My design business is "crazy busy" right now - smack-dab in the middle of all the news about the horrible U.S. economy. I could currently be working night and day - everyday. In fact, I'm now scheduling projects at least a month out on the calendar.
Such has been the case with each economic downturn (wouldn't want to use the word "recession," would I?) since I started working officially as an independent designer in the fall of 1980. What's going on?
Historically, each time we've experienced a "speed bump" in the economy throughout my 30-year career, the following have taken place:
Corporate downsizing of design departments
Often, with a bad economy comes the laying off of in-house design staff. However, there's still design work to be done. With limited, or no, in-house design support the corporation or larger business finds the need to outsource their design efforts. That's when the emails and phone calls start coming in to my home-based studio.
Smart businesses respond with marketing smarts
Smart businesses will have been marketing regularly prior to a "slowdown." With business perhaps a bit slower than usual, these companies will take advantage of the time to pump up marketing and promotion efforts. Often those projects will include a new, or updated business identity - something that may have been put off during periods of busier day-to-day operations.
Laid off workers suddenly become entrepreneurs
Individuals who have lost their traditional jobs, and have become frustrated with a job search, may suddenly take the leap into entrepreneurship. With the cushion of a good severance package, or a "rainy day fund," it may be time for creation of one's own business. If a person can't find a job, creating their own is often a realistic possibility - and new businesses need the services of graphic designers.
Somewhat secure employees plan for the future
Many people, although they feel their traditional job my be secure for the present, are planning for that future leap from the corporate cubicle world. It's often easier to be getting everything together for a future business while the monthly bills are being covered with a salary. I work with many such clients. However, the numbers do seem to rise in uncertain economic times.
The potential clients mentioned in the above scenarios contact me as a result of my own self-promotion efforts. I am marketing and promoting myself ALL the time - even when I am my busiest - to guarantee that work will constantly be coming in the door. I always encourage other creative types to be doing the same. Too many designers wait until no new work is at hand before starting to market their talent. In doing so, the panic of no projects will add a sense of desperation and stress to the quest for new contract work.
Outside of one's own industry, the specifics of what you may do on a daily basis are seldom a religious experience for most people in the business world. In fact, a great number of professionals in other industries probably don't have a clue what you, as a specialist in your field, do for a living - or what you may be capable of contributing to the success of their own businesses.
Yes, it's sacrilege.
One of the most effective, and often under-used, methods of converting these naivetes - or total disbelievers in some cases - is putting yourself before a congregation to speak about what your profession entails and how those in the pews may benefit from the knowledge you are willing to share.
You may feel unqualified to minister to others, in a public forum, about your talents, skills and methods of doing business. Excuse me, but what is taking place each time you meet with a client, or committee, to make a presentation? It usually begins with speaking in a strange language, which might be known as "specialty speak," in conveying your own expertise, proposing what you feel will most benefit the potential convert, or justifying an ethereal business concept. Multiply your audience of a few by ten-fold, or several hundred-fold, and you can find yourself preaching before a crowded room with ease and confidence.
Appropriate pulpits for your proselytizing are everywhere, and may include:
• High school, university and specialized school classes
• Neighborhood associations, local business groups, Chambers of Commerce
• Nonprofit organizations
• Professional business organizations and industry associations
• Seminars, workshops and conferences
Reach out to your local Chamber of Commerce, business-networking groups, nonprofit organizations and others like those mentioned to offer your services as a guest speaker at meetings, luncheons, or conferences. Most will have assigned an individual responsibility for coordinating programs and speakers.
In preparing your creative sermon, you must determine what your audience might desire to hear. For high school and college design classes I have discussed graphic design as a legitimate career option. A university marketing course, studying the creation of business plans, requested that I speak about the role of identity design in marketing a new company. I spoke about nonprofit organizations making the best use of designers to an association of nonprofit development and marketing directors. To a local Chamber of Commerce, and a regional association of landscape designers, a program regarding the role of graphics in the marketing of small businesses was presented. Educators from Small Business Development Centers asked that I address a workshop on the topic of how graphic design needs play a role in any preliminary business plan. Social networking and social media as marketing tools was the topic of a recent panel on which I was member for a group of self-employed creative professionals. I'm just now coming down off of the high of speaking at the international HOW Design Conference, to an audience of over 400 of the 4000 attendees, on the topic of "Planning, Packaging and Promoting Yourself as the Product." In the past week a United Nations sponsored student organization invited me to speak about identity design as an entrepreneurial marketing tool to an international conference audience in Romania. In a couple weeks I will speak to an organization of neighborhood business districts about the importance of an organization having a professional graphic image.
Ask what they wish to hear, and you will speak it.
Practice before you preach. Most organizations or groups will schedule a guest speaker calendar several months or even a year in advance, giving presenters a great deal of time to plan and rehearse. Go into the situation well prepared. Rehearse the presentation of your topic several times in front of family, peers or even a mirror. Make sure the flow of the speech is smooth and seamless. Avoid simply standing at a podium to read your speech. Practice moving around the "stage" and perfect some hand gestures to stress important points. Remember that you are the "entertainment" for what may otherwise be a somewhat boring event. If you are enthusiastic and animated about your topic, the attendees will be drawn in to what you are saying. Always allow time for questions from the audience.
Ministering to any group often necessitates providing the possibly converted with a tract, outlining your main points, for future study and reflection. Handouts are a valuable tool. Be sure each person leaving the presentation goes away with some valuable printed information related to the discussion, or easily remembered Internet link URLs, and your contact information.
With a few well-received presentations in your repertoire, it's easy to fill in as a speaker at the last minute if another backs out of a scheduled appearance. A very grateful Chamber of Commerce breakfast group once called me to fill in for someone with about 16 hours notice. The coordinator of an international university employee conference, where I was already presenting two sessions, contacted me in a panic 20 minutes prior to a keynote address to replace the promoted speaker if necessary. The planned guest, caught in a traffic jam with a dead cell phone battery, arrived five minutes prior to the event. Still, with about a dozen presentations on my PowerBook, I could have saved the day if required.
An invitation to present what you know as the gospel, to any audience, also results in the opportunity for a variety of promotional efforts. Most groups will send out press information about upcoming speakers to the business section of local or regional papers for use in the weekly event calendar or "business briefs." Often associations will promote upcoming events on the organization web site, in a newsletter to be sent to the membership, or through a direct mail piece mailed to interested individuals. Make it easy for people putting such items together. Provide them with a short biography, an outline of your presentation (including a "jazzy" topic title) and a professional photo of yourself.
Anyone making such presentations needs to spread the word about their speaking engagements as well. Send out a press release to your mailing and email lists. Post your upcoming presentation schedule on your own web site and write about it on your blog. Market your public appearances just as you would promote your work efforts.
Singing one's own praises through press releases, writing articles as "the expert," and speaking before crowds all combine to present a solid marketing base for your business, service, or product. In a very short time each begins to play off the other. Traditional self-promotion may lead to the writing of articles. The articles may result in public appearance invitations. The speeches may present an opportunity to write a book - or to speak at a higher level of industry exposure. It all eventually evolves into more desired work coming your way.
There really is such a thing as a "free lunch" and often it is part of the deal when making such presentations. In addition, most organizations inviting a speaker will offer an honorarium for valuable time being spent before their group. It may be a small as $25 from groups with limited budgets; to several thousand dollars, invitations to special speaker events, a pass to all conference activities, and accommodations and travel expenses for presentations on a national or international level. Be sure to express your appreciation for the opportunity to speak before such groups - and for the compensation received. Being appropriately thankful can lead to an invitation for a return engagement in the future.
A few years ago I was part of a panel discussion, with the somewhat irreverent title of "Designers in Handcuffs," before a HOW Design Conference audience of about 700 design professionals. The experience was a bit daunting. Afterwards I was even more stunned as young designers came up to ask for my autograph. I didn't take it all too seriously, and certainly had a great laugh when a book publisher mentioned "you guys are like rock stars." Her statement may have been stretching things a bit. However, the experience did provide real evidence of the impact of my own business marketing over the previous decade. It made me realize that putting what you know "out there" in front of the masses, can be as valuable a promotional tool as presenting the actual work one creates to a customer.
Make it your mission to go out into the world and preach the benefits of your profession to those not yet informed.
When initiating the task of establishing a new public persona, most businesses find themselves wandering (or stumbling) into foreign territory. The following tips will assist those taking on such a project, making the design process a bit easier when dealing with "creative types" in solving your business's identity crisis.
Do not try this at home
Having a computer, and design software programs, does not make an individual an identity designer. Hire a professional to create your business logo ñ a basic element of your "brand." Not all graphic designers, or design studios, specialize in identity design. Do your research in selecting the designer, or firm, to best fulfill the specific requirements of your corporate identity project. Seek referrals from businesses previously working with identity firms, flip through logo and identity design books at a local bookstore for design styles you like, or review portfolios of designers - in person or online - until you find the design professional best fitting your needs. Select someone with whom you will "play" well. Larger corporate identity projects and continuing branding efforts may evolve into a form of marriage between a business and a creative company.
The K.I.S.S. Principle
Nearly 30 years ago an instructor introduced me to the K.I.S.S. Principle of design; which translates to: Keep It Simple, Stupid. It does convey a very important design consideration. Simple logos are often the most easily recognized and memorable. Remember, the basis of the international branding for the world's largest shoe manufacturer is a very simple graphic swoosh.
Seeing your business image in black and white
When asked for the most important considerations in designing a logo, the K.I.S.S. Principle (above) is number one, followed closely by "make sure your logo works well in black and white." Even in this time of technical and cyber marvels it is important for a business identity to translate clearly and professionally in black and white, or one-color, for the copying, faxing and scanning of required documents. In addition, a logo should initially be created in a vector-based illustration program (such as Adobe Illustrator or Macromedia Freehand) allowing for digital flexibility and easy usage in all applications your business may require, from a stationery package to signage. Those basic files will allow a designer to create and provide all the digital resources required to implement the identity into your internal systems. The frequently misused "bells and whistles" of some computer programs, put into action for 3-D effects, beveled edges, skewed type, gradients and other often-unnecessary graphic treatments, may create distractions from the readability and success of a corporate identity.
A graphic and financial investment in your business future
The creation of your logo, one of the most important and visible elements of your corporate image, should be regarded as an investment in the future of your company's marketing, promotion, advertising and community presence. That investment will include the actual costs of incorporating the new identity into your stationery, signage, web site, marketing efforts and much more. Designers do occasionally create over-the-top identities that may evolve into unnecessarily costly production and printing expenditures. Determine if your identity will really require a spendy four-color printing process. Evaluate whether embossing and foil-stamping are necessary on stationery used daily ñ especially when that expense may literally be flattened and melted by an overheated laser printer. Trendiness in a business logo may be a costly mistake as well. A logo should have some longevity and connect with a company's clientele and history in a positive manner. Shapes, colors and type treatments need to be evaluated for appropriateness. For example, the swooshes and arcs so prevalent in the dot com explosion of the last decade, now convey the negative connotation of the business doom of that time. In judging recent international design awards I have reviewed countless business identities using various shades of green and orange (individually and together); colors that will soon seem very dated. Unique, conservative and professional type treatments, beyond the limited, over-used font selections installed on a basic computer system, will set a business apart from the trendy appearances of other companies.
Putting your money where your logo is
Confirm that all the principle players in your business are ready to make the investment - emotionally and financially - in a new business identity and then revisit the supposedly final selection again. In 1998, the Portland firm now known as Smith Freed & Eberhard had expended a great deal of time, energy and resources in the selection of a new corporate identity. Many printed elements of the new image had already been produced and implemented. However, there was one major problem with the new logo. In the alphabet soup of the firm name at the time - Smith Freed Heald & Chock - the placement of the typographical elements within the logo did not correspond to the proper order of the partner's initials in the business name. When it came time to cast the logo in bronze for the lobby signage the "powers that be" balked at spending thousands of dollars to create the over-sized plaque with the partner initials in the incorrect order. At that time I was brought in to completely redesign the firm's identity - and have revised that design twice in the years since with changes in the corporate name.
Thoughtful planning, extensive research, attention to details, and excellent communication - with internal decision-makers and your design professional - are necessary to put a solid, simple, and memorable logo - the public image of your business venture - before the desired target market of potential customers.
Note: This blog entry was based on an article, by Jeff Fisher, that appeared in an issue of the Legal Management News: The Journal of the Association of Legal Administrators.
by Jeff Fisher, Engineer of Creative Identity, Jeff Fisher LogoMotives
Not long ago a potential identity design client requested information about the estimated cost of creating a logo to represent a new start-up business. The business was about to be launched and the identity creation costs had not been considered in the business plan budget.
I wasn't surprised when, after receiving the information, the business owner contacted me to explain that the price range quoted was much higher than anticipated and that they would most likely consider branding the company with a logo design that was "adequate" at the present time. It was explained that they later hoped to hire me to redesign the corporate image to better reflect their desires for the public persona of the business?
Huh?
In nearly 30 years as a professional designer I often hear this justification for initially scrimping on one of the most important advertising, marketing and promotion elements for any business. Many new business owners simply do not plan for the possible costs involved in the creation of the image with which their business or product will be introduced to the target market.
In cutting corners, such business owners are seldom saving any money. In fact, much greater business identity costs over time are usually the result. When "settling" for a less than adequate logo design, the costs of stationery packages, storefront and vehicle signage, print advertising and other promotional items are still incurred. Being less than satisfied with the early graphic image of the business often means that all of those expenses will be duplicated until the owner has achieved the desired end result through a series of re-designs.
A client once came to me after having a business identity re-designed five times in five years. The owner admitted to "settling" for a new logo each year due to an impending print or advertising deadline reminding him of the lack of satisfaction with the image being used at the time. Each new identity effort was rushed;, and then required the reproduction of every piece of material used to market and promote the business. Over five years the process had become a very costly endeavor.
The business owner finally budgeted time and money for hiring a professional designer to create a logo to properly represent the firm in question. As a designer specializing in identity design, I researched the business's target market, local competition and specialized industry before even starting the design process. Several logo concepts were presented to the client and, within a few weeks, the company had a new and improved identity. In this case, the logo was used successfully for a period of 10 years - until the business was purchased by a larger industry entity.
When entering into the process of starting a new business, or revamping the identity of an existing company, the business owner needs to do their research and budget adequate time and funds for the project. This is a "must" when creating an initial business plan. The spur of the moment decisions to go with a discount online logo design resource may not provide the knowledge, expertise, and unique end result that will best suit one's business. The successful branding of a business most often requires much more than slapping a clip art image up next to a type treatment of the business name as a last-minute solution. Instead, the businessperson should research a variety of designers, or design firms, to find a good match of talent, skill and understanding of the business's very specific needs, before embarking on the process of establishing a strong business identity.
An identity design process that is well planned, realistically budgeted early on, researched thoroughly, and utilizes the services of a professional designer with a proven track record of collaborative efforts, may initially be a bit more expensive than originally expected. However, the realistic investment in the image, and future success, of one's business will be more than worth the cost when done right the first time.
This bLog-oMotives entry originally appeared on my "Designs on Business" blog at JumpUp.com.
Identity Crisis! takes a fresh look at 50 before and after case studies, from designers and firms from around the world, by exploring the process of redesigning existing identities to help businesses refine their image, communicate with customers, and find success. Designers seeking inspiration - and any business considering a graphic makeover - will be presented an inside look at the challenges of redesigning identities and visual examples of creative and strategic thinking in achieving the desired results.
Jack Anderson, of the Seattle firm Hornall Anderson Design Works wrote the foreward for Identity Crisis! "Words of Wisdom," throughout the book, were provided by Sean Adams/AdamsMorika, Inc, Bob Domenz/Avenue, Tony Spaeth/Identityworks, Debbie Millman/Sterling Brands, Jack Yan/Jack Yan & Associates, design educator and author Robin Landa, Robynne Raye/Modern Dog Design Co., Mark E. Sackett/Reflectur, and the author.
Case studies presented in the volume include projects from the following firms: 3 Dogz Creative Inc. (Toronto, ONT, Canada), Advertising By Design (Clermont, FL USA), angryporcupine*design (Park City, UT USA), Avenue (Chicago, IL USA), b-design (San Diego, CA USA), biz-R (Totnes, Devon, UK), Brainforest, Inc. (Chicago, IL USA), Breathewords (Caldas da Rainha, Portugal), CC Graphic Design (Salt Lake City, UT USA), Common Sense Design (New Hamburg, ONT Canada), Connacher Design (Stamford, CT USA), Finamore Design (Brooklyn, NY USA), Fullblast, Inc. (Portland, OR USA), Glitschka Studios (Salem, OR USA), Graphicwise, Inc. (Irvine, CA USA), Hornall Anderson Design Works (Seattle, WA USA), and Identityworks (Rye, NY USA).
Other firms represented include: Jeff Fisher LogoMotives (Portland, OR USA), John Silver Design Bothell, WA (USA), MasonBaronet (Dallas, TX USA), Mayhem Studios (Los Angeles, CA USA), Modern Dog Design Co. (Seattle, WA USA), MyBrand (Lisbon, Portugal), nHarmony, Inc. (Muncie, IN USA), Octavo Designs (Frederick, MD USA), Paragon Integrated Marketing Communications (Salmiya, Kuwait), RDQ - Rdqlus Design Quantum (Omaha, NE USA), Round2 Communications - R2i (Baltimore, MD USA), Sayles Graphic Design (Des Moines, IA USA), Shapiro Design Associates Inc. (Irvington, NY USA), Shine Advertising Co. (Madison, WI USA), Sockeye Creative (Portland, OR USA), Studio GT&P (Foligno, PG Italy), Subplot Design Inc. (Vancouver, BC Canada), and Willoughby Design Group (Kansas City, MO USA)
Design critics are making their thoughts known about the new graphics volume:
"Identity Crisis! is a rare book...If you are a graphic designer who has real-world clients—I suggest you add this book to your toolbox. If you are a business owner or marketer who wants to see how others make over and leverage their identity—Jeff Fisher’s 'Identity Crisis!' is a good place to start." - Chuck Green, PagePlane.com
"('Identity Crisis!: 50 Redesigns That Transformed Stale Identities Into Successful Brands')...delivers exactly what the title promises." - Graphic Design USA
"...we also got in our copy of our friend Jeff Fisher's new book 'Identity Crisis!' and now that we've gotten a chance to pour through all its pages, we give it our UnBeige seal of approval. If you're the type who loves a mix of famous logo redesigns...as well as great coverage of whole identity creations and overhauls, you'll love Jeff's book." - UnBeige/mediabistro.com
"This book is a wonderful source of inspiration and I think it is a must have for any designer interested or currently working in the field of identity design." - Jake Van Ness, DesignerToday.com
For more information, visit the Identity Crisis! blog. A downloadable PDF file of some teaser spreads is also available from the publisher at HOW Blog.
Jeff Fisher has received nearly 575 regional, national and international graphic design awards for his logo and corporate identity efforts. His work is featured in nearly 100 books on the design of logos, the business of graphic design, design education, and small business marketing. In addition, Fisher also writes for CreativeLatitude.com, HOW Magazine and other design resources; and speaks about the design profession to high school classes, college students, and at international design industry events.
Fisher is a member of the HOW Magazine Editorial Advisory Board, the HOW Design Conference Advisory Council and the UCDA Designer Magazine Editorial Advisory Board. His first book, The Savvy Designer's Guide to Success, was released by HOW Design Books in late 2004.
One of the key mistakes small businesses make when creating an online presence is trying to do it all themselves, says Jeff Fisher, a graphic designer with 30 years experience, and author of two books on graphic design. Fisher also is a member of the advisory boards for How Magazine, UCDA Designer Magazine and the How Design Conference.
"I always tell business owners do not try this at home," he says. "Hire a professional who knows what they are doing. It does not need to cost a fortune, but there will be tremendous benefit in bringing in someone who really understands how to create what a business needs to get off on the right foot."
His suggestions for finding a professional include:
• Check out designer portfolios online.
• Contact local design schools, universities or community colleges for recommendations of outstanding students who may be able to help for monetary compensation and possible school credit.
• Some college business programs have outreach programs to assist small businesses in marketing and promotion efforts.
• Research the resources available through the Small Business Administration. If your business has a service or product of value to a design professional, consider bartering or a partial trade of equal value.
Remember, that the initial online impression made with a potential customer can make all the difference; the cost of the online presence is an investment in the future of your business, says Fisher.
The Portland, Oregon graphic designer, writer and speaker hails from a family with deep roots in PR and marketing; his father, mother and sister have all had careers in some aspect of the business. In fact it was his sister, who owns an ad agency, who helped Fisher zone in on the aspect of graphic design he enjoyed most at a time when he was experiencing burnout.
"For about the first 17 years of my career I took on any and all design projects that came my way," he explains. "I thought that was what graphic designers were expected to do. In a conversation with my sister I mentioned I was starting to get burned out by my work. Her comment was, Why aren't you focusing on what you enjoy most? I kind of looked at her with a blank stare and she said, Logo designs."
That was when he adopted the business name Jeff Fisher LogoMotives and began marketing himself primarily as a designer of corporate identities.
Although his customers typically find him these days, Fisher has a lot of ideas about what works and does not work with small business marketing. For example, he avoids paid traditional print advertising and Yellow Page advertising.
"I learned that print advertising was simply not effective in marketing my services," Fisher says. While Yellow Page advertising, "tends to bring designers too many tire kickers looking for services based on price only."
Strategies that have worked for Fisher include:
• Press releases, distributed online and through traditional snail mail. The relationships developed with editors and writers over the years are incredibly valuable to a business.
• Writing also has become a major marketing element for my business, Fisher admits, mentioning he has been asked to write numerous articles for design and business publications and websites.
• Speaking Engagements - Fisher speaks to high school groups, design schools, colleges and universities, design organizations and at conferences like the industry HOW Design Conference.
• Pro bono work - While such efforts might not be considered marketing by many, it does get my name out into the business community, puts me in contact with many local movers and shakers, and provides an opportunity to promote the end results.
• One direct mail-piece long ago generated a targeted, self-created list of 500 individuals so powerful that Fisher has not needed to do a mailing since.
Like many small business owners, Fisher prefers low-cost - or no-cost - marketing tools. He has even managed to turn some of them, like the writing of articles and books and speaking engagements into income-producing activities.
"With my writing, and speaking engagements, my business is also evolving into one of becoming a professional industry expert while taking on limited design projects," Fisher said. "At a design conference a few years ago I explained to an audience that I wanted to work less, charge more."
Marcia Ming, publisher of Savvy Marketing Secrets, is a former print journalist and small business marketing consultant. To learn more about marketing your business online and off, visit her website: savvymarketingsecrets.com
by Jeff Fisher, Engineer of Creative Identity, Jeff Fisher LogoMotives
It may bark like a dog and look like a dog but, is it really always a dog?
A similar query may arise with many “design contests,” especially those popping up all over the Internet on a daily basis. Business and organizations, with the ability to pay going rates for professional graphic design services, have found the lure of winning a “contest” will reel in large numbers of designers for the chance of a few minutes of fame, a little glory and perhaps cash or prizes not nearly worth the value of the design effort on the open market. In return, those conducting these design lotteries often get a virtual menu of design options, and the rights to use all entries as they please, with little need of valuable prize options or the outlay of much cash.
Some blame for the proliferation of “design contests” must fall on the design community itself. For a great many designers, such activities appear to be an opportunity to gain some quick income. In the excitement of the moment it is often forgotten that winning is not a sure thing and the “fine print’ of the competition rules may be even more detrimental to a designer. The only thing worse than a client, or potential client, who does not value the efforts of a professional graphic designer, is a designer who doesn’t appreciate the value of their own time and work. Participation in such “competitions” certainly devalues the efforts of the creative individual and encourages others in the business community to seek inexpensive design work in a similar manner.
In most cases the target of such “contests” is the somewhat naive, and not so business savvy, designer. For that reason many of the “competitions” are often posted on newsgroups, or venues like Yahoo Groups, frequented a great deal by “newbies” to the industry. Those conducting such competitive ventures are not always seeking to take advantage of designers not knowing better. Some simply need to be educated about the design profession and all designers need to take it upon themselves to aid in that education process.
Other businesses holding design competitions are very much aware of what they are doing. Recently, on a design-related Yahoo Group, a firm posted a letterhead “design contest.” This company, which sold document templates, was offering small cash prizes for the top three designs. No additional residuals were to be offered to the selected designs that would eventually be sold for use by others. In fact, the fine print of the competition noted that all submissions to the “contest” became the property of the company and could be used as they saw fit - meaning the firm could use and sell the designs of non-winners without any form of compensation. A few days following the posting of the names of “winners” the web site of the “contest,” and the company, no longer existed.
The similarity to speculative design work is blatant in many of these “competitions.” (Additional inormations about dealing with “spec” work situations can be found on NO!SPEC). Designers are being asked to create work for the chance that their work might be selected or used by the client. In these cases the carrot being dangled is often a prize of significantly less value than the designer could earn if contracted directly to produce the work. Instead of committing themselves and contracting with one design professional, the business or organization in question is setting up a veritable smorgasbord of creative possibilities for themselves, with little consideration for the individual designer or the value of their time and talents.
A few years ago, a “contest” for a logo, web site design and collateral materials was posted on the Internet forum at Designers-Network.com. Immediately, designers from all over the world pounced on the poster of the message and his offer of a $1000 prize for a great deal of speculative work. Those responding to the post invested a great deal thought in putting together their arguments against the practice of such competitions. Some provided information about the actual value of a designer’s work. Others posted messages outlining the evils of “spec” work. A few questioned the turning over of all rights on a project to a for-profit venture. The individual posting the message about the event was initially stunned by the reaction but then responded that he had decided to cancel the contest as a result.
Some producing and promoting similar “design contests” should simply know better than to solicit design work in such a manner. Naming names is not necessary, but recently a well-known writer, the writer’s publisher, a stock photo company and an online payment company began a competition to design the cover of the author’s book. The competition was then promoted by a variety of design industry and business web sites that supposedly support the efforts of the “little guy” in the design profession. The “prize” package for the winner included a camera (valued at approximately $1000), a signed copy of the book and a credit for the stock photo company. It was necessary to pay a $1.00 entry fee through the online payment firm in which the author has some financial interest.
As design industry site Creative Latitude’s Neil Tortorella noted, in one of the Internet discussions of this specific competitive event, The Graphic Artist Guild Handbook of Pricing & Ethical Guidelines (10th Ed.) estimates a typical fee for One/First Concept of a mass market hardcover book to be $2,000 - $3,500 US, with licensed rights for first edition only.”
The rules for the “contest” were clearly posted for all to read, and agree to, before submitting a design. And there it was: “All entries become the property of Sponsors. By entering the Contest, the winner agrees to assign all of his or her rights, title and interest in the entry (including all copyrights, trademarks, design rights, moral rights and all other intellectual property rights) to the Sponsors or their designee(s).” A designer would be submitting a speculative design to an established publisher - and giving up all rights to the work. It makes it tough for all designers when those supposedly “in the know” about the industry, and aware of the value of a designer’s creative efforts, are working against them in the guise of a “contest.”
Various online forums presented lively interaction between posters on this particular book cover situation, with mixed reactions from those joining the discussions. In general, the more established the design professional the more likely they had a negative reaction to the “contest.” Designers with less experience in the industry seemed to look at it as a great opportunity for exposure; rather than a situation that would be taking advantage of their talents and wasting their limited valuable time. The biggest disappointment was the attitude of the author in question. He basically blew off all criticisms with a response of suggesting designers not enter the “contest” if they didn’t like the event or did not want to abide by the rules.
Over two decades ago the Graphic Artists Guild established “Suggested Guidelines for Art Competitions and Contests” through their Graphic Artists Guild Foundation, with a supporting grant from the National Endowment for the Arts. The organization conducted a nationwide survey of art and design competition holders, as well as jurors and competition entrants, in determining recommendations for competitions and contests conducted by art-related organizations/ associations, for-profit companies desiring work for commercial purposes; and nonprofit organizations. Serious consideration of such recommendations is now more important than ever to those in the design profession attempting to wade through the competitive offerings promoted via the Internet.
In all cases, the Graphic Artists Guild (GAG) suggests that those conducting competitions initially review existing work of designers or artists, rather than requiring the execution of newly created, speculative work. Through a process of elimination, finalists are then asked to possibly submit rough sketches prior to being named the finalist for the project contract. A number of guideline recommendations then help the event sponsor select a final art piece or design. The organization also stresses that any prize awarded should be commensurate with the fair market value of the work being done. GAG also recommends that the individual creating the work should retain a variety of rights for the work done.
The most legitimate design contests are often those conducted by nonprofit organizations. Still, such organizations may benefit from knowledge of the GAG established “Suggested Guidelines for Art Competitions and Contests.” While smaller, budget-challenged, nonprofits seldom seem to be intentionally taking advantage of designers, there is still room for some improvement when it comes to establishing specific contest rules and conducting the competitions. It is the prerogative of many in the design profession to make some concessions about these issues when dealing with project opportunities for nonprofit causes in which they have strong personal interests.
It should be noted that the “contests” covered in this article are not the industry awards designers either love, or love to hate. (Those competitions have already been examined in a previous article I wrote for Creative Latitude) The “design contests” that are not always what they seem are most often requests for newly designed work to be used in the marketing and promotion of a business, service or product - to the financial gain of the entity presenting the opportunity.
In considering possible participation in such events, designers should review suggested competition guidelines - such as those recommended by GAG - and do a little online research of the business or organization conducting the activity. Carefully read all of the rules presented by the sponsor and give consideration to the actual market value of the work being requested. By doing so, a design professional can make an informed decision about possible participation in what someone else is referring to as a “contest.” The investment in time in learning about such issues will also make a designer better informed when finding it necessary to educate those promoting so-called “contests” about the errors of their ways.
Designers beware! The beast known as a “contest” may look like a dog and bark like a dog. However, be careful when you go to pet, or play with, this animal. Its bite could be much worse than its bark.
This article originally appeared on CreativeLatitude.com. It was also published on Pixelgirlpresents.com, GDC.net - Society of Graphic Designers of Canada, TheCreativeForum.com, Commpiled.com, Singapore.net, NO-SPEC.com and the blogfolio Jeff Fisher LogoMotives.
