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Quote of the Week:

A List Apart waves red flags on your potential client

In "Getting to No", Greg Hoy (of Happy Cog) outlines five items worth thinking about when considering a new client relationship. Even with all my years behind the wheel of my own design practice, it was nice to see these pitfalls elucidated so clearly. As the spouse of a project manager who is on the client side of a client-designer relationship, I see the value in this article for potential clients as well.

For more on The Vanishing Boss, The Prospect With Ants In Their Pants, and more, check out Hoy's article over at A List Apart.

image of the Dada Crypt via Ed_45 on Flickr.

Labels: advice, b2b, b2c, work

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10.05.2009

Soft vs. Hard in the Entertainment/Design mega-complex

My old school chum Jason Apollo Voss has some interesting things to say on the value of good design and art in business today over on his blog.

a snippet:

It used to be that good art and good design were the exclusive purview of the wealthy. Now good design is everywhere and accessible by everyone. Look at the packaging on products, look at the shape of the toilet, look at the lamp options at Target, etc. The public loves what they love. And that comes courtesy of an artist. In short, art is everywhere.

Check it out.

Labels: art, b2b, b2c, craftsmanship, design

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3.04.2009

How designers charge

I've been asked by a number of new clients and friends how graphic designers charge for their services. Here's how I do it:

I prefer to charge on a per-project basis, estimating a fee that accurately reflects the value that the client will get out of both the intellectual property I create, and the physical/virtual expressions of that property. For example, if asked to create a direct mail brochure for a nonprofit client's annual giving campaign, the intellectual property includes:

• the research and investigation into their audience, marketplace (competition), and goals,


• the concept of the piece, including marketing direction and consultation,


• copywriting and visual hooks or elements unique to the piece, which integrate their branding and overall marketing strategy,

There's more, but those are the basics.

The expressions, of course, would be:

• the graphic design based on the approved concept,


• revisions to the design based on feedback from the client, focus groups, stakeholders, etc (although most of this feedback should be handled in the conceptual phase, it sometimes leaks over into the design phase),


• production of the approved design layout for printing, coding for e-mail or web, etc.


• overseeing fulfillment with vendors (printers, web hosts, programmers, etc.)

Partially, there is an hourly rate component embedded in here. As any small business owner knows, you have a certain hourly wage your workers (including yourself) must generate in order to make the business profitable. $x per hour for y man-hours a year minus expenses (including salaries, taxes, etc.) roughly equals your profitability. So you can't not have an hourly rate as some portion of the equation, at least from a pragmatic standpoint. Hourly rates are also an important part of out-of-scope work elements (say, you decide to add a micro-website on top of the previously-negotiated brochure project). Those rates can serve the practical function of covering your firm's time, while also acting as a bit of a warning to clients to try and get all the work covered in the original project, so as to avoid extra charges.

The hourly rate isn't the only factor in a project's cost, of course, because we are talking about the value that the finished work has to the client. If a client is only using this piece for a one-year campaign, it's not as valuable as something they will use over and over (like, say, a brand identity). Therefore, it will cost less than a more long-lived product, even if the work takes the same amount of time and effort to produce. Many of the books on the subject show a percentage calculation for this sort of value (or other values, such as turning over all the source files, or re-using a design that was only licensed for one-time use). The value is really the important thing to stress, both for designers and their clients, because it frames the product of a designer's work in the right way. Like architects, lawyers, scientists, and other professionals who generate intellectual property which is then applied in the "real world" around us, the value in a designer's output isn't in the mechanics of creation; it lies instead in the application of creative and analytical thinking to a particular problem, which results in a practical solution.

So with this overarching concept of charging based on value, it's important to note exactly what the client gets, in-hand, at the end of the process. Contrary to what most people assume, it's not the actual product of all that work; rather, it's the right to use that intellectual property in a certain way. It's a license.

That license may be limited by time or quantity, or geography (one year, 5,000 brochures, only in North America); or it may be completely unlimited. In the design world, it's usually an exclusive license, as a designer is making something that's "purpose-built"--made for a very specific application such as a capital campaign, or fundraiser, or season ticket brochure. A programmer may specify the license is non-exclusive, since more than one person may be using, say, their video game.

By specifying the scope of a license, the value can accurately be assessed, and the client doesn't pay more than the worth of the designer's work for the use the client needs. Why buy the bridge, when you just want to walk over it once?

This aspect--licensing--can flummox even business professionals who otherwise comprehend much more complex concepts. Many people assume that design work is more like carpentry: they ask you to build it, and take possession of it. This is a concept known as "work for hire", and many others (illustrators, photographers, graphic designers) have detailed why it's a bad idea, so I won't go into it here. Suffice to say that work for hire practices ultimately stifle creativity and can generate unwelcome issues for both the creator and the party commissioning the work. Both leading professional graphic arts organizations, the Graphic Artists' Guild explicitly opposes work for hire, and the AIGA also seems to concur (albeit without the vitriol or explicitness of the GAG).

So who sets prices? Ultimately, the market does. There's a reason multinational corporations pay millions of dollars for a brand identity: it's worth it. Likewise, there's a reason local businesses pay a certain amount for a new website: it's worth it. The great thing for businesses is they aren't forced to pay a certain amount for a service. Someone shopping the design market for, say, a website, will find a range of fees offered from different firms for the same thing. They would also see a range of capabilities, creative outlooks, and strategies for production and implementation from these firms. But there will be a range, and that range is determined by what those firms have independently determined a given project, with certain specifications, is worth to that type of client at that time. While there are guidelines (based on surveys made nationwide), they don't determine a given firm's rate for a project any more than market pressures in their area do.

It's also important to note that as I alluded to above, price is just one variable to consider when shopping a project around for a designer. Businesses and designers need to have compatible viewpoints on strategy, approach, attitude, working methods, and other things, to really have a successful outcome. I've found that if an organization is shopping exclusively on price, they will get what they pay for, and not get what they really want, or really need.

I should also note that the basic principles I mention here are used by most of the reputable professionals in the field. People just starting out, students looking for a little extra money for tuition--they may charge differently. I'm certainly not saying everyone should apply these principles, but I am saying lots of us do, which is why I've outlined them here.

Hopefully this has been informative. I'd love to answer your specific questions about the pricing process, (and bid on a project, if you have one in mind!). Just e-mail me or leave your questions in the comments.

Labels: advice, b2b, b2c, graphic design, licensing, process, work, work for hire

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2.23.2009

Now I won't have to wonder what that new store-brand orange juice is

...because Tropicana is dropping their bland, "looks-just-like-a-house-brand" orange juice packaging, and returning to their original, more distinctive design. Apparently I wasn't the only one who was confused and/or annoyed by the new look. The New York Times' Stuart Elliott has an article here.

A telling excerpt:

“We underestimated the deep emotional bond” they had with the original packaging, [Neil Campbell, president at Tropicana North America] added. “Those consumers are very important to us, so we responded.”

Among those who underestimated that bond was Mr. Campbell himself. In an interview last month to discuss the new packaging, he said, “The straw and orange have been there for a long time, but people have not necessarily had a huge connection to them.”

Reminded of that on Friday, Mr. Campbell said: “What we didn’t get was the passion this very loyal small group of consumers have. That wasn’t something that came out in the research.”

Labels: b2c, branding, clients, design, food, logo, packaging, typography

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2.19.2009

A tour of $99 logo sites, by Doug Bartow

Ever wondered what you get from a bargain-basement, cheapo logo firm that offers "unlimited revisions" (even "unlimited concepts"!) for less that it costs for a good pair of spinning rims for your Bentley? Well, if you make enough to own a Bentley, you probably have the business sense not to ever find out. Instead, consider this wonderful post from Doug Bartow, who held his nose long enough to get logos from four of the "top" cheap logo companies. As a branding and design guy, he takes a critical look at what was offered up to his fictional company, a (nonexistent) rollerderby team in Troy, New York.

some of my favorite excerpts:

[traditional brand designers] operate under the somewhat antiquated notion that actually getting to know our clients might help us better understand their communications needs, and, as a result, do a better job defining and articulating their message in an engaging and compelling way. Crazy, I know.

...

After about 10 minutes, the "wizard" determined my rollerderby club's profile to be a "strong, confident and sophisticated business." Sophisticated? Perfect, if I were TAG Heuer or BMW.

...

Rather than focusing on clearly understanding the client's business and needs, the general solution put forth seems to be simply providing more and more sketches until something visually clicks—or the client's budget is depleted.

The whole story (and the accompanying logos that Bartow received) are worth a look. The main point is that a good logo comes from knowing the organization, it's hopes, aims, audience, and personality...not easy to do via a one- (or seven-) page form on a website (plus the $99, of course).

Labels: b2b, b2c, branding, customer service, graphic design, logo

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1.22.2009

Notchcode Creative and the Native American Community Development Corporation announce the launch of the new NACDC.ORG website

The Native American Community Development Corporation launched their new website today, allowing stakeholder communities, funders, and the general public to easily access information about this important organization and their work. Notchcode helped them make it happen.

About the NACDC, and what they needed in a website

The NACDC works with Native communities to address underlying factors that inhibit economic development and the productive use of available financial capital. NACDC focuses its efforts in key areas to include financial education, housing, the re-acquisition of indian lands, agricultural lending, small business development and finance, and school-based mini-banks for students.


The NACDC's new website needed to be functional for its audience, and inform prospective funders and current stakeholders about the programs and initiatives that advance the mission of the organization. The website offers an inexpensive outreach option for a group that is dedicated to smart allocation of resources, and focuses primarily on its programs. Current Tribal partners, as well as prospective partners, can use the site to find out more about the initiatives the corporation has that would benefit them. Prospective funders and granting organizations can get supplemental information on the NACDC, facilitating funding decisions and further discussion of their goals.

Notchcode worked with NACDC staff to identify the best information architecture to meet the outreach and marketing needs of the organization, as well as presenting the organization as best in class for Tribal community financial outreach and education.

About the web site's new design and interface

The new web site was designed by Notchcode Creative, working closely with the NACDC, to showcase the vitality that their organization brings to Native American communities nationwide. An analysis of audience needs, demographics, and usage patterns resulted in an improved information architecture and W3C-compliant user interface. An existing financial education minisite is also integrated into the site.

The website also incorporates a new brand identity, developed by Nakota Designs, a Native American branding and design firm. They collaborated with Notchcode to deliver source files which Notchcode staff adapted for use on the site. Notchcode also utilized the brand's typographic and color themes to integrate the site into the organization's other anticipated marketing efforts.

Online donations integrated and trackable

Notchcode also integrated an online donation component throughout NACDC.org, utilizing Groundspring and Network For Good's Donate Now! suite of online tools. Donors can make singular or recurring donations from any page on the NACDC site. Each page has a unique tracking code for donations, enabling the NACDC staff to analyze what page content generates the highest value donations.

Labels: b2b, b2c, clients, interface, nonprofits, W3C, web design

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1.14.2009

Thoughts on Hirschfeld declaring bankruptcy, and the future of newspapers

102 years old and Bankrupt

I heard yesterday what was made official today: National Hirschfeld was closing their doors, citing a lack of financing. Over 250 people were laid off immediately. Hirschfeld had been in business in Denver for 102 years.

I have also heard from industry insiders that national Hirschfeld owed nearly $2 million to at least two paper vendors, along with debts to other smaller vendors.

Hirschfeld had a number of reputations in town. For a while they were the go-to printer for large offset work, and even some web, depending on who they were competing against. They wanted the big-name, glamor pieces, and would price aggressively to get them. Because they had so much printing capacity on the floor they often underbid the competition by a substantial amount in order to keep the presses running.

Unfortunately, I never had much luck with the projects I sent to Hirschfeld. I would say well over half of them developed issues related to poor prepress preparation of the job, inadequate proofing internally, and a lack of attention to detail. This caused myself--and many of my design colleagues--to avoid printing at Hirschfeld whenever possible. I hadn't sent a job there in over eight years. But Hirschfeld kept rumbling along, powered by Barry Hirschfeld's good humor, charisma, and an eventual merger with two of the other largest printing concerns in town.

But in the end, even Barry's smiles, bow tie, and glowing white halo of hair couldn't keep things moving. National Hirschfeld is declaring chapter 7 bankruptcy; the presses and other assets will be liquidated in order for outstanding debts to be (at least partially) repaid.

What does this mean for designers?

As a designer with over 15 years' experience in print, it's disheartening to see any established printer go. Even though Hirschfeld wasn't one of my preferred vendors, the reduction in competition will hurt, a little. And I feel the pain of the prepress folks, the pressmen, and the sales reps that all worked hard to get our projects turned into a tangible product.

Mostly, however, it's a sign that, as a designer, if you're not diversified into online, experience, or other forms of interactive design, you'd better get started. Print will never completely go away--it's an important part of almost any integrated marketing campaign--but that's just what it is: a part.

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The future of the printed newspaper

On a related note, I listened to two good podcasts this morning regarding the future of the printed newspaper. The local angle was handled by Colorado Matters, produced by Colorado Public Radio. They interviewed Mike Littwin, columnist for the beleaguered Rocky Mountain News, and Andrew Hudson, former press secretary for Wellington Webb (among other things) and man-about-town. The upshot was that the Rocky is probably going out of business, despite its history as a founding father of the city of Denver. Hudson would like to save it as a cultural institution, using a sales tax to support its operation.

On June 12th's broadcast of Fresh Air, Terry Gross interviewed the former managing editor of the Washington Post and the publisher of the Christian Science Montitor. She discussed the future of the printed news with both of them. Both interviewees said that while the daily paper may be in decline, journalism has never been stronger. Delivery of a newspaper's product online has a broader reach, and in the end, may provide the successful way out for newspaper companies. The Christian Science Monitor, for example, will cease publishing a daily paper, and go all-online with its daily content. A weekly edition will remain in print.

The CSM's strategy seems like a good one. Reading ink-on-paper newspapers is more of a luxury, and something that you like to take your time doing. I get the Sunday New York Times delivered to my door, and I take two days to get through it (longer than that for the Crossword). I read the Times' website during the rest of the week because it's more convenient, and more in step with my workweek pace. Don't doubt that the Times, with around $1 billion in debt, won't be watching the Monitor's strategy unfold. I wouldn't be surprised if, by 2011, even the Gray Lady will be cutting her newsprint diet back to one helping a week.

Labels: advertising, advice, b2b, b2c, customer service, denver, graphic design, paper, press check, print, printing, web design

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12.10.2008

Six marketing ideas for a recession

Now that the recession is "official", why not use it as an excuse to tighten things up?

Not tighten your belt, necessarily, but tighten up the way you use your marketing? What serves you well in a recession will serve you well when times are good, too. So, to that end, I bring you:

Six marketing ideas for use in a recession (and when things bounce back):

The amuse-bouche.

Give your clients a little something extra, that you enjoy doing and also benefits them.

Nontraditional uses of traditional marketing pathways

Forget about the coupon in direct mail. What about a "secret word" that brings your customers a discount or access to special services...that only "select" people receive via your permission-based email blasts...or getting your clients involved in an online dialog that benefits all of them (on your site, of course)...none of these suggestions are groundbreaking, but think about how much they cost, compared to traditional direct mail, etc....

Redefine what "essential" is, in relation to marketing and brand expressions

What's more important: meeting someone face-to-face, or sending ten people a direct mail piece talking about your services? Getting new clients, or strengthening ties with existing ones? Or both? Having that nice rounded die-cut corner on your letterhead, or spending that extra $250 on overhead for an informational seminar for your clients?

Now is the time to think hard about what you really need, and why you are using the marketing strategy you currently employ.

Less is more, and now's your chance to prove it

Do you really need a fax machine? Need a fax number on your business card? When was the last time you actually sent a fax versus an e-mail? Use cost-trimming as an excuse to streamline your communication pathways, clearing out the chaff of old technology and ways of thinking and replacing them with methods and channels that are relevant to your audience.

An opportunity to enter new markets or new marketing channels

How about an iPhone app that pushes relevant info to your target market? Outdoor advertising to get someone's attention focused on your issue? Permission-based e-mail campaigns to build brand impressions? If you haven't thought about these options, now is a good time to do so. Why? Because approaching people from another angle allows you to catch them off guard, and hopefully even give them information or motivation that they really need in order to get your company in their life.

Redefine your brand

Why not? If things are really going down the tubes, take a hard look at your existing brand. Is it reflective of your organization, your product, and your culture? Does it address the relationship between your organization and the public at this moment? What about in five years? Time and money spent refining your brand right now, when things are down, will get paid back in spades down the road, as other organizations play catch-up.

What are some ideas you have? Let's hear about them in the comments!

photo by jtloweryphotography

Labels: advertising, advice, b2b, b2c, branding, clients, creativity, design, graphic design, marketing, nonprofits, process, productivity, small business, web design

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12.08.2008

Great Graphic Design makes everything better

One thing I remind people about all the time: everything anyone has ever made has been designed by someone. Great graphic design makes products, companies, and ideas more accessible by more people. Bad graphic design just makes products, companies, and ideas more opaque.

What differentiates the good from the bad? Lots of things. Focus. Brand integration. Accessibility. Grokability.

Paying someone $150, or $400, to design a logo will almost always result in bad design. Does that mean the designer who made it is not a good designer? Not necessarily. What it does mean is they aren't taking the time to find out what the essence of that brand should be. The same thing goes for paying a similar amount to design a website. Or a brochure. Even if you think about that money in terms of an hourly rate, rather than the value the design has for you (which is really how you should look at it), what does $150 translate to, in hours? I'll tell you: very, very little.

Would you trust a lawyer to draft the articles of incorporation for your business for $50? Would you let a $400 doctor operate on your heart?

Labels: advertising, advice, aiga, b2b, b2c, branding, graphic design, illustration, information graphics, interface, licensing, logo, marketing, nonprofits, packaging, process, ROI, seo, typography, visual information, web design, work

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11.17.2008

New CD cover design

I just received samples of a 10 CD set I designed the cover for. Here's a look:

It's part of a larger integrated marketing campaign I've been working on with my client, including four other book covers. Lots of fun.

Labels: b2c, graphic design

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11.14.2008

Product Booklet with photography--lots of fun from start to finish

Over the summer I worked with a great client in Golden on a product booklet for an industrial lighting fixture that they designed and engineered. I created the look of the brochure, with a design concept that fit the product perfectly.

As a bonus, I got to shoot photography for all of the product images in the booklet. I want to devote a longer post to the process, as well as show off some of the interior spreads that I think worked particularly well in terms of conveying information to the target market in an understandable and compelling way....but for now, I just had to show off the back cover shot. Shooting lighting fixtures is notoriously difficult, but I think we pulled it off (with a big assist on-set from one of the fixture's designers, who knows more than I will ever forget about the science and application of optics, refraction, reflection, etc. etc. etc.):

Labels: b2b, b2c, design, photography, print

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