Forum Nuggets—Re-evaluating your Career

As a print designer I know too well the dire employment situation and the unrealistic expectations that potential employers often expect from candidates. Based on some of their posted expectations for filling a creative position, it seems as though our niche is destined to absorb some of the interactive or other market—those print designosaurs who don't seem Darwin-destined to be snuffed out by evolution. Or, maybe not.

It's my observation that those who seem to succeed dedicate themselves to a particular creative niche. For ex., I may decide to dedicate myself to becoming a top-notch movie poster designer, or illustrator, or logo designer, etc. In that way, instead of marking myself as a sort of jack of all trades to a general audience, I increase the probability of being recognized as a specialist in that field, particularly to those who run in those select circles. People within that industry will find it easier to recognize my unique skillset.

I recently had to once again re-ignite my business and am currently in the process of re-evaluating my own target market. At this stage of my game, I really don't desire to cast a "general" wide net by trying to be good at a little bit of everything, since I have rarely seen that it's been proven to land many "fish." Among the things I'm presently exploring are my creative strengths and how I can most productively apply them towards the success of my career, even in this drab economy.

I can drone on, but perhaps my ultimate advice is this. For those of you at a career crossroads, for those who have been forced by the economy or current circumstance to re-consider or reflect on their employment situation or goals, examine what your strengths are, and find a way to apply it to your market, either as an in-houser or an independent contractor. If your gridwork is sheer genius, consider applying for a magazine's design department. If you can retouch the pants off of images (quite literally), then consider an employer or client that revolves around fashion, photography or pre-press circles. If illustration's your thing, or if you can design a book cover like nobody's business, look towards book publications or hire an illustration agent. Have a flair for invitation design? Look towards non-profits or the wedding market.

I certainly am not aiming to bunk the pros of trying to expand your skill set, especially if you are so inclined. However there are other approaches for staying in the game, by looking inward and focusing your objectives instead.

All rights reserved.

Upcoming Design Conferences

Whether you fly solo as an entrepreneur, are an in-houser with a generous employer who's willing to send you, or if you're just looking to keep your finger on the creative pulse, here are some upcoming events (in no particular order) to budget into to your 2009 calendar.

Front-End Design Conference: July 31, 2009, St. Petersburg, FL. Geared for web designers and coders.

HOW Freelancer Conference: August 26-28, 2009, Omni San Diego Hotel. Early Bird discount permanently extended! Check out the Conference Info section for new registration options, as well as what attendees from last year's conference had to say.

The IDEA Conference, presented by Advertising Age: November 12, 2009, New York City. Aimed towards all who are deeply immersed in the business of creativity. Click on the "more..." link in The IDEA Conference Is... section for Attendee Highlights.

HOW Designers' Bootcamp: Various locations and dates (to follow). Seminar-styled two day workshops designed to help fine-tune your design career! For freelancers, in-housers, project managers, business developers. Check out their Early Bird registration specials.

Running a Successful Design Business: September 17 and 18, 2009, New York Marriott Marquis, NYC. Presented by Daniel Schutzsmith (downloadable brochure available)

Moving from Print to Web, September 29 and 30, 2009, Michael C. Carlos Museum at Emory University, Atlanta GA. Presenter: Patrick McNeil

Marketing and Self-Promotion: October 20 and 21, 2009, Chambers Hotel, Minneapolis, MN. Presenter: Jeff Fisher

Building a Profitable Creative Business: October 26 and 27, 2009, Museum of Glass in Tacoma, WA. Presenter: Emily Cohen

MAKE | THINK, AIGA Design Conference: October 8-11, 2009, Memphis, TN. Check out their links for possible Hotel and Travel accommodations and click on the vid link of their highlights from the 2007 Conference. There is also a discount for AIGA members, so one is encouraged to join.

A Chunk of My Youth Died Today

Okay so obviously I'm late in the game. Obviously I shouldn't have remained glued to the radio all day, or the T.V., or tried to break the news as it happened to P. Diddy who was on a shoot today from my minivan. I obviously shouldn't feel bad that Farrah suddenly became a fast and hard footnote at about 12:30pm Pacific today. But damn it all, I do. I grew up watching J5 in it's various incarnations (loved their animated show as a kid) or playing with my Jill doll's hair and dressing her in hip 70's outfits. I coveted my sister's We Are the World record, and marveled at the strength of a battered woman pushed too far in the Burning Bed, still using it as a joke warning to men who recognize the reference to this day.

I admit, I am no stranger to partaking in some rousing ribbing when it comes to the darker side of their legacies. Truth told, when all is said and done, I don't really care about the scandals and sensationalism, both of which shared a-plenty. For me and for now, the good deeds outweigh the bad by a loooong country mile. I imagine I'm not alone. A big part of my childhood and adolescence died today in these two. Two who died way too young and for one in particular, so suddenly. Still I pray they both found a peace that they perhaps were not destined to enjoy in life by their very stature. And I pray that there really is an afterlife, so that they can reunite with their loved ones once again.

Rest in peace Angel...King of Pop. May your loved ones find some measure of solace amid the frenzied love of fans instead of the slings of naysayers in the coming days and weeks.

Leaving a Lasting Impression

In this visually motivated market, leaving a positive, lasting impression is key to generating consumer interest in a company. Here are some reasons why it pays to properly invest in the promotion of one's business.

A successful business doesn't just rely on location, location, location anymore. Visual promotions like business cards, a web site, logo and advertisements represent your company in your absence, long after your face to face meeting with a potential client has faded into memory. They can virtually speak volumes on the quality of service and product you are promoting to provide.

Take business cards as an example. They are the most popular and widely used promotional collateral in the business world—nearly everyone has one. Often to cut a few corners in the budget, entrepreneurs repeatedly make an even more costly decision to forego hiring an experienced professional who understands how to tailor an attractive and effective look for their company. By utilizing inexpensive pre-fabricated cards or by leaving design execution in inexperienced hands who create pretty pictures instead of potent brands, a valuable, prominently visible, promotional resource meant to generate consumer interest fails to attract new business outside of referrals. What started out as an opportunity to save a few bucks may have unwittingly ended in missing out on potential clients that they never even knew they had.

Here's a fun little exercise. Pull out your business card and take an objective, impersonal look at it. Picture yourself as a customer who knows little to nothing about your company. There isn't a shopper alive that doesn't want to be sure that they're investing their hard earned cash in a quality service or product. Your card should not only contain the required contact information, it should also aesthetically emote this commitment through your brand and it's design layout as a reaffirmation of this guarantee—potential clients should psychologically feel confident that you can deliver. So, does your card exude this quality assurance of service you hope to provide, or will they pass yours up in favor of a competitor?

Feel free to take the same little exercise with the rest of your promotional collateral, or even your business' logo identity. Take the extra step and compare it to cards, ads or other collateral that you like. Whether it will ultimately end up being "fun" or not, depends on how effective you feel the current state of your brand marketing is.

Projecting professionalism through one's web site should be equally important. It leaves as indelible an imprint on unique visitors as a business card would. As with any marketing promotion, it's there to provide the viewer with pertinent information—range of services, product line, contact information and an image gallery. However, the site's interface should also pique a visitor's curiosity enough to make them want to learn more about what you might have to offer, or to ideally bookmark it as a resource or reference.

A web design layout that doesn't quite align with one's brand goals, even one that has all of the necessary information, might inadvertently leave an undesirable imprint to a potential client. That could lead to wondering "what could have been"—even with all the right information it may very well receive a decent amount of traffic, however if it's creative and functional potential were reached it could have accomplished so much more.

Effective design isn't just about making something attractive looking, it's about making it attractive to the right people and through optimum channels. It's one earmark in leaving a lasting impression which in turn strengthens a brand. Accomplishing that end isn't simply a matter of picking any random professional to do the job, either. A Creative or firm should also be able to visually understand how to forge an indelible connection between brand and consumer.

You've invested a great deal into the success of your business, it only makes sense to ensure that every facet of your company is working towards leaving the best, lasting impression to make that ultimate goal a reality.

Two Little Hands image by Dagmar Jeffrey.
Storefront image and web site still source: Peabody Gallery.
All rights reserved.

Forum Anecdotal Nuggets: Calling it Quits

Most, if not all of us have come close to throwing the creative towel at one point or another during our career or studies. When our dreams fail to neatly fall into place once we wake up, should we heed our inner voice and pack it all in?

In one such case, a college senior posted a project for a review, not expecting the lukewarm reception it received. Although the critiques weren't necessarily cutting, the responses were enough for the student to seriously reconsider her major.

The fact of the matter is, if you don't have a paying design gig or haven't been exposed to real work in some way (as an intern for example), it doesn't matter if you're valedictorian in your class, you're still "starting out" in this business. Even then, professionals still receive their fair share of "surprise" critiques now and again.

Designers naturally tend to put out a bit of themselves into every piece they create—it's what defines our individual style. However, those outside the field, whom we call "clients" and toil to satisfy seldom appreciate that, nor really care so long as they're happy with the end results. More often than not, their less constructive observations are partially motivated by two factors: time and getting the most out of their investment.

As unpleasant as it may be, don't become too unraveled from a negative forum critique. If you do then perhaps you should question whether this business is right for you. It won't get any easier once you enter the market. I've seen women AND men reduced to tears when their talent was openly challenged. This industry can be as merciless as it is rewarding—you need to develop some thick skin and learn to not only roll with the punches, but glean the constructive critiques from the negative to improve and grow.

That said, I still had to applaud the original poster for putting her project up for scrutiny in a public forum. Rather than be satisfied with only her school's resources, she (perhaps unwittingly) took the direction of her career into her own hands to improve upon her skills. She stepped outside of the bubble—quite admirable. Many folks are afraid to publically subject themselves to any negative feedback and become defensive when they do. That sort of trepidation will more than likely stunt their growth in the long run. I can guarantee that even though the comments were an eye opener for this student, if she doesn't give up she won't regret her decision.

University design programs not with standing, there are plenty of completely self-taught designers who's work kick ass because they took matters into their own hands, supplemented their studies by buying books on various design principles, or joined respected creative forums for guidance and improvement, among other things. They took action.

You're likely going to discover on your own, should you remain in this biz, that design is a life-long learning process. We ALL continue to be students—our goal is to always continue to improve our game, whether it's on our own or through other means. Perhaps, camaraderie aside, that's why we join forums to begin with.

Overall, I think it's safe to say that the forum critiques—whether they are curt or coddling—are generally meant in the spirit of helping one to learn, grow and improve. However the reality is that in this alpha driven industry, with so many deadlines and big money clients breathing down your neck, you will likely run into a situation where the responses will reflect the same caliber of harsh observations one is subjected to in the professional arena. The trick is to keep an open mind, read between the lines, work to apply the helpful suggestions and ditch the rest.

If, after all is said and done, you still feel like quitting after a lackluster review or three instead of re-applying yourself, then perhaps you do need to rethink your career path after all.

Resolution Revolution 2008

If only.

Well, let's review a bit, shall we? Last year, my resolution watch word was "attainable." For that reason I only created about five business goals that I felt I could relatively keep. So, here we are a year later...how did I fare...or as is the case, where did I go wrong?

2007 Resolution 1:

Increase Profit. Didn't see that one coming, did you? But it isn't enough to make a general declaration as though the intuition to accomplish this will mystically materialize. Chris Gee of Cube Interactive, LLC and ringleader of The Prepared Mind suggests arriving at a target amount you want to make in a specific time period (in my case, how much I want to earn in one year) and working backwards. Forming a plan this way seems less like an uphill struggle when strategizing a means towards your lofty objective.

Although my profit did increase, I still didn't hit my goal. So, what happened? I started at the end, but didn't work out a detailed enough plan to take me there. Or it could have been that my aspirations were a bit too ambitious. Either way, I didn't realistically factor the time that was needed to research and reach certain benchmarks, particularly when last minute projects or personal emergencies popped up. My plan looked pretty good on paper, but fell apart in practice.

How to resolve the resolution: More research. Others reached their fiscal goals, so can I. And with a year's worth of data from the past year to use as a comparison, I should ideally be able to devise a more effective attack plan that will either bring me closer to hitting this year's goals or surpass them. It's good to dream.

2007 Resolution 2:

Launch a Self Promotional Campaign. I've fussed and balked long enough, it's time to heed the clarion call for action. Part of the reason, well, most of the reason why I still don't have a website or a stationery system with my redesigned logo is that I'm too anal, I feel as though I can always come up with a better solution and end up changing strategies. In short, I'm my worst client—EVER.

Not surprisingly, I'm still my own worst client. Unlike my other (real) paying clients, I ended up putting my business marketing projects on the back burner for real work more often than not. An effective strategy is only good if I stick to the deadlines I place on it. If I don't treat myself like a real client, the obvious result will occur.

How to resolve the resolution: I still had a solid game plan, however I have to stick to my agenda and not set my work aside whenever a paying project or "life" compromises it. I have to think of it in this perspective: if I don't promote my business, I won't get any new business and won't reach my year's financial goals. What I'm going to do is schedule a consistent block of time during the week (Thursdays between 6 and 8pm for example) to specifically dedicate towards the growth of my business.

2007 Resolution 3:

Get Fresh Blood. In order to reach my lofty profit goals, I need new clients. For this, as I stated in the previous resolution, I've been driving and walking around town taking down company names that are in sore need of a re-brand, visiting "noteworthy" yet poorly designed sites and developing a good promotional campaign that targets their needs. In all of these cases, I took a page from J.P. Morgan and "followed the money."

Well, if I only had that gosh darn promotional collateral that I kept putting off in the previous resolution this one could have worked. And in truth I didn't participate in the start-up forums as much as I should have. To be quite honest, I was indulging myself in all the wrong forums.

How to resolve the resolution: It's still a good idea to create a custom mailing list, but like a well oiled machine, all aspects of my business model have to be in place and running. So for this to have a chance I need to prioritize some of my other resolutions. Regarding the start-up forums, I'm going to pick at least two and slot time every week to hob nob with the locals. Considering that I am already an active participant in so many other groups, I think two is a nice number to get my feet wet.

2007 Resolution 4:

Launch Website. Oy, what a headache this has been. The fact of the matter is that I wasn't really satisfied with any of my concepts.

It's still a headache, but I finally decided to move in a direction that ties into my overall branding agenda. Although I don't have a "complete" site, I did put up an interim page with redirections to a portfolio of featured projects (which will soon be moved to another, more private location) and my web log.

How to resolve the resolution: There are two ways to go about this, either whizz or get off the pot. Realistically dedicate time to learn Flash and/or Dreamweaver (to start) or outsource the coding. It's that simple. Times are such that I can't afford not to have my site up—people seem to be using it as a benchmark of professionalism (how many times have you been asked if you have a web site?). Regardless of whether the bulk of my work comes via referrals, if I want to generate consumer interest from other sources, then I have to have one up.

2007 Resolution 5:

Enter Industry Design Competitions. NO, not spec run "contests." Here's the major distinction between the two.

Actually one I kept, so huzzah for me! So nothing to resolve except to continue to enter this year. Time will only tell if it will prove a beneficial promotional tool. Even if it doesn't, it certainly can't hurt to add the title of "Award Winning Designer."

Conclusion:
Rather than create new goals for this year, I'm going to try to keep to the ones I formulated in 2007. The only difference is this year, I'm going to try slightly different approaches, both in my plan and in my perspective, to stick to them...or well, most of them. I don't mind taking baby steps so long as I continue moving forward.

Janfirst illustration ©2008 Dagmar Jeffrey. All rights reserved.

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.