If you are what you say you are

Often I wonder where creativity comes from. Are you born creative? Do you acquire it through experience? Is it a result of too much Nickelodeon? Adrian Shaughnessy writes "...the creative process beings with the decision to become a designer" (Page 135). I tend to disagree with Shaughnessy but I do see his point. Since my decision to declare myself an Interactive Digital Design major the world has appeared different. Wherever I am I see inspiration. Trash on the ground inspires me. The arrangement of miscellaneous items on my desk inspires me. Sears catalogs inspire me.

One of the most exciting aspects of graphic design is that there is room for everyone. There is not one specific thing about a person that will make them an effective graphic designer. Though talent is necessary, it comes in many shapes and forms. Graphic design is fair game for anyone. I kind of look at it as a potluck dinner. Everyone is bringing something different. But it is the combination of all of the dishes that makes the meal go off without a hitch. If everyone was bringing the same meal to the graphic design potluck it would be like boiled lettuce, bland and boring.

Despite the face there is room for everyone in graphic design; Shaughnessy believes designers need "industriousness, dedication and a love of your craft..." (Page 135). He goes on to say that if you don't have all three then you should pursue another career (which is what I'm doing). In my case I lack the love for the craft. I have an appreciation for design but I don't love designing. Another quality you need as a graphic designer is to be questioning. Everything that gets put in front of you should be questioned.

If you are compliant and submissive then you will not produce great work. It is the questioning that leads to excellent design. As a designer you need to find your voice. A crucial element of this knows what you think is good and what you think is of real worth. You need to believe in something. With this will come an inner confidence that allows you to trust your creative instincts (Page 136). The final element that helps a designer develop a voice is knowledge of fashion, cultural trends and history (Page 136). Designers need to be the know because the world is constantly changing and subsequently so is design.

Once you've joined the graphic design potluck and begin to work you'll (hopefully) receive briefs. "And the first duty of a graphic designer is to understand the brief" (Page 137). Designers need to put those questioning skills to use and start questioning, researching and challenging the brief. This is done in order to figure out what exactly the client is looking for. Briefs might not always been written and complete but that is okay. As designers you can rewrite the brief or ask more questions of the client.

The brief contains a crucial element to understanding the client and creating sucessful work. This element is the "McGuffin" (Page 138). In order to clear the term McGuffin up it is a reference to a dramatic device used by Alfred Hitchcock to capture the attention of the audience (Page 138). Shaughnessy defines the "McGuffin" as what "unlocks the essential nature of the task" (Page 138). Without the McGuffin it is going to be extremely difficult to create meaningful work. It is the designer’s job to locate the McGuffin. It isn't always going to be laid out directly in the brief, sometimes it takes some digging which is where your questioning skills once again come in handy.

Disobeying a brief is allowed. Sometimes as a designer you need to follow your gut. If you feel that something should be included then include it. Of course, be willing and ready to explain to the client why you opted for that direction versus what was outlined in the brief. There needs to be a reason and it needs to be objective (Page 142). You never know your client could fall in love with what he thought he didn't want! Remember this "...when a work of design is right, no matter how challenging and off-brief it may appear, it will win acceptance" (Page 141) If the client could design themselves than they would. Trust your instincts.

Researching design has become a much easier process today. The major reason for this is the Internet. "The Internet puts a Niagara Falls of data at our fingertips" (Page 142). The more we know the better we'll perform as designers. As was stated before designers are constantly being influenced. When I come across a blog like this I'm inspired. When I go a Google Image search of king crabs I'm inspired. The Internet is allowing for knowledge to be transmitted which more quickly. It is making the lives of designers easier but at the same time more hectic. The transmission of information can be so quick that as designer we are not expected to have 30 mock logos in seven hours. This isn't a bad thing, it just goes to show you that Internet has influence the research of design as well as the process.

One of the primary guiding principles in design is "fallibilism." Fallibilism is "continually correcting itself" and "admitting its own mistakes" (Page 145). It is not about living in the past but being influenced by it. As a designer we should start fresh every time. When we begin a project is should be based off a template of preexisting document. It should be something new that was not considered before. This practice is what keeps design interesting and relevant. If we only did what has been done then there would be nothing exciting about design.

How do you know if your work is good or not? There are three questions that you must ask when judging if your work is good or not:

1.) Is the client happy? If a client is not happy then you have failed as a graphic designer.
2.) Is the job profitable? This is not just financial. Keep in mind money and exposure based off of the work.
3.) Is the project newsworthy? Make sure that this work will attract other work.

What I found to be most relevant to me about the final chapter of "How to be a graphic designer without losing your soul" was the position Shaughnessy took on "fear." "Our ability to overcome fear is perhaps the greatest skill we can acquire" (Page 147). There is fear in all elements of graphic design. Fear in regards to clients, failure and ideas are what inhibit great design work. Overcoming this fear is what will make you a great designer. "Most of us deal with fear by falling back on the family and safe" (Page 147). Designers need to challenge this. Don't play it safe.

In anything it needs to be remembered that if we're going to avoid losing our souls (who we are) then we need to overcome fear (Page 147). Losing sight of who you are based on fear shouldn't happen. It is the job of the individual to defeat the fear and maintain their integrity. This is applicable to everything we do as people.

Me, Myself and Clients

There would be no need for graphic designers if clients did not exist. No client you deal with will be the same. Some clients are easy to work with while others are difficult. Positives and negatives exist to having both extremes of clients. “It feels like cheating to have a client who approves all your ideas and never questions what you are doing” (Page 104). When clients don’t challenge a designer they aren’t forced to work beyond their original work. The push or dissatisfaction of a client can inspire award winning designer. Additionally, a fine line exists where clients can become overbearing. Adrian Shaughnessy shares “…I’ve encountered my share of arrogant know-it-alls who don’t want to listen to any advice whatsoever, and who want to control the designer process from start to finish” (Page 104). Though a difficult client can help you push through a spectacular design, an overly difficult client can cripple the design process. As a designer you were hired to do your job, which is to design. If the difficult client was able to do this themselves then they would have. It is important to remember that the client needs you as much as you need the client.

Treating your clients like you treat your friends is crucial to success. This is not to say that you need to make your clients your friends but they needed to be treated as you would someone you respect. It is acceptable to have clients that are friends. At the same time you need to make sure there is a detachment. Your work as a designer for a friend should not effect your friendship with that person. Once you know your clients you will be better able to predict what they need and want. Each client is going to be different. “Designers have to be hyper-attentive to the individual needs of clients” (Page 105). Make sure that you know the needs of your client. Figure out what they want from you and from the design. Never assume anything when working with a client.

It is important to challenge clients. “Clients need to be challenged when they are wrong, and by not challenging them we are doing them a professional disservice” (Page 105). If you are an established designer this is absolutely necessary. Your career should never be compromised because you didn’t speak up when a client was wrong. You need to know how to tell a client they are wrong. Don’t immediately dismiss them. Make sure you explain your perspective and how they’re idea might not be a viable option. Also, you could agree to give their idea a shot but explain to them how the idea might not be the best execution. The client designer relationship should be one of equality. Both the designer and client should feel comfortable offering suggestions and alternative strategies.

Relevant to challenging clients is to not tell clients what to think about your work. “We know what we’d like our clients to think about our work. But we must resist the temptation to tell them what to think, or how they should be responding to our work” (Page 107). Never tell a client that they should think about your work! They are a free-thinking individual and let them exercise that. How would you like a client to tell you how to design? Allow clients to decide how they feel. Give them time if they need time. In all cases of design it isn’t merely being judged from your perspective. It is the audience and clients perspective that matters.

Personality is very important when discussing clients and the relationships designers have with clients. “Designers tend to be either heroes or doormats. If you are a doormat, then I’m afraid you will, on occasion, be stepped on” (Page 107). However, if you are a hero you will not be walked over. The reason for this is that you will have the interests of your clients at mind. If you are a designer not of hero status it can be acquired. It will take some work but it is doable.

Working for clients multiple times is great for business. But don’t let this client be the only one you work for. Make sure that you’re allowing your studio or self to explore other options for work. Once you begin to work with a client multiple times you will begin to get a sense of what they are looking for and the work should become easier. To get to this point you most develop a relationship with the client. Allow them to see that you value their work contribution. Some suggestions include inviting a client to a dinner in-house to show them around the studio. Giving a tour of the studio and introducing them to employees will give the client a better of sense of all that work that goes into your design work.

In “How to be a graphic designer, without losing your soul” Adrian Shaughnessy writes of one great law in all design presentations. The law is “…tell your audience what you are going to show them and then show it to them” (Page 111). Obviously, no designer wants to disappoint clients. Tell them what you’re showing them and follow through! By explaining what you are about to show, showing it and then being quiet you are allowing the clients to absorb everything you’ve showed them. This should aide you as a designer looking to get work.

When your reputation of a designer grows the same happens to your fame. “There is even a theory, currently gaining widespread credence in design circles, that predicts that if you have too much fame it boils over and scalds your feet” (Page 121). The more fame you have as a designer the more it can hurt you. This might seem slightly ridiculous but in some senses it is true. Many people strive to work with people up and comers, hoping that both the designer and company can advance. However, if the designer is already famous can you truly increase your notoriety through design. As a designer you need to stay focused and humble.

Adrian Shaughnessy writes about this topic, “The lesson is simple: we must not confuse admiration and respect with fame or celebrity. A number of groups have sought to acquire fame and celebrity by hyping themselves and behaving more like boy bands than design groups” (Page 121). As stated before staying humble is extremely important. If a design firm’s head gets too big there might not be any room for it eventually. This will cause it to implode and all the fame and success will be for nothing. The reason for this is because your reputation will speak for itself. Don’t lose sight of who you are as a designer. Once that happens it is all over.

Self-promotion can get designers work. One way to go about self-promotion is to do work not simply for your bank balance. Work should constantly be happening as a designer. In between jobs or in your free time you should do work for your portfolio that didn’t earn you a check. This shows a commitment to your craft. This work for self will not always impress clients. Clients are typically looking for work done based off of a brief but work for yourself can be rewarding and inspiring.

Competition is a big part of a design. As a designer you’re competing with other designers for work. There are also opportunities for designers to take part in self-promotion by entering design competition. Opinions on design competitions are 50/50. Some don’t see the value of design competitions because winning a design award doesn’t mean that you are “the best” (Page 125). Other designers see the value in design competitions and enter as many as they can. The reason for entering is that they win it is a great promotional item. This success can be and should be exploited. Winning a design competition can put you on the map.

In any career professional organization can be excellent networking tools. When you join a professional organization you enter into a pool of contacts. Professional organizations offer support, advice and education for designers (Page 125). These tools offered by professional organizations are extremely important as designers grow. Also, membership in an organization allows you the opportunity to see socialize with other designers and stay up to date on the latest happenings in the design world. What goes hand and hand with this is attending conferences. Attending conferences allows designers to network with others and present the work you’ve completed to colleagues.

Design is a dual world. It is about you and about the client. Neither should ever be compromised. You need to use self-promotion to advance. At the same time you need to hold true to clients while not losing sight of who you are as a designer.

The Ultimate Individual

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.

Free Free Freelancing

The world of graphic design is competitive. According to the US Department of Labor stated that more than one-third of the 500,000 graphic designers are “self employed” (Page 48). One of the reasons why graphic designers tend to work freelance is because of the employment opportunities that are available. There are many creative people in the world of graphic design who are applying for the same jobs you are. This means that there are only a limited number of jobs that are available in studios. Because of the limited spaces in studios many designers have no choice but to work freelance.

There are two ways to approach design. “Design is either a solitary or a communal activity depending on your aesthetic view and psychological make-up” (Page 48). Within the Interactive Digital Design program I feel as though students are encouraged to work in solitary. During the course of my four years in the program I have worked twice in a group. It was a complete culture shock. This is not because I’ve never worked in a group before but because as a designer I’ve relied on myself. However, it is important to be able to work with others. By working with others you are able to get other perspectives on work. Also by working in a group there could be “…creative chain reaction set in motion by the collaborative process” (Page 48). When you’re in a group just brainstorming things have the potential to explode. When you’re working alone you can easily hit a wall. But in a group you can always rely on your fellow designers to pick up your idea and run with it.

Though I will not be working full time as a graphic designer, I became inspired while reading. Because my decision to enroll in Higher Education graduate program I felt as though my degree would not mean much. But this is not the case. I realize now that I can work freelance and still use my creativity and design experience. This excites me because I will be able to work in two fields that I have a passion for. On the other hand, I feel as though I’ll be missing out on studio experience. Studios can be looked at as communities. It is suggested that as a young graphic designer you give studio work a shot. “It allows you to sample studio life, gives you an insight into how different studios function and provides you with a pool of contacts that you can call on again and again” (Page 49). By working in a studio you are able to hone you’re craft. You’re able to ask other more experienced designers for help and advice. More than likely you won’t need to use the help feature because someone in the studio should have some knowledge on software use. When you’re studio time is over you can set out to work freelance. This is when your studio experience will come in handy as you are able to use your contacts and network in order to get started.

What appeals to me most about working freelance is the flexibility. “Perhaps the single most important aspect of being self-employed is that you retain flexibility…” (Page 49). I want to be able to this work when I want too. That is why working freelance appeals to me. There isn’t as much urgency to the work because I’m deciding what work to do, I am not being told what to do. One of the problems with freelance is will power to do the work. This will not be a problem because I am motivated by pressure. “On your own, you have to be more disciplined, not less” (Page 51). The one aspect of freelance that I’ve always wondered about is how to price projects. It is important to know you’re getting paid for the work you do. I won’t be able to make money as a freelance designer unless I have something that makes me stand apart. I need to have an factor X. There needs to be something that sets me apart from the crowd. Without a factor X you won’t get hired.

Because of my plans after Quinnipiac don’t involve fulltime work in graphic design, work in a studio does not appeal to me but I can understand why it is important. Studio work gives you freedom but a different kind of freedom than freelance work. At a studio certain people are allocated certain responsibilities. One person is involved with working directly with clients while another deals with staff relations. This can allow the people within the studio to work on what they’re interested in. It could even be divided up in terms of print, web and animation. Through this people will be able to work in their strongest suite instead of something they might not be comfortable with. Also, there could be osmosis at work in a studio environment. Someone who was working in animation might work next to a print designer. By observing the designer they might be able to develop an interest in working with print. Also, they might be inspired by the print designers work and somehow incorporate it into their own work.

Some of the aspects of setting up a studio are also helpful for me to know as I pursue freelance work after graduation. The five steps that are detailed in the process of starting up are also relevant to working freelance. The step that I find particularly important is registering a company name and securing a URL. If you’re not on the web you don’t exist as a designer. The Internet has become the go to place for everything and this includes researching graphic designers. When you’re work is not on the web it is much harder for you to get your name out there. Word of mouth will be what you rely on and it isn’t always the most reliable means as finding work.

Another important step is choosing a name. A name can be fluid in graphic design. “In years to come you might change the nature of your business so you don’t want to be saddled with a name that is inappropriate” (Page 67). If you’re name is getting you attention for the wrong reason it might be important to change it. You want a name that will appeal to a wide variety of people and not pigeon hole you. The evolution of a name is best illustrated through this comparison “Like a new pair of shoes, a new name feels stiff and conspicuous to start with, but just as you soon ‘grow into’ new shoes and they become part of your skin, so too with names” (Page 67). As your studio or company goes it might become necessary for the name to change in order to accommodate your growth as well as to create a new appeal.

In working in freelance or within a studio a portfolio’s importance is undeniable. This is something I’ve really learned through reading both How to be a graphic designer without losing your soul and Designing a Digital Portfolio. That is why it is important to make sure your portfolio makes a kind of “personal statement” (Page 30). You want it show you what you can do and what type of work you are looking for. Also, it is not solely the work in the portfolio that perspective employers are paying attention to, it is also the portfolio itself. In terms of how much work a portfolio should contain there is no ideal number. Yang Kim wrote “I recommend under 20. If you get too many pieces, it’s hard to remember anything significant” (Page 31). You want to stand out as a designer but by having too many works it is almost impossible for one piece to really pop out in the mind of a potential client if they’ve been looking at work all day.

Finally, it is important to know what companies are looking for when they’re commissioning work. As much as clients will be interviewing them you are interviewing them too. Walking into a meeting having an idea of what the company is all about and what they’re looking for will put you at an automatic advantage when it comes to the interview. Also, research will allow you to adjust your portfolio to the needs of the clients. Being knowledgeable about a company will never hurt you as you pursue them as an employer.