Welcome back to "29 Things Young Designers Need To Know!" This week I will reveal Part 2 of the greatest list to date. Throughout the years, Doug Bartow, principal of id29 in Troy, NY has collected these questions and has tried answering many of them as an ongoing personal project. Many of the questions and concerns young designers share today are the same pro's like Mr. Bartow had as graduating students looking to make their mark on the world. There is nothing different in the design industry today that makes getting--and nailing--that initial interview or client pitch any easier.
Welcome back to "29 Things Young Designers Need To Know!" This week I will reveal Part 2 of the greatest list to date. Throughout the years, Doug Bartow, principal of id29 in Troy, NY has collected these questions and has tried answering many of them as an ongoing personal project. Many of the questions and concerns young designers share today are the same pro's like Mr. Bartow had as graduating students looking to make their mark on the world. There is nothing different in the design industry today that makes getting--and nailing--that initial interview or client pitch any easier.
This list appeared in the January 2011 issue of HOW along with a limited edition poster designed by id29. Enjoy #11-20 and check back soon for Part 3 of 3!
11. Research (and Destroy).
You’ll never know as much about your clients’ businesses as they do, but part of our job as designers is to try. Learn as much as you possibly can at the inception of a project about your client’s business space, their goals, their competition and their history. Dedicate a half or full day download session, ask a lot of questions, and then shut up and listen.
12. Observe Trends (Then Avoid Them).
Keep current on the state of our industry by reading books, magazines and blogs, and attending conferences. RSS feeds will allow you to quickly skim design and culture-related content. Avoid design annuals as a source of inspiration, as they’re a record of what’s already been done. Study the work of others to understand it, not to duplicate it.
13. Defend Yourself.
One of the biggest benefits of a formal design education is the lessons learned in the crit room defending your work in front of your instructor and peers. If you can articulate your ideas and design process in that hostile environment, learning to do the same in client meetings usually comes easy (see No. 21)(next week).
14. The Paper Matters.
Contrary to what you might read on the blogosphere, print is not dead. The beauty and tactility of a well-printed piece on quality paper cannot be appreciated or replicated on a screen, tablet or mobile device. Paper manufacturers, merchants and printers are doing a terrific job helping designers make sustainable paper choices to minimize the impact on our environment. Become well-versed with the Forest Stewardship Council certification program, and use this knowledge to choose your papers wisely. Clients are demanding it (see No. 28)(next week too).
15. Content Is Still King.
Technically, Elvis is still the king, but for the sake of this argument, let’s put an emphasis on the message, and consider design as a plan for delivering it. The most effective and memorable visual communication almost always has the right mix of form and content, regardless of medium. Good design can engage a viewer, but interesting content will keep them reading, and thinking, past the headline.
16. Reject Personal Style.
Picasso had his Blue and Rose Periods, Georgia O’Keeffe obsessed over flowers and animal bones. The difference between them and you? They were artists solving their own personal communication problems. We are designers, primarily tasked with solving the communication problems of others. Using one singular style or direction for multiple clients or projects will rarely be successful and, in retrospect, will look one-dimensional (see No. 11).
17. Say No To Spec Work.
Speculative work, or spec work, is a request by a potential client for uncompensated creative and design work at the inception of a project. Avoid this like the plague—it’s a devaluation of the entire design process and marginalizes our efforts as a whole. AIGA.org has great resources for dealing with spec work, including a sample letter that you can personalize and send to clients explaining why their request is unappreciated (see No. 19).
18. Become Indispensable.
What are you really good at? Contrast that to the skill sets that could help you advance at the workplace. Could your studio benefit from having an in-house photographer, web programmer, video editor or screen printer? Follow your bliss and get the additional training you need to expand your talents and, ultimately, your role at work. Now, does the studio come to a grinding halt when you’re home sick for a day? Congrats. You’re indispensable.
19. Join AIGA.
Founded in 1914 in New York City, AIGA is the professional association for design, representing more than 21,000 professionals, educators and students with 65 local chapters (find a chapter near you) and 200+ student groups. AIGA supports our efforts at the chapter and national levels through the exchange of design ideas and information, research, innovative programming and as a source of inspiration. If you’re missing that sense of design community you had in school now that you’re in the professional world, AIGA will help reconnect you for life.
20. Build Relationships.
Build personal relationships with everyone you work with, not just your clients. Get to know your delivery people, paper merchants, printer reps, local politicians and business leaders. Attend Chamber of Commerce events, network and meet people. Get on people’s radar screens—they will be impressed with your well-designed business cards that prominently feature your website address.
*The image above is the front of my "29 Things" poster redesign of Doug Bartow's original. You can find a larger image along with more of my work by clicking portfolio in the menu above or by tapping this underlined word that says Portfolio.
This list appeared in the January 2011 issue of HOW along with a limited edition poster designed by id29. Enjoy #11-20 and check back soon for Part 3 of 3!
11. Research (and Destroy).
You’ll never know as much about your clients’ businesses as they do, but part of our job as designers is to try. Learn as much as you possibly can at the inception of a project about your client’s business space, their goals, their competition and their history. Dedicate a half or full day download session, ask a lot of questions, and then shut up and listen.
12. Observe Trends (Then Avoid Them).
Keep current on the state of our industry by reading books, magazines and blogs, and attending conferences. RSS feeds will allow you to quickly skim design and culture-related content. Avoid design annuals as a source of inspiration, as they’re a record of what’s already been done. Study the work of others to understand it, not to duplicate it.
13. Defend Yourself.
One of the biggest benefits of a formal design education is the lessons learned in the crit room defending your work in front of your instructor and peers. If you can articulate your ideas and design process in that hostile environment, learning to do the same in client meetings usually comes easy (see No. 21)(next week).
14. The Paper Matters.
Contrary to what you might read on the blogosphere, print is not dead. The beauty and tactility of a well-printed piece on quality paper cannot be appreciated or replicated on a screen, tablet or mobile device. Paper manufacturers, merchants and printers are doing a terrific job helping designers make sustainable paper choices to minimize the impact on our environment. Become well-versed with the Forest Stewardship Council certification program, and use this knowledge to choose your papers wisely. Clients are demanding it (see No. 28)(next week too).
15. Content Is Still King.
Technically, Elvis is still the king, but for the sake of this argument, let’s put an emphasis on the message, and consider design as a plan for delivering it. The most effective and memorable visual communication almost always has the right mix of form and content, regardless of medium. Good design can engage a viewer, but interesting content will keep them reading, and thinking, past the headline.
16. Reject Personal Style.
Picasso had his Blue and Rose Periods, Georgia O’Keeffe obsessed over flowers and animal bones. The difference between them and you? They were artists solving their own personal communication problems. We are designers, primarily tasked with solving the communication problems of others. Using one singular style or direction for multiple clients or projects will rarely be successful and, in retrospect, will look one-dimensional (see No. 11).
17. Say No To Spec Work.
Speculative work, or spec work, is a request by a potential client for uncompensated creative and design work at the inception of a project. Avoid this like the plague—it’s a devaluation of the entire design process and marginalizes our efforts as a whole. AIGA.org has great resources for dealing with spec work, including a sample letter that you can personalize and send to clients explaining why their request is unappreciated (see No. 19).
18. Become Indispensable.
What are you really good at? Contrast that to the skill sets that could help you advance at the workplace. Could your studio benefit from having an in-house photographer, web programmer, video editor or screen printer? Follow your bliss and get the additional training you need to expand your talents and, ultimately, your role at work. Now, does the studio come to a grinding halt when you’re home sick for a day? Congrats. You’re indispensable.
19. Join AIGA.
Founded in 1914 in New York City, AIGA is the professional association for design, representing more than 21,000 professionals, educators and students with 65 local chapters (find a chapter near you) and 200+ student groups. AIGA supports our efforts at the chapter and national levels through the exchange of design ideas and information, research, innovative programming and as a source of inspiration. If you’re missing that sense of design community you had in school now that you’re in the professional world, AIGA will help reconnect you for life.
20. Build Relationships.
Build personal relationships with everyone you work with, not just your clients. Get to know your delivery people, paper merchants, printer reps, local politicians and business leaders. Attend Chamber of Commerce events, network and meet people. Get on people’s radar screens—they will be impressed with your well-designed business cards that prominently feature your website address.
*The image above is the front of my "29 Things" poster redesign of Doug Bartow's original. You can find a larger image along with more of my work by clicking portfolio in the menu above or by tapping this underlined word that says Portfolio.