Advice from professional designers

AIGA asked the following 10 design professionals from across the country to share their advice on remaining competitive in an economic downturn. These essays offer valuable insights that can be useful to designers during both good and bad times.

Be smart and strategic—or else deliver pizzas

David C. Baker, management consultant for the creative services field, is the founder and principal of ReCourses, Inc., in Nashville, Tennessee.

To stay competitive, consider the following six actions that will not only help your business in the short term, but will also help you to recover in the long term.

First, position yourself narrowly so that you are less relevant to the majority but deeply sought by a minority that values expertise.

Don’t incur any debt, which would allow you to live in denial instead of facing the reality in front of you.

Adjust your expenses quickly and aggressively. Nobody ever says they wish they’d waited longer to make the tough choices.

Consider doing more strategy and less implementation. From the latter comes most of the financial risk, competition and management headaches.

When you decide to compromise on your standards for a good client—e.g., your pricing or the time required to get something done—be selective about to whom you’ll offer that kind of special treatment.

This is important, because you’ll never turn them back into good clients, requiring you to replace them when the economy turns around. At least you won’t have to replace your entire client base.

Finally, maintain pricing that is appropriate for your experience and talent. If not, deliver pizzas instead.

Be stingy, but spend your creativity wildly

Michael Bierut is a partner in the New York office of Pentagram.

Everyone knows these are tough times. Any economic downturn is challenging—this one is particularly bad. But graphic designers have some special advantages.

First, you actually make something. Economic bubbles happen when a lot of people start making a lot of money by figuring out new ways to manipulate other people’s money. But designers make money the old-fashioned way: by figuring out a way to solve a problem that no one’s thought of before, and then having the skill to turn that idea into reality. People who make things—whether physical or digital, an artifact or an experience—are in the minority these days. But it’s a powerful minority, since the people that actually create things of lasting value are the ones who make the rest of the economic system possible.

Second, you have a low overhead, and it’s getting lower all the time. Some entrepreneurs need factories, but not you. Your manufacturing plant and inventory storage facility is located between your ears. A few years ago, even a small graphic design operation couldn’t survive without an office, desks, phones, copiers and coffee machines. Sure, these things are still nice to have. But aren’t you amazed how much you can get done with just a laptop and a cell phone? Be grateful you’re not paying rent on a steel mill.

Finally, you can work without customers. A shoe repair shop is idle if there aren’t shoes to fix. But a designer can always keep busy. Think of how many design problems there are out there to solve. Think of how fun it can be to work without a client. Think of this as research and development. And try not to think about not getting paid, which is the only downside. But this is a temporary one. The time you invest now will pay off later, without a doubt. Be patient, hold on tight, be stingy with your money, but spend your creativity wildly. You’ll come out on the other end better than ever.

Be broadly talented, with a focus

Alexander Isley is creative director and principal of Alexander Isley, Inc., in Redding, Connecticut.

As designers gain more acceptance professionally, becoming increasingly relied upon and integrated into the fabric of the strategy and creation processes, a lot more is expected of us.

We’re required to be versatile in all media and knowledgeable about business, culture, literature, technology and communication. To be a Renaissance person, able to do anything for anyone, has pretty much become the required cost of entry for our profession, and for us to be at this place of recognition (although we’re most certainly not where we want to be yet) has been a long, difficult struggle.

And yet the conventional wisdom when dealing with uncertain times always seems to be: hunker down and stick to the one thing you know the most about and do the best. Do one thing and do it well.

Is this advice at odds with being Renaissance-like? I don’t think so. Focusing does not mean cutting back on what you know—only perhaps on what you do. There’s a big difference. The way to be attractive and useful (and effective) to clients is to collaborate closely with colleagues, building nimble teams that are optimized for specific tasks. Be smart, tactical and efficient. Focus on getting through a month or two and a project or two at a time. Remember, there’s no such thing as an eight-run home run.

Control only the things you can control

Judy Kirpich is principal and CEO of Grafik, a marketing communications firm based in Alexandria, Virginia.

Here’s my advice for staying competitive in tough times:

Always manage your business like you are in a recession. That means putting money away in good times so you can weather the next recession—because there will be a next recession. Resist the temptation to spend profits during fat years because lean years always follow. Remember, cash is king.

“Business” is not a dirty word. Many of us designers look down our noses at the business aspect of our profession, in which creativity reigns supreme. Never forget that if you do not operate your practice like a business, there will be no place for your creativity to live.

You cannot control many things, but you can control your budget. During difficult economic times you can’t control if a business cuts back its marketing budget or Wall Street tanks. But you can control what you spend. A budget can help you understand where your money is flowing and is the best picture into your economic health. Create one yearly; look at it monthly; revise it if necessary.

A “Grub first, then ethics” mentality is shortsighted. If you abandon your professionalism by entertaining spec work, or by severely undercutting your competition, it will come back to bite you.

The health of the economy is not your fault. If your business is not doing as well as you would like, it won’t do any good to beat yourself up about it. There is less work and more competition for accounts and projects. And jobs are often cancelled right after they are awarded! That’s the definition of a recession. Just remember that you are going through tough times due to external circumstances out of your control— not because you are a bad designer or a bad person.

Give the best of yourself—only good things will come of it

Denise Korn is the principal and owner of Korn Design, a creative communications firm with offices in Boston and New York. She is also the founder of the mentoring program Youth Design.

Whether you have recently graduated from college, are turning a corner in your design career, or you are teaching, leading or employing in the design community at large, we all seem to be facing similar challenges these days.

The search for quality work that is both valued and secure has forced us to map out new courses of action to reach this end goal. I’ve found that the best advice applies in both hard times and good, at any professional stage.

Leave your ego at the door. If you have the goods, you will be amazed at how readily your hard work and creative input will be appreciated.

Work hard to be aware and informed. Learn from others and listen carefully.

Value your role as a designer—your ideas, your contribution—but always be open to new ways of thinking that may challenge your initial perspective.

Share yourself, your time and your energy with others. This will feed your work and inspire you in ways you have yet to discover.

Be a mentor, be a trusted colleague, be a reliable employee, be a mensch.

Be patient—Rome wasn’t built in a day. Use this time to think and to grow. And if you still have free time on your hands, give back—it will feel good and may benefit you, too.

New graduate? Use it to your advantage

Jamie Koval is principal and president of VSA Partners, in Chicago.

Given the current state of the market and the radical shift in our industry, here are five ways for recent graduates to stay competitive.

Expand your horizons. Move beyond the usual subjects. Do your research and identify new offices, corporations and agencies inside and outside your market that are growing or doing interesting work. Try to determine their scale, client base and reputation. Be prepared to move.

Be specific. Our industry is converging and many offices are working in more mediums than ever, so tailor your portfolio for each potential employer. This may seem obvious, but if an office specializes in identity, show what identity work you’ve done. If a company works with lifestyle brands, share work that translates well to their clients. You get the idea.

Sell yourself. As challenging as this market may be, the strongest will survive. Do everything possible to share your ideas—great design will prevail. Demonstrate your talent and expertise to help potential employers know how your skills could impact their group from day one.

Leverage technology. The web has some of the biggest growth opportunities in this market. Many organizations are looking for ways to bring new ideas to market. Build a new site, make a short film, start a blog. Find ways to demonstrate you know the space and are connected.

Build relationships. Now more than ever it is critical to establish a strong network. Reach out to past instructors, personal contacts, organizations and professionals you know or have interviewed with, to see if they can help open doors. An introduction can come from anywhere.

Be a connected and flexible team player

Monica Little is CEO of Little & Company, based in Minneapolis.

With so many designers looking for work, employers can afford to be choosy. Now more than ever, you need to build your competitive advantage.

Begin by assessing the state of your network. Are you leveraging tools like LinkedIn and Facebook? When was the last time you picked up the phone and connected in person with your most important contacts? If you have people out there advising and advocating for you, be sure to keep them apprised of how you’re doing, thank them often and stay in touch regularly—no matter where you’re at with employment. This is one of the most valuable uses of downtime, but it’s actually something designers should be doing at all times!

Be flexible. With leaner staffs, employers often increase their use of flex resources to get the work done. Freelancing can be an opportunity to grow your network as well as your portfolio.

For designers who are employed, know your company’s vision and goals as well as your part in achieving them. If you’re not sure, ask! Are there internal projects you can take on? By actively helping your company succeed, you’ll increase your own value, too.

And finally, always be a great team player. When it comes to evaluating staff, all skills being equal, employers are more likely to hire—or keep—the person who plays well with others.

The present may be challenging, but the future is yours

Janet Martin is president of Communication Arts, Inc., a multidisciplinary design firm in Boulder.

When I graduated from college in 1973, there weren’t any jobs. It was a time of long lines at the gas pump, the Whole Earth Catalog, Watergate and the end of the Vietnam War. If you had a degree in the arts, you were pretty much out of luck. No one was hiring.

A newly graduating designer today might feel some of that same angst. With this in mind, here’s my perspective:

A design education is even more valuable now. You have the tools to create, integrate, analyze, synthesize and visualize vast amounts of information. This is a skill set that will be in huge demand as we experience global economic and cultural shifts.

Learn everything you can about your prospective employers—their projects, people and culture. Stay in touch with them in as many ways as you can think of. Once is not enough. If you can’t find a position in the short term, don’t give up. Add to your “experience bank.” Take a business class. Learn a new language. Volunteer.

Time is on your side. Firms will soon be hiring again, and they’ll be looking for your energy and talent. You offer amazing fluency in technology, including social networking and collaboration techniques. You also bring a balanced perspective of family, friends and work, which enhances your ability to be creative.

Designers are the ambassadors of change. I can’t wait to see your next design!

Make sure design is what you really want to do

Shel Perkins is principal of Shel Perkins & Associates, in San Francisco, and heads the AIGA Center for Practice Management.

Even though you’re talented, smart, likeable and hardworking, there may not be a clear path for moving your career forward in this economy. Here’s some advice geared to various levels of experience and commitment to being a designer.

If you’re completing an undergraduate degree:
Consider staying in school to work on a graduate degree. It can be an opportunity to strengthen your mastery of digital media, or to expand your skills in the areas of strategy and innovation. The hard part here is paying the tuition!

In the last recession, most employment opportunities were on the client side. Lots of big companies have their own in-house creative departments. Do some serious research and focus on corporations that are profitable within industries that are stable or growing.

If you’re already working:
Stay put! Don’t make a jump unless you’re recruited away by a competitor who is clearly more successful and profitable than your current employer.

If you’ve just been laid off (and you’re not alone):
You may find opportunities at smaller, independent studios if their workload is solid and if you have skills that are in demand.

Pursue a past client or vendor if they formed a high opinion of you—there may be an appropriate spot for your skills within their organization (doing web design, for example).

You might open your own creative boutique, if you have an entrepreneurial spirit and adequate start-up capital. It also helps to have a client or two lined up. Consider leaving the U.S. to do creative work in a foreign market where demand is stronger. (Until recently, this was a growing trend in advertising, industrial design and architecture.)

Last but not least, you always have the option of leaving design entirely. If the thrill is gone, and you have other saleable skills, the time might be right for that really big change you’ve been thinking about.

Find your hook and always value design

Paula Savage Hansen is CEO of Savage, a branding and corporate design firm in Houston.

Over the last 40 years, I’ve been through three major downturns. I have to say, it’s hard for anyone to know what to do. What works for one company might not work for another. I can only tell you what my company did: we found our “hook.” By using technology in innovative ways—ways that others hadn’t yet tried—we were able to help our clients work prudently within meager budgets. What worked for us short term ended up growing our business long term, positioning us as a leader in technology and expanding our reach.

In 2001 we had to go back to basics, but we never stopped valuing our work. The tendency in a downturn is to charge much less for the same work. My experience says this is risky business. It takes too long, possibly years, to raise prices again once business returns. When we devalue our services, we devalue the entire profession.

So, I have two recommendations: First, find your “hook,” market it well—and often—and consult with your clients to find creative ways to work within their budgets. And second, continue to value your work. Now, let’s hunker down and get through it.