“Better a diamond with a flaw than a pebble without.”

Even when lacking in execution, design with a solid idea will be infinitely more memorable than a bland design that’s polished to perfection.

“Be on a horse when you go in search of a better one.”

If you’re in search of a better job, you’re more likely to find one when already in employment.

“A hasty man drinks his tea with a fork.”

Don’t rush through a project thinking the next one that comes along will be better. Every project you undertake can be your best yet. It’s up to you to make it so.

“A young doctor makes a full graveyard.”

Equally, a young designer will make more mistakes than an experienced one. It’s normal.

“A fall into a ditch makes you wiser.”

Olympic medalists don’t win every time, renowned authors rarely win the Booker Prize, and Oscar winners are unlikely to repeat the success. Similarly, designers can’t always produce award-winning work, and when the outcome isn’t as good as you hoped, there’ll still be important lessons learned along the way.

“A bad word whispered will echo a hundred miles.”

Rather than vent about a client, remember that you’re the expert, and the client is likely to be unaware of how the design process works. It’s up to you to keep the project running smoothly.

“Happy people never count hours as they pass.”

If you find yourself in design employment, counting down the hours until the end of the day, you’re either in the wrong profession, working for an idiot, or need to become self-employed.

“A bird does not sing because it has an answer. It sings because it has a song.”

Just as you must hear a song before making a judgment, don’t rule-out a design idea before it’s been fully explored. Express your ideas in a studio meeting or when brainstorming, even if you’re unsure about the effectiveness. It’s rare when anyone’s first thought is the idea that’s chosen.

“A book holds a house of gold.”

No matter how long you’ve been in the profession, there’s always something new to learn. Design books are an incredible source of knowledge.

“A day of sorrow is longer than a month of joy.”

That’s how it might seem on a day when things go wrong, but remember, you’re doing a job you love. The vast majority can’t say the same.

“A wise man makes his own decisions, an ignorant man follows public opinion.”

If you’re asked to produce a design based upon current trends, explain to your client why trends should be left to the fashion industry, and why great design is timeless.

“Cheap things are not good, good things are not cheap.”

Designers have a tendency to undersell themselves. Value your skills. You’ve spent a great deal of time building them.

“Customers are jade; merchandise is grass.”

Without clients, we’re designing for ourselves. Treat your clients with respect, because they can be your best salespeople.

“Don’t build a new ship out of old wood.”

You might have a stockpile of unused design concepts, but every new client should be afforded the new ideas they’re paying for.

“Don’t stand by the water and long for fish; go home and weave a net.”

The ideal client won’t jump into your lap. Launch a blog. Freshen-up your portfolio. Get out there and market yourself.

“Everyone speaks well of the bridge which carries him over.”

Regardless of experience, if you’re asked for design advice, don’t ignore the question.

“Forget the favours you have given; remember those received.”

Don’t do it because you expect something in return. Do it because it’s who you want to be.

“Govern yourself and you can govern the world.”

No matter how busy you are with client work, leave some time for you. It won’t do anyone any good if you’re too burned-out for work. Reward yourself after a successful project.

“She who asks is a fool for five minutes, but she who does not remains a fool forever.”

It’s easy to spot designers with passion — they’re the ones asking questions.

“He who hurries cannot walk with dignity.”

Project deadlines (or live-lines) are good for motivation, but if the outcome isn’t right, don’t force it. Better to spend one more week on a design that will last a lifetime, than spend a week less and live with mediocrity.

“One step at a time is good walking.”

As tempting as it may be to jump straight onto your computer, don’t underestimate the value of research, brainstorming, and sketching, when it comes to a complete design process.

“Make happy those who are near, and those who are far will come.”

Concentrate on the clients you have, rather than those you wish to attract, because doing a good job for a good client will lead to more of the same.

I’ve always been a sucker for a good proverb. Remembering them for use in everyday situations is another thing entirely. Are there any additions that appeal to you?

——

Update:
Authentic and nicely-translated Chinese proverbs and philosophies (via @jzy).

——

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What advice would you give a design graduate? Chris Arnold, founder of Creative Orchestra and former creative director at Saatchi & Saatchi, offers his pearls of wisdom.

——

It’s tough. Very tough. And there is a truth in the fact that only the toughest survive. The lazy ones fail. You need to be proactive, no-one is going to call you. You have to make your own opportunities, make your own destiny. Your success is in your hands. As is your failure. But here are a few tips. Most are based on the very basics of marketing. Many are common sense. Sometimes you just have to think like a creative director (CD) and then you’d wake up to what motivates them.

1. Never send out blanket ‘Dear Sir’ emails. Total waste of time. Personalise all communications and do your homework. Know about them and their company and work. Quality is better then quantity.
2. Do something that will get a CD (or senior) to really want to see you. They are time short so can’t see many grads. Like any good design or advertising, it’s all about impact. They are looking for the ones that stand out.
3. You are not God, yet. Never tell them how great you are, “hot talent,” you aren’t. Not yet. You are fresh but green and making claims you are great makes you look arrogant and deluded. They already have great people working there, so why will they hire you? Mainly because you are cheap, work hard, and have potential.
4. Be different. So many books are all the same. Colleges turn-out sausage factory students with the same work. Blame the bean counters in Whitehall. Bin it. Start afresh and make the work yours. It should reflect your values, approach and style, not your tutors. Be employed for who you are, not who the college wanted you to be.
5. Work hard. Really hard. You’ve been in cotton wool land for three years doing no real work with no real pressure by our standards. This is the real world. You need to work harder, faster, and all-hours. And never use Facebook at work. Friends, socialising, all comes second.
6. Forget money. If you land a job, great. Most will spend months, maybe years doing unpaid or poorly-paid placements. It’s not the money but the work that really matters. Get a job in a bar or pizza joint. You’ll need it.
7. It’s not just about the work but about people. You need to engage future employees, be nice, listen, be humble, take advice. Never argue or be arrogant (as an employee the boss’s word is king). You need them more than they need you — the pool of talent for employees is very big. Make them like you. We want nice people with potential talent. Once you’ve seen someone, try and keep the connection going, come back, build a relationship.
8. Think of yourself as a brand. You need to be remembered. What will they remember you for? What defines you? If you have it in you, do something that defines you. Invent something, develop a unique skill, get noticed for something — it creates a talking point.
9. Action. Try and get a second interview. Ask to come back when you’ve renewed your folio. Ask about work experience. Ask for honest feedback or how you could make the grade to get a job there.
10. Remember, it’s a very subjective world and some will love your folio, some will hate it. The better it is, the more polar the response. If everyone just likes it then it’s average.

Chris Arnold
Founder & CD, Creative Orchestra
(Former CD Saatchi & Saatchi, Draft, STH, Feel, Alliance…)

——

These tips were originally left on the Creative Review blog, republished here with permission.

Chris is author of Ethical Marketing and the New Consumer: Marketing in the New Ethical Economy. Available to buy here:

• Amazon.co.uk
• Amazon.com

More help for design graduates from Lee Newham with these CV tips and design interview tips.

Other past posts here that you might find of use: what graphic design schools are lacking, and self-employment advice for designers.

Image courtesy of Thinkstock

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The above video is from an AIGA Metro North event titled reSPECt, “A civilized dialog between advocates and opponents of speculative branding and design work.”

The video can also be viewed here on Vimeo.

Moderated by New York State Supreme Court Justice Colleen D. Duffy, the panel included:

• Ric Grefé, Executive Director, AIGA
• Brendán Murphy, Senior Partner, Lippincott
• Jerry Kathman, President & CEO, LPK
• John Gleason, Founder & President, A Better View

Some of the questions raised include:

Haven’t other professions been similarly squeezed? For instance, accountants and lawyers package and sell their time. Are they going through these spec issues? If not, why? Is it because of certification? Should there be a design certification? Is it because designers allow it to happen by undervaluing their skills. Is it through necessity, with too many designers competing for less work?

One thing’s for sure, how you brand yourself as a designer plays a huge role in your success. Are you just another “crank a logo out for £50″ production worker, or are you a brand identity specialist providing immeasurably more value to your clients?

As John Gleason asks in the panel discussion, “Are you a BMW or a Hyundai?”

It’s a shame AIGA President Debbie Millman wasn’t a speaker. Here’s her take on spec work.

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To follow-up on the reader comments theme, here’s some good advice from Leanne Le, who recently left her thoughts on an old post of mine, Are freelancer designers really suckers?

“You can begin to call yourself a consultant when you have elevated yourself to be able to persuade and advise the client professionally.

“To be a consultant, you must also be a professional. Whether you’re a sales professional or a project manager, simply being a designer with little understanding of business along with limited training or experience in sales and marketing won’t qualify you as a consultant. Don’t label yourself as a consultant because you believe it will give you more prestige and respect. They are indeed different from one another.”
— LEANNE LE

Well said. Titles can matter to those who hire you, but you’ve got to make sure you walk the walk.

Photo credit

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Wood type photo credit

1. Look at the big picture

Creating a modern business plan will help you think through the hard issues.

2. Tell your friends and family about your self-employment

You never know what contacts they might have. Those close to you will want to help.

3. You will lose potential clients because your pricing is too high

But also because it’s too low. Whether you like it or not, the rates you set will immediately give others a perception about the quality of your design work.

4. Don’t stress about pricing

Design pricing is something independent graphic designers struggle with at some point. The best way to learn is through experience, and remember, you can always negotiate your price down from your initial quote, but never up, so if in doubt aim high.

5. You will make mistakes

We all do. Learn from them, and move on.

6. When wrong, admit it quickly and emphatically

Along similar lines, if you receive a complaint, allow the other person to do most of the talking. People want to be acknowledged, and the more you learn about a grievance, the more you can do to ensure it doesn’t happen again.

7. Compose your pitch

Your pitch is a very brief description about how you will help your design clients, and is useful when describing your job to new acquaintances (without the risk of boring them into submission). The length should be somewhere between an elevator pitch and a dumbwaiter pitch.

8. Never stop learning

Realise that in order to reach (and stay at) the top, you must never stop learning, whether it’s through recognised design courses, mentors, books, or other options. You’ll find a number of recommended reads here in my Amazon-powered design bookstore.

9. Publish a blog

The readers you attract will prove to be an invaluable source of knowledge and help. My two blogs (this and that) are powered by the free-to-use WordPress. Here are some blog mistakes worth avoiding, and the WordPress plugins I use. An alternative to WordPress is MovableType. My blog has been hosted by ICDSoft since the beginning, and I’m offering a 25% discount here.

10. Consider a partnership

You and your clients can benefit when you work alongside those with differing skills — a web specialist or brand strategist, for instance. Just because you’re “going it alone” doesn’t mean you need to be the only person involved. When approaching a potential partner — be it for your entire business or for a one-off project — talk in terms of the other person’s interests. Would you say yes?

11. Encourage clients to talk about themselves

A key element in all design projects lies in the information-gathering stage. Everything you learn can be used for the advantage of the project.

12. “A man without a smiling face must not open a shop.”

A wise Chinese man once said that.

13. You will work with clients you don’t like

Especially towards the start of your self-employment. With experience, you can learn how to spot troublesome clients before a project starts, and equally, how to spot the excellent ones.

14. Designing for committees isn’t a bad thing

You can still achieve fantastic design results providing you know how to keep the process running smoothly. Chapter 8 of my book offers advice on dealing with committees.

15. Put the wheels in motion

It’s time. People will tell you it’s not, but it is. The only thing stopping you?

You.

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The following advice has been excerpted from the May/June 2010 issue of Layers Magazine, and was written by brand identity designer Andrew Sabatier.

How to convince your clients they need a brand and not just a logo

Explain that you should be employed to find a brand idea that will form the basis of all the company’s branding (and perhaps even future business decisions) of which a logo should only be one expression, an idea that is likely to form the basis of a the brand’s overall approach. Such an idea may already be a defining characteristic of the business waiting to be celebrated in the branding.

Point out other brands your client admires that can be identified by branding elements that are not the logo. Some well-branded businesses can be identified by their color, typeface, photographic, illustration, or even copywriting style alone, or (more commonly) a carefully selected combination of these elements. Try to point out the underlying idea that determines all these other brand elements.

Your client’s success is your success. Sell a process to your client; a process you’ll guide them through and that will enable you to decide on a brand identity solution together. This will help you to establish a long-term relationship with your client. If you deliver good ideas they will be more likely to consult you again to develop the brand ideas even further.

Avoid references to the word “logo,” rather talk about the marks of a brand of which there should be a primary “brand mark” (two words). Replace “logo” with “brandmark” (one word). This will help you and your client to think about the overall experience of the brand and not just the logo in isolation. Logos are only meaningful in context and they should be seen to add value to that context. It is unlikely that a logo alone will be able to add sufficient value to a business. Logos are best employed in a system of brand marks that determine a unique brand experience.

Avoid logo beauty parades. Don’t only show different logos; logos are usually abstract expressions of an idea. Show how the logo idea relates to other brand expressions of the same idea. Show how an idea works in other situations, not just on stationary. The better the idea, the more unique, adaptable, and valuable it will be, and the higher the fees you can justifiably charge. Dedicated logo designers are a dime a dozen whereas brand identity designers offer far more value and often dramatically improve business for their clients.

What do you think?

I’m sure Andrew would love to know what you think of his advice. I would, too.

Coca-Cola photo by Antonino Tumminia

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How to Win Friends and Influence People was first published in 1937 in an edition of only five thousands copies. It’s now one of the all-time international bestsellers with more than 16 million sold. It’s also my latest read. Here’s the blurb (and a free copy giveaway further down).

“In his exuberant, conversational style, internationally bestselling author Dale Carnegie offers practical advice and techniques for how to get out of a mental rut and make your life more rewarding.

“His advice has stood the test of time and will tell you how to:

• Make friends quickly and easily
• Win people over to your way of thinking
• Improve your conversation skills and become more entertaining
• Acquire new clients and customers

“How to Win Friends and Influence People has the potential to turn around your relationships and improve your dealings with all of the people in your life.”

A justifiably bold statement, but it’s worth keeping in mind that the book is aimed primarily at business relationships (when you have something to sell or promote), and less-so at personal relationships, where you expect people to see both your ups and your downs.

Here are a few quotes from throughout the book that will give you a taste of what’s included.

“Benjamin Franklin, tactless in his youth, became so diplomatic, so adroit at handling people, that he was made American Ambassador to France. The secret of his success? ‘I will speak ill of no man,’ he said, ‘…and speak all the good I know of everybody.’”

“Criticisms are like homing pigeons. They always return home.”

“Abe Lincoln once remarked that ‘most folks are about as happy as they make up their minds to be.’”

“‘Don’t complain about the snow on your neighbour’s roof,’ said Confucius, ‘when your own doorstep is unclean.’”

“‘A great man shows his greatness,’ said Carlyle, ‘by the way he treats little men.’”

“Lincoln once began a letter saying: ‘Everybody likes a compliment.’ William James said: ‘The deepest principle in human nature is the craving to be appreciated.’”

“If some people are so hungry for a feeling of importance that they actually go insane to get it, imagine what miracle you and I can achieve by giving people honest appreciation this side of insanity.”

“‘I consider my ability to arouse enthusiasm among my people,’ said [Charles] Schwab, ‘the greatest asset I possess, and the way to develop the best that is in a person is by appreciation and encouragement.’”

“Wise words from General Obregon’s philosophy: ‘Don’t be afraid of enemies who attack you. Be afraid of the friends who flatter you.’”

“I once read a definition of flattery that may be worth repeating: ‘Flattery is telling the other person precisely what he thinks about himself.’”

“Here is one of the best bits of advice ever given about the fine art of human relationships. ‘If there is any one secret of success,’ said Henry Ford, ‘it lies in the ability to get the other person’s point of view and see things from that person’s angle as well as from your own.’”

“You can make more friends in two months by becoming interested in other people than you can in two years by trying to get other people interested in you.”

“It is the individual who is not interested in his fellow men who has the greatest difficulties in life and provides the greatest injury to others. It is from among such individuals that all human failures spring.”

“A long time ago, a hundred years before Christ was born, a famous old Roman poet, Publilius Syrus, remarked: ‘We are interested in others when they are interested in us.’”

“‘There is nothing either good or bad,’ said Shakespeare, ‘but thinking makes it so.’”

“Criticism is dangerous, because it wounds a person’s precious pride, hurts his sense of importance, and arouses resentment.”

“I shall pass this way but once; any good, therefore, that I can do or any kindness that I can show to any human being, let me do it now. Let me not defer nor neglect it, for I shall not pass this way again.”

Free copy

I was going to give my copy to one of you, but it’s the kind of book I see myself picking up from time-to-time, reading a section here and there as a refresher.

So I’ll send a new copy instead. Just leave a comment with the title of a favourite business book, and I’ll draw a winner on Friday 23rd (updating the post with the winning name and emailing the recipient for a mailing address).

——

Update: 23 April
Congrats to Rob Cubbon, who was randomly drawn as the winner. Email sent, Rob.

——

Alternatively…

Buy the book

How to Win Friends and Influence People, by Dale Carnegie, is available here on Amazon:

• Amazon.com (Hardcover) $22.00 $12.87
• Amazon.co.uk (Paperback) £8.99 £4.47
• Amazon.ca (Hardcover) $28.99 $18.17

More recommended reads here in my graphic design bookstore.

Book photo by Claudio Papapietro, courtesy of ontheinside.info

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Graphic designers often ask how I made the switch to self-employment. Here’s a quick overview of that period in my life in 2004/05.

I was working as publications officer for Myeloma UK, a cancer charity in Edinburgh. My responsibilities included print design, print buying, and managing the web content.

In 2004 I resigned in order to travel the world. At the time I had no intention of returning my previous role, and was in fact considering a life teaching English in Asia, but in 2005 after months of eye-opening experiences abroad, and when I made it back to Edinburgh, a replacement designer hadn’t been found. So I asked the chief executive Eric Low if he wanted to hire me as a part-time contractor, working three days per week and invoicing at the end of each month.

He agreed, and we worked that way for around 18 months — until the charity grew so much that a full-time designer was again a necessity.

(The self-employment hierarchy above was created by Tony Clark, discussed in a previous post: Are freelance designers really suckers?)

Starting out with a retainer client was vital to my success, and while those three days per week brought in just enough cash to get me by, they allowed plenty of time to work on the build of my website and blog (my main self-promotion tool).

My speciality has since changed from publications to brand identity design, and although it’s been a number of years since I’ve worked with Myeloma UK, I still keep track of how the organisation is doing. It’s fantastic to see what a difference it’s making to myeloma patients.

Don’t let the naysayers get you down

When I talked to friends about starting my business, there were one or two who said I wasn’t experienced enough, and that I should stay in employment until later in life. If you’re considering making the switch from full-time employment, you’ll probably find these very same people, but don’t let them bring you down.

With passion and commitment, you can make a success of anything you set your mind to.

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You’re a graphic design student with a portfolio full of fictitious projects. You want to work with clients to build your experience, but you need a more developed portfolio to attract the clients. A classic catch-22.

That’s when working pro bono proves extremely useful.

Read on to learn why, and for a chance to win one of five signed copies of Logo Design Love: A Guide to Creating Iconic Brand Identities.

What is pro bono?

Pro bono publico (usually shortened to pro bono) is a phrase derived from Latin meaning “for the public good.” The term is generally used to describe professional work undertaken voluntarily and without payment as a public service.

Unlike traditional volunteerism, pro bono uses the specific skills of professionals to provide services to those who are unable to afford them.

What business should you approach?

Contact a small- to medium-sized non-profit organisation. Larger non-profits will have a substantial budget allocated to their brand identity, and are more likely to work with an experienced professional or studio.

Conduct an online search or look in your telephone directory for a non-profit in your locality. The benefit of staying local is you can meet your new client face-to-face. Doing so will not only help build your confidence in business meetings, but it makes it easier to ensure you’re dealing with the decision-maker rather than passing design ideas through a middle-person — adding an unnecessary step to the design process.

There are further benefits with working locally. For instance, once the project is complete, you will have the opportunity to take photos of the finished design in context (e.g., on signage and stationery). It’s these contextual shots that can turn an average portfolio into an excellent one.

Additionally, you’re building your network of local business contacts, and the stronger your network, the more tools and help you will have available throughout your design career.

How to make the approach

It’s important to talk to the person directly responsible for the visual branding. In a small-sized non-profit this is likely to be the managing director or chief executive.

Call or send an email pitching yourself as a talented designer who is about to, or has recently graduated with a design degree. Say it’s your policy to devote a small percentage of time towards pro bono work (for the public good), and that your client’s non-profit mission is one you have a great deal of respect for (this should of course be true).

Detail the savings you are offering your client (your standard rate for an identity project, only discounted by 100%). Doing so will ensure the value of the outcome isn’t underestimated, and helps keep your client motivated.

Arrange a 30-minute meeting, where you will discuss the design needs and set a course of action.

In the meeting

Arrive with a list of pre-determined questions, a notepad, a pen, and your business card (which you will hand over at the end).

It’s possible your client is anxious about the process of having a brand identity created or redesigned. She may see ideas as a risk, and not as a way to secure her mortgage. So the more indepth your initial discussions, the more at ease you will make your client. It may be that it’s her first time working on an identity project, and it’s up to you to show how smoothly the process can flow.

Be sure to time the meeting, and if you haven’t finished within 30 minutes, say you have reached the end of the allocated time, and that you can call or email your client at a later date for any other necessary information — your client will be very busy, and will appreciate you sticking to your pre-arranged time limit.

Questions to ask

The crux of a healthy graphic design brief lies in the questions you pose. Obtaining the necessary answers isn’t difficult. You just need to ask.

If you want specifics, I outline a number of vital questions in chapter four of Logo Design Love: A Guide to Creating Iconic Brand Identities, and I have five free signed copies up for grabs.

Photo by Raja Sandhu

There are two ways to enter the random draw:

1. Either upload one of your favourite self-designed logos to the Logo Design Love Facebook group
2. Or update your Twitter account with the following message:

Improve your portfolio with pro bono design: http://bit.ly/cfkg1m (by @DavidAirey)

Winners will be drawn and notified on Friday 26th February. I’ll also update this page with the winning names. Two signed copies will go to designers who upload to the Facebook group, and three to those who spread the word on Twitter. Double your chances by entering both ways.

——

Update: 26 February 2010
The winners have been drawn and notified. They are Alex Rogers, Alison Rowan, Wilson Almeida, Jack Franklin, and Naomi Oldfield. Thanks very much to all who entered!

——

If random draws, Twitter, or Facebook aren’t your thing, the book’s available to purchase now on Amazon.com (or Amazon.co.uk for those in the United Kingdom).

There’s also a free chapter here, and a few book reviews here.

How did you attract your first client in self-employment?

My first design client was actually my former employer — a cancer organisation in Edinburgh. I had been responsible for the company’s print and web management, and when I resigned to spend some months travelling the world, I returned to find that a suitable replacement hadn’t been found.

I asked the chief executive to hire me for three days per week as a design contractor. He agreed, enabling me to spend the remainder of the working week building my online presence and sourcing new clients.

Five years on, and there’s very little I’d change about the path I’ve taken.

What about you? How did your first client come about?

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(Updated following this comment from James Chartrand.)

No-one knows better than you how much talent you have, and every project specification is different. If your client is asking for a rush-job, they’ll expect to pay a higher rate.

The physical location of my clients doesn’t change what I charge, but it could alter what the client is willing to spend.

Here are some pricing articles to help.

About design pricing

• 12 Realities of Pricing Design Services, by Steven Snell
• Nine Factors to Consider When Determining Your Price, by Collis Ta’eed
• Is Charging More the Right Thing to Do? on Men With Pens
• The Subtle Effects of Pricing on the Mentality of Clients, on FreelanceSwitch

And a few previous ones here on my blog.

• First steps to graphic design pricing
• Design pricing and when to talk money
• How 20 designers charge their clients

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