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)

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 thought this was all a brilliant idea until I received the rather harsh reply from one prospective employer. She thought my reaching out to her (one or two emails per month) was “too much, too often, from someone I don’t know well enough to be interested.” Ouch! I was completely taken aback by the response. This is someone whom I had met with in person, had established a good rapport with (or at least thought I had), and seemed to truly respect my design work. I was completely humiliated and confused.

Absolutely convinced every other person on my “prospective freelance employer” email list must feel the exact same way, I dejectedly took a break and checked Twitter. No sooner did a new Tweet pop up with a brand spanking new Twitter follower. But this was not just any follower. This was the creative director himself from one of my top dream job places to work. And he was following me! He had received my email as well, and commented, “Nice article, Stephanie. Great information for a newbie Tweetard like myself.” It was the biggest compliment I could have received. In a matter of five minutes, I went from feeling like I’d been run over by a semi-trailer truck to bursting into a joyous rendition of the “Sound of Music.”

But back to reality, I was left to a state of complete and utter confusion. What is a decent, acceptable number of emails to send per month, per year, etc. where you stay fresh in employers’ minds but not so much that you really start to bug them? How often should freelance graphic designers remind prospective employers they are available for freelance work? What are the rules here?

I think the rules are, you make your own rules. Sure you shouldn’t hound employers incessantly with constant emails. But you use your best judgment and you never ever let one person’s negativity stop you from going after what you want.

(originally appeared in SF Examiner  4/09/09)