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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)

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)

Because of the PR buzz Orma Design created for the Tiburon Chamber of Commerce’s 2009 “A Storybook Holiday Festival,” (as seen in: 7×7 SF,Bay Area on the Cheap, NBC Bay Area, InsideBayArea.com, Marin Magazine, SF Gate,SF City Dish, The Squid List, Fun Cheap SF, SF Station, Marin Mommies, Pacific Sun, MoreMarin,San Jose Mercury News, and more!) it has caught national attention – NATIONAL GEOGRAPHIC that is.


Interested in capturing the colour and life of San Francisco Bay Area’s holiday festivities, a smallAustralian Film Crew from National Geographic is tentatively set to record highlights from tonight’s celebration: classic holiday caroling by Oakland’sYoung Performers International Chorus, christmas tree lighting, costumed characters strolling along magical Main Street, yummy gingerbread house making, tasty treats and more!

As typical of most small town holiday celebrations, past PR for Tiburon’s local events included banner’s placed around town and mentions in the local newspaper, the Tiburon Ark.Although, hesitant at first to spend the marketing dollars on PR in an economy struggling to gain momentum, the Chamber is definitely seeing the benefits.

With breathtaking views of the city skyline, Golden Gate Bridge, San Francisco Bay, and Angel Island, Tiburon CA is by far one the most under-rated, must-see small town’s in the Bay Area.  So come join in the festivites this evening from 5:30pm to a “twinkling hour” and experience the town’s eclectic shops and tasty restaurants (who will be offering budget-worthy discounts, btw!)

OR make a weekend trip of it! This Saturday the Belvedere-Tiburon Landmarks Society’s will be holding it’s annual Holiday Crafts Fair on Dec 5th from 10am-4pm at The Cottage at the Art and Garden Center, 841 Tiburon Blvd., Tiburon, CA 94920. The Holiday Crafts Fair will feature fabulous indie goodies from Bay Area artisans. You don’t want to miss this!
(originally appeared in SF Examiner  12/04/09)

There are numerous articles on the web that talk about the pros and cons of hiring a large graphic design firm vs. a freelance graphic designer. But what about the difference between hiring a small design firm (more than 1 person) vs. a freelancer? As long as both have high-quality portfolios, it’s virtually the same. So why then, are there such huge discrepancies between what freelance designers are charging vs. small design firms?

I recently asked a partner in a small design firm what she charged for a recent design project: for the website, around $25,000; for the logo, around $20,000. I have been charging my clients roughly 10 times less for the exact same scope of work (and frankly, much better quality too).Unfortunately, I’m not alone. Many of my freelance design peers are in the exact same boat: undercharging and feeling undervalued.

Here’s what makes sense: the small design firm has to pay overhead, rental space, and salary for more than just one person. The freelance designer working from home has less overhead. Here’s what doesn’t make sense: if the quality of work and scope of work are the same (i.e. you’re working JUST as hard), shouldn’t we as freelancers be charging nearly the same amount if the end products are the same? The answer: hell yes.

So the question is, why the heck aren’t we? Here are the top ten reasons why freelance graphic designers are charging too little:

1. My clients just aren’t willing to pay that much.
2. My rates need to be really competitive because there are just too many designers willing to do the same work for less.
3. I’m afraid to ask for too much and risk losing current or potential clients.
4. I don’t know how to justify the higher rates to my clients.
5. I don’t know where to find the clients that are willing to pay more.
6. The economy is tight and I’ll take what I can get right now.
7. I’m charging less on this project because I’m hoping the end results will bring lots of referrals.
8. I lack the confidence or self-esteem to ask for higher rates.
9. I don’t want to offer prices I couldn’t afford to pay myself.
10. I feel intimidated competing against a design firm (even if they are small) for a client’s work.

Do any of these rationales sound familiar to you? You’re not alone. But this should (hopefully) make you feel better: do a quick Google search for small design firms in your area. Open up their website portfolios and compare them side by side on the screen with yours. Is your work better, the same, or worse? If it’s the same or better than that should pretty much knock off all the doubt/confidence concerns from the list (if it’s worse…sorry, but your lower rates may very well be justified at this time). For where to find those higher paying clients, see my previous article, How to get graphic design and copywriting clients: Drop the mouse and step away from the computer.

And finally, make a deal with yourself: if your clients aren’t paying what you want, then stop accepting the small jobs! Push the fear, lack of confidence or whatever it is into the garbage disposal and start charging what your time, energy, expertise, and creativity are rightfully worth.(originally appeared in SF Examiner  10/12/09)

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

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

When I recently contacted over 16 freelance graphic designers and more than 10 graphic design firms for an article I was writing/researching for a major design publication, the response was seriously underwhelming to say the least. With a fantastic opportunity to gain nationwide exposure for their creative work and boost their business (in this economy no less), why would smart, talented designers choose to ignore priceless PR practically handed to them on a silver platter?

I’m not about to go into a whole spiel on the value of PR. For that, you can read Brett Turner’s insightful article on PRWeek, “Why PR Matters in a Down Economy.” But to address how important PR is specifically to a graphic designer’s career, I will say this: in a highly oversaturated field where even the most talented of folks are a dime a dozen, standing out from the crowd is pretty darn crucial whether you’re a freelancer, employee, or firm. When an unbiased columnist from a major design publication writes a rave review of your creative work, that’s credibility and exposure you simply can’t buy.

For reference, just look at how PR helped the careers of Chip Kidd, Stefan Sagmeister, Paula Scher, and any number of graphic designers you can name off-hand. By being featured in magazines, books, annuals, etc. not only is the design community exposed to their work, but so to are the plethora of businesses that hire them. Yes, the aforementioned designers are incredibly talented. But who’s to say you’re not in their league too? The problem is, if no one knows about your work it makes it that much harder to sell your skills. Unfortunately, talent alone won’t always help us win jobs – we have to be great designers and marketers (of ourselves).

So as a champion of creative folks everywhere and in a valiant effort to prevent designers from ever passing over great publicity again, I have provided a short Graphic Designers’ FAQ Guide to Public Relations (for what to do once you’ve been contacted by that dream publication):

Q: What if I’m uncomfortable with the subject matter I’m being interviewed about such as, “how to get clients?” I don’t want thousands of folks to read the “secrets” of how I go about gaining new business.

A: In one of my previous articles, “How to Get Graphic Design and Copywriting Clients: Drop the Mouse and Step Away from the Computer” this exact situation occurred. A few prominent design firms declined the interview because they felt uncomfortable revealing proprietary information that they felt might harm their business. But as creative folks in a creative industry, you are by the very nature of your job description – creative. So rather than turning away priceless PR, apply those creative juices to your responses and spin the information to best feature you/your firm. Talk about an incredibly clever direct mailer you sent out and include images so your design work has a chance to be featured, as well. Mention your blog as a means to gaining new clients and provide the url to drive readers to the site or name drop the awards you’ve won and how that’s helped you gain new business. The point is, with a little effort and creative thinking no subject matter has to be off-limits.

Q: What if I don’t have much to contribute on the subject matter the interviewer is inquiring about? I haven’t really been in that situation before and don’t think I have anything of value to add.

A: Drop the humbleness. Leave it right next to the mouse. And don’t even think of picking it up. Every designer is an individual and thus, has a unique perspective on being a graphic designer. This fact alone makes your thoughts/responses on any design question valid and valuable. So don’t sell yourself short and close the PR opportunity door prematurely. Thinking creatively is what you do for a living! So shift into brainstorming mode, position yourself as an expert, and put in the effort to provide some great, creative responses. The worst-case scenario is the interviewer decides not to use your answers, and the best case is awesome exposure for you! In other words, you literally have nothing to lose by trying.

“That’s all well and great,” you might be thinking, “but while other lucky bastards turned down a great opportunity, how do I get contacted/featured for a design article?” For starters, why not contact me (Stephanie Orma) or the editor of your favorite design publication with an article idea featuring you/your firm (hint: your chances of exposure increase greatly by making it more than just a “here’s my work, please feature me” email).

Bottom line – In the ever-expanding creative industry, if you can learn to apply your already highly developed creative thinking skills from the visual arena to the marketing of brand “you,” then you’ll do more than just survive – you’ll thrive. And who knows, you might just be added to the short list of graphic designers we all know by name.
(originally appeared in SF Examiner  6/28/09)

It’s that time of year again – call for entries. Try as we might to escape it, reminders are everywhere: in our mailbox, our e-mail, advertised on our favorite design sites. And all the big players are pushing hard for our attention: Communication Arts, HOW Magazine, and CMYK, to name just a few. Frankly, I personally found the lure too enticing too resist. Last week, I caved in and shelled out nearly $200 on design competition entrance fees. I was even contemplating entering another, when I was suddenly stricken with a bad case of “graphic designer’s entrance fee remorse.” $200 is a lot of money – especially if you don’t win. So with the economy still on shaky ground and clients few and far between, one has to ask: are design competitions the best place to spend our precious marketing dollars?

You have to admit, the idea of your work featured in one of the best design annuals in the country – if not the world, is pretty darn alluring. These are the same books and magazines that were “required reading” when we first entered graphic design school. The ones we spent hours upon hours pouring through (and for that matter, still do), in awe of the incredible talent gracing the pages. And now is the very real chance that our work could appear side by side with the best in the industry. Sounds pretty darn exciting to me!

Sure there are some designers out there who say they don’t care about winning awards or having their work featured in annuals. These are probably the same designers who’ve received tons of accolades in the past…the handful of “famous” designers we all know by name. But as a newbie to design competitions, I’ll be the first to admit that receiving recognition for all your sweat and tears sounds nothing short of being paid the highest industry compliment. Not to mention, priceless PR.

On the other hand, placing too much importance on competitions can be dangerous. If you think about it, winning boils down to a very small jury of people saying they like your work. Congratulations. You are now worthy. And if you seriously need validation from other people to tell you your work is good, well than, therapy might just be the best place for those marketing dollars.

Of course, there’s the most common design competition scenario, “I entered, but I lost.” If your work fails to make the cut, yes, you’re in the hole a good chunk of money. But you also took a chance and invested in yourself. And that definitely counts for something. After all, if you never put yourself in a position for good things to happen, they never will.

I’ll never forget when I was 17 years old and had the opportunity to enter a statewide flute playing competition. I’d been seriously playing the flute since I was about 12. But for whatever reason (nerves, shyness, fear of failure, etc.) I never went through with the competition. Who knows what would have happened…maybe nothing, maybe something great. The point is, I’ll never know. And life is just too short to be filled with a series of regrets for what might have been.

So are design competitions worth their hefty entrance fees? To quote the legendary Clint Eastwood, “…you’ve got to ask yourself one question: Do I feel lucky? Well, do ya, punk?” Me? I’m a gambling girl. I’ve entered my best work and all I can do now is hope I’ve got a winning hand. Come on graphic design jackpot!
(originally appeared in SF Examiner  5/14/09)