One of the most exciting aspects of design is that it is comes completely from the minds of individuals. Though much of design is computerized, what is conceptualized and constructed is the product of creativity, care and thought. “In design, unlike so many other areas of contemporary life, the individual is still at the center of everything” (Page 74). Everything about a design comes back to the person who has cultivated it. As a designer we are powerful. We hold all of the cards (at least initially). We might be told to design something in a certain fashion, however it is our interpretation that will be presented.
Even if you work at a studio, you are still the center of the design. Studios come in many different shapes and sizes. Some are big and some are small. Some employee studios may employ many designers. Others might only employee a few. In opening a studio or any business for that matter it is important to remember growth. “As al the business books point out, companies only have two gears, forward and reverse, and standing still is the same as going backwards” (Page 74). Essentially, a company should always be moving forward. This doesn’t necessarily mean hiring more people. It means that the studio has the aim “to frequently enrich” the creative gene pool that is a studio (Page 74). Hiring designers who are better than you are can keep your studio in forward motion. By doing this you are able to concentrate on other things that you are better at.
Another aspect of studio growth is the departure of employees. Good employees will leave; it is a fact of the field. Because talented employees will move on, it is crucial to continue to search for fresh talent even when you’re fully staffed. “If you lose a key member of the team there is always someone else to replace them” (Page 76). There are approximately 500,000 graphic designers in the United States alone. Of course, there is going to be others out there as talented if not more talented than the designer you’re losing.
In any profession it is unbelievably important to be good to your employees. Pay them as much as you can but also be willing to stand up for them. “If a client is being unreasonable, and if the designer has done everything within his or her powers to ensure a satisfactory outcome, then you must back the designers and sack the client” (Page 76). This shows the designers that you are committed to them and believe in there work. There is nothing more important than feeling valued in any work environment. This type of approach will keep designers with you longer as well as make your studio an appealing place to work for. Also, as a result of standing up for designers they will come into work with “renewed energy and commitment” (Page 76). They’re going to be ready to return the favor with excellent work.
When in the process of searching for fresh talent there are three things that you need to keep in mind. The first is talent. If you’re going to hire someone they should process the skills necessary to complete the job and then some. They should have a creative mind and be ready to exercise it when applicable and possible. The second thing to look for is suitability. The potential employee needs to be able to work at your studio. Are they going to fit in? Does their current work fit with what your studio is producing or wants to produce? Consider that before you hire a person. Just because they make killer motion graphics does not mean they’ll work well in print. Skills don’t always translate. Thirdly, you need to look for the potential in a designer. Your studio is growing but it should also offer the opportunity for your employees to grow as well. Do you see a potentially influential designer in front of you? Ask yourself before you decide yes or no on a candidate. Let’s say you check yes to talent, suitability and potential, do you make an offer right then and there? NO! Your intuition is going to guide you in making the right decision. Remember just because its yeses across the board does not mean it is going to be right for the studio. You’ll get better at this as your studio grows.
Put all newly hired designers on a probationary period. This period should last around three months (Page 79). These three months will be used to monitor the performance of the designer. It is not a punishment, merely insurance. If you were wrong about the fit then you can opt out. If the designer isn’t enjoying studio life, he or she can also opt out. This probationary period presents the designer with the opportunity to prove themselves. It will help them grow and your studio grow as well.
Whenever possible give designers individual credit. This makes your employees feel valued and also gives them the chance to be contacted by other studios. That might seem ridiculous but remember losing great designers is part of the game. If they have done excellent work this your opportunity to award them. This can increase the reputation of your studio. What studio wouldn’t want the next great designer to have spent time working there? The lose of a designer can put your studio on the map and lead to an influx of portfolios and resumes of more up and comers at your doorstep.
The demand for graphic design continues to grow. Everyone is need of a graphic designer for one reason or another. This isn’t very surprising because almost everywhere we look there is some kind of graphic designer. Whether this is a billboard along the highway or a menu in a restaurant, it is all graphic design at work.
There are two ways that work in design can be found. The first is word of mouth. Word of mouth entails others talking about your work and those people listening becoming interested. This is a powerful tool. The next way to get work is through random encounters in the business and social nexus. Talking at a party about your work or handing out a business card at a conference can all help in getting you work. “Clients are everywhere, often where you least expect them to be” (Page 92). You never know who you’re talking to or where an opportunity is going to come from.
Pitches are a critical part of getting work. It is your chance to present your work to clients. These pitches can break you into a new field and get you a job. It is vital that you spent hours putting this presentation together. Everything must be perfect or you’re not getting the job.
As far as soliciting work it is important to be personal. When you write a letter, make sure you write the address on the envelope by hand (Page 93). Potential employers are more likely to pull your envelope out of a pile because they rarely receive letters with hand written address. Of course, if you have bad hand writing make sure you find someone who can write legibly. You want the prospective employer to be opening the letter for the right reason, not to figure out who hasn’t worked on their fine motor skills.
Portfolios are important but have been discussed before. As a designer or studio you need to do something to stand out. There needs to be some kind of promotional item that will get you noticed and jog the memory of potential employers who have sat through one too many pitches. “Make your promotional activities distinctive and daring; force your personality into whatever you do” (Page 97). This is going to get you noticed and set you above the rest of the pack. Promotional items can pull you ahead and in a world saturated with designers exactly what you need to stand out from the rest.
Designers are individuals by nature. Never let that be compromised in the world of graphic design. Stand up for your work and do your own thing because ultimately you design for yourself.
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