O' What a Creative Blog!

I recently helped kick-off a new monthly online series for HOW Magazine which highlights an outstanding design firm or freelance design business creating amazing work. In my article, I profile the stellar Seattle-based graphic design studio, Turnstyle. We discuss their philosophy, work and brazen use of the S-word: the S-word, of course, referring to “style.” Geez, what’d you think we were going to say??

Read the article: HOW Design – Designer Spotlight: Turnstyle

image courtesy HOW Magazine

Look in the mirror and say hello to the nightmare of all clients—Yourself. Why is it so hard for graphic designers to design for ourselves? In my latest article for HOW Magazine, I offer tips for taming the fire-breathing client within yourself while working on your brand’s website and other promotional materials. Read the full article HERE.

I’m so excited to announce that I am now a contributing Arts Writer for SF Station, one of the leading entertainment guide websites in the Bay Area. My first article is, of course, on design -San Francisco Design Week 2010! Check out my article on this must-see Bay Area event HERE.

Image Courtesy AIGA SF

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!)

“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.

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)

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