Time to Design Ch. 9

Well we come to the end of this wonderful book, I have to say it was one of my favorites. What better way to end then to sum up what it is to be a designer (What makes a good designer?) There are some very important keys that define you as a good designer, first and the most obvious is talent. It’s like saying a painter can be successful even though he can’t paint, we all know that there are certain cases (don’t understand) out there where this is true. But lets face it you need talent in order to be a successful designer. Next Industriousness we all know is key to any career but as a designer you have to love what you do and have the determination to get better. Last always question yourself, this will keep you working harder and teach you to push yourself as a designer.

Don’t be affraid to borrow from the past, they say that there is no such thing as new design it’s been done before. Don’t be afraid of that because it is true. Of course we know that completely copying someones ideas is not the way to go but using a design for inspiration and making it your own is something that designers have been doing for a long time. Creating something new is feasable but remember you don’t have to beat yourself up about it if you get a little inspired by something you’ve already seen.

The book talks about the importance of a design brief, they come in all variations from just a picture with a sentence description of what the client wants to a full typed out detailed story about the reason why the client want what they want. Either way clients need to know the importance of creating a brief for you, sometimes it might just be a conversation you have with the client but having it in writing is way better then jotting down notes or trying to remember what you guys talked about. Of course a brief isn’t the only contact you will have with the client about the project at hand, a brief is a way for you to raise more questions, push it further if you will. Don’t be afraid to ask questions. Also briefs aren’t a set track that you have to follow, remember you are dealing with inexperienced client when it comes to design (for the most part). So don’t be afraid to change the brief but always be vocal with your client and sell the reason why you changed it.

My Reputation Ch. 8

Doesn’t everybody wish they could be famous in some way? Well is it worth it? What about in the design world?

In chapter 8, it talks about the confusion of being famous vs. having a reputation. I think that when it comes to business a lot of people confuse the two, well if you’re famous doesn’t that mean that your have a good reputation? Not necessarily having a good reputation or even one at all is more important to your company then being famous. Being famous in the design world could be the end for your studio in the future, if you weren’t built on a strong foundation to begin with the stardom won’t last long.

Getting noticed is still very important and it can be done without the corrupt fame that leads to the death of a studio. The most important thing in getting noticed is just doing great work, you will get noticed that way whether you like it or not. Other ways to get noticed would be to help new designers out, give talks at schools or at conferences and write about design, blogging is such a huge social network and it’s a good way to share your knowledge with the world.

To be successful in your studio it is important to design for your portfolio then to design for yourself, not that you shouldn’t ever design for yourself but when you do to keep it separate from the studios work. People want to see straightforward work when looking for a studio to hire. They don’t want to see this artsy over the top work that you might design for a competition. Also speaking of competition they can be very rewarding for you and for your studio but be aware that you are competing against the entry’s and not the best out there because they do cost money.

A designer is someone who needs to keep up with the times almost on a regular basis, with the trends changing constantly and the technology and software always updating. There are many ways to keep up with your fellow designers; visiting conferences, this is where designers go to hear about the latest in their world from other designers and to see the competition work. Attending lectures is very important, especially if the subject is knowledgeable. Also having a relationship with art colleges, this is a great way to get your name out to the up and coming designers of the future.

Good vs. Bad Ch. 7

No matter how hard you try you will always have those clients that you just can’t stand, obviously once you really make a name for yourself you can really pick and choose yours clients. But sometimes you just have to deal with them, in chapter 7 the author talks about the difference between a good client and a bad client. Sometimes what you would think of as a bad client might actually be better for you as a designer. Someone who has more of an opinion then you might like verses someone who approves everything and doesn’t even seem to care. Right off the bat you might find the client that approves everything to be easy and “the best type of client” but really these people don’t push you to do better work. A client that has an opinion is going to pull your best work out of you.

TREAT YOUR CLIENTS LIKE YOU TREAT YOUR FRIENDS!

This might not be entirely true, but really what it means is treat your clients they way you would want to treat your friends. But also remember that they are clients and to keep a safe but close distance to them so there’s never an opportunity for the client to use this to their advantage. This doesn’t mean that you might not become friends with some of your clients in the future, apparently this happens all the time. Clients still need to know that this is a business connection first and there are going to be disagreements as well. As a young designer I am starting to get some great Freelance opportunities, of course this is from word of mouth and friends and family. But I have definitely noticed that it is important to hold clients that are friends in the same light as you do strangers. If you start giving them deals then its to be expected.

Once you have a client hold on to them, that is probably one of the most important keys in a design career. Repeat clients are always going to be your best because the first job you do for them is always the hardest. You learn from the client the first time around, so any time after that there won’t be certain problems that might have come up the first time. Keep your clients informed with changes in the business, even if it is just a hired new talent because they might be interested in working with them.

Well we know that it has to happen sometime within your career of owning a studio. The hardest thing you have to do sometimes is letting a client go (well sometimes it might be the easiest thing you do). Obviously there are going to be clients that just push your buttons too much, you have to make a smart decision for your studio and for your other employees. It might be easy to let go of a client that is just horrendous but there are occasions when you need to let a good client go as well. If a client can’t pay their bills, get rid of them right away at least that way you won’t completely ruin the relationship if you waited and it got really ugly you might have to bring a lawyer in. If that happens and later down the road the client picks himself back up, you might not have the opportunity to work with them again.

Getting Business Ch. 6

In chapter 6 we learn how important it is to get your name out there. I think as design students in our last year we have already figured out the importance of word of mouth. There is so much work to be done in our field, it’s just how to find it. Word of mouth even in the professional world is one of the best ways. It’s almost like a domino effect, you do some work for a friend or friend of a friend and next thing you know you have people contacting you for more work. Even though we are in a field where networking is key, it is still important to do something about it. Don’t sit there and wait for business to come to you, it will but maybe not as steady or as long term as you would like. DO SOMETHING ABOUT IT!

Promoting your business will get you that next level of client that you are looking for. There’s nothing wrong with a little direct mailing to beef up the business, a lot of businesses do it why not you? Create a beautiful and simple mail out to grab the attention of a potential client, come on we’re designers we do this stuff all the time. Another effective way to get more clients is to hire a New-Business Person, someone that has great people skills and can go out there and find new work. For all of you Mad Men fans out there, find yourself a “Pete” to join the team. Finding new clients can be daunting but so rewarding, if you are looking for those clients that already have a great design sense be careful. These clients usually know good design and where it comes from, so they will most likely find you. Go for the clients that still need their hands held.

Employer/Employee Ch. 5

In chapter 5 he talks about the steps to creating a strong studio for yourself. Going through the procedures of hiring designers. One of the keys to employing a creative staff is to hire people that are more talented then you are. This would seem like a hard thing to do for most people, letting their emotions get in the way with what is really right for the company. He talks about how by doing this you free up yourself for more important things like running the business. You can depend on a designer that is more talented then you because you know that you don’t have to hold their hand through a design process.

Don’t forget about the grunt work that needs to be done as well, dealing with administrators, studio managers, receptionists, project managers, producers. These are all part of a studios non-design staff, they are just as important as the designers themselves. To run a successful studio the creator needs these employees to free them up to do other things. A lot of times, especially when you first start out, a designer will find that they are doing these jobs. Which is fine until you start noticing that it is taking up your time, the busier the studio gets the sooner to hire these important people. Also why not let someone who is more knowledgeable do these jobs then you?

Setting Up A Studio: Ch. 4

Ok so now it’s time to open your own design studio, your tired of working for some one else, you feel that it is time to make your own decisions, or maybe because you know you can do it better then your damn boss. But like the book says, find a partner. Don’t take on this huge life changing experience on your own. It’s easier to share problems with a like minded partner then take them on yourself.

This chapter was especially interesting to me due to the fact that I have been talking with my best friend about going into business together. She has a degree in Interior Architecture and also has a good eye for graphic design. I know that the book talks about keeping your personal life separate than your work but we have actually worked together in a similar environment for a good period of time. I find that we compliment each other very well and feel that our unique backgrounds could go hand in hand.

Work with your partner to come up with a legal partnership, that way you both are protected from each other if something happens and one decides to leave you by yourself. Don’t be afraid of the saying that artists make bad business people, in truth they usually make really good ones. But it is important to be aware of everything that you will need to do in order to run a business successfully. Split up specific duties within the business between the partners whether there are just two of you or five.

The surprise to starting your own studio is it really doesn’t cost a whole lot. You just need your computer, a printer, software, a place to work and some other essentials, but hopefully you will already have all that. Whether you need money or not a business plan is a key thing to prepare for yourself. Writing it all out will allow you to see what you need to survive. Banks, a lawyer, and advisors are important, check out the bank you already have and get some information from them.

There are four main things you need to do to get started:

1. Register your business with the relevant authorities

2. Register your company name and secure a URL

3. Set up relevant payroll and tax status

4. Issue employment contracts to staff

5. Create client contracts to protect intellectual property

To be FREElance: Ch. 3

Why Freelance? For some designers, with the economy it’s the only choice they have. For others freelancing is a choice. There are two types of freelance designers, the one who specializes in specific skills, is resourceful and can charge a hefty price. These designers might not work steadily at first but eventually over time will build a substantial clientele. The second type, the author describes as the “creative loner,” someone who can’t work in a team and wants complete freedom of their work.

Going back to chapter two, working in-house is usually a good idea at the beginning of your career, even if your dream is to freelance. This allows you to gain the business knowledge as well as the design.

GOOD DESIGN + GOOD ADMINISTRATION = GOOD FEES WELL-EARNED

Freelance if done right can be very rewarding, allowing your own hours, setting your own pricing and even having the option to work from home. But it is important to be more disciplined and organized because all of the work is on your shoulders even the paper work.

CLIENTS

Creative Reasons – Does this person do the sort of work I want?

Financial Reasons – Freelancers are cheaper than big studios.

Personal Reasons – Do I get along with this person?

These are the main three reasons a client will choose a freelancer over a large studio.

Hard work to get work: Ch.2

After four sometimes six years of hard schooling its time to get out there and find a job. Why? Because that’s what we’ve worked so hard for. There’s always a couple different options for a designer when looking for work, obviously one option might be harder to obtain then another due to your skills or background. First of all one important thing for a designer is to try and intern, I believe that doing this before you are done with school will give you a bigger chance at landing a job after school. Also most internships don’t pay so maybe it would be better for you to complete an internship during school (Financial Aid). It is important to understand the value of an internship, we as young designers get a chance to learn from more skilled and seasoned designers, We are allowed to ask questions and really get a chance to improve our abilities. It is important to show enthusiasm during an internship because it is a priviledge for you.

Another option is working in-house, this basically means working in a larger design firm. This is probably the best choice for a beginner due to personal and financial security. Working in-house usually means that you will not have to worry about your own taxes (being a beginner this can be very intimidating and overwhelming), your pay is set when you start, and you are most likely guaranteed work when you come to the office.

Usually the scariest part about exploring the work field for the first time is interviewing. Always know that interviews even if they are terrible or you didn’t get the job, are important. Every single one of them is a learning experience for the next. Try and attend as many as you can while you are looking for work, even if it’s a job you don’t really want. Approach design studios that you are interested in even if they are not hiring, they will remember you for the future.

Make sure you create a letterhead for yourself, this is one of the most basic types of design and a designer that is looking to hire won’t give your letter the time of day if you don’t have a letterhead. Make it simple and clean. Your letter should be short and to the point, employers don’t usually have time for reading a biography about someone. Always have samples of your work available, whether they are on a website or printed in a portfolio. One thing I’ve learned searching for jobs on Craigslist for example, is most design jobs will not even look at your resume if you do not provide work samples.

Another Graphic Design Book

Pathetic Lucky Charms Of The Hipster Doofus, Ryan McGinness

How to be a graphic designer, without losing your soul starts out with the author talking about his facination with design. Even though he has been in the business for a good 20 years he is too finding that freelance and contract is the way of the future. It is important no matter where you work in this field, if you ever go on your own to always appreciate what you learned. There are so many small details that you might learn in a firm that you could take with you when you start your own business.

Even though there are 532,000 designers employed in the US today, there is still BAD design out there. Why be a graphic designer in this day and age, well not only is it an inspiration to want to change the “bad” design we see but graphic design is so widely excepted now days. There is something so invigorating in competition and god knows that there is no lack of it in the design world.

It is important to know when reading this book that it will not tell you what type of designer to be, but it will give you the resources you need to accomplish a successful business on your own. It will answer those burning questions we all ask ourselves when going through a critique and so on.

One of the key factors in graphic design is communication. Whether you are trying to pitch an idea to a client or even the finished work. It is important to be able to communicate on all levels. We all know that we can’t stand next to our work every time it circulates to a new audience, so we need to be able to communicate the appropriet message in the design itself. Bad communication could be the death of a really good idea, know your client and how to communicate with them.

Monster Event

Release Your Inner Monster was an event put together by ART 470 students; Angie Thomason, Andrea Brock, and Liz Wolcott. Our goal was to give the PSU Graphic Design students a chance to draw what they would think was their inner monster and then set it free by attaching their drawing to a balloon and releasing it into the wild. The three of us came together as a team and put together promotional materials along with cookies and stickers to give to the students after they participated.

The monster event started off a little slow but all and all it was a great success. I think that the students really enjoyed drawing and releasing there monsters into the wild. We ended up with 24 monsters all together. Thanks to everyone for coming and participating!!

Everyone got a cookie and sticker after they released their monster into the wild, the cookies were great Andrea did a wonderful job on the packaging and thanks to Liz for creating the stickers.

Drawing away

Here’s some students releasing their monster into the wild!

Good bye silly monster float away