goes through these ruts, especially when in an unsatisfyingly limited position. Luckily there are plenty of affordable ways to jumpstart your creative drive again to get that giddyap going.

Avoiding The Daylight Savings Time Blues

Its bad enough as a New Yorker with kids in the public school system that I'm subjected to endure a completely foreign and utterly incomprehensible overhaul of an educational system that for all of it's misgivings generally wasn't absolutely backwater. I mean, I don't seem to be too deficient in the smartness category. However the Powers that Be have concluded that their latest teaching methods, which incidently practically omits conventionally teaching the multiplication tables and also opt to teach kindergardeners on a first grade level (did I mention that kindergarden isn't a mandatory grade level yet—so if your child didn't attend neither it nor pre-kindergarden they'll be hopelessly behind compared to children who did) and so on up the system. In the end, I don't think they really thought their plans through before implementing this well intended philosophy.

Enter Congress and their idea to conserve energy. Another good intention marred by poor organization and execution. As it happens they didn't take measures to ensure that electronic and computer systems were prepared with updated patches with the new three week early change in daylight savings time. Folks are once again scrambling to their ATM's with cries of Y2K revisited, but according to Business Week, we need fear not. They have in their article titled Tips for the Daylight Savings Headache links to check for updated patches for both Microsoft and Macintosh systems. You can, of course, also check directly through either Apple or Microsoft for these same updates. One can hope that it will be a seamless transition tomorrow, but be on hand to check all your gadgets the next morning to be certain that everything transitioned properly. Better safe than late.

Forum Anecdotal Nuggets—Design Startup Bloopers and Basic Upchucks

A couple of posts ago, I recounted in my forum travels how a poster wanted to "simplify the ca-ca" in the hopes of receiving a list of ten easy steps in starting a successful design firm [insert skeptical laughter here]. A bit further along in the thread another poster asked me to elaborate on this line within the body of my initial reply: "I neglected a few key business applications that I thought I could afford to skip." I thought it was worth re-opening some of the painful, torturous wounds I received during my "hard knocks" business training to retell it a second time here, if only to help another Creative Kinsman from meeting my blissfully naive fate. Learn. Enjoy. Learn. Did I mention Learn? I think I did.

For starters, I didn't see myself as a business. I saw myself as a freelance designer. There is a difference. How you see yourself is very important. I never thought of myself as a business entrepreneur in the formal sense so I never distinguished that definable distinction. You must see yourself as a businessman/woman first, designer second.

Next I didn't draft a business plan. You can google online for any number of sample plans but in a nutshell, a business plan is a descriptive outline that details your operating costs, marketing objectives, mission statement, capital, overhead and other projections. If you want to apply for any government, private grants or looking for investors into your company, you'll be required to have one of these on hand anyway. If upkept regularly it also keeps your business priorities aligned.

I had these from the beginning, but I should mention that you should always work on CONTRACT. Never work without one. GAG, AIGA, Creative Latitude and other great resources have a myriad of extremely useful templates for you to download and tailor to your needs.

Establish the proper business accounts. That includes keeping the books. If you work from home a separate phone line and address (P.O. Box for example) dedicated to your business is advisable. You don't want every Tom, Dick and Jane you give your business card to know where you live. Keep work and home separate even if they reside in the same space. Plus, by establishing a good business proposal you'll have an understanding of your overhead and the capital you'll need to maintain your day to day expenses. I didn't have a business proposal so I miscalculated my overhead capital which led to problems further down the line.

It's been said that one should ideally have about three years of overhead capital saved up. Some have done well with a year, some with less than that. What you need to calculate is, when you hit those valleys, and they will come, do you have enough reserves saved up to weather the storm until you reach your peak again? This includes your overhead for your marketing campaigns, as well as business cards and any other direct mail or physical promotional pieces you regularly replenish. So even athough you might do well enough with a few months of reserves, having about three years of overhead saved in the coffers creates a more comfortable safety net.

Even though I had the presence of mind to have one from the onset, now's a good time to add that it pays to bank on a good accountant who is familiar with all the latest tax laws. Also choose one who is available anytime throughout the year—accountants aren't only good for tax time. Turbo Tax may appear to save you a few bucks in the beginning, but you may unwittingly end up losing far more than that in the long run in unclaimed or poorly returned taxes. Invest in an accountant for the same reasons a business client should invest in your professional services over some inexpensive logo making software.

I didn't study or establish my market. A client was a client was a client to me. Not so. Clients and their businesses have different needs and thus they spend accordingly. A smaller business won't invest in design and advertising as a more modest or commercial or trade oriented business who might have a clearer appreciation or need for the power of advertising towards their market.

Also, take care not put all your eggs in one proverbial basket. I had a few really good clients—all downtown. What do you think happened after 9/11? They all were either gone or restructured or moved and I was eventually factored out of the equation as a result. And because I didn't have a formal studio near GZ I couldn't collect on any of the restitution that some of the other businesses were receiving. I was just plain screwed. And who could've honestly seen that coming? But if I had structured my business properly and planned for the future instead of living in the success of the moment, the losses I incurred would've probably been more tolerable. There were other factors as well that came into play, all at just the right time to contribute to my inevitable downfall. Kismet is something else. Recovery has been one long haul. Perhaps if my foresight were as keen as my hindsight, it might not have been so. Learn from this if anything else, kiddies.

I knew next to NOTHING of effective sales techniques. I simply lacked the confidence to apply them with success. Learn how to negotiate. Buy How To sales books. Take courses. I can't stress it enough. Designers I've found seem to lack in spades in this area for the same reasons as I. I enjoyed a good deal of word of mouth referrals and that requires no salesmanship at all by comparison. Learn to network. When the well ran low I had no networking base established and had to start over. Creatives will either accept whatever offer is on the table or walk away. A good salesman will find a way to negotiate a good deal and still somehow come out on top.

I didn't promote myself. That pretty much speaks for itself. Because I enjoyed word of mouth referrals I didn't need to do much in that area. When the well ran low I was feeling the hurt. So I essentially lived for the moment and didn't plan ahead for the future, lesson learned. By far the best and easiest form of promotions are joining the design competition circuit—that is, entering work already completed for recognized industry annuals like HOW, Print, CA, Rockport, etc. The added bonus of this is if you are selected you can add "award winning designer" to your name and a list of accolades to your site.

Most important, know the value of what you're worth. When I started out many of my blunders came by way of what I believed were discounted rates which I believed would attract more business. Not so. All I did was sell myself short. Joining design forums like About GD, HOW, About DTP, the GDF to name a few was the best decision I ever made. I learned a great deal business wise there, mostly how I don't have to sell my left arm to make a good living. This is another reason why I am oh so against spec work of any kind. That is NOT good business. It's NO business. Who works for free? I found out first hand that giving away services in the hopes that the exposure will land me some "real" business only revealed my own naivete and lack of professional experience. And it rarely works. Not good odds to bank on.

That's sort of the long and short of it. There's a LOT of work involved and no measure of guaranteed success even if you manage to avoid all of my pitfalls (there's still the little issue of supply, demand and salary demands of your region, global competition, "life," etc.) but hopefully it will lead to less startup upchucks than mine.

BoDo dee-Oh!

Designers rejoice, BoDo has arrived to render aid to your business!

Don't bother looking up in the sky, its not a new spandexed superhero, although in a sense, you can metaphorically think of it as one (spandex optional).

BoDo, which is short for Business Of Design Online, addresses the important issues of stucturing, organizing, networking, marketing and other day to dailies on running a graphic design business. It's been my experience that entreprenuers in this industry often forget that they are a business first, designers second. As a result, they make many fundamental key mistakes when starting up and striking out on their own which lead to many hard knocks along the way. BoDo is the perfect one stop resource to not only get one's design business started, but keep it running smoothly and successfully onward.

As they oh-so-aptly describe their services on their site;

BoDo is grass-roots-get-down-and-dirty-love-yo-mamma. We’ll talk about serious subjects such as “When to bring in a PITA clause,” “How to keep your clients” and “How to fire a client.” As well as lighter fare like “Working in your undies” and “How to tell when your down time is up.”

(It's) where vets (some full-time BoDo authors, some visiting), talk about their businesses experiences. Not stopping at their successes, also shared will be mistakes made, lessons learned.

An intriguing perspective that makes BoDo a potential resource hit right out the gate. Not only does it offer the prerequisite tips for success, but also offers the added treat of equally addressing some of the pitfalls design entrepreneurs have suffered as well. Moreover, any site that covers working in your undies definitely has their pulse on the work at home designer.

The lovechild of Catherine Morley of Katz i Design International, Neil Tortorella of Tortorella Design and Jeanette Wickham of Fast Coconut, BoDo’s goal is to provide designers of all walks and levels of experience with a wellspring of practical and useful information, resources and techniques for successfully managing and marketing a creative communications practice.

Take a look around, see what they have to offer. No matter what stage of the game you're in, chances are you can benefit from some aspect of what BoDo has to offer. And if for any other reason, it'll network you with other kindred spirits who work in their favorite comfy undies at home. A win-win situation for your design communications business any way you look at it.

Forum Anecdotal Nuggets—Design Startup in Ten Easy Steps?

In the pursuit of supporting my forum habit, I ran across a poster who asked if it were possible for folks to "cut the ca-ca" as it were and list ten simple steps on starting one's own design business.

First off, I don't think this approach to the question was the best. Simplify the ca-ca of opening a business? How possible is it to break down an entrepreneural process that people devote countless classes and months and years of toil in organizing, marketing, stressing, failing, restructuring and organizing once again in ten sure fire steps? If ONLY it were that easy.

Things may start out well in the beginning. You may already have a few clients and feel, "hey, I can skip a few steps, why form a business plan and market evaluation? Why develop targetted promotional campaigns and attend network functions? I've got a few clients, they'll refer me to a few more..." This is how I started. And for a while, things were great. However my house of cards came crashing down after 9/11 and I had to reorganize, regroup, restructure and start again. It wasn't pretty and definitely not simple. I think the reason why it was so hard to bounce back (among other things) was that I neglected a few basic key business applications that I thought I could afford to skip (which I'll expand on next time). However I learned a harsh lesson as an entrepreneur, in that there will always be peaks and valleys when running your own business. It's a simple fact of life for any business owner whether you own a mom or pop shop or you're an insanely well to do mogul. One of the keys to continued success is preparedness. In truth, my business wasn't prepared to handle the valleys because of it's poor foundation. In hindsight I guess I should've doodled less and stayed awake in my business and economics classes. It could've likely meant the difference between overcoming my obstacles or being trampled underfoot by them.

So instead of culling the proverbial ca-ca in ten simple startup steps, which is darn near impossible if you're a businessman/woman. I'll offer advice. All business tips considered, learn from other's mistakes. Listen to the horror stories, understand them and try not to make them yourself. Not all are unavoidable but if you plan things the right way you'll end up with few valleys that are easier and quicker to weather.

My Mad Mad Marketing Plan: First Dates

Ever play "musical dates?" Sure you have. You know, thats the game where you take a personal project, set a fairly short and sweet deadline, then as other, more important client projects and personal affairs suddenly are added to the mix, you're forced to move your personal project from new date to date, as you try to finish the other priorities. Normally the end result—quite predictably—ends in an incomplete project, forlorn and forgotton on some tenth of never completion date.

I've set my business mid-year promotional resolution. I've researched my content. Now comes one of the most important tasks of the project, setting a realistic date that I can meet. Seems easy for some, but not for me. Like my website, personal projects usually remain a twinkle in the proverbial eye for me. I'll start off strong with what I believe is plenty of time to complete my project, only to have life in all it's unpredictible glory drop a dollup of "reality" that require my immediate attention and force setbacks on it's completion. Dollups like paying work, or personal affairs that I need to focus on and so forth.

I normally used to jot down one deadline date, the date of delivery. Too vague. Conversely, I didn't want to micro-deadline the project, so I concentrated once again on the major phases, adding extra time to hopefully account for any of life's little surprises. Unlike other occassions, this time I decided rather than working forwards, I'd work backwards instead. Because of it's content, my mid-year promotion had to be delivered before the kick off of the Memmorial Day weekend. I had to calculate how long postal delivery would take, then doubled it for assurance. That was my delivery deadline. I then calculated printing and package assembly, then as with postal delivery doubled the turnaround time. That became my project deadline. The time between my research and print deadlines was more than enough time to easily execute the project—approximately three months.

So that's pretty much the method behind the madness. I tried to take care not to overdo the planning process and organize my time and effort in manageable phases to, barring any cataclysms, avoid changing my first dates and maximize success.

Until May!

My Mad Mad Marketing Plan—Phase Two: Scheduling

It's been said that timing is everything. So in my endeavor to organize a time-sensitive campaign that I have to develop, design, output, assemble and mail, it must also be scheduled in such a way that I can temporarily set aside (like last week's post which is now this week's) so that I can address any sudden, shall we say, pressing concerns.

Like any good General, I strategized a plan to divide and conquer. First, still being the web derelict that I am, I mapped the project details on paper (although a PDA or other similarly useful digital media is a fine substitute) to have a clearer understanding of what sort of beast I was up against. I then segmented it into four main phases so that I don't become overwhelmed or side tracked, which also permitted me to establish appropriate deadlines within my limit:

1. Research
2. Execution
3. Printing
4. Delivery

Research.
Essentially brainstorming, budgeting and fundamental concept development. I had to come up with an idea that kept my "eyes on the prize." Best way to do that I surmised was to create a few brief basic criteria.

• It must be "general" enough so that I can use it as a promotional item for potentially any future client.

• It must be something they would want to use or pass on to someone who could use it (never know where your next client will come from).

• It had to be small enough to be portable, or be able to "set aside" on a work desk for example. Anything that was too large that the person had to take it off the table top to make room is a promotional bust to me (there are exceptions, but I digress). If they set it aside on their desk however, it's still within their line of sight and can always be picked up again or be spotted from anyone else who spies it on their desk (again, never know where your next client will come from). Concurrently, I didn't want it to be so small that it gets lost from someone's view.

• Most importantly, the subject matter had to reinforce and associate itself with the brand, in this case, Archetype Design Studio.

It's important to specify your campaign's goals and to outline a realistic timeline to develop an effective promotional concept. For example, I had a bunch of ideas from the onset that may have met some of my criteria, but really didn't meet my most important one, the promotion of my business. They just were good reference tools that I planned to lay out nicely. However how to tie it to my brand? That needed some thought—I felt something sufficiently clever yet simple was in order. I had to set limits because, overanalytical as I am, I've often mired myself in the research phase, literally planning ideas to the ground and beyond before they even had a chance to take off.

I decided, all things considered, that a month and a half of development was ample enough time to finalize the "bones" of this little project. Any less wouldn't have been enough and could've caused setbacks down the road if I wasn't satisfied with it's direction, any more would've been overkill, endangering the fulfillment of my predetermined mid year deadline.

Execution.
It pretty much says it all, I think. This not only includes the computer design, it also includes all of the pre-drafting, scanning and assorted materials gathering as well. Not to be understated, it allows plenty of time for revisions and in the most drastic of cases, the potential to develop another creative direction altogether (also known as "back to the ol' drawing board" syndrome, but if you research well enough, this extreme back pedal is usually not as severe or even necessary). For this project, considering it's scope and that it has to constantly take a back seat to other paying projects, I've given myself three months.

Printing.
The underestimated phase. My rule of thumb is to double their projected turn around time. Quite simply it's to account for output issues that might cause a delay. It happens more often than not, so always allocate extra time if you want to meet any deadline.

Delivery.
Another phase that requires the "printing" rule of thumb, solely because it's the one phase that is totally out of your control—your campaign if it is time sensitive like this one, will be left in the hands of another who may not prioritize it's timely arrival as you would. So it pays to do a couple of things here. Double (or even triple) the estimated delivery time (even if it's next day air) and get a delivery confirmation receipt of some kind (registered, etc) so that you can track your package.

This is also a good time to briefly address packaging. After all, it's part and parcel of your presentation as well, no pun intended. Imagine the difference between a plain shipping box or envelope over something more inviting like this (click on the little arrows). As a designer it'll further reinforce your creative talent in developing appropriate, attractive promotional solutions. And as the saying goes, Style is in the Details.

There is one last consideration, and that's "Murphy's Law," Anything that can go wrong, will go wrong. After all your careful plotting from your promotion's completion date on back to ensure success, things can still go so far South that it falls off the proverbial radar, "...best laid plans" and all. Hopefully by structuring a more organized attack plan from the very beginning, it will keep most of your ducks lined neatly in a row instead of splayed all over the street.

Next time: First Dates.

My Mad Mad Marketing Plan—Phase One: Organize

For those of you who have perused through my resolutions a few posts back, I mentioned a desire to ideally launch at least two major promotions, one during the normally leaner months in the summer and another at the end of year.

I thought it would be a good idea to break down my process. After all, nothing says "motivation" like potentially facing humiliation in front of a virtual crowd by not following through. Plus, highlighting a few simple, nifty aides could end up being a benefit to others in their creative quest as well.

To get from point A to B in life, it pays to organize. As I said before, a simple declaration to "do" isn't enough to get it "done." To this end I figured that starting off with the right tools by spending the extra dollar or two on a good planner was in order. No more adapted spiral notepads or partially functional planners for me—I needed something that met my demands. Something that I would want to pull out every chance I had instead of cramming it in the dark recesses of my bag, never to see the light of day until the end of the year when it was time to replace it.

Of course, not all are created equal. My ideal functional planner had to meet certain personal criteria:

1. Portable. I needed something that I can shove in any bag or roomy pocket and go-go-go. Large ring binder styled, or bulky portable planners were too cumbersome. With all the other items I usually tote around with me (like my sketchbook) I would undoubtedly end up experiencing high school heavy back pack flashbacks. The type also had to be legible enough where my eyes wouldn't burn from their sockets from all the squinting. I mean really, some of these pocket planners need a loop to be readable.

2. Space to write. I needed each of the days to have enough space for me to write multiple appointments. Some agendas dedicated an entire page for one day. Frankly I didn't need that much space. Conversely there were others that dedicated two rows if even that much. Just wasn't enough. One with a few lines dedicated to each day would do nicely.

3. Project/Goals. I often scribble "spare of the moment" notes, normally on projects, research, or random ideas that pop in my head. For this a few pages dedicated to this section where I could jot them all down was a must.

4. Extras. I like extras, don't you? Even though you might not need them all it's good to have them there anyway, just in case. I'm talking about the closure straps, the map with the international time zones, the long distance area codes, metric conversion table, that sort of thing. Hey, in this business, you never know when it'll come in handy and it pays to be a bit prepared.

5. Address book. At the bottom of my priorities, because darn near every planner comes with one. I did however hanker for one that I could move from yearly planner to yearly planner.

After a bit of desparate hunting at different locations both online and in stores, I finally found and bought the moleskine pocket weekly planner. It fulfilled all of my criteria and had a very well designed layout, bonus. Originally I thought it was a bit overrated (supposedly inspired by Hemmingway and Picasso's styled journals) but I must admit that they're not all "gimmick." It's portable, well designed, sturdy, had a closure strap and a place marker, had the right kind of bells and whistles and surprisingly enough was quite legible for it's size. I probably will buy moleskines from now on unless I discover something better further down.

Not only was it important for me to have a physical planner, I needed a virtual one as well. After all, I'm online more often than not. So to that end, I opened the iCalendar that came with my Mac OS software for the very first time.

Let me just say that I'm sorry I didn't do it sooner. For those of you who aren't familiar with this digital planner, some of the nifty features of iCal include notifications, that is, I can email a reminder of an impending appointment to myself as well as set an alarm to go off at any time or day of my choosing. It also lets you separate sections by color and leave detailed notes to yourself. Pretty nifty.

I'm already well into uploading all of my business and personal affairs. Moreover, if I for example don't want to see a calendar riddled with color coded schedules, I can hide whichever I don't want to see at the moment from view. Very easy to set up and use.

Next Time: Phase Two: Scheduling