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Preface: This article offers tips and advice for both graphic design firms and the businesses seeking to hire them. Although the focus is on San Francisco graphic design firms (a city bursting at the seams with a slew of graphic design firms and freelance designers), the contents are universal and beneficial to all geographic locations.

In my previous article, How to get graphic design and copywriting clients, I interviewed three top creative firms and asked them all the nitty-gritty details on how to generate new business. Then I got to thinking…how great would it be to have just a few minutes of the clients’ time to pick their brains on how they find and choose us?

Choosing a graphic design firm can be a daunting process. Offering fantastic first-hand perspective on the process are: Marco Zappacosta, co-founder and CEO of Thumbtack an online marketplace for local services; Lauren Schiller, co-founder of the weekly San Francisco radio show, Lady Brain; and Tex Dworkin, Director of Social Media for Global Exchange. Moderated by San Francisco graphic designer / writer, Stephanie Orma of Orma Design and She’s SO Creative, the three share their experience, advice, fears, and turns-off in selecting a design firm. This is an honest, eye-opening discussion that every designer-seeking-client must read.

1. In a nutshell, please describe your business.

Zappacosta: Thumbtack is an online marketplace for local services (think eBay for services).

Schiller: Lady Brain is the most candid advice show on San Francisco radio. My partner Steph and I cover topics so personal, you may have thought they could only happen to you. We air on KUSF 90.3 FM. Our weekly show is also available through iTunes and on our website, askladybrain.com.

Dworkin: I sit on the board of the Fair Trade Resource Network and Fair Trade Federation Fundraising committee. These organizations are networks/resources for Fair Trade, socially responsible businesses in the U.S.

2. Why were you in need of a designer?

Zappacosta: When we started Thumbtack, we didn’t have any design capabilities in-house, but knew it would be key to building a good service. So we decided to hire an outside firm.

Schiller: When we first launched the show, we knew we needed to grow our online presence to support podcast downloads and get the word out to ladies everywhere about Lady Brain. We have ablog and Facebook page, but needed a home for our brand online. We also wanted to represent ourselves as a legitimate broadcasting presence, not just another podcast.

Dworkin: We were seeking a designer to design a new calendar that would be sold in retail stores as a fundraising tool for our organization.

3. How did you go about finding a designer?

Zappacosta: We set about the search mainly by mining blog posts and lists of “best SF designers.” We didn’t post any Craigslist ads because we’d heard of people getting inundated with crap. After creating a list of potential candidates, we did a deep dive into their portfolios to identify whether we liked their style and whether they’d ever attempted a project like ours.

Schiller: Because I have a background in marketing and advertising, I knew of a handful of good design firms in the city that I had worked with in the past, or came recommended. I reached out to my network for recommendations and met with the designers whose aesthetic I shared.

Dworkin: I used Google in combination with design firms I already knew about, as well as advice from co-workers. Once I had a list of possible firms, I emailed each one individually. I then spoke on the phone with the leading contenders to explain the project and get a feel for whether they would be a good fit for the project.

4. Was the search to find a designer difficult?

Zappacosta: Yes! In the end, I feel like we got lucky. First, it’s hard to know what’s out there. Second, it’s hard to evaluate what you’re seeing. And finally, it’s hard to get into contact with everyone (we didn’t hear back from all the designers we contacted).

Schiller: Because of my past experience in the industry, I was able to find a number of qualified designers and agencies relatively quickly. Although there are many talented designers, the more difficult task is finding the right agency: one that can meet your time frame, budget, quality standards, and understand your audience and the role of your website – and can present a creative vision.

Dworkin: It was time consuming. It was very important to find the right design firm to do this project, one that was values-based and would be able to address the tastes of our target audience. I was surprised that one firm that came highly recommended actually took weeks to get me a quote, as well as the info they said they would send. It really turned me off and I did not go with them for obvious reasons.

5. How many responses did you get/have options to choose from?

Zappacosta: In the end we had 4 phone calls and 3 in person meetings.

Schiller: Because I narrowed the list down first, I took bids from a few agencies and met with each to discuss their capabilities and credentials.

Dworkin: From those I contacted, the majority responded, although in some cases, surprisingly not very fast. The speed at which they responded definitely affected my decision. I finally narrowed it down to 3 firms and made my final decision after seeing a sample of a very similar project to mine in the winning firm’s portfolio.

6. When you looked at the designers’ portfolios, what exactly were you looking for? And was it hard to assess if they would be a good fit for you?

Zappacosta: Because of what we were trying to build we went looking for designers that had built interactive websites. It’s one thing to create a good-looking design but another to create an intuitive one. The hardest part about evaluating designers’ work is trying to figure out exactly what they did. Often, and especially if the project they did was big, there were collaborators and/or other consultants, making it hard to identify exactly what the designer in question brought to the table.

Schiller: It’s important for the agency to understand whom they’re building a site for. Having a great design sense is only the beginning – if the website doesn’t speak to its audience, it doesn’t serve its purpose. So in looking at portfolios, I tried to understand the nature of each business and assess how the final site spoke to their audience and communicated their message and whether they’d be able to provide a customized experience.

Dworkin: I immediately looked for similar projects and quality. Seeing samples in person made it very easy to determine which would and wouldn’t be a good fit for my project.

7. What were the most important factors in choosing a graphic design firm?

Zappacosta: The most important factor for us was a firm that could take us through the entire process of conceptualization, mock-ups, design, and coding. We really needed all of it from one group.

Schiller: Cost was definitely an issue – we didn’t have a big budget. But having someone who understood our concept and was able to not only design something we liked, but come up with new, fresh ideas for presenting our brand online was key.

Dworkin: In order of priority, the deciding factors were: cost, quality, similar project, and speed of response.

8. What were your biggest fears in hiring a graphic design firm?

Zappacosta: The biggest fear is thinking that you’ll get too far along in the process before you realize you’ve hired the wrong person. The designer ultimately controls how your clients or customers see your product – it’s a huge responsibility.

Schiller: You never know what the final product is going to look like. So I think the biggest fear is always “Will I get what I paid for?” and “Will it work to accomplish my goals?” “Will I like it?”

Dworkin: Our biggest concern was that our deadlines would be met. With this project being a calendar, we really needed to stick to our timeline.

9. Were you happy with the outcome? Anything you would have done differently?

Zappacosta: We selected Project6 Design and were quite happy with what we got:www.thumbtack.com One thing we didn’t quite handle correctly was how to deal with post-project edits and improvements. Being a start-up, we’re constantly changing, and I think we could have been clearer from the get-go how this phase of the relationship would go.

Schiller: We love our site designed by Veneer Studio. With the move to broadcast radio from strictly podcasting and the combination of social media and grassroots growth, it’s doing a great job supporting Lady Brain. They definitely got our sense of humor and kept it simple.

Dworkin: We were happy with the calendar (not shown) that Design Action Collective, created for us. Looking back, I would have allowed more time in our own timeline for the entire design process. You can only do so much to move the timeline forward on your end.

(originally appeared in SF Examiner  02/22/10)

The February 2010 issue of HOW magazine is currently on newstands and in bookstores all across the country. The article I wrote, “Turn Downtime into Playtime” features the awesome work by design firms Flywheel Design, Brand Engine, and graphic designer France Liddell.

DOWNLOAD & READ STEPHANIE ORMA’S ARTICLE (the PDF is 8.9mb so download time is a little slow – but SO worth it!)

Craft Fairs have, unfortunately, become all too synonymous with Grandma décor (a.k.a. doily-laced embroidered pillows with sappy sentiments like, “home is where is the heart is”). UGH – that calls for a big roll of the eyes! But it’s not just the quality of wares that have given Arts and Crafts Fairs a bad name – it’s the name itself.

Bazaar Bizarre's edgy graphics.

Let’s be honest, the word “Craft” is just a little too close to the word “Crap.”

In fact, when I recently signed-up to exhibit at my first Arts and Crafts Fair, I chose to deliberately advertise it as a “Holiday Art Fair” and very consciously left out the word “Craft” entirely. Frankly, the folks behind this show had some pretty shoddily put together marketing promotions (i.e. an outdated website and postcards designed with cliché, stock photo snowflakes, generic Times New Roman typeface, and poor typography). Needless to say, the marketing was bad enough without using a name that connoted more crap.

But the truth is, it’s just too easy a connection for folks not to make. A few days prior to the show, I received a joking encouragement email from a friend entitled, “The Arts & Crap Fair.” The message read: “Good luck at the Crap Fair. I’m sure your crap will be better than anybody else’s crap.”

And when the show was over, I received his follow-up email, “How would you rank your experience and sales on the Crappiness Rating Assessment Profile (CRAP), 1 being EXTREMELY SUCCESSFUL and 5 being REALLY IN THE TOILET?”

And just to kill the point to death, what do you think of when you hear “Arts and Crafts?” Personally, I’m reminded of Popsicle sticks, glitter, Elmer’s glue, and day camp. That’s great if you’re twelve – not so great if you’re trying to sell your quality, handcrafted wares to adults.

Although it’s pretty funny to mock, Craft Fairs are a serious business. In fact, the Holiday Craft Fair season is in full bloom. Last weekend there were more than two dozen shows just in the San Francisco Bay Area alone. That’s some pretty serious potential profits, especially if the fairs can attract more than just the grandma demographic (i.e. rebrand themselves to draw in a wider, more modern audience).

The good news is that crafters are starting to make some headway in separating themselves from the “crap.”

Etsy, a brilliant little website that provides small business entrepreneurs a way to buy and sell handmade items, branded their San Francisco Holiday Arts and Crafts Fair, “The Handmade Ho Down.” Although the name still reminds me a bit of square dancing and farmer’s overalls, it’s an improvement. Even better is their crafty, clever logo which uses DIY objects as letters (their letter “m” is made of Popsicle sticks, btw!) But it’s well executed– not at all grandma-ish.

Then there’s Bazaar Bizarre which literally uses the tagline,“not your granny’s craft fair!” With a skull and cross bone scissors imprinted embroidery-style on their craft book, Bazaar Bizarre’s edgier look and clever use of “knitting” the two demographics together is quite refreshing.

But the biggest revolution in the world of do-it-yourselfers isRenegade Craft Fair (a name that makes me think of combat boots rather than sewing machines). The word “renegade” literally means “to break with establish customs.” And that’sexactly what’s been missing: some smart marketing folks to turn the world of Craft Fairs on its head with a fresh name, awesome graphics (just the right combo of handmade, kitch, fun, and quality typography), and fabulous vendors. Renegade Craft Fair takes place annually in Brooklyn, Chicago, Los Angeles, and San Francisco (the SF show is this weekend Dec 19th and 20th). They attract 150-200 of the top crafters in the nation and 10,000-15,000 attendees. Now that’s some serious COOL.

So get those Popsicle sticks out of your ears and get thee to a Holiday (bleepin’) Fair, asap!
(originally appeared in SF Examiner  12/18/09)

“Dealing with rejection” – if you’re a creative (graphic designer, writer, illustrator, photographer, etc.) you might as well add it to the “skills” section on your resume. As creatives, it’s part of our job description to take a risk and put our work and ideas out there to be judged by others. And, of course, there’s always someone out there who doesn’t like our work. But where there’s risk – there’s reward (a.k.a. how awesome it feels to nail a concept). So we learn (and teach) the art of giving and receiving constructive criticism to others…and develop a skin as thick as can be.

But what happens when the people judging our work, the creatives in positions of hiring power don’t understand “the constructive” part of constructive criticism and just criticize?

Ordinarily, I would highly prefer not to broadcast my rejections faced in the creative business. But I recently encountered a Creative Recruiter in a high position of power who was rude, condescending, unprofessional, and seriously lacked understanding of how to give constructive criticism. My hope in telling this story is not to fish for supportive jabs at the idiot Creative Recruiter (I know my strengths and weaknesses – thank you) but to bring light to the fact that behavior like this is unacceptable and potentially damaging to young creative professionals just entering the field.

A few months ago, I went out on a limb and contacted the Creative Director of one the most prominent advertising agencies in San Francisco. I was seeking freelance creative work (writing, concepting, etc.) and this firm, in particular, has been on my “top places to work” list since the beginning of my career in SF. To be honest, I wasn’t sure I’d even get a response but I figured I had nothing to lose (and everything to gain!) Thus, I was so excited when the amazingly talented Creative Director himself actually replied to my email. He was honest and said he thought I had talent, but I might not be a good fit for the agency at this point and he referred me to their Creative Recruiter who could offer a better perspective on how to “separate myself from the pack.” So I contacted the Creative Recruiter, but after a month of radio silence, I just assumed they weren’t interested in working with me. And frankly, with the personal email I received from the Creative Director whom I had deeply admired for some time, I was just as content to move on. Hey, that’s the way the creative biz goes.

Then I got the phone call.

After 5 weeks of zero communication, I naturally assumed the non-response by the agency meant they weren’t interested in working with me. And I was right. But just so I was totally clear on this point – the Creative Recruiter felt it necessary to let me know, in the most condescending way possible, that it wasn’t a good fit. He definitely did not offer advice on how to “separate myself from the pack” and he certainly did not provide constructive feedback. He threw in the word “cute” to describe my work (a snide insult in this business) and concluded the conversation with something like, “hope I didn’t dash your hopes of ever succeeding [in this industry].”

Was I upset? Hell, yes. Because of what he said about my work? No. I have solid confidence in my talent and have two successful creative businesses. But I was seriously disturbed and completely taken aback by his sheer rudeness. I can only imagine how many people with serious talent he’s hurt or discouraged along the way. And that is NOT acceptable. There’s never a place for condescension in any field.

In article after article I’ve written, I’ve been a champion and cheerleader of creatives everywhere. I’m contacted on a daily basis by newbie designers from across the nation seeking advice on their careers, feedback on their design or writing portfolios, or interests in interning (which I don’t offer at this time, btw). Time permitted, I do my best to respond and provide solid, constructive feedback to all who take the time to contact me. Why? Because I was in their shoes once (we were ALL in their shoes once) and support and encouragement go a long way.

So drop the ego Mr. Creative Recruiter. Yes, your agency has earned enough awards for its share of bragging rights. But you sir, need to get a clue. And yes, you’re right – it is certainly not a good fit.

Resources
Here are some good articles on giving and receiving constructive criticism:
http://blog.logodesignguru.com/constructive-criticism-and-your-graphic-designer/
http://theclosetentrepreneur.com/criticism-sucks-but-it-can-be-good-for-you
http://oli.boblet.net/2004/01/15/critique
http://www.smashingmagazine.com/2009/10/01/how-to-respond-effectively-to-design-criticism/
http://www.lifehack.org/articles/communication/how-to-handle-criticism.html

(originally appeared in SF Examiner  11/30/09)

If you missed Live From the Left Coast’s radio discussion on typography this past Friday, October 30th, you can still catch the lively, informative, and humorous discussion via their Podcast. Host Angie Coiro discusses typography and its impact on our daily lives with Tom Ingalls, founder of Ingalls Design and Professor of Graphic Design at the California College for the Arts, Dave and Holly Combs, of PEEL Magazine and creators of the movement to Ban Comic Sans, and myself, designer/writer Stephanie Orma of Orma Design and She’s SO Creative.

Would love to hear your comments and thoughts on the typography show.

You’re in a fabulous mood, the weather is gorgeous, the sun is shining but as you stroll down any U.S. city street not even the Prozac-free among us can avoid the depressing vision of vacant storefronts; a constant reminder of one of the ugliest economic times in our nation’s history. So what’s a city to do?

The San Francisco Art in Storefronts project (an effort by The San Francisco Arts Commission, in collaboration with the Mayor’s office of Economic and Workforce Development and Triple Base Gallery) will launch a unique initiative on October 23rd to revitalize local neighborhoods hardest hit by the economic downturn. At this inaugural event, San Francisco-based artists and designers will temporarily place original art installations into 10 vacant storefront windows transforming them into inspiring works of art.

Among the initial storefronts to be unveiled is a thought-provoking piece by the San Francisco design firm MINE™. In a darkened storefront a neon sign proclaiming, “Everything is OK” will hover above rows of canned “products” that promise instant “OK-ness.” According to Mine’s founder and creative director Christopher Simmons, “The installation is designed as a provocation through which passersby are challenged to explore their relationship to the status quo and the term ‘OK.’ Does ‘OK’ signify ‘good’ or merely mediocre? If everything is mediocre, is that what we’re being asked to accept?”

This installation could not be more appropriate as the world sits with bated breath wondering, “Is the economy improving? Is everything OK?” With innovative economic revitalization efforts like this one, I don’t know about you, but my little black Magic 8-Ball reads “outlook good.”  So let’s go shopping…window-shopping that is! And hey, more good news, it won’t cost a dime.

WHEN:
Friday, October 23, 2009, 5-7PM
Formal Remarks at 5:30, followed by an unveiling of the the window installations, live music, and an art walk with the artists.

WHERE:
Storefronts located along Market Street between 5th and 8th Streets.
Reception and remarks at 989 Market Street at 6th Street
(originally appeared in SF Examiner  9/23/09)

If you’re an entrepreneur (or ever had daydreams during death-by-boredom conference meetings of becoming one) you’re familiar with the process of trying to come up with “the big idea.” It ain’t easy, to say the least: researching, brainstorming, sleepless nights, feeling like your banging your head against a brick wall, headaches (from actually banging your head against a brick wall), more sleepless nights (from uncomfortable bandages wrapped around now bruised head). Then, finally, at 4:23am as you lay in bed ready to strangle the 1,099th sheep you’ve counted – the idea finally comes!

Understanding this crazy, difficult process, I’m ever more appreciative of creative, original, inspired new business and product ideas. Thus, the moment I heard about ARTCRANK, the bike-themed poster art show (coming to San Francisco on October 24 at 580 4th Street), I had to know – who the heck thought of such a brilliantly simple concept of combining bikes and art??

Now before you go banging your head against a wall (again) in a “why didn’t I think of that” frenzy, check out this insightful interview with the clever brains behind ARTCRANK, Director/Curator Charles Youel. And then go check out an art show like you have never experienced before. READ FULL ARTICLE: SF EXAMINER

Growing-up, I had a friend whose Mom took her to the zoo quite often. But rather than looking at the actual animals, the Mom was way more into the people watching. Just picture it: the little girl pulling on Mommy’s sleeve begging to see the zebras while Mommy whispers, “I’ll show you stripes. Take a gander at the woman behind you in that god-awful, skunky-striped outfit! What was she thinking!”

People watching can be a great source of amusement, especially when observing those with bad taste. It can also be a well-spring of inspiration.

For example, I was recently stuck in the airport during an unusually long flight delay. Rather than getting my panties in a bunch (like most of my fellow passengers…), I became enthralled with the people watching. For the entire three hours my buttocks was planted on those uncomfortable, orange terminal chairs, I had a blast doodling airport folks, creating caricatures, and thinking about them in whacky “what if” scenarios. From the stressed out guy on his cell phone to the young Carly Simon look-alike to the funny-looking dude slumped in his own uncomfortable orange chair, I came up with nearly a dozen new concepts for my clever card line, She’s SO Creative. Now that’s time well-spent in my book!

But more than just for “artsy types” people watching can be just as valuable for entrepreneurs, marketers, and business people alike. Seeking the next great product idea in the gazillion dollar pet industry? Just observe pet owners in any situation – they’re a tad, well…weird. But weird is good! (Flattery helps their egos). For starters, when it rains watch how the funny human-types hover their umbrella over little Fido so he doesn’t get wet, while they themselves get drenched from head-to-toe in the process. Now there’s got to be a better way – and BAM! You’ve got yourself the first-ever “Dog-Gone Rainy Day Umbrella Kit”. Sure it’s a kooky idea, but that train of unconventional thinking will no doubt lead to innovative ideas.

Thus, there’s more to people watching than just “the watching.” The real “art” is in the observing andthe thinking, brainstorming, etc. In essence, creativity is about looking and thinking about things from a fresh, new perspective. And what better way to turn the ordinary on its head than by observing human beings from an objective distance rather than our conventional mode of interaction. And by “conventional” I mean “talking to one another in person” (for all you emailing, text-messaging, Twittering, FaceBooking and/or socially awkward types).

So the next time you’re seeking creative inspiration or on the hunt for the next big idea, pull-up a seat on an old park bench. But instead of watching the pigeons bobble their tiny feather-heads, focus on us silly, bobble-headed humans. And let your imagination fly!
(originally appeared in SF Examiner  8/26/09)

I once read that the average salary of a graphic designer is nearly equivalent to that of a doorman in New York City. Based on the hourly wage of many of my peers, frankly, that’s not too far off. Sure, there’s a small percentage that fair better…and an even smaller percentage that fair great, but the overall data is certainly indicative of the fact that most companies still do not understand, appreciate, or value graphic design’s role in business. Even Landor Associates, the global strategic brand and consulting firm, understands the need to inform their audience on design and branding issues – which is exactly why I was so intrigued by Britt Dionne, Senior Marketing Communications Manager at Landor’s world headquarters in San Francisco.

Call it raising “brand awareness” or what have you; in plain English, Britt’s job is to communicate about design and branding for a living. Through innovative initiatives, print collateral, and article writings, Britt more than just educates current and potential clients about the firm’s visual, verbal, digital, and strategic capabilities. She’s seriously getting folks excited about the industry-at-large by engaging them in relevant, thought-provoking discussions on the intersection of design, branding, business, and society.

READ FULL ARTICLE: SF EXAMINER

If your house were on fire and you could only save a few items, what would they be? For me (assuming my husband, cat, and laptop were out of harms way) it would have to be my favorite collection of graphic design books. And what if by chance, you happen to come into a whole bunch of money? How would you spend it? For me, (assuming my husband, cat, and laptop were all in good health) it would have to be – more graphic design books, please!

For the newbie designer and seasoned professional alike, graphic design books offer a wealth of knowledge, fantastic inspiration, and oodles of amazing eye candy (not to mention awesome PR for the designer whose work is featured). In fact, I don’t know a single graphic designer who hasn’t at one point in their career fantasized about having their ownwork reproduced in one of those publications.

So how exactly does one go about getting into some of the best darn graphic design books on the market today, like the wildly successful Big Book of Logos series or The American Corporate Identityannuals? Nancy Heinonen, Publications Director of Crescent Hill Books (and the team responsible for producing those aforementioned titles and a ton more goodies) helps shed some light on the subject, and even offers some juicy tips on how to bring your own design book ideas to fruition. Read on! READ FULL ARTICLE: SF EXAMINER