O' What a Creative Blog!

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)

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)

Most folks are familiar with the old proverb, “Those who can, do. Those who can’t, teach.” Well, Leslie Becker (designer, writer, scholar, professor, and recipient of the AIGA SF 2009 Fellow Award) is one giant exception to that rule. This extraordinary California College of the Arts (CCA) design educator has accomplished more in her lifetime, than most people dream of achieving in their entire lives.

Her professional bio is available online.

But if you’re craving to go beyond just the surface, (as Leslie has throughout her remarkable career), then follow interviewer/designer Stephanie Orma as she digs deeper, goes beneath the surface and discovers what it takes to follow your dreams. With a career built on talent, determination, hard work, and driving curiosity, Leslie Becker shares her personal thoughts, experiences, and reflections on her life in design, thus far.

Orma: With such a successful career working on projects ranging from graphic design, interior design, custom furniture, writing and teaching to completing a second degree and a Ph.D., plus running a marathon (at the age of 50 to boot!) what achievement are you most proud of? And why?

Leslie: Although I needed to complete a marathon because “it was there,” I couldn’t imagine going to my grave without having done one. I know this makes no sense, but I come from a competitive family. I might say that having finished my Ph.D. is what I am most proud of, but this is probably because it is the most recent achievement and definitely was a kind of boot camp that lasted for 5.5 years! I am also delighted to receive communications from former students who thank me years after having been in my class for something I imparted to them. Personally, I am most proud of my two sons because I find them to be good people. They have been living their lives according to values that I respect. (I realize that this is immensely self-congratulatory.)

Orma: In terms of your career and all the eclectic projects you’ve worked on over the years, can you pinpoint one or two that really stand out as favorites?

Leslie: I really enjoyed a lighting project that I did many years ago. It was extremely experimental and, though I wasn’t conscious of it at the time, was actually based upon the form of a military parafoil kite. Years later, I realized that I had just finished a kite catalog when I began the lighting project. This particular client would look at a rough sketch and enthusiastically encourage me to have it made. I would then go back to the office and deal with the space between fantastical idea and fabrication.

Another significant project was the Wooden Synagogue project. It was a series of print pieces designed to raise funds to rebuild a replica in Berkeley of a wooden synagogue that had been destroyed by the Nazis. Even the discussions around my choice of Fraktur [typeface] were really emotional. To read the complete interview, as well as interviews with Doug Akagi and Michael Cronan (equally exceptional 2009 Fellow Award recipients) visit AIGA SF