27th Annual Tiburon Wine Festival in May 2010 Marin Magazine

Located in one of the most picturesque waterfront communities in the world, The Tiburon Wine Festival is San Francisco’s premier outdoor wine event. Boasting breathtaking views, world class wines (vintages from over 60 premium wineries) savory food from over 20 restaurants and vendors, a giant silent auction, and live entertainment – this event is not to be missed!

To quote Billy Joel, “A bottle of red, a bottle of white. I’ll meet you anytime you want….” Hope to meet you at the The 27th Annual Tiburon Wine Festival next Saturday, May 15th.

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)

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)

NATIONAL GEOGRAPHIC that is.

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)

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)

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)

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

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

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