ArtBistro

Tips for Design Grads During Hard Times

Mike Lenhart — Thu, 19 Nov 2009 08:35:00 -0800

How Much Education?

You've graduated, been out of school for awhile, and have been working out in the world. Things seem to be going pretty well. Suddenly, some things have happened in the workplace, and the world, and you feel that something is missing. What is it? Do you feel that you still know all of the things you learned in school? Are there a few things you'd still like to know? Well, maybe it's time to think about getting some additional education.

What to Study?

Sometimes, there are new applications and tricks that are included in the software upgrades you get from programs such as Adobe Illustrator or InDesign. Do you know about these? Do you know how to use them to make your job a little easier? Well, maybe you can take a seminar or workshop at your local Adobe facility or through a professional organization such as the AIGA. Many of them are free. You can even take tutorials online through the companies' Web sites. It's a good idea and you may learn something about the programs you use everyday that you never even knew existed.

Do you want to learn how to design and produce Web sites or 3-dimensional animations? Many cities offer classes in these technologies at a local community college or through a technology school. Usually inexpensive, these classes are quick and easy and you can usually learn something in a short amount of time.

What about something completely different? Do you want to learn how to run a design business or how to get into the business side of design? The same options apply here. You can attend a local school, attend a workshop through a graphic design professional organization, or attend some business seminars through your local chamber of commerce. You don't always have to pay for these classes and sometimes they can be less expensive than through a large university.

When the Worst Happens

OK, you lost your job. You're among one of the many that have been laid-off in this current economy. Maybe your freelance business has faced a downturn and it doesn't look like it's going to rebound anytime soon. Maybe you're also kind of burned-out and this latest round of trouble hasn't helped your psyche. What about thinking about going back to school? Do you have an MFA yet? Have you thought about it? In this scenario, it may be a good time to do so.

Why not taking a look into the school you've already attended? Does the institution offer a Master's program? You know you can do it and have studied hard in the past. Why not think about it again? There are some things you need to know, however.

You're going to have to get a good portfolio together to send with your application. Most schools require 12-18 really good examples of what you've done and how it will apply for your graduate thesis. You're also going to have to get up to three letters of reference from past instructors or those you've worked for. Make sure you get references from folks that can give you a good, genuine, and positive recommendation. You're also going to have to have a current resume and a letter of purpose as to why you want to attend graduate school and what you want to do with your degree. Do you want to teach? Do you want to develop your graphic design skills into something that can benefit others? It's a good think to contemplate and it may even get you excited for this next step. Make sure you meet the application deadlines and get your required documents into the school on time - or early. Show your initiative. This next step could be a real boost.

If you already have an MFA you have a lot of options as well. Use your skills, knowledge, and degree to move forward. If you want to try something different, why not go for an MBA? There are a lot of business options out there and the design business could sure use some folks that know how to run, and keep, a design business going.

Education is always a good thing and a person can never get enough. Whether you take a class or two or go all-out for a new degree, you'll be in the driver's seat for more opportunities.

The Role of the Designer and Art Director

ArtBistro — Mon, 16 Nov 2009 08:37:00 -0800

If you’re a recent college graduate or if you’re just now entering the workforce, you’ve probably looked at and applied for dozens of design jobs. You’re probably aware of most of the popular job titles in the design industry including everything from junior art director, senior art director, art director and beyond; but after reviewing all the descriptions for each, you might still be a bit confused as to what each position does and how these positions fit in to the office hierarchy. This is because job titles and descriptions are confusing. Responsibilities differ from company to company and can depend on several factors including size, type of company, and even the skills of the employees that work there. For this article, I spoke to several designers, art directors, and creative directors hoping to learn how these roles differ from company to company. What I learned was that each company tends to use their creative teams in different ways. It is my hope that by sharing what I’ve learned that I can help to better prepare you for your transition into the workforce.

The Junior, Mid-Level, and Senior Designer

When you first start looking for a job as a graphic designer, it’s likely that one of the first things that you will do is visit a website like Monster.com and run a search for “graphic designer.” Your results will vary but it’s likely that each of you will see several listings for junior, mid-level, and senior designers. At a glance, these listings might appear to be quite similar but in reality you may find these positions to be quite different in terms of experience and responsibility.

So what exactly are the differences? The terms junior, mid, and senior typically refer to seniority. Designers with many years of experience typically hold more senior level positions while designers with less experience hold more junior ones.

A junior designer, for instance, is an entry level position, usually a college graduate with exceptional talent. Junior designers typically require heavy direction from a more senior designer, or art director to develop a project to its conclusion.

Mid-level designers generally have a couple years of experience in the industry and although they still require supervision from a more senior member of their team, they are typically more than capable of completing most tasks.

The senior designer should be one of the most experienced members of the creative team. They should have several years of experience and should be capable of executing projects with minimal direction from an art director. In addition, senior designers should be able to manage their time as well as the time of more junior level designers. In addition, senior designers should have a firm understanding of all levels of production and be capable of not only contributing to the design of a project but also communicating with the client.

While all of this seems rather cut and dry, it’s not. The role of the designer can change depending on the size of the company. A smaller studio, for instance, might be more hands on, relying on more junior level designers to interact with clients and make decisions regarding the direction of a project whereas a larger agency may have stricter guidelines and a clearer division of labor.

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The Art Director

Now that we understand a bit about the role of the designer in the workplace, what about more senior level positions like art director? What do art directors typically do? Do art directors get to design or do they spend most of their time managing staff and interacting with clients?

The art director can be a bit of a mystery to a newly graduated designer. I think mostly because there is very little formal training available for this position. Most of the training for this job occurs in an office, not a classroom and to make things even more confusing, the role of an art director can depend on the size of the company.

In fact, the role of the art director is often very similar to that of the senior designer; with some companies demanding a more hands on approach. I asked several art directors how they typically spent their time and many of them claimed to spend up to 50% of their time actually designing while spending the rest of their time managing staff and interacting with clients. Other art directors claimed not to spend much time at all actually designing. In fact, some of them seemed to be more of a project manager than anything else; managing staff and making sure that deadlines were met.

So if the role of the art director is so varied, is a design background really all that essential? Most everyone I spoke to agreed that a design background is essential. Just about everyone started out as a designer and worked their way up to art direction. They learned management and communication skills along the way but most of them agreed that above all else, the most important part of being a good art director is to have a good eye for design; and to understand the fundamentals.

In Conclusion

If you learned one thing from this article I hope it is that no two positions are alike. While the titles may be the same, the responsibilities can vary wildly depending on several factors. Learn to adapt, pick up new skills and responsibilities, and do your best to learn from the people you work with.

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Fall Back, Give Thanks, and Promote Yourself

ArtBistro — Wed, 11 Nov 2009 11:46:00 -0800

If you're a freelance graphic designer, or working for yourself, it may be a little more difficult to reach your clients and intended clients through normal channels. It's important for clients to know you're still out there and available to help them out with their design problems. How do you do it without spending most of the hours of your day on self-promotion? What's a good way to get your name out there to existing clients and those that may be clients in the future? Well, now is the time to get some ideas.

Since we're getting close to the end of another year, now is the time to communicate to clients about ourselves and let them know what we've done. The last few months of the year are filled with opportunities to reach clients and potential clients in creative ways that may add a little punch to your communications.

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We all have portfolios, and hopefully our best work is online. This time of year it may be a good idea to send out a "thank you" communications message to your clients in the month of November. Since Thanksgiving is right around the corner, how about sending a nice note of "thanks" to your clients? It can be done in a simple email or could be stepped-up a bit by sending out a nice email newsletter by using some simple HTML or utilizing an email newsletter service. Most of the companies that provide these services are very affordable and offer many other features than simply sending out an email blast. Look into iContact.com. You can track your database of contacts, track who opens the email, and set the timing of when you want the email to go out. It would be good to include some info of what you've done this year and either provide some images of what you've done or provide an easy way for your recipient to click on a link to get to your online portfolio. Think of a creative message to draw the client in and offer a "tease" to get them interested. Other than thanking them for the past year, you can also offer some helpful hints or tips on how to make their communications efforts a little easier. It's a nice time of year to thank the people that have worked with you.

No time for an email campaign? Why not a few simple phone calls to your clients to thank them personally? It's a good opportunity to touch base with them and also to get a little "face time". You can let them know how much you appreciated their business in the past year and that you'd like to continue to work with them in the future. If you have the budget, why not take a few of your best clients out for lunch? Everybody likes a free lunch, while it won't necessarily be "free".

Those clients that you haven't worked with yet, but would like to, can have their email message catered differently to them. Let them know how your work can help their business or organization and offer some ideas on what you can do for them. The Holidays are coming and many businesses and organizations like to send out holiday cards. Well, this is a great opportunity for you to step in and offer help. What about designing their holiday cards for print or online? It's a great project and you can get them all designed and printed in plenty of time for the Holiday crush.

Speaking of the Holidays, what about your own holiday cards? You can use the same system that you use for email blasts to design a holiday card for your clients and intended ones. I know it sounds early, but, the time will be here before you know it and you may find yourself scrambling for some holiday cheer to send out.

If you're not into the whole Thanksgiving or Holiday thing, make up your own reason to communicate to your clients and intended ones at the end of the year. You can create your own personal message that highlights your creativity and strengths. It doesn't have to be a big, expensive idea, the point is to communicate to those folks out there that need to know you're still around. whatever you do, it will be wise to show some of your work or to allow them access to your portfolio. It's never a bad time to communicate and promote, and, at this time of year, it's also a good time to give thanks.

A Refresher Course for Graphic Designers

ArtBistro — Wed, 28 Oct 2009 09:33:00 -0700

I recently came across a book that is all about graphic design for "non-designers". At first I was a little offended. How can there be such a book? Don't they know that we designers have to go to school for quite a while to learn the basics of design and how to apply these basics to our work? How can a "non-designer" just pick up a book and design a successful project? Well, after forcing myself to open the book, I found a few things that even seasoned professionals may be able to use. Stay tuned, and I may fill you in on the book's name.

This publication offers "essential knowledge, tips, and tricks" on how to start applying basic design principles right away. There are even 20 step-by-step projects for the design novice. Well, let's see what's in here.

There is a two-page spread of design "terminology". Random terms such as baseline grid, CMYK and RGB, layout, point size, vector, tint, and transparency are basically explained and may be of help if you forget what these basics mean. One good thing about the book is that there is a pretty good explanation of the basics that we all use such as layout and tracing pads, cutting mats, and steel rules. It's really good to have the hands-on basics in the book, however briefly explained. Also in the basics are some guides on how to buy the right computer - the authors say that a good-quality PC is just as effective in design projects as an Apple product. There is a section on how to buy a good camera to capture your images, including mention of compacts and SLRs. Pretty short and sweet, but it's a good little section.

After the preliminary sections are covered, the authors get into the "Space and Structure" section. There is talk of using white space with an explanation of form and trapped space. In the "Grouping" section, there are explanations of such design principles as proximity, separation, size, and position of design and design elements. Visual flow and connections - continuity and repetition - are covered and there are some good examples of what they're talking about. There's even a good section on grids. We all love grids, right? Choosing the appropriate measurements, drawing, and breaking the grid are really important aspects of design and there are some nice, tight examples in the publication.

The section on color theory is pretty nice. Of course, there is mention of the blasted "color wheel" that we all have studied and hopefully mastered. Do you know what the differences between equidistant and adjacent points are? How about complimentary and monochromatic color? There are some good examples of color harmony as well. Their CMYK values are written in a way that may be confusing, such as 030/010/030/000, but we know these are percentages, I hope.

The back section of the book offers step-by-step solutions to such design problems as basic as memos and business cards to rubber stamps, T-shirts, and event programs. It's pretty good and the accompanying graphics look nice. It's good to capture the right color and type combinations to make these and your projects work. Not to be copied, but studied and expanded upon.

So, the book is called "Graphic Design for Non-Designers" and is put out by Chronicle Books in San Francisco. This article is not meant to be a book review or promotion for any publication, just a nice look at what kinds of design books are out there and how much we, as graphic designers, really know. No matter if you're in school, out of school, or working at a design job that calls for a lot of creativity, it's always good to see what others are doing and what kinds of projects can be done.

The Best Place to Locate Your Freelance Design Business

Grant Friedman — Mon, 19 Oct 2009 08:10:00 -0700

Have you ever thought about how the city you live in affects your freelance design business? If you are like most freelance designers, you have probably fantasized about making it big in the industry. You may have seen advertising and design glamorized on television shows like Mad Men or Trust Me. You may have even thought about moving to Chicago or New York to advance your career but what you may not realize is that every city, state, and country will have pros and cons in terms of its friendliness to the design community. In this article, I hope to point out some of the obstacles that you might confront setting up your freelance design business in the city that you live.

Most people don’t make a conscious decision to locate their freelance design business in one place or another. In fact, most people choose to start their freelance design business in the town that they currently live. Most small businesses start out this way. They open up shop wherever is most convenient. In many cases however the decision to locate your business in one location or another can have serious consequences on its health and viability. For instance, a restaurant might thrive in one location but fail just a block away. Needless to say, in business, these decisions are taken very seriously.

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In fact, choosing the right location for a business is a big industry. Large corporations for instance spend countless man hours and considerable resources deciding where to locate a new headquarters or factory. These decisions are so big that most governments actively recruit businesses to locate in their area in order to bring jobs and investment into their economies. Large corporations take into account many factors including infrastructure, education, construction costs, property values, and even tax rates. All these factors can affect the livelihood of their business and even its profitability.

This means large corporations might spend years deciding where to locate their business but the rewards are usually worth it. If they choose wisely, they might see savings across the board in transportation, training, construction, and taxes. So the question is, if large corporations can save money and increase revenues by choosing to locate their business in one location or the other; why can’t you?
Well, you can! First, sit down and decide if a move is in your best interest. Factor in the cost of moving, the potential for profit, any potential taxes, competition, cost of living, rent/real estate prices, access to Internet and even cost and access to extended learning programs. All of these factors are important to consider when deciding whether or not to relocate.

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You should also keep in mind that no perfect places exist. You will have to make compromises. For instance, a large city such as New York boasts a thriving design community, a large pool of potential clients and access to high speed Internet but before you pack your bags, consider the drawbacks; like New York’s outrageous cost of living, high taxes and competition.

On the other hand, you could also move to a smaller market such as Texas or Nevada. Smaller markets typically boast lower taxes, fewer competitors, and a more reasonable cost of living. In fact, states like Texas and Nevada do not impose state income taxes, which is very nice for small businesses. Before you make your decision however, you should also consider that smaller markets may lack many resources to art and culture found in a larger market like New York. You might also discover that your potential for profit might be reduced because of a lack of potential clients.

In the end, the decision of where to locate your freelance design business is entirely up to you and your situation. Most of you are probably happy wherever you are and that’s ok. Being happy should be your goal no matter what your profession is. However, for those of you who are looking to move, the best piece of advice that I can give is to do your own research, find the place that is best for you. Do your best to try and keep your overhead low while keeping your revenues high. I know this is common sense and I know that it is easier said than done but it’s true no matter where you live or how much money you make.

Type Talk

ArtBistro — Mon, 12 Oct 2009 08:51:00 -0700

As graphic designers, many of our projects call for creative typographical solutions. How do we do this? How do we come up with the best type - typefaces and fonts - to make the project all come together? Let's talk about it.

h4. The Definition

First of all, let's talk about the difference between a typeface and a font. A typeface is the entire family of a particular name of a font, such as Frutiger, that includes small caps, large caps, ligatures and the like. A font, on the other hand, is one size or type of a font that is used. An example of this would be Myriad Pro Regular at 10pt size. While the terms are used interchangeably, it is a good thing to know the deeper difference between them.

Another definition is that of serif and sans serif typefaces. Most of us know the basic difference, but a serif typeface has the little "feet" on the letterforms while a sans serif typeface does not. Serifs are usually used for body copy and longer sections of type and sans serifs are used more for headlines and captions or areas of small bodies of type. There are also display, blackletter,
scripts, and decorative typefaces. These are more embellished and used for special typographical solutions.

What about readability and legibility? We've all heard about these two terms. Readability refers to whether an extended amount of text, such as an article or book, is easy to read. Legibility refers to whether or not a short amount of text, such as a headline, is instantly recognizable. It's important to get these things down before laying-out any text.

h4. How To Choose A Typeface

There are hundreds and hundreds of typefaces out there. How do we choose which ones to use for a particular project? First, think about the type of document or project you're working on and whether you're going to have a long, extended amount of text or short bursts of text. Think about the x-height of the letterforms as well as the ascenders and descenders of them. Play around with sample text to see how it looks on the page and, most importantly, how it looks when printed. If you have a font manager, such as those from Adobe or Extensis, you can have a great look at how the typefaces are and how the letterforms will appear. If you have a large inventory of typefaces, such as those from the Adobe portfolio of fonts, you may have more difficulty in picking which ones to use, but you should look at the large families which have a lot of variations such as small caps, large caps, and obliques. You may find that you use one or two typeface families on a regular basis. That's OK, just don't get stuck using the same ones all the time. There are some beautiful choices out there.

Is your document an invitation or a business card? How about an annual report or a book? Take time to consider what you're working on so you can get the right "color", or look, of the overall document. Once you choose the typeface(s) that you want - usually no more than two for any particular project - it's time to lay-out the type that you need. Headlines and subheadlines are usually in the sans serif family, boldface or regular. Body copy is usually laid-out in serif typefaces and is in smaller type sizes in regular and sometimes italics.

h4. How To Buy Typefaces

As mentioned earlier, there are so many typefaces out there to buy, usually online. Fonts.com is sometimes a good place to start as they offer many good typefaces from popular type foundries such as Monotype and Linotype. Remember to buy typefaces that have a large family and that are considered "good" ones. What does that mean? Well, sometimes there are typefaces out there that are less-than-adequate. These typefaces are sometimes not developed in ways that will print well in large or small sizes and can actually look a little pixelated when printed. Adobe is also a good site to find some typefaces. Try to avoid free fonts that are all over the Web. With free ones, you usually get what you pay for. Sometimes there may be a display typeface that looks OK and may work, but please be careful and try them out before using them on a project. Remember typefaces produced by type foundries are in business to make money, so please be advised that it's not a good idea to share them with all your colleagues. You can get licenses for more than one computer so please look into that if you need to share.

h4. A Final Thought

Typography and typefaces can be a beautiful thing. We usually know when a document has a great look. The typefaces used fit in with the message being conveyed and make the document come together. It's worth it to take the time to get the right look and to make sure that you're using the right faces for the overall project. Practice on this and you'll soon come out as one wonderful typographer.

Your Guide to Freelancing Success

Grant Friedman — Thu, 01 Oct 2009 10:44:00 -0700

Deciding whether or not to freelance full-time after graduation is a decision that most designers face. Working as a freelancer certainly has a lot of benefits; being your own boss, working from home, and setting your own schedule are some of the perks that freelancers like to brag about, but freelancers will also complain about how hard it can be. Running your own business, tracking down payments, and doing your own taxes are just a few of the challenges that freelancers face. Needless to say, the decision of whether or not to freelance after school is a tough one and one that many designers struggle with. In this article, we will review some of the up and down sides to freelancing and try to discover if it is the right option for you.

The Pros

If you ask a freelance designer how they feel about the freelance life-style, you’re likely to hear a lot of positive comments. The most common reasons given are usually the ability to work from home, be your own boss, and set your own schedule. Each option presents designers with a lot of freedom in their daily lives and is therefore very appealing.

Working from Home

This is the most common comment that you will hear from freelance designers. The ability to work from home is a fantastic option for any worker, not just designers. In fact, most designers will tell you that the only thing better than a 10 foot commute from their bed to their desk is the money that they save on gas and other expenses.

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Being Your Own Boss

The next most popular comment that you will hear from freelance designers is that they love being their own boss. Nobody wants someone breathing down their neck all day asking for progress reports and nitpicking their work. Freelancers answer to just one person; the client, which can be very appealing to an independent person.

Setting Your Own Schedule

Most people don’t realize what a big deal this is until they decide to go on a vacation. There is nothing worse than having your vacation cancelled or postponed because your boss needs you to do some work. Freelancers have the ability to turn down work in anticipation of being out of the office.

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The Cons

Now before you go jumping head first into the freelance life-style you should also be aware that freelancing also has several disadvantages. The one thing that you won’t learn in design school is how to run a business. In fact, most graduates are clueless as to how to run a business. So before you make your decision consider the following disadvantages.

Freelancers Never Know Where Their Next Paycheck is Coming From

This is probably the hardest part of freelancing. Designers who work for agencies can feel modestly secure that their paychecks will show up on-time, but freelancers do not have that luxury. If work is slow one month, then you might struggle to pay the bills.

Sometimes Clients Don’t Pay On-Time

In a perfect world your clients would pay up as soon as the work is finished; or better yet before you even begin. But unfortunately, some clients have 30-60 day billing cycles, have cash flow problems, and in some circumstances can just be dishonest. This means that you will have to track down your clients from time-to-time and convince them that they need to pay up. When you work for an agency, there will be some one else there to handle this but freelancers, unfortunately, must do this on their own.

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Freelancing is More Than Just Designing

When you work for an agency, the workload is usually divided amongst several people, but freelancers have to do it all. That means that you will have to be more than just a designer; you will also have to be a salesman, a book keeper, and a project manager. This can be a tough pill to swallow for many freelancers who just want to design.

Conclusion

Hopefully this article has provided you with some useful information regarding whether or not to freelance right after design school. Some of you might not have that choice. In fact, freelancing might be the only choice for some of you, given the state of the economy. But for those of you lucky enough to have options, you might want to consider working for an agency in the beginning to gain experience and build your portfolio. After you’ve built some credibility and experience in the industry then freelancing might be a good fit. For those of you who have already made the choice, good luck!

10 Ways to Rev-up Your Creativity

ArtBistro — Tue, 29 Sep 2009 06:00:00 -0700

As designers, we're responsible to come up with graphic solutions in all of our projects. There can be many projects at once and sometimes the creative juices can dwindle. It can be hard to come up with ingenious ideas all the time. We can all get tired and burned-out at times which is pretty normal and natural in all areas of the creative industry. What's a designer to do to get those juices flowing again? Well, here are some ideas that can be tried to rev-up the process.

1. Pick Up A Pencil

Remember the pencil? Remember the sketch book? Doodling and sketching, even about nothing in particular, can be very freeing and cause some great ideas to come out of your hand. Just sit down and draw. It's good to get thoughts and ideas down on paper and can actually lead to something great.

2. Read Design Magazines

There are so many design magazines out there. A lot of them have some great design solutions and articles contained that can spark some creativity to get things going again. There are many design experts that contribute articles and ideas to the magazines and sometimes they may get a stuck designer, well, unstuck.

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3. Go To A Museum

If you're in an urban area, there are many museums around that you can go to. They don't necessarily have to be art museums, but a trip to a modern art museum should get some ideas pumped out for you. It's always good to get out, clear your mind, and just let things happen at the museum. We can admire, criticize, and simply experience the talent and beauty that is all around these places.

4. Listen To Others

How often do we listen to others? In the design business, there are many colleagues out there that have the same trials and tribulations that you do. Talk to them. Get into their heads about their art and work. What do they do? How do they work? I'm not saying to steal ideas from them, just get some dialogue going. What about instructors at school? I know you have to listen them in class all the time, but maybe a private, relaxed conversation will produce some new thoughts and ideas. People that have been in the business for awhile have lots of experience and can really help.

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5. Take A Break

Stressed? Burned-out? Then, take a break. Just a break. Get up, get away from that computer, and do something else. Watch TV, read a book, do something that is not even related to design or anything that you're working on. It's OK to take a break from a project sometimes. Many times, during these downtimes, ideas and thoughts can creep into your head that may be a solution to something you've been searching for.

6. Go Freeform

Similar to picking up a pencil, going freeform is getting out those colored pencils, markers, and even crayons to get out some ideas. Use vibrant colors. Go crazy, there are no rules to going freeform. Be a kid again. Remember how imaginative we were then? It's fun and can really free up a blocked mind. Who knows, you may even find another method of doing your work. Another way of going freeform is to dance and sing. Just be crazy and let the results flow in.

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7. Look At Other Work

Do you have a guru of the design world that you simply love? Do you love what they've done in their career and feel some attachments to them? Look at their work and see what they've done. Once again, we don't copy their work, but we can get ideas and inspiration from them. Look at fine artists' work and see what they've done. Painters, sculptors, and photographers have a lot of talent and their ingenuity can be of benefit to all of us.

8. Look At The Environment

The world outside has a multitude of things going on. Trees, parks, grass, beaches, oceans, and wildlife can be very refreshing and inspirational. Open your mind, take a big breath of fresh air, and walk around outside. Architecture and other man-made things can be truly beautiful as well. Don't expect anything, just get out there and do it.

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9. Look At Those Old Design Books

Remember the old design books we had to read through school? It's OK to pull them out again and take a look. There may be some things in those old books that you forgot about and may be useful to you now. Not only textbooks, but design and art books of all types can be really nice to look at and read. Don't have any? Remember the library.

10. Meditate

When all else fails, it's good to sit down and meditate. Turn everything off, sit comfortably in peace and quiet, and open your mind. Push out all thoughts and just be you. Don't worry about anything when you're sitting in the quiet, just sit and be in the moment. It can be hard to do this if you're not in the practice of meditating, but, with practice, it can be really good and freeing. It's also very good for your overall mental and physical health.

Still stuck? Don't worry, it's OK. Things will come back to you. We all go through cycles of creativity and can't be a super-star all the time. If you try any or all of the ideas discussed above, you may get through the down times a little quicker and may even come up with the best design solution you've had yet.

How to Deal with Negative Criticism

Amy Wilson | ArtBistro — Mon, 21 Sep 2009 13:29:00 -0700

Sooner or later, it’s bound to happen – that person that you’ve just been dying to have come to your studio or look at your portfolio finally does… and they don’t like what they see. But instead of being crushed by the experience, how can you respond to negative criticism in a way that turns the whole situation into a positive one? In this article, I’ve laid out a few things you can do to learn from your visit, rather than simply feeling hurt by it.

As soon as your visit is over, take a few notes on what was said, while everything is still fresh in your mind. Strive for accuracy in these notes – don’t accentuate the parts you want to remember (or are desperate to forget), just write down what factually took place. Think about how the visit unfolded, what happened first, and then what happened next, and record all of that. We have a tendency to dwell on certain moments and to exaggerate them in our mind; if you can get down a clear record of what actually happened, it will help you to follow up with the information you received in a positive way.

Once you have this information down, think back a little bit to the way you were feeling right before the critique. Ask yourself what your expectations for the visit were – and be really honest with yourself. Sometimes we set our sights so high that anything less than what we dreamed of sounds like a total disappointment. If you were determined to get a solo show out of a gallery director visiting your studio, you might be crushed if he or she simply concluded the visit with “Let’s keep in touch.” This is unreasonable – there are many very plausible reasons why someone might not jump on your work right away, and only one of those reasons is that they don’t like it.

When you come to the point where you feel as though you’ve recorded what happened accurately and really considered your expectations (and perhaps taken a break for a little while, if it was an especially difficult critique for you), it’s time to really start to take the visit apart in your mind. Think about the substance of the conversation. Did the person give you constructive criticism, maybe even tossing in some concrete solutions to problems that they saw? If that’s the case, acknowledge that while they didn’t really connect to your work, at least they think you’re up for improving it down the road – in fact, it sounds like they really want you to succeed, even if they don’t feel like you’re succeeding right now. This is the kind of criticism you should take very seriously, because it sounds like this person really has your best interest at heart.

But were the things they suggested totally out of left field and not at all anything you would ever consider? In that case, maybe you and your visitor just have other things in mind for your work. You ought to respect their opinion but take it with a grain of salt and realize that the two of you may never see eye to eye. It can be an amazing experience for an abstract painter to get a critique from a photorealist painter, but only if they acknowledge and respect from the beginning that they both approach their practices very differently. You can learn a lot from these conversations, but that doesn’t mean that you have to incorporate everything suggested into your work.

What about the worst-case scenario, that the person looking at your work became petty or just plain mean in their criticism? This sort of thing only happens very rarely – but the truth is, it does happen. If it does, you have to acknowledge that there is something else going on in the critique that may or may not have anything to do with your work. This sort of opinion really isn’t going to be helpful to you and, as hard as it is, you’re just going to have to let it go. Acknowledge that at the very least, you have learned a valuable lesson – not to spend your time trying to chase after that person anymore. As hard as it might be, you have to simply lick your wounds and get right back to work.

If the visit went any way other than the very last scenario, it can be helpful to send a thank you note to the person who visited your studio. Doing so gives you some closure to the experience and allows you to take the high road and be a professional. Remember that even though they didn’t especially like what you were up to, they did make time to come by and see you. Keep the door open as much as you possibly can.

Lastly, talk to a peer you respect about the situation. Share with them what happened and ask for their honest opinion. Don’t be embarrassed to reach out to others about this – remember, this sort of experience happens to everyone sooner or later. But get some feedback and see if the critique you received has some merit, or if it’s the kind of information you should simply disregard. Getting an outside opinion from someone you trust can be crucial to understanding what happened.

Above all, remember that the road before you as an artist is very, very long and a negative critique is only one of the many experiences you will face. Take it as a learning experience and not a setback. Take a deep breath, let it go, and then get back to making the work that you know in your heart you have to make.

The Nitty Gritty on Contracts: Part Five

Mike Lenhart — Tue, 15 Sep 2009 09:56:00 -0700

If you've been reading, over the past few weeks we've been covering most everything that needs to be known about contracts in the graphic design profession. A lot has been talked about, from how to format the overall contract with client information to the "small print" that should be included in a terms and conditions section of the document. Hopefully, it's been of help.

One issue that constantly comes up, especially in these times, is about rates for design services. How do the freelancers and smaller design businesses come up with their fees? It's not always an exact science, but some of those basic business skills need to come into play.

*Rates*

Of course, the most basic way to come up with a rate to charge, usually a per hour basis, is to add up all of the overhead expenses and what extra revenue is desired to be made in a given month and divide the anticipated jobs, and hours, into that total. A dollar figure will come up and that is the basic rate that could be charged, or at least played around with. Remember, not all jobs will be worth the same dollar value and not all jobs will come into the overall per hour figure that may be desired. However, if a good profit and loss sheet is made, it will be easier to track the revenue, and expenses, that come in any given month. It's also easier at tax time this way. Don't wait until the end of the year to add up receipts and invoices. It will only make for more headaches.

Another way to calculate rates is to look at past clients and what they were charged. Many times, a past client may be offered the same rate for a new job in the same year. A client will appreciate that and they may be a little more loyal when it comes to new projects. Of course, upon a new business year, the rate offered loyal clients may have to go up a bit, but that's part of all businesses. Clients' costs of business goes up too, so don't worry about taking care of rising costs in the design business as well. Remember, rates for community or non-profit clients may be slightly lower than those for corporate clients. That's always worth considering, and promoting, if it's in the business model of the designer.

*Per Hour or Per Job?*

Or course, a client usually (always) asks, "What do you charge?" Of course, the hourly fee is the easiest to throw out, but sometimes, a per-project fee may be more appropriate. Maybe a flat rate can be charged for business systems, like stationery and business cards. A flat rate can also be charged for a basic website, with strict restrictions included in the terms of the contract.

What about a flat rate for logo design? That's tricky one since all logo designs are different and some may take a lot longer to design and produce than others. It's always good to look at the entire project at hand to see how to charge a client for a logo and also how to still make some money. Another way to do it is to charge in increments, or phases. A phase one price may be for the logo design, another phase price may be charged for the business system, and a third phase price can be charged for the website. Of course, that is considered a volume job, since there is more than one element in it, and a slightly discounted rate overall may be charged for that volume job.

Don't throw out rates from the hip or pull out rates in the air. If you feel pressed to give a price in the moment, ask the client if it is possible to get back to them once all of the needs of the project are reviewed. It's OK to call a client back, in a timely manner, to propose the rate. Once the go ahead is given, make sure that the proposal and contract reflect what the job is and that some value is shown for the price charged. Remember, clients need to see something tangible, so a good contract that states all of the extras that are included in the price will go a lot farther.

*Some Final Thoughts*

Of course, all of this is up to the designer. With time and a list of clients, rates will be more evident and will come a lot more readily. Just remember, be creative and come up with attractive offers and incentives for clients. The time of year, the type of job, etc. should always be looked at to come in line with the business cycle and revenue stream. We all love to design, but we also have to be prepared to talk business when we need to. Some basic business knowledge can go a long way. Bite the bullet and take that business class, either at a community college or local small business agency. The AIGA also offers a Standard Form of Agreement for Design Services. Hopefully, this series has been helpful and will help in the business of design.

"Read the Nitty Gritty on Design Contracts Part 1":http://artbistro.monster.com/education/articles/9363-the-nitty-gritty-on-contracts

"Read the Nitty Gritty on Design Contracts Part 2":http://artbistro.monster.com/education/articles/9493-the-nitty-gritty-on-contracts-part-two

"Read the Nitty Gritty on Design Contracts Part 3":http://artbistro.monster.com/education/articles/9623-the-nitty-gritty-on-contracts-part-three

"Read the Nitty Gritty on Design Contracts Part 4":http://artbistro.monster.com/education/articles/9739-the-nitty-gritty-on-contracts-part-four

Tricks to Pulling Off a Successful Open Studio

Amy Wilson | ArtBistro — Tue, 08 Sep 2009 09:51:00 -0700

The fall can be a great time to do an open studio. The cooler weather and its associations with going back to school can add to the sense that September brings with it a whole new beginning, and a great opportunity to recharge your studio practice. And knowing you have a bunch of people coming over to see your work is a great motivator to finish some projects that may have languished in the summer doldrums.

The first thing to consider when putting together an open studio is where to have it. The location you choose is of utmost importance – and it doesn’t necessarily have to be in your studio. If your working space is in a highly trafficked area, on the first or second floor or in an elevator building, and otherwise easy to get to, that’s great. But in order to get to my studio, you have to go to a quiet street off the beaten path, walk up four flights of stairs, and trudge through half of my apartment. That doesn’t sound too inviting to me – not to mention the fact that I’m not crazy about the idea of dozens and dozens of people I don’t know having access to my living space.

So when I have wanted to have an open studio, I simply found space elsewhere. I’ve used friends’ studios that were in a good location (sharing the event with a friend is a good way to increase your traffic as well), or small office spaces in commercial areas. Once, many years ago, I got permission to use a conference room in a public library and held a successful open studio there. As long as you get a well-situated space that people can get to easily, you’re off to a good start.

Next, set a time and date that will make it convenient for your guests to attend. Nights and weekends are generally best, but be a little careful. If your space is located next to a huge church, for instance, it might be hard for people who want to come see your work to find parking on a Sunday. Or if public transportation is a little dodgy after a certain hour, make sure you schedule around this. Be mindful of religious and federal holidays that might make it tricky for some to attend. Also, set a specific window of time for people to come and see your work, allowing enough wiggle room that it’s convenient for them but not so much time that you’re exhausted at the end. Generally speaking, a two- to three- hour time slot is a good amount.

You might want to consider food and drink if the space where you’re hosting allows it. Many artists go overboard with this and turn their open studio into a fully catered affair. There’s no need for this – in fact, arguably the kinds of people who show up purely to grab a free meal are the ones you specifically don’t want coming along! Keep it very, very simple – you want your guests to feel welcome, but for the focus to be on your work and not on your food. Stay away from greasy foods that can leave accidental fingerprints on works, and from beverages that can stain; pretzels and white wine are a much better choice than cheese puffs and red wine.

Design a simple invitation and send it out. Ask your friends to tell their friends about it, and send personalized notes to anyone you especially want to come. If what you want is a big event, be sure and contact your local media and make them feel welcome too. Make sure that you have a solid core of good friends you can count to be there – sometimes the worst thing in the world is sitting alone in your studio, waiting for people to show up right when the event starts. But if you know three or four (or more) people you can ask to be there at the very beginning and keep you company, the experience will be much more pleasant.

Have some kind of give-away to hand out to people who show interest. A postcard with an image of your work on one side and the address to your website would be perfect. Also be sure to collect the names and addresses of interested people so that you can add them to your mailing list. If you are finding you have a pretty steady crowd of people show up, it can often be helpful to keep some private notes on who was interested in what, specifically – just jotting down little reminders can be a lifesaver when you look back the next morning and the whole event seems like a whirlwind.

Within a week of your open studio, make sure you follow up with people who showed interest in your work. Send a simple “thank you for coming to my open studio” to everyone who signed your book; if anyone expressed interest in a particular work, contact them to see if there’s any more information about it they’d like to receive (images, size, price, etc). Naturally, don’t hound the people who were nice enough to show up, but do remind them if there was something they were enthusiastic about.

With a just little preparation, an open studio can generate a lot of energy around your work. If you find that you enjoy the process, try and plan to have at least one a year – and use the occasion to keep you motivated, focused, and moving forward. Both you and your potential audience can get a lot out of it, and it can be fun, too! I hope you plan an open studio this fall, and that you share your experiences with us.

The Nitty Gritty on Contracts: Part Four

Mike Lenhart — Wed, 02 Sep 2009 12:25:00 -0700

Contracts are an important part of doing the business of graphic design. A good contract that details all of the aspects of the project, and the client and designer's rights and responsibilities, are of vital importance. There are certain terms and conditions that should be included in most, if not all, contracts that provide the "fine print" that is standard in all business relations. Let's cover some of those terms.

*When Is The Payment Due?*

Of course this may be most important, but it's paramount to let the client know the terms of payment. If there is a deposit before the job begins and a final payment due at the end of the job, that needs to be stated. Is final payment due before final deliverables are provided? Is there a payment system of one third throughout the entire project? When will billing occur and when is it due? What if the due date expires? Is there an additional fee for late payment? Of course, this is all up to the designer and can be negotiated and changed on a per project basis, if need be. The important thing is to be clear and provide invoices when it's time. Most likely, if no invoice is sent, no payment will be made.

*Who Gets The Art?*

What a tricky question. As artists, many feel that the final work is ours and that it's part of our hard labor. That may be true, but in the world of graphic design and digital art, the final work usually is the property of the client. Of course, there are terms on this as well. The designer has the right to use the art for their own portfolio or promotional uses, but the work is done for, and paid for, by the client. That doesn't mean that the entire shop is given away, just the work that is done for them. When it comes to photographers and illustrators however, that can pose other issues. The art has been created by the professional and payment for such is usually set up in a slightly different way. Most times, there are fees, such as rights managed or commercial free, that are instituted. These cover the actual usage of the art by the client and has more control of how the art is used and how much money can be made by the end user. It can be a difficult thing to explain to a client, but it needs to be done.

*Extra Work and Purchases*

Through the course of a project, certain, extraneous items may be purchased that are not the responsibility of the artist. If stock images, digital proofs, or messenger services are procured, then the cost should be passed along to the client. The artist is not responsible to pay for these things. Design fees are for the design, not the extra items that may be needed. Of course, this all needs to be spelled out in the terms.

*Other Items*

Fees for changes that are above and beyond the contract are to be charged to the client. Additionally, cancellation fees need to be repeated in the terms section of the contract. The client needs to be made clear that a designer's time is valuable, and must be paid for. A warranty of originality should be included as well to ensure to the client that the designer's work is original and not taken from somewhere else. If there is a call for dispute resolution, a clause stating the terms of that occurrence needs to be included. Usually, a small claims lawsuit would be filed by the designer, or the client, and would be no more than $5,000. Of course, an intellectual property lawyer may be hired, but the time and costs are much higher. The bottom line is that ALL things must be included in the terms and conditions page of the contract.

*A Final Word*

Of course, some projects that a designer completes will not call for all the possibilities that may come up in the course of the project. However, the terms are always good to relay to the client. A signature is required on all contracts and terms that client receives - both the client’s and the designer's. Professionalism is key. Designers are professionals and need to act that way. If the presentation of such items are made in a professional way, then the integrity of the designer and contract will come through. A design project for payment is a job and needs to be treated as such. Of course, all of the items mentioned in this series of articles are up to the designer and can be used or not. Just remember, if it's not in writing, it's not going to be known.

"Read the Nitty Gritty on Design Contracts Part 1":http://artbistro.monster.com/education/articles/9363-the-nitty-gritty-on-contracts

"Read the Nitty Gritty on Design Contracts Part 2":http://artbistro.monster.com/education/articles/9493-the-nitty-gritty-on-contracts-part-two

"Read the Nitty Gritty on Design Contracts Part 3":http://artbistro.monster.com/education/articles/9623-the-nitty-gritty-on-contracts-part-three

"Read the Nitty Gritty on Design Contracts Part 5":http://artbistro.monster.com/education/articles/9807-the-nitty-gritty-on-contracts-part-five

5 Ways to Improve Your Online Art Presence

Amy Wilson | ArtBistro — Wed, 26 Aug 2009 09:08:00 -0700

I was speaking recently to a young artist who asked me to take a look at her webpage. Despite having had it professionally designed and having spent countless hours getting everything about it just right, she found that nothing was really happening for her – she had no leads and had made no connections that she could connect back to the site. After a quick look around, I found that her site was everything an artist’s website should be – it was neat, well-organized, and easy to maneuver. There was just one problem: Nobody was actually looking at it.

Making it so that people can find your website and actually spend time there is a real challenge. Figuring out how and why people gravitate to the websites they do is a whole career onto itself, but I’ve laid out a few suggestions here to help you get started drumming up an audience.

1. Assess the situation

Search for yourself using a few of the major search engines. Try variations on your name – you can just entering your first name and last name, put your name in quotes (“Jane Smith”), and if your name is incredibly common, try pairing it with a keyword or two (“Jane Smith” art or “Jane Smith” drawing). This is how people will often find you, so make sure you make it easy for them. Try this process and see what they see.

Related Article: Get Your Mailing List Together

If you’re like me, there will be many hits for your name – I have a webpage, my writing on Artbistro, pages on other social networking sites, links from my teaching job, etc. Make sure that none of the hits reveals a site you wouldn’t want prospective employers, clients, and professional acquaintances to see – if you must post pictures of your spring break in Cancun, make sure that the casual searcher doesn’t come across them. You can do this by hosting those pictures on a site completely separate from your professional information and then taking steps to make sure that the pictures are hidden from general view via passwords or other methods.

2. Curate your web presence

Make sure what you want professional contacts to see comes up on the top of the list, before all the other stuff you have up there. It’s totally fine to have family-friendly pictures of your kid’s birthday party pop up when you search for your name, but it would be nice if someone looking to work with you got the information they needed before they clicked through a hundred pictures that are completely unrelated.

We’ll call the site you most want people to see your Main Site. Make sure that on it, there is contact information for you (at the minimum, an email address), a resume that is appropriate for the kind of work (or exhibitions) you’d like, and some images of your art. It doesn’t have to be anything fancy or complicated, but all this information must be there and it must be easy to find once you’re on that Main Site. Your goal now is to direct more people there than all other links that pop up when you search for your name.

Continue reading Tip #3

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3. Create a network

Many search engines determine your site’s ranking based on how many other sites link back to it. And so, here’s where those other pages you have access to – like your profile on social networking sites and things like that – really come in handy. Make sure they all link back to the starting page of your Main Site. If you have pictures that are appropriate for a professional situation (say you spent your break at the Venice Bienniale photographing artwork you liked instead of lounging on the beach), add a line linking those pictures back to your Main Site. Remember that you can also post pictures of your artwork on photo sharing sites; this is often a clever way of showing people unfamiliar with your work what you do. Make sure, as always, that there is a link going back to that Main Site in case anyone wants to learn more.

You can’t link too much. If you don’t have any other sites to link back to, you will need to create them. Start a blog, post to forums with your website in the signature file, ask friends who have websites to link to yours (you can offer to link back to them as a trade). Let the search engine looking for you think that your Main Site is the center of the universe. Right off the bat, try and have ten different pages that link to you, and keep adding to the list as you go.

4. Let everybody know

At least once a year, update your site, adding more images and text and fresh things for people to look at (if you can do it more than once a year that’s great, but this is a minimum). Send out an email to people on your mailing list, letting them know that your site has some new things to see. Consider also doing a regular snail-mailing about your website or having business cards printed up that mention it. However you do business, remember to incorporate your site in there whenever you can.

5. Keep an eye on the situation

Nothing stays still very long in this world; you might have your Main Site be the top hit for your name one month and then slip several notches the next. So check once or twice a year to see where you are and, if you find that your ranking has fallen, just start promoting and linking again.

Making sure your site can be easily found is one of the biggest things you can do to further your career. It is well worth the time and effort that you put into it. Good luck promoting your site!

The Nitty Gritty on Contracts: Part Three

Mike Lenhart — Mon, 17 Aug 2009 10:00:00 -0700

So far, we talked about the overall sections that should be included in design contracts and what to offer. Of course, all of the items in a contract should be catered to the job and client at hand and customized to their needs. A template contract can be used at times when the job is a simple one, like a quick business card, or when a consistent client is present. It's always a good idea to add a clause or two that keeps the contract in line with what the job is. There are other kinds of clauses that need to be kept in certain contracts regardless of whether they're considered "simple" jobs or not. Just what are these clauses? Let's look at some of them.

*What If The Client Cancels The Contract?*

Even though it's not pleasant, there are times when the client may cancel the agreement. There may be many reasons for this, but it's really of no importance to the designer. If the contract is cancelled shortly after the agreement is signed and no work has begun, it's probably OK to just let it go. However, if the client cancels the contract after work has started, then that's a different story. All contractors deserve to be paid. Usually, there is a deposit that is paid with the signed agreement. The amount of the deposit is up to the designer, but is customarily 50% of the total fee. If the client ends the agreement, or "kills" it, then there needs to be some compensation paid. Kill fees, as they're called, may vary, but are usually calculated from the deposit or from what work has actually been done. If the contract is signed, the deposit is received, and the contract is killed before work has started, then the deposit is usually returned. In the event that the signed contract and deposit are received, work has begun, and then the client kills the job, then a "kill fee" needs to be applied. The fee is up to negotiation, but is usually a percentage of the deposit that comes in line with the actual time spent on work done. Hourly rates are taken into consideration here. The client usually should pay for what has been done and, if the deposit is more than the calculated fee, then the remainder of the deposit is returned. If much of the project has been completed and the project killed, then the fee charged will most likely be higher than the deposit. The client will pay the difference. Of course, this all needs to be spelled out very clearly and thoroughly in the original agreement.

Other than a client killing the project, what happens if the client rejects the design work that has been done? What if the client doesn't like any of the concepts presented and an impasse is reached on how to proceed? In this event, a "rejection" fee needs to be assessed. Just because the client doesn't like the work done doesn't mean that no payment is due. Again, an hourly rate based on time spent on the design should be processed. The client will most likely have a fit over this because they may feel that since they're not getting anything, nothing should be paid. A designer's time is valuable and work is not done for free, even if the client rejects it. It's a good idea to offer alternatives on what else can be done to save the project, such as additional concepts, but remember, a designer's work is to be compensated.

*Other Standard Clauses*

Other clauses that should be included in contracts include confidentiality agreements, timeline and deliverables clauses, and project scope clauses. Timeline clauses refer to sticking to the timeline so the client and designer keeps up with the agreed upon timeline. A project scope clause refers to the notion of project "creep". At times, a client may want to add little things to the project that isn't in the original agreement which causes the project to "creep", and never seem to end. The designer needs to stick to the original contract and communicate to the client if the project is starting to creep just to keep the project under control. Other items for the project can be done, but will need to be addressed, and paid for, separately. The bottom line on all of this is to communicate to the client.

*A Last Word*

Some of the clauses and fees mentioned above may seem somewhat harsh, but they're really not. All contracts for anyone completing a service need to have clauses and other agreements on how the job should be done and should cover those other instances that may come up. A vague contract is a recipe for trouble. It's better to include more in a contract than less.

*Next Time*

The last of this series on contracts will talk about what to charge and how to come up with an hourly rate for services. This will also cover when to be paid so the client and designer can be in agreement from the start. Money can be a sticky issue, but it doesn't have to be. Please stay tuned.

"Read the Nitty Gritty on Design Contracts Part 1":http://artbistro.monster.com/education/articles/9363-the-nitty-gritty-on-contracts

"Read the Nitty Gritty on Design Contracts Part 2":http://artbistro.monster.com/education/articles/9493-the-nitty-gritty-on-contracts-part-two

"Read the Nitty Gritty on Design Contracts Part 4":http://artbistro.monster.com/education/articles/9739-the-nitty-gritty-on-contracts-part-four

"Read the Nitty Gritty on Design Contracts Part 5":http://artbistro.monster.com/education/articles/9807-the-nitty-gritty-on-contracts-part-five

The Importance of Setting Goals

Amy Wilson — Mon, 10 Aug 2009 06:47:00 -0700

If you think about it, the term “artist” is a “one size fits all” sort of category that probably doesn’t really come close to describing who you are and what you do. Damien Hirst, who famously chopped up sharks and floated them in tanks with formaldehyde is an artist; someone who makes a living painting traditional portraits is also an artist. Comparing your career to those around you can be maddening, because everybody’s situation (and everyone’s work) is different. So where do you fit in and how do you know when you’re getting somewhere, and not just treading water? This is where setting goals – writing them down so that you can see them – can be a tremendous help in giving you the clarity and the peace of mind you need.

At least once a year, I clear a bit of time from my schedule to sit down and have in front of me a piece of paper and a pen. I divide the sheet into two columns, one for “career” and one for “work.” One of the hardest things to do in this exercise is make the leap to see your career and the work that you make as being separate – but for our purposes right now, they are.

Try first writing out things that you would like to achieve in your career over the next two years. Be brutally honest with yourself – if you want to make a million dollars, don’t be embarrassed, write it down! Many people are afraid to even wish for success, fearful that it makes them pretentious or “in it for the wrong reasons.” But this list is for your eyes only, and no one else ever has to see it. You’re also just brainstorming. So go wild – do you want a solo show? How about a solo show at a particular gallery? What about a bigger studio? Or a job that gives you more free time to do your art work?

At first, just fill up the page with as many crazy ideas as you can come up with. Don’t knock them out of your head thinking, “That will never happen.” Just write them down and move on to the next entry. Once you’ve gotten out all your ideas out, then go over them and try and narrow the list down to the three to five of the most important.

Sometimes we want things simply because we think we’re supposed to want them. I have a tiny studio that I complain about all the time, but if I’m being honest with myself I have to admit that a larger studio would simply get cluttered with more junk, and that the upkeep would distract me from my work. As much as I’d love the status of a huge studio, it’s infinitely more practical for me to have a smaller one. But meanwhile, while I am loathe to think of myself as being motivated by money, I have to admit to myself that I have been really struggling with some unexpected medical bills lately. “Make more money” would not have been on my list a year ago, but it certainly is now. As your life changes, so do your goals.

Next, try and tackle a similar wishlist for your work. This list should pertain specifically to what you want to achieve in your art – don’t consider sales, or trends, or shows, or publicity, rather instead think about the kind of work you (simply, purely you) want to be making two years from now. What is the ideal way for your work to grow? Will it have more color, texture, be larger or smaller, be more personal or political, or… what? If you had no restrictions on space or supplies, what would you make? What is your fondest wish for your work? Once you have written as much as you want, try and scale back that list to also be between three and five specific things.

When your list is complete, read it over a few times. Then put it somewhere where you can find it easily, but is also still private – in a sketchbook, or in a drawer or something like that. You don’t want it to stare down at you from the wall of your studio every day, where it will put way too much pressure on you to achieve all these things immediately. Instead, have it someplace where you can take it out every now and then and look at it and be reminded of these goals you have set for yourself, and then put it away, only to take it out again when you have another quiet moment.

And that’s the best time to review your list – during lulls in activity, when you find yourself wondering what to do next. Before you start that new painting, take out your list and remember that you were once thinking that working larger and with more color would be a good idea – so, is this new painting the opportunity to start trying that? Or when you’re just pulling everything together to do a mailing, take a look at the list and… remember that solo show you said you wanted? How about sending an announcement to the director of the gallery you said you wanted to show in?

It’s these small gestures that really add up over time and pay off in the long term. Working on your list of goals is a constantly evolving exercise, but it helps to keep us focused on the sorts of things we truly want for ourselves.

The Nitty Gritty on Contracts: Part Two

Mike Lenhart — Mon, 03 Aug 2009 11:17:00 -0700

As you may remember, we started a series on design contracts and what should be included, and possibly not included, in them. Last time we talked about the ever-important contact/Client information and other, overall information that needs to be included to set the record straight from the start. Always remember to put the date on all your documents - that may have been forgotten last time.

*Just What Are We Offering?*

After we've captured the name of the project, the past activities of this type by the client, and the objectives of this new project, we need to put down just what we're going to offer. Are we going to provide three concepts of the proposed solution? Four? Five? (A big recommendation here - try not to offer more than three, believe me, it will save you trouble down the road. More options mean more changes and no decisions made by the Client.) How many rounds of changes are we going to offer? What do these changes consist of? The point here is to be as specific as possible so there is no room for doubt or project creep. What if there are more changes needed than the original contract states? Are there charges in place for changes that may need to occur beyond that of the contract? Get it all in writing.

*What Are We Going To Provide?*

Once the project is done, what kind of output are we going to provide the Client? Are we going to give high-resolution printouts? Digital files? Remember to state in the contract just what the Client is going to get at the end. Clients need something tangible so there is a feeling that some work has actually been done and they have something in hand. Now, this doesn't mean that we provide printing. If the Client needs printing quotes in the contract, fine, we can get them, but we don't pay for the output. We can put these fees in the contract and decide if we want to mark them up or not. That can result in a whole new can of worms, so be careful and mindful when marking up vendor fees.
In Web design, what are we going to provide the Client? Of course, we'll upload their files to the Web host that they will pay for. But, are we going to maintain their site? What kinds of fees are involved in that? Remember, put it all down in writing. If the Client requires or inquires on site maintenance, a separate contract would be the best idea. Another thing - are we going to pay for images or other assets for the site? Will the Client provide the images? What about the copy? Who is going to write that? All extra things like these should be in the contract and should be addressed.

*When Is This Project Going To End?*

A timeline is extremely important to include in contracts. Actual dates should be included and strictly adhered to. Many, many times, a project creeps to lengths that we've never wanted or never seems to end. The longer the project creeps, the more time it will take and the longer it will take for us to get paid. We need to abide by our timeline and so does the Client. Communication on this needs to happen all the way through the project. If the timeline changes, fine, but we need to communicate the possible ramifications to the Client and explain the importance of sticking to deliverable dates.

*How Long Is This Offer Valid?*

One thing to remember to place in contracts, especially if it's a bid or the Client has to decide if they're going to contract with you. An open-ended offer can be a real problem and the Client may not get back to you or confirm the offer until we've moved on to other things and may have actually forgotten about the original offer. If the offer date passes, we have the right to renegotiate the contract and basically provide a revised version.

*Next Time*

There are a lot of other items that come up in design projects for Clients. What about rejection by the Client of our concepts? What if the Client cancels the project in the middle of it? What if the Client is a royal pain in the ass and we need to end the relationship? We'll cover these things and more in the next installment of the series. Just always remember to get it ALL in writing.

"Read the Nitty Gritty on Design Contracts Part 1":http://artbistro.monster.com/education/articles/9363-the-nitty-gritty-on-contracts

"Read the Nitty Gritty on Design Contracts Part 3":http://artbistro.monster.com/education/articles/9623-the-nitty-gritty-on-contracts-part-three

"Read the Nitty Gritty on Design Contracts Part 4":http://artbistro.monster.com/education/articles/9739-the-nitty-gritty-on-contracts-part-four

"Read the Nitty Gritty on Design Contracts Part 5":http://artbistro.monster.com/education/articles/9807-the-nitty-gritty-on-contracts-part-five

Get Your Mailing List Together

Amy Wilson — Mon, 27 Jul 2009 06:12:00 -0700

How to put together a killer mailing list.

Whether you’re promoting an open studio event or inviting people to your next exhibition, you’ll need a great mailing list. But putting together that list might seem intimidating or overwhelming – how do you possibly include everyone you want to be there?

Let’s start with some of the basic categories of the kinds of people you want to invite. I’ve divided this list into five categories:

• Friends & Well-wishers

• Fellow Artists

• Museum/Gallery contacts

• Press

• Collectors

Assuming you don’t have a mailing list at all, sit down with a big piece of paper with these five categories written on them, with room under each to fill in information. Challenge yourself to plug in at least five names and addresses for each category (if five seems too easy, make it ten or more).

Friends & Well-wishers will be the easiest – these are people who you are friendly with, who have shown an interest in your work. They could be someone who you went to college with, or perhaps your next-door neighbor. These are the people who have supported and nurtured your work even though they might not have the financial means to invest in it or the art history background to really understand what you’re up to; none of those things matter, because they’re nice people who genuinely care about you and your work, and you want them in your life (and at your events!).

Fellow Artists is similar. Start this category by listing a few people you know well, whose opinions you deeply respect and with whom you have had some terrific conversations. Once you’ve accounted for the people who are genuinely your friends, see if you can expand the list a little bit. Is there an artist whose work you like, but who you don’t personally know? Is there someone friends keep meaning to introduce you to, but it just hasn’t worked out? Add them. Even if you perceive someone as being more successful than you are, don’t be intimidated. It is important that you try to constantly widen your circle, and this can be an important step in doing just that.

For Museum/Gallery Contacts, list all the local museums and galleries nearby that exhibit work that you feel has an affinity to yours. Go online and find out the correct person at the institution to invite. If you are a painter, make sure your invitation is reaching the Curator of Paintings and not the Curator of Sculpture. Spend a little time doing some legwork here to ensure that your invitation gets to the right person.

Think of putting together this category as compiling your dream team. Is there a gallery that you love, whose shows inspire you over and over? Invite them. Was there a show you saw recently that you thought, “Hey, I could have been in this!” If so, track down the name of the curator or, failing that, the Director of the gallery in which the show was held. Add anyone to this list that you feel has a genuine connection to the kind of work that you do, and then be fearless about inviting them.

Press might be tricky depending on where you live. At the very least, find out the name of the person in charge of the arts beat for your local newspaper. But again, as with the Artists category, use this as an opportunity to expand your circle. Is there a critic – maybe online, maybe in a magazine – whose writing you really enjoy? Can you think of anyone in the press who has been a real supporter of the style of work you do? If so, by all means add them. Even if they can’t come to this particular show of your work, you can make them aware of who you are and what you do, which can be invaluable later down the line. (Bear in mind that you may, depending on the kind of event you’re announcing, also want to send people in your Press list a separate press release in addition to a simple invitation.)

Lastly, there are the Collectors. The first people who go on this list are those who have actually bought your work, or who you know to be the kinds of people who collect art. If you’re struggling to come up with five names for this list, you may need to be a little creative. Think about people you know who have walls they might want to fill. Do you know of anyone who recently purchased a house and is looking to decorate? What about someone who just moved into a new office? Remember that you don’t have to be a master salesperson. All you have to do is invite them – you are planting the seed so that maybe, one day, it might result in a sale.

Artists often get scared when it comes to inviting people to their events – they worry that they will be perceived as too aggressive. Don’t let this fear hold you back from letting the world know what you do. There is nothing weird or inappropriate about sending someone an invitation to your event, no matter who they are. If you find you keep inviting someone who doesn’t show up, take their name off the list and add someone new. Keep your mailing list growing and it will help lead you to the place you want to be.

The Nitty Gritty on Contracts

Mike Lenhart — Mon, 20 Jul 2009 11:29:00 -0700

Whether we're working on a freelance basis or for a design firm, we need to know how to prepare and read contracts. As in all service businesses, a written agreement needs to be generated in order to get down on paper what we're offering and what we expect in return. Sometimes our work can only stand on the contract that we generate, especially if we desire to provide what we say we're going to and also to get paid. This is going to be the first of a series of articles on design contracts and what should be contained in order to, hopefully, be successful.

*Lingo*

The basic language of many contracts from legal firms contains wording that we've never heard of and can't even begin to decipher. In design contracts, we can keep the language in plain English and still get the message across. After the standard header of a contract which states the name of the Client, the name of the project, and the date in which the contract originates, we can cut down on the redundancy of writing the Client name and our name throughout by just using the word "Client" when referring to them and "Designer" when referring to us. For example, "ABC Company (Client)" can be written in the first paragraph and "DEF Design Firm (Designer)" can be written as well. This will set a precedent for the terminology and will let all parties know who is being referred to. We can then simply state Client and Designer throughout the rest of the agreement. It's important to remember to set up the terminology early in the contract so it's concise and understandable.

*What Are We Offering?*

Right at the beginning of a design contract, it's a good idea to state just what we're going to do for the Client as well. If the job calls for a brochure design, we should state what the task is. We can simply place a line of text at the top of the contract, possibly below the header, that states this task. We can be as specific as possible by stating "2009 Marketing Brochure Design", for example, so the Client knows from the top what this agreement is all about. If there is more than one design task in a particular contract, we should state these as well. For example, "2009 Marketing Brochure Design" could be on one line and "2009 Sales Sheet Design" on the next. We can then address these tasks separately later in the contract. The point is to be as specific as possible and not to assume anything. If the project is to be offered all in one "package", it's not necessary to prepare a separate agreement for each portion of the package, unless the Client needs it that way. It's just important to address them separately in the body of the document.

*Contract Length*

There are times when a well-detailed, rather lengthy, contract is called for. At times, however, a "short form" contract will suffice and will get the same message across. Many freelancers or firms use "short forms" and "long forms" of contracts, depending on the task at hand. If the design calls for a quick business card, for example, and we're familiar with the Client and have worked with them before, we can use a short form. It is still extremely important not to omit any important detail or assume anything, once again. Rule of thumb: If it's a new Client or a project that calls for a lot of items to be done, go for the long form. Long forms sometimes include a background of the Client's company or organization, a description of prior communications, and the current communications task, if applicable. These items are always good to include so the Client knows that we know just what they do and just want they need from us for this job. Objectives of the project may be included as well so the Client knows that we get what they want to communicate to their audience.

*A Final Word*

Contracts and agreements are legal documents and need to be detailed enough so all parties know what is going on and all parties are all on the same page. In future installments of this series, we'll go over the remaining portions of a design contract, including the detailed elements of the offer and the ever-important fees we're going to charge. There will also be a discussion on the standard and customized clauses contracts should contain so we cover ourselves. One thing to remember, if we don't put it in the contract, we can't assume we can do whatever we want to get the job done. Our time is valuable and needs to be communicated as such.

"Read the Nitty Gritty on Design Contracts Part 2":http://artbistro.monster.com/education/articles/9493-the-nitty-gritty-on-contracts-part-two

"Read the Nitty Gritty on Design Contracts Part 3":http://artbistro.monster.com/education/articles/9623-the-nitty-gritty-on-contracts-part-three

"Read the Nitty Gritty on Design Contracts Part 4":http://artbistro.monster.com/education/articles/9739-the-nitty-gritty-on-contracts-part-four

"Read the Nitty Gritty on Design Contracts Part 5":http://artbistro.monster.com/education/articles/9807-the-nitty-gritty-on-contracts-part-five

How To Price Your Artwork

Amy Wilson — Mon, 13 Jul 2009 07:39:00 -0700

How do you price an original painting or drawing?

You’ve just completed a new work and – lucky you! – there’s someone interested in buying it. But how do you price your work in a way that’s fair to both you and your collector?

There are very few hard-and-fast rules in the art world, except when it comes to pricing, and you can get yourself into trouble if you don’t follow them. In this article I’ll be discussing these rules and how they relate to pricing original, two-dimensional works of art. If you are looking to price editioned prints, sculpture, video, or other works, this advice isn’t exactly for you, but hopefully it can give you a basis to start understanding how the process works.

Rule #1: Prices are based, in part, on medium.

Assume for a moment that you are a painter. You probably make a variety of paintings in different sizes on canvas, along with some drawings and studies on paper; occasionally you may make some prints. The very first rule for you to keep in mind is that generally speaking, a painting is going to be more expensive than a drawing, which will be more expensive than a print. Remember that this is a general rule, because the next thing to keep in mind is…

Rule #2: Prices are also based, in part, on size.

A big drawing is worth more than a little drawing, simple than that. But remember that Rule #1 and Rule #2 have to work hand-in-hand. This means that if you have a drawing that is 30 x 40 and a painting that is 30 x 40, the painting will be priced higher. It also means that if you have two paintings, one 30 x 40 and the other 60 x 80, the latter will sell for more.

Confused yet? It gets trickier.

Rule #3: All prices must be relative to one another.

If you have a painting that is 30 x 40 and priced at $3,000, and you have another at 40 x 50 for $10,000, and another at 50 x 60 for $100,000, that’s a problem. Your prices have to go up gradually and incrementally, without any large jumps in between sizes. As a barometer, check the price of one of your smaller works against a work nearly twice its size; is the price for the larger one nearly twice what it is for the smaller? It should be, or it should at least be close.

Rule #4: Your prices must be consistent.

If you price your work at $5,000 each and only sell one or two pieces, you can’t suddenly slash your prices and start charging $200 each for the same work. That’s simply rude and disrespectful of the people who believed in your work enough to plunk down $5,000. You can always raise your prices, but lowering them has to be done very, very carefully if at all. So start out with a modest estimate for the value of your work and if you find you are selling briskly at that price point, you can raise your prices overall. (Also, bear in mind Rules #1 and #2: If you find that 30 x 40 paintings are not selling at $5,000, you can also try and make some 10 x 20 drawings that you can sell for considerably less, say, $800.)

Now that you know all the rules, you’re ready to get started figuring out some prices. Sit down in your studio and take out a medium-sized piece of work (this is medium-sized for you – which is to say it’s not your largest painting nor is it your smallest). You will want to charge what you think is reasonable and fair and bear in mind the following:

• How much materials cost you (a work made out of pure gold is going to cost more than a pencil drawing – you have to at least make your money back that you put into the work).

• How much time was spent creating your average work (if you create 500 paintings a year, they will be cheaper than if you create 3).

• What the relative market in your area is (talk to other professional artists to find out what they are successfully charging for their work, and use these numbers as a ballpark. If you don’t know any other artists in your area, go online to look at local galleries and see what their prices are).

With all this information gathered, you should be able to figure out the price of your medium-sized work. And now that you know that your 30 x 40 painting is going to sell for $2,000, you should be able to figure out how much to sell that 10 x 12 painting or that 30 x 40 drawing, by referring to the rules I laid out at the beginning.

Pricing your work is difficult and is nearly an art itself! It’s never a pleasant process for an artist to sit down and put a price tag on their work. Hopefully by remembering this information, the process can be just a little less painful. Good luck selling your work!

Elements of Graphics

Mike Lenhart — Tue, 07 Jul 2009 11:40:00 -0700

What are graphic elements? We see them all the time and many of us have gone to school to understand what they are and what they're made up of. Do we all know the difference between graphic elements and graphic principles? It's always good to think about them and work with both of the disciplines to get our work and visual communications accomplished in a successful way.

Elements

Graphic elements are usually made up of things like image, and sometimes type, that are used to communicate the message that we've been hired (hopefully) to do. A deeper look at graphic elements include things like line, shape, color, and texture. We can accomplish a lot of effective graphic campaigns if we look at these elements and use them accordingly. Remember, just because they're a lot of different elements, it doesn't mean we have to use them all, and all the time. This is simply overkill. We can do a lot with elements such as line and shape without incorporating an image or photo at all. How many times have we seen a poster with lines and color and said "Wow!"? It's always a nice thing to get a good feeling over a design that is simple, yet communicates the message in a way that the
audience gets it. Another element that sometimes get overlooked by many is that of format. The format is basically the layout of a two-dimensional design, such as business cards or a brochure. Always remember the size of the output, like a poster. Posters are supposed to be looked at from a distance. That notion includes some restrictions on the poster so it can be read from a distance and still be understood. Business cards, on the other hand, are meant to be viewed up close. These small calling cards can and should be effective and original without being boring or illegible. It's always good to print out proofs when we work on designs such as these so we can see what they'll really look like at full size.

Principles

Graphic principles, on the other hand, deal with the overall look of the piece and how all the elements fit in with it. Things like balance, focal point, and unity are three of the most important graphic principles. Balance includes things like symmetry and asymmetry. The result should come up with balance, so the page is, well, balanced and pleasing to the eye. Focal point is always a favorite, since it usually the largest element on the page and is meant to draw the eye into the piece. The focal point, or the part of the design that is most emphasized, doesn't have to be a large image or blob on the page. It can be a large blob, but most times it is more subtle and is placed in the overall design. Accents are also used, which are also considered supporting focal points. Accents are not usually as strongly emphasized as the main point, but they support the focal point and add to the overall effectiveness of the design. Unity is sometimes harder to achieve and may take some practice to get it right. Unity is when the elements of the design look as though they belong together. Remember the term "gestalt"? The concept is sound and really helps when laying out a piece like a magazine. Another principle is rhythm. Similar to unity, rhythm is a pattern that is created by repeating various elements to establish a sense of movement from one element to another. It's good to think about unity and rhythm when first coming up with concepts and sketches. In this way, we can start out with the correct overall look and save a lot of time when the final comps are designed.

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Final Thought

Graphic design is a wonderful practice and art to learn. Some of us may take a little longer to get it, but it can be accomplished successfully. Sometimes, we may be asked to design the elements or type on the page and a more experienced designer may actually lay out the page. It's good to get involved with this and learn from a more seasoned professional or instructor. Some of us may be better copywriters and have the gift of writing. That is very important and is also needed to communicate a good message. A suggestion, try everything in the areas of design elements and principles to hone skills. We can always take away things from a design to make it more effective, but that takes practice too. Still confused or need help? There are many great graphic design books that can guide the user through the process and really make it easier. Examples of good design are always important so we can see what has been done and what has been done effectively. Good design helps us all. Let's take the time to learn, practice, and be successful at it.

ArtBistro

Tips for Design Grads During Hard Times

The Role of the Designer and Art Director

Fall Back, Give Thanks, and Promote Yourself

A Refresher Course for Graphic Designers

The Best Place to Locate Your Freelance Design Business

Type Talk

Your Guide to Freelancing Success

The Pros

Working from Home

Being Your Own Boss

Setting Your Own Schedule

The Cons

Freelancers Never Know Where Their Next Paycheck is Coming From

Sometimes Clients Don’t Pay On-Time

Freelancing is More Than Just Designing

Conclusion

10 Ways to Rev-up Your Creativity

*1. Pick Up A Pencil*

*2. Read Design Magazines*

*3. Go To A Museum*

*4. Listen To Others*

*5. Take A Break*

*6. Go Freeform*

*7. Look At Other Work*

*8. Look At The Environment*

*9. Look At Those Old Design Books*

*10. Meditate*

How to Deal with Negative Criticism

The Nitty Gritty on Contracts: Part Five

Tricks to Pulling Off a Successful Open Studio

The Nitty Gritty on Contracts: Part Four

5 Ways to Improve Your Online Art Presence

1. Assess the situation

2. Curate your web presence

Continue reading Tip #3

3. Create a network

4. Let everybody know

5. Keep an eye on the situation

Related Articles: How to Price Your Artwork The Importance of Setting Goals Get Your Mailing List Together Career Resources The ArtBistro Training Center Your Guide to Creating a Better Portfolio Portfolio Development for Artists

The Nitty Gritty on Contracts: Part Three

The Importance of Setting Goals

The Nitty Gritty on Contracts: Part Two

Get Your Mailing List Together

The Nitty Gritty on Contracts

How To Price Your Artwork

Rule #1: Prices are based, in part, on medium.

Rule #2: Prices are also based, in part, on size.

Rule #3: All prices must be relative to one another.

Rule #4: Your prices must be consistent.

Elements of Graphics

Elements

Principles

Final Thought

1. Pick Up A Pencil

2. Read Design Magazines

3. Go To A Museum

4. Listen To Others

5. Take A Break

6. Go Freeform

7. Look At Other Work

8. Look At The Environment

9. Look At Those Old Design Books

10. Meditate

Related Articles:

How to Price Your Artwork

The Importance of Setting Goals

Get Your Mailing List Together

Career Resources

The ArtBistro Training Center

Your Guide to Creating a Better Portfolio

Portfolio Development for Artists