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.