Chapter 5
Designing a Digital Portfolio, by Cynthia L. Baron
This chapter’s main concern is getting your worked organized. This is a key attribute in order save time and be efficient when making your portfolio. As she states, “organizing isn’t sexy,” but it will make your life easier when it comes to evaluating all the work you have done. Baron lays out some ground rules for collecting material. Before you even start working on piece, you should ask yourself is this something that might end up in your portfolio. You should keep copies of all your work, down to the last sketch. This way, you will be able to show your process if you decide to show off this piece. This is important because when employers are looking to hire you they don’t only want to know how you design, they want to know why and how you design that way you do. Backing up your files is not a new concept, but what you may want to consider is saving EVERYTHING. I am a freak like this, I save multiple working files of everything I have done, just in case I need it for anything. Later on I might find it useful to go back and touch up something I may have not noticed before.
If you have work that is off the computer, it is important to know how to store it. You don’t want your hard work to end up getting faded or bent. Ideally, you want it to be out of light and in a cool place with no weight on top of it. Some problems you might want to consider are how the inks might react to external materials. Some inks will fade in the sun or over a short period of time and others will react to the plastic sleeve you put them in. If you are concerned with whether or not your digital output is stable, you can perform a CMYK bar test. Print out an image with your usual method and cut it into thirds. Make sure all your pieces have the 4 colors. Then place one in a well-lit area, one in a box and one in complete dark. After a month or so look at all the slices side by side and see how well they hold up. This will help you gauge how stable your digital outputs really are.
It is important to remember to stay up on keeping your files catalogued and backed up. You never know when you will have to find a certain type of project to show a potential employer. Plus, it will save you the headache and searching aimlessly for something you know you have, which can be really annoying.
Thursday, May 1, 2008
What's at the bottom of us designers?
Chapter 9 : The Creative Process
How To Be a Graphic Designer Without Losing Your Soul, by Adrian Shaughnessy
One thing that I do almost subconsciously now is take notice in design. Every time I walk out the door I take notice in all the visual stimulus around me. This is not just, “oh, I like how that looks.” Actually, more often than not something will jump out at me if I think it is seriously flawed or poorly designed. The point I am trying to make it that since I have taken interest in computers and using them to create visual images, I hone in on minute details I see in the world around me. Adrian believes that this is at the beginning of the creative process. When we see things that inspired us, we want to emulate them. When we see things that bother us, we note it and stay away from them in the future. Whatever it is, we are constantly building our design intelligence. Most of the time we don’t even realize we are doing it.
In Adrian's last chapter, she bundles up a few characteristics that a designer should have. Besides talent, industriousness, dedication and a love of your craft is the driving force behind a good designer. Being compliant and submissive is not attributed to producing good work. Having the ability to question everything is only going to aid you in the business of design. Along with this, finding your design “voice,” which speaks to your personal taste and qualities. Having a vision of what good design is, confidence in that vision and lastly an awareness of fashion and cultural trends will allow this “voice” to shine through.
Adrian goes on to explain the three steps of creation, the brief, the research, and the process. The brief is a mandatory part of the creation process. This can be verbal or written. Most of the time you want it in writing, so there is something concrete to go by so the client can’t change what they said or meant later on. Not to say that you shouldn’t have meetings with your client and decide to change things or clear things up. If there is a verbal brief, it is a good idea to write it down to get you to start thinking about it. While doing this you should be looking for problems you may encounter about the meaning, audience, or pretty much any aspect of the brief, and bring these issues up with your client. Sometimes you are forced to disobey the brief when you feel you have the right answer, but there is much risk involved in doing this. I find it interesting that sometimes taking things into your own hands is the right choice to make. You know that you have to convince your client its right, cause you have directly violated what they asked from you. Sometimes it pays off, but others it could hurt you greatly. You don’t want to me known as the designer who doesn’t listen and screws everything up. On the other hand, if you know if you soul that it is going to inspire and hold emotional merit, you could end up with an extraordinary piece of work. It is a risk a designer has to take sometimes.
Adrian makes a good point about research, that is not new news but useful non-the-less. Knowledge is power. We research certain subjects to gain an understanding of them. The better the understanding the better the more awareness we have of its contents and surroundings. This way, we can have a better grasp on how are designs will be seen by the specific viewers, as well as a direction to head to get a certain message across to these individuals. Doing research can open doors to new ideas that may have never been thought about otherwise. It is not only important to figuring out the audience in which you are designing for, but it also important to know the content in which you are trying to present. Knowing the information and ideas you are trying to design for and seeing where they fit into the cultural scheme of things is what is going to allow you to create a resonate design. Along with research, looking at magazines and books to seek inspiration is also part of this process. Not as much to try and copy a favorite designer, but to get the mind working to spark ideas that will eventually lead you to the basis for the design.
The process in which we create has greatly changed over the years. It was once a very hands on field, but now everything can be done with a mouse and a monitor. One thing Adrian thinks we lose from being in a digital world is the ability to take a step back and evaluate our own work. I agree that this is a very crucial part to ensuring your designs are as good as they could be. If you are a designer you will know that things can look different from screen to screen, T.V. to projection, and computer to print. Technology has allowed us many ways to view our material, each with their own set a parameters. Computer screens can be calibrated, LCD versus plasma, LaserJet versus inkjet ECT. I think it is import that we take the time to see our content in other places besides where our desk resides. Even ask other people or fellow designers in your studio for a second opinion. This may prove useful to see if they catch something your eye doesn’t. Another positive aspect of having everything computerized is that fact that you can explore many variations of a project easily. As Adrian stated, before we had computers it may take weeks or months to create different variations by hand. The process has gained efficiency with the introduction to computers, and allowed us to expand our options.
How To Be a Graphic Designer Without Losing Your Soul, by Adrian Shaughnessy
One thing that I do almost subconsciously now is take notice in design. Every time I walk out the door I take notice in all the visual stimulus around me. This is not just, “oh, I like how that looks.” Actually, more often than not something will jump out at me if I think it is seriously flawed or poorly designed. The point I am trying to make it that since I have taken interest in computers and using them to create visual images, I hone in on minute details I see in the world around me. Adrian believes that this is at the beginning of the creative process. When we see things that inspired us, we want to emulate them. When we see things that bother us, we note it and stay away from them in the future. Whatever it is, we are constantly building our design intelligence. Most of the time we don’t even realize we are doing it.
In Adrian's last chapter, she bundles up a few characteristics that a designer should have. Besides talent, industriousness, dedication and a love of your craft is the driving force behind a good designer. Being compliant and submissive is not attributed to producing good work. Having the ability to question everything is only going to aid you in the business of design. Along with this, finding your design “voice,” which speaks to your personal taste and qualities. Having a vision of what good design is, confidence in that vision and lastly an awareness of fashion and cultural trends will allow this “voice” to shine through.
Adrian goes on to explain the three steps of creation, the brief, the research, and the process. The brief is a mandatory part of the creation process. This can be verbal or written. Most of the time you want it in writing, so there is something concrete to go by so the client can’t change what they said or meant later on. Not to say that you shouldn’t have meetings with your client and decide to change things or clear things up. If there is a verbal brief, it is a good idea to write it down to get you to start thinking about it. While doing this you should be looking for problems you may encounter about the meaning, audience, or pretty much any aspect of the brief, and bring these issues up with your client. Sometimes you are forced to disobey the brief when you feel you have the right answer, but there is much risk involved in doing this. I find it interesting that sometimes taking things into your own hands is the right choice to make. You know that you have to convince your client its right, cause you have directly violated what they asked from you. Sometimes it pays off, but others it could hurt you greatly. You don’t want to me known as the designer who doesn’t listen and screws everything up. On the other hand, if you know if you soul that it is going to inspire and hold emotional merit, you could end up with an extraordinary piece of work. It is a risk a designer has to take sometimes.
Adrian makes a good point about research, that is not new news but useful non-the-less. Knowledge is power. We research certain subjects to gain an understanding of them. The better the understanding the better the more awareness we have of its contents and surroundings. This way, we can have a better grasp on how are designs will be seen by the specific viewers, as well as a direction to head to get a certain message across to these individuals. Doing research can open doors to new ideas that may have never been thought about otherwise. It is not only important to figuring out the audience in which you are designing for, but it also important to know the content in which you are trying to present. Knowing the information and ideas you are trying to design for and seeing where they fit into the cultural scheme of things is what is going to allow you to create a resonate design. Along with research, looking at magazines and books to seek inspiration is also part of this process. Not as much to try and copy a favorite designer, but to get the mind working to spark ideas that will eventually lead you to the basis for the design.
The process in which we create has greatly changed over the years. It was once a very hands on field, but now everything can be done with a mouse and a monitor. One thing Adrian thinks we lose from being in a digital world is the ability to take a step back and evaluate our own work. I agree that this is a very crucial part to ensuring your designs are as good as they could be. If you are a designer you will know that things can look different from screen to screen, T.V. to projection, and computer to print. Technology has allowed us many ways to view our material, each with their own set a parameters. Computer screens can be calibrated, LCD versus plasma, LaserJet versus inkjet ECT. I think it is import that we take the time to see our content in other places besides where our desk resides. Even ask other people or fellow designers in your studio for a second opinion. This may prove useful to see if they catch something your eye doesn’t. Another positive aspect of having everything computerized is that fact that you can explore many variations of a project easily. As Adrian stated, before we had computers it may take weeks or months to create different variations by hand. The process has gained efficiency with the introduction to computers, and allowed us to expand our options.
Everything is in place. Time to get to business.
Chapter 7: Clients
How To Be a Graphic Designer Without Losing Your Soul, by Adrian Shaughnessy
I like how Adrian put the relationship between the client and the designer. “Like real marriage, there has to be an equal partnership if it is to last and produce any worthwhile offspring.” This means that neither the client nor the designer is in full control. Instead, a joint effort of communication that instills two types of ideas and visions into one process or creation. It is rare that a client would have no input along the design process. It is important that we remember that in order to create the most resonate, accurate work for a client that you must constantly be communicating with them, talking with them and working out fundamental differences in ideas to arrive at destination that both can feel comfortable with.
The example of the Neville Brody experience with the magazine The Face shows how important it is to not slander whom you are working for and instead persuade them to see it your way. Brody wanted to do some layouts for the magazine, so he approached the editor and inquired about the job. The editor didn’t tell him he could work on the spread for 9 months, which when given the opportunity Brody created great work and allowed him to design the magazine. He later became very well known for the work he did with The Face. This shows that Brody’s patience paid off with a chance to show the client what he could do, and then got the job through hard work. The relationship with the client doesn’t always have to be on the best terms, but if you find out what they want from you as a designer you have the basis for something to work towards. Think of it as a friendship. Sometimes your friends are right, sometimes they are wrong, but it is the fact that you respect the other that allows you to voice your opinion and move forward with being friends.
Adrian touches on three important aspects of dealing with clients. Keeping them, developing them, and, when the time serves right, getting rid of them. These are three things that are important in keeping a good flow of money coming in while engaging the client / designer relationship to become the best it can be. To keep a client you must have a firm foundation to work with. This includes adapting to each other’s work habits and arranging a beneficial financial agreement for both parties. You must be able to talk about problems openly and be able to work with your clients to resolve them. Once they get to know you and see that you are willing to go above and beyond to make things work, they will be more apt to return for another commission. The longer you work with a client, the most you have insight on how they operate, what their tendencies are, and what they are looking. To continue good business with a long-term client there needs to be an open line of communication between them. This is just sharing relevant information and letting them know if there are any changes in your studio skill set. This allows them to stay up to date and shows them that you are still interested with working with them. Beyond keeping clients, some clients aren’t worth having. There are several things you need to consider before dumping a client that doesn’t pay on time or is wasting your company’s time. You have to make sure all ends are tied. Make sure you have given them everything you told them you would, settle up money balances, and make sure it will be a clean break. Once you know that a client is detrimental to your company and there is nothing left between the two then it is time to get rid of them.
I find it interested to find out what the relationship tendencies are between designers and clients in the field.
There is a lot of give and take on the designer’s side. There is a lot of effort that not only goes into the work but to keeping a client. I never thought it was such a sensitive thing, but after reading this chapter it becomes clear that clients and designers are two types of people. Clients are not designers, or they would it the work on their own. There is a huge emphasis on being honest with the client, but not being rude about it. Showing the client their design process even if they have their own opinions about it. All these situations are dealt with delicately by being conscious and considerate of the client’s feelings and objectives.
Chapter 8: Self-promotion
Adrian starts out by reminding us that a reputation is what designers strive to create for themselves. Becoming famous continual work. Adrian states that the fame has changed its face since the older days, and that spotlight can actually have a negative effect the designer. Especially with all the media today, it is a lot easier to be noticed in some way or another. Where Adrian thinks this could be destructive is if you get this attention and don’t have enough to back it up. Once you are put in the spotlight people automatically expect more from you.
It is more constructive to receive this recognition over time where you produce the same quality of work consistently. Going back to Brody, he fell victim to too much fame. After a one-man show at London’s Victoria & Albert Museum and a best selling monograph, he went bankrupt. I find it intriguing that there is such a fine line between respect and admiration with being a celebrity. I can conceive that the two are very different, especially when you are talking about a design celebrity. One is the result of doing great work; the other is the result of antics.
In this chapter there is much repetition and emphasis on just doing work that works. When I say works I mean is attractive to a client because it is aesthetically and commercially pleasing. According to Adrian, clients are more apt to be impressed with a successful piece of work done to a brief than for personal reasons. If one thing is for certain, good works shows off itself. There is no arguing that the best way to self promote yourself is to do the best job you can and achieving a high quality level or product that emotionally or intellectually touches the viewer.
Adrian mentions a couple of other methods that could be used to get your name out there. One is entering design competitions. These have mixed opinions between designers. On one hand, you have to pay to enter a piece and if you win you aren’t necessarily “the best.” Other people see it as a promotional opportunity and more than that, a chance to get peer approval. This and winning a prize can greatly boost the confidence of a designer and motivate them to do more good work.
Attending conferences and lectures is another good way to discuss issues amongst fellow designers. Design press, publishers, and professional bodies come together to hear designers talk about their work. Even if you aren’t a designer being displayed at one of these, there is a lot to learn. You can ask questions and have conversations with other designers that give you answers that have been manifested by people working in the field.
Overall, the most important thing I learned from this chapter is not to craze being in the spot light. If you do things for the right reasons and produce good work, they will take care of themselves. It is regular to get moments in the spotlight, but don’t let it become the object of your designs. The main goal is to acquire a long lasting reputation for doing consistent good work.
How To Be a Graphic Designer Without Losing Your Soul, by Adrian Shaughnessy
I like how Adrian put the relationship between the client and the designer. “Like real marriage, there has to be an equal partnership if it is to last and produce any worthwhile offspring.” This means that neither the client nor the designer is in full control. Instead, a joint effort of communication that instills two types of ideas and visions into one process or creation. It is rare that a client would have no input along the design process. It is important that we remember that in order to create the most resonate, accurate work for a client that you must constantly be communicating with them, talking with them and working out fundamental differences in ideas to arrive at destination that both can feel comfortable with.
The example of the Neville Brody experience with the magazine The Face shows how important it is to not slander whom you are working for and instead persuade them to see it your way. Brody wanted to do some layouts for the magazine, so he approached the editor and inquired about the job. The editor didn’t tell him he could work on the spread for 9 months, which when given the opportunity Brody created great work and allowed him to design the magazine. He later became very well known for the work he did with The Face. This shows that Brody’s patience paid off with a chance to show the client what he could do, and then got the job through hard work. The relationship with the client doesn’t always have to be on the best terms, but if you find out what they want from you as a designer you have the basis for something to work towards. Think of it as a friendship. Sometimes your friends are right, sometimes they are wrong, but it is the fact that you respect the other that allows you to voice your opinion and move forward with being friends.
Adrian touches on three important aspects of dealing with clients. Keeping them, developing them, and, when the time serves right, getting rid of them. These are three things that are important in keeping a good flow of money coming in while engaging the client / designer relationship to become the best it can be. To keep a client you must have a firm foundation to work with. This includes adapting to each other’s work habits and arranging a beneficial financial agreement for both parties. You must be able to talk about problems openly and be able to work with your clients to resolve them. Once they get to know you and see that you are willing to go above and beyond to make things work, they will be more apt to return for another commission. The longer you work with a client, the most you have insight on how they operate, what their tendencies are, and what they are looking. To continue good business with a long-term client there needs to be an open line of communication between them. This is just sharing relevant information and letting them know if there are any changes in your studio skill set. This allows them to stay up to date and shows them that you are still interested with working with them. Beyond keeping clients, some clients aren’t worth having. There are several things you need to consider before dumping a client that doesn’t pay on time or is wasting your company’s time. You have to make sure all ends are tied. Make sure you have given them everything you told them you would, settle up money balances, and make sure it will be a clean break. Once you know that a client is detrimental to your company and there is nothing left between the two then it is time to get rid of them.
I find it interested to find out what the relationship tendencies are between designers and clients in the field.
There is a lot of give and take on the designer’s side. There is a lot of effort that not only goes into the work but to keeping a client. I never thought it was such a sensitive thing, but after reading this chapter it becomes clear that clients and designers are two types of people. Clients are not designers, or they would it the work on their own. There is a huge emphasis on being honest with the client, but not being rude about it. Showing the client their design process even if they have their own opinions about it. All these situations are dealt with delicately by being conscious and considerate of the client’s feelings and objectives. Chapter 8: Self-promotion
Adrian starts out by reminding us that a reputation is what designers strive to create for themselves. Becoming famous continual work. Adrian states that the fame has changed its face since the older days, and that spotlight can actually have a negative effect the designer. Especially with all the media today, it is a lot easier to be noticed in some way or another. Where Adrian thinks this could be destructive is if you get this attention and don’t have enough to back it up. Once you are put in the spotlight people automatically expect more from you.
It is more constructive to receive this recognition over time where you produce the same quality of work consistently. Going back to Brody, he fell victim to too much fame. After a one-man show at London’s Victoria & Albert Museum and a best selling monograph, he went bankrupt. I find it intriguing that there is such a fine line between respect and admiration with being a celebrity. I can conceive that the two are very different, especially when you are talking about a design celebrity. One is the result of doing great work; the other is the result of antics. In this chapter there is much repetition and emphasis on just doing work that works. When I say works I mean is attractive to a client because it is aesthetically and commercially pleasing. According to Adrian, clients are more apt to be impressed with a successful piece of work done to a brief than for personal reasons. If one thing is for certain, good works shows off itself. There is no arguing that the best way to self promote yourself is to do the best job you can and achieving a high quality level or product that emotionally or intellectually touches the viewer.
Adrian mentions a couple of other methods that could be used to get your name out there. One is entering design competitions. These have mixed opinions between designers. On one hand, you have to pay to enter a piece and if you win you aren’t necessarily “the best.” Other people see it as a promotional opportunity and more than that, a chance to get peer approval. This and winning a prize can greatly boost the confidence of a designer and motivate them to do more good work.
Attending conferences and lectures is another good way to discuss issues amongst fellow designers. Design press, publishers, and professional bodies come together to hear designers talk about their work. Even if you aren’t a designer being displayed at one of these, there is a lot to learn. You can ask questions and have conversations with other designers that give you answers that have been manifested by people working in the field.
Overall, the most important thing I learned from this chapter is not to craze being in the spot light. If you do things for the right reasons and produce good work, they will take care of themselves. It is regular to get moments in the spotlight, but don’t let it become the object of your designs. The main goal is to acquire a long lasting reputation for doing consistent good work.
What do we do from here?
Chapter 5: Running a studio
How To Be a Graphic Designer Without Losing Your Soul, by Adrian Shaughnessy
In this chapter, Adrian talks a lot about designers in general and employing designers in a studio. Designers in general are independent people. Even if you are working in a group with a very specific goal, it is still the creation of an individual. No one can write a computer program in which its main function is to “be creative.” This is important to keep in mind and consider while employing designers in your studio. You have to take into considerations that when people start to slander and pick apart a designer’s work they become easily discouraged and threatened. I know when we have critiques in class, my mind wonders to self-defense when a fellow students states the failures in my work. It seems only natural. Just like in any business, you want to treat your employees like they are the best employee’s ever. Constructive criticism in this environment is a lot less threatening if you believe overall that what you have been doing is good work. Knowing that it’s not an end all die all or job-threatening occurrence might help the designers to stay fresh and motivated instead of weary and unmotivated.
Adrian made a good point when she shared her most valuable piece of advice, employee people that are better than you. In design, there are many aspects in which a designer could be good at. Many people hone in on one and become a master at it, and are adequate in most other aspects. To put this advice into context, you must realize that no one is a master at everything. Some people might be exceptionally well at a lot of things, but there is always someone better. The mentality is if you hire people that are better than you in the areas your weak at, it will only aid in the quality production and growth of your studio. Complimenting skill sets seem to be a reoccurring theme when running a studio. And why wouldn’t it be? Why would you want designers that conflict and are good at the same thing? It seems sensible that we want to optimize performance by choosing compatible skills.
One thing that I didn’t suspect to be trouble is growing too large. My preconceived notion is that the bigger you are the better and the more money you would make and the better things would be. This is not necessarily the case with a design studio. When you think about it, it makes sense. When you are creating quality work and keeping clients happy, the word gets around and more and more job offers come in. If you have put together a quality team, this fact is inevitable. The hard part is, taking what you know already works and trying to expand it to meet the demands of new clients. This could be a tricky task to find more designers that will fit the rhyme and reason of your studio. Plus, if you decide to take on new fields, you have to start all from scratch with bringing in new types of designers. Through this trying to expand you have to think of how your studio flows and how all the pieces fit together. You also have to worry about getting a bigger place perhaps, which leads to higher rent and combined with the salaries of new designers, things could go bad if everything doesn’t fall into place. Another thing to think about is with more client demand, you are naturally given more freedom of choice in which type of work you want to do. With more offers, you can sift through the jobs your small team might have trouble with and focus the ones that cater to their skills. Overall, it seems like expansion is a double edge sword. The glamour of a big job, a big studio and lots of money are nice, but seem more difficult to achieve. The freedom and independence of a small studio are nice conditions to be working under but the money is not as ample.
Chapter 6: Winning new work
Adrian gets into the flow of incoming work and how you can keep you studio busy with new and exciting things to accomplish. When clients are deciding whether or not to hire a designer, there any a few things they will be considering. Besides the obvious negotiation of pay and efficiency, they more or less will be looking at you as a person. Adrian mentions that there is an element of subjectivity that a client will have when making a final decision on a designer. Since the creation of designs is solely an individual process, sometimes a client will choose to commission a project because they like the individual’s way of being. Adrian can contest to this with when one of her clients said, “anyway, what we have got now is good for the soul.” That is referring to the element of the individual to create something that can’t be evaluated with a checklist. People can look at something an individual created and recognize the personal and emotional factors that went into making it. That is an important thing to remember when trying to draw in new clients. You aren’t only selling your work; you are in part selling yourself.
I found it interesting to see what designers who aren’t apart of a large company might do to gather work opportunities. Large companies have the money and resources to maintain stellar web pages and to advertise. Since they are big firms, they get business attention from other places besides the design industry. This puts the small time design studios at a disadvantage. As Adrian states, the two ways to pick up new clients is by word of mouth or a random business encounters. She stresses that you have to make sure you follow every chance you get to make a new connection and get your name out there with people who otherwise wouldn’t know you. This is a very proactive process; you cannot lie around and wait for something to happen because it won’t. Some things Adrian mentions designers do when jobs are slim are: enter a piece of work in a contest to get added recognition that would add some flare to your portfolio, submit new work to the design press, produce a studio brochure to hand out, email newsletters to potential clients or calling potential clients and offer to show them some new work the studio has done. None of these things can get accomplished by hoping for a call back. I can see the importance of finding new ways to get some light on your studio so clients will want to learn more and maybe consider working with you.
Under the “new business person” header, Adrian talks about having a few people within the studio are dedicated to finding new clients. It seems like a reasonable position. Especially if you are a small studio and are busy with doing work all the time, I could see how employing some extra people that will be able to arrange and attend meetings beneficial to the studio. One position you might consider is someone who is good at research and a charming individual to go out and set up appointments with potential clients. As long with this, they could partake in other administrative tasks to lighten the load. The other kind of businessperson is the individual that can think on the spot and win clients by meeting with them face to face. This person needs to represent your studio ideals and be apart of the studio family. This could be a good one two combinations to get people in the door. If these people represent your studio well, they have potential to bring in a lot of business.
Adrian also brings up another good point. If everyone in your studio is a little business savvy and can present themselves well, than you want to consider having everyone try to bring in new business on their own. This to me makes sense as well to be a beneficial approach. It all depends on what kind of people you have working in your studio. If you decide not to employee people to attract new business, you have to realize that everyone has a role to uphold the best reputation for the company. Instead of sending one or two people out to make an impression on people, have everyone be aware of their actions and how that effects how people look at the company. In some ways, it might even be better to take this approach. This way there are more people going out and having positive encounters with more people. The fact that it is someone that doesn’t have the specific job title and that is intimately involved with the creation of the work can present the company in an enlightening manner may impress potential clients.
How To Be a Graphic Designer Without Losing Your Soul, by Adrian Shaughnessy
In this chapter, Adrian talks a lot about designers in general and employing designers in a studio. Designers in general are independent people. Even if you are working in a group with a very specific goal, it is still the creation of an individual. No one can write a computer program in which its main function is to “be creative.” This is important to keep in mind and consider while employing designers in your studio. You have to take into considerations that when people start to slander and pick apart a designer’s work they become easily discouraged and threatened. I know when we have critiques in class, my mind wonders to self-defense when a fellow students states the failures in my work. It seems only natural. Just like in any business, you want to treat your employees like they are the best employee’s ever. Constructive criticism in this environment is a lot less threatening if you believe overall that what you have been doing is good work. Knowing that it’s not an end all die all or job-threatening occurrence might help the designers to stay fresh and motivated instead of weary and unmotivated.
Adrian made a good point when she shared her most valuable piece of advice, employee people that are better than you. In design, there are many aspects in which a designer could be good at. Many people hone in on one and become a master at it, and are adequate in most other aspects. To put this advice into context, you must realize that no one is a master at everything. Some people might be exceptionally well at a lot of things, but there is always someone better. The mentality is if you hire people that are better than you in the areas your weak at, it will only aid in the quality production and growth of your studio. Complimenting skill sets seem to be a reoccurring theme when running a studio. And why wouldn’t it be? Why would you want designers that conflict and are good at the same thing? It seems sensible that we want to optimize performance by choosing compatible skills.
One thing that I didn’t suspect to be trouble is growing too large. My preconceived notion is that the bigger you are the better and the more money you would make and the better things would be. This is not necessarily the case with a design studio. When you think about it, it makes sense. When you are creating quality work and keeping clients happy, the word gets around and more and more job offers come in. If you have put together a quality team, this fact is inevitable. The hard part is, taking what you know already works and trying to expand it to meet the demands of new clients. This could be a tricky task to find more designers that will fit the rhyme and reason of your studio. Plus, if you decide to take on new fields, you have to start all from scratch with bringing in new types of designers. Through this trying to expand you have to think of how your studio flows and how all the pieces fit together. You also have to worry about getting a bigger place perhaps, which leads to higher rent and combined with the salaries of new designers, things could go bad if everything doesn’t fall into place. Another thing to think about is with more client demand, you are naturally given more freedom of choice in which type of work you want to do. With more offers, you can sift through the jobs your small team might have trouble with and focus the ones that cater to their skills. Overall, it seems like expansion is a double edge sword. The glamour of a big job, a big studio and lots of money are nice, but seem more difficult to achieve. The freedom and independence of a small studio are nice conditions to be working under but the money is not as ample.
Chapter 6: Winning new work
Adrian gets into the flow of incoming work and how you can keep you studio busy with new and exciting things to accomplish. When clients are deciding whether or not to hire a designer, there any a few things they will be considering. Besides the obvious negotiation of pay and efficiency, they more or less will be looking at you as a person. Adrian mentions that there is an element of subjectivity that a client will have when making a final decision on a designer. Since the creation of designs is solely an individual process, sometimes a client will choose to commission a project because they like the individual’s way of being. Adrian can contest to this with when one of her clients said, “anyway, what we have got now is good for the soul.” That is referring to the element of the individual to create something that can’t be evaluated with a checklist. People can look at something an individual created and recognize the personal and emotional factors that went into making it. That is an important thing to remember when trying to draw in new clients. You aren’t only selling your work; you are in part selling yourself.
I found it interesting to see what designers who aren’t apart of a large company might do to gather work opportunities. Large companies have the money and resources to maintain stellar web pages and to advertise. Since they are big firms, they get business attention from other places besides the design industry. This puts the small time design studios at a disadvantage. As Adrian states, the two ways to pick up new clients is by word of mouth or a random business encounters. She stresses that you have to make sure you follow every chance you get to make a new connection and get your name out there with people who otherwise wouldn’t know you. This is a very proactive process; you cannot lie around and wait for something to happen because it won’t. Some things Adrian mentions designers do when jobs are slim are: enter a piece of work in a contest to get added recognition that would add some flare to your portfolio, submit new work to the design press, produce a studio brochure to hand out, email newsletters to potential clients or calling potential clients and offer to show them some new work the studio has done. None of these things can get accomplished by hoping for a call back. I can see the importance of finding new ways to get some light on your studio so clients will want to learn more and maybe consider working with you.
Under the “new business person” header, Adrian talks about having a few people within the studio are dedicated to finding new clients. It seems like a reasonable position. Especially if you are a small studio and are busy with doing work all the time, I could see how employing some extra people that will be able to arrange and attend meetings beneficial to the studio. One position you might consider is someone who is good at research and a charming individual to go out and set up appointments with potential clients. As long with this, they could partake in other administrative tasks to lighten the load. The other kind of businessperson is the individual that can think on the spot and win clients by meeting with them face to face. This person needs to represent your studio ideals and be apart of the studio family. This could be a good one two combinations to get people in the door. If these people represent your studio well, they have potential to bring in a lot of business.
Adrian also brings up another good point. If everyone in your studio is a little business savvy and can present themselves well, than you want to consider having everyone try to bring in new business on their own. This to me makes sense as well to be a beneficial approach. It all depends on what kind of people you have working in your studio. If you decide not to employee people to attract new business, you have to realize that everyone has a role to uphold the best reputation for the company. Instead of sending one or two people out to make an impression on people, have everyone be aware of their actions and how that effects how people look at the company. In some ways, it might even be better to take this approach. This way there are more people going out and having positive encounters with more people. The fact that it is someone that doesn’t have the specific job title and that is intimately involved with the creation of the work can present the company in an enlightening manner may impress potential clients.
To freelance or not to freelance? That is the question.
Chapter 3: Being Freelance
How To Be a Graphic Designer Without Losing Your Soul, by Adrian Shaughnessy
This chapter of How to be a Graphic Designer Without Losing Your Soul is about what it takes to be a freelance designer. I found it interesting her insight on what type of designers would find this lifestyle suitable. The first one is a designer with a very specific skill set. The second is a designer who must make sure himself that every last detail is perfect. As of this point in my life, I have not gotten very specific with what I would like to do. I have not had an opportunity where one specific skill is required more than another and gotten a chance to extensively work on one aspect of my design skill set. Although, I can see the luxury in being able to know what your tackling day in and day out like the back of your hand and not take time to research or learn new techniques on a regular basis. Along with this, the notion of knowing everything you have done has been on your own watch can give a sense of comfort and accomplishment when working for a client. Not having to worry about fixing other people’s mistakes and explaining last minute changes could be an advantage but you have to remember that you are fully responsible for the work that is put out. Personally, I like being able to call upon friends and fellow designers for critiques and opinions about my work. Even if I don’t agree with them all the time, it gives that out of the box response that might point out vital characteristics that I may have missed along the way. Although this is not necessary and doesn’t affect my workflow when designing, it gives me more confidence that my work is as complete as it can be.
Think about it, who wants to work for someone else when you can be your own boss? The advantages are great. To most of us, being able to work from home, not have to commute, make up our own hours, and decide what jobs are taken sounds like an ideal set of guidelines to live by. If it was only as easy as that. There are many things required to getting a successful freelance career off the ground. Getting the right circle of clients is important to making this lifestyle work. Living at home without leaving, not coming in contact with other creative minds, and struggling to find another job could drive some designers crazy.
If I were to take on a freelance career I would most likely rent out studio time. Not so much for the get-a-way from the house or the equipment, but to be around other designers. That is a good way to still get feedback from others while still having full control over your work. This is appealing because no one is telling me how to do anything, but instead giving me critiques from design savvy minds. I would also enjoy the satisfaction of getting work on my own merit instead of being recognized by the agency I was with. Being able to distinguish myself as a designer and be own for my own style would give pride to my work and make me strive to be the best I could be. Don’t get me wrong, being part of a big agency has plenty of pride in it, but it is not fully based on your own actions.
As I had mentioned before, I have had a lot of experience with meeting and greeting people in my previous job. Half of my job was being personable. I have had many experiences where I can attest that being personable makes the client extremely happy. If the people who you are serving like you than everything runs 100 times smoother. There is no unneeded stress and work becomes overall a pleasant experience instead of a negative one. According to this chapter, the client / service relationship applies for the design world as well. Coming from a tourist community where families make their lively hood off friendly service, I feel confident that I would be prepared to handle this aspect of freelance design. Overall, I would consider a freelance career. The only gripe I have about the whole situation is the lack of communication with other creative people, but there are ways to stay in touch and get around that. I feel like this type of lifestyle is compatible with the current attributes I have gained over the years.
Chapter 4: Setting up a studio
This chapter Adrian goes into the nitty gritty of starting your own studio. There are a variety of reasons why a person would want to set up their own studio. Many of which stem from working in the industry under someone else’s watch. Starting a studio is a good way to redefine your direction in the field after being with the same company for a number of years. This is something in which you would need a partner or partner(s) to share the workload with. Being able to share responsibilities catering to each individual’s strength will allow smooth production and operation as well as happy clients. Emotional chemistry, written agreements, complimentary talents and shared visions are all good characteristics for a sound partnership.
It is noted in this chapter that you don’t need a partner. I think Adrian was right when she said that has potential to be lonely. You spend long hours alone, making critical decisions about all aspects of a company, and you have no one to share it with or ask an opinion of. I know from personal experience with our family business John’s Fish Market (pic) that a combination of the wrong partners and working alone can lead to major issues and stress in a persons life. Not to say that it can’t be a functioning, profitable business, but how much unneeded complications can arise from a lack of partner or wrong partner choice.
Even though vast amounts of money aren’t needed to get into the design industry, some initial costs are mandatory. A business plan (how to make a biz plan site) will be a good way to let you know what you expectations are going to be about getting your company off the ground. It will be helpful with getting a loan if need be or just what you potentially have to do to stay afloat. Being able to report your incomes and expenditures and combine them with your expectations to react to the outcome is a pivotal part in making business decisions.
Next step is to find a place to be based out of. Most of the time this can be a room in your home, but eventually you will need your own space. Once you have asked around and figured out exactly how much space you will need to rent. Next you will have to choose a name that will be adequate for the nature of your company. As we all know, designing for ourselves is the hardest thing to do let alone get right. Finding an identity for the studio is very important because it sends a direct message to everyone. If there are holes in how people perceive your identity then they see holes in your thinking. An identity is going to be the unspoken description of your company. You want to be able to show people who you are through your designs, because as a designer that is what the creative process is all about, communicating ideas, concepts and feelings with designs. After you have figured out who you are, you have to decide how you are. Being able to organize a mode of operations for all aspects of your studio will keep things on the up and up.
Overall, this seems like something that happens down the line. Unless you have a partner in mind right out of school or your hometown, it seems like something that isn’t to be forced. It is one of those things where people meet at a crossroad in their life and find what they were looking for at the same time. This is a little bit different from freelance, but has a lot of the same responsibilities and benefits. You have a few people to answer to, you have creative feedback and direction, you share all the responsibilities you would have to do by yourself as a freelance, and you are apart of a team. It has been mentioned the level of satisfaction it is being to call your self a part of a team. As I mentioned earlier, that is something to be very proud of. Instead of being proud of what you did, you are proud of what your company did, which makes a level of equality within the company that allows everyone to work and feel good about it. I would definitely consider starting my own design company but only if the time was right. If there is an opportunity I would most certainly be willing to give it a shot to set up my own studio.
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