Last weekend was the Photopolymer Workshop by AIGA Baltimore and Typecast Press. Mary Mashburn, of Typecast gave a tour of the shop while going over letterpress history. Then she showed the magic of creating a photopolymer plate. Each participant go to print their own Baltimore themed postcard design, and they then did a print exchange at the end. Everyone got to work on the two Vandercook presses, and a good time was had by all.
We all know mistakes happen. Sometimes, there’s little more one can explain. But often more times than not, we can be mindful of not only eliminating the mistake, but the conditions under which they occur.
For instance, I know nothing about the circumstances under which this sewer cover was mass-produced and put into my neighborhood, and ostensibly others. There are at least two like this in my neighborhood, by the way. Nonetheless, people twenty years from now have the opportunity to ask themselves “what happened” that might allow this to occur? While I may never know it gave me a chance to muse on mistakes I’ve made and how continuing to be unafraid to make mistakes anew, while redoubling the process behind dealing with mistakes can help to eliminate as many as possible.
While some confuse me with a designer, very few confuse me with a writer. I do write, of course, but not in the way a real writer writes. I focus on getting it done and getting it out. This means that even if I’m working the solo project or the big board project, I have to have a system in place to catch the little errors and gaffes that easily slip by when I’m working—my mind going a mile a minute.
When I played baseball, I used to write “E5” (the classification of an error by a third baseman—my former position) on my fielding glove, a constant reminder that the next error was right around the corner. This gave energy and passion to the process of preparing myself for as many situations as I could by taking as many practice ground-balls, to get myself as ready as possible. Instead of being afraid of the possibility of the mistake existing, I tried to confront the reality that they may very well happen, but preparedness may help to deal with the problem.
Same in civilian life. We all have processes that can help avoid mistakes, but in truth, we (society) don’t always take them seriously. Look at the reductions in staph infections when hospital workers (no, not just cafeteria people, nurses and doctors, too) take the care to address cleanliness, and subsequently witness and enjoy significant reductions in infections when processes are put into place regarding simple things like washing hands, etc.
Or, my favorite—and one of the more ubiquitous—is the airline pilot’s checklist system (emulated for many things including software to prepare files for press) as a way to decrease unchecked issues which can affect safety. While we are all familiar with these methods of reducing errors, that doesn’t mean we take the time to practice them. Like the difference between an art (practice) and the science (knowledge) many mistakes persist, when we (and by we, I mean I) fail to discipline ourselves to follow our systems for reducing mistakes.
And as we pointed out, it’s simple things. On the board, it’s a process of having the web chair review and set up the newsletter or email that was prepared to send out. The mistakes have a familiar story (I had to rush it…) In my own work, it may mean having a fruitful free-development session followed by an equally vigorous editing session.
A lack of discipline to adhering to a process that allows us to do our best work allows the opportunity for mistakes to creep in and for those mistakes to threaten the body of work on which we work. As a designer, I am the goalkeeper of the a work’s printed existence. While there are other steps in the process whom are all accountable: proofreader, client, mistakes reflect just as bad, if not worse on the designer.
I’ve come to think of the best designers as exhibiting control, not controlling. They volunteer (and build it into their fees) to do press checks, to review the files, etc., because they recognize the time-cost of doing these things is well-worth the value in comparison to a process where the file has to be reprinted. They proactively communicate their schedule and availability, including client-review timelines, to fully inform the client of the time needed to properly turn files. As a designer and a responsible party in the process, it’s up to us to take the reins and eliminate the mistakes.
Just as threatening can be the process of setting expectations for colleagues and clients. One of my favorite book covers is the cover for Ellen Shapiro’s The Graphic Designer’s Guide To Clients: How To Make Clients Happy And Do Great Work. The book is a great read and reminds me that the process of working with clients is very much a contact sport. Clients hire designers for their expertise and designers must be professional in exhibiting that expertise in their projects and work process, because it helps the work.
While there’s often a give-and-take there, better clients, no matter what type, will respect the process that a designer exhibits (and by exhibits, I mean informs in writing and in practice) in order to put the best product out there.
I’ve had clients for whom this was an issue and, get this, I felt it was a”mistake” for us to continue working together. Because when the same concerns crop up and there’s nothing or little I’ve done to help them, I only had myself to blame because I saw them in the process. So, in some cases, the art of not making mistakes is about embracing the courage to execute projects in the best way for them to be done well and backing that up with the discipline and the process to see them through.
In a world where computers can do almost everything, there is a little print shop in Baltimore named Gilah, that is about 100 years behind. Gilah Press + Design and AIGA provided a tour of the letterpress print shop on August 25th. This quaint little shop is a perfect fit for Baltimore—with its Natty Boh mustaches around every corner, and gnomes guarding every door. A press operator led the presentation—showing us everything from how they make their photo emulsion stamps, to loading the press up with ink, and getting the job “rolling.”
During the example, we were showed how to change the depth of the impression left by the stamp, by changing the amount of paper under the mount. By the end of the example, everyone had a beautiful, handmade thank-you card to take along with them. Gilah Press + Design set the bar high with a night that was sure to get the creative mind winding, while waiting in anticipation for the next three parts of AIGA’s Letterpress series.
To learn more about AIGA Baltimore’s Letterpress Series, check out the events page on the AIGA site.
Lastly, this post was written by Kristin Kosmides, a member of our volunteer group, the AIGA Crew. Much thanks for your help, Kristin!
Because you waste alot of it… (And by you, I mean me).
Tracking your time and money are not sciences, they are arts. Meaning: one only gets good at it when one develops (and adheres) to a system and then uses that input for strategic advantage. Whatever system one develops, it’s the execution of that system that makes the endeavor worth while. Shoebox for receipts? Whatever. Timesheets to track design time? Sure … But, it’s about your personal style and getting better at being (the productive) you than anything else.
I mentioned the audio interview with Mark Simon the other day on the Five Ways To Get Hired and this was another thing he said: track your money. The reasons abound as to why you should, but Simon maintains that all kidding aside you can deduct more and essentially earn more of the money you make, if you legitimately claim the expenses needed to conduct your business by accurately tracking them. Tracking income is something we are conditioned to do, but tracking expenses is much less discussed and just as important.
Time is the same way. Whether one works in-house or freelance, knowing the timeline for project execution becomes critical when estimating for the completion of new work or understanding where current projects go into the weeds on timelines. The end result of tracking your time? Letting your phone go to voicemail a little more, staying away from constant Facebook updates, keeping email traffic contained to a certain time and, then maximizing your creative time to actually do something that is—gasp—creative.
I had a colleague who ended up on a project that had some “responsibility creep”. She was asked to re-design a logo on a current project on which she worked. Apparently the AE thought it would be a simple thing. Sometimes it is. Well, endless revisions stages later, the colleague asked whether it was appropriate for the time to be pulled away from the paid assignment to the bonus assignment, in such a manner as it had been. Scott Belsky’s recent book Making Ideas Happen—which I endorse for those of you looking to invigorate your task completion abilities—interviewed a person who found that he checked e-mail 37 times a day.
“The state of reactionary workflow occurs when you get stuck simply reacting to whatever flows into the top of an in-box. Instead of focusing on what is most important and actionable, you spend too much time just trying to stay afloat.” Moreover, Reactionary workflow prevents designers from being proactive with their energy.
Maybe, with the time and money you save, you’ll be able to send some comments along about how the time you were able to save, helped you produce that additional design piece, spend more time with your family.
Earlier in the year, I had the chance to speak with Scott Belsky, author of the book: “Making Ideas Happen”. (Interview is here) His book is a calling card in ways to be more effective at honing the process of productivity, whether you’re a individual freelancer or the largest company in the region.
As the book points out, we face more and more distractions to our personal productivity than ever before. Quite simply, we are more interrupted , we are in longer meetings, there’s more on television—just by the fact that there are more channels.
And with all this we are still to be productive? Um… yeah.
From the book: “The ranks of freelance, contract and part-time workers, as well as small business owners are increaasing daily. Many businessese are hiring people for rotational programs that last only to years.
Practices such as ‘daylighting’ are increasingly popularity as companies such as GE and IBM are acknowledging the value of shorter experiential education over a life long career opportunity.”
The book helps point out the sweet spots of creativity and connects people to the process that goes beyond ideation to the implementation of ideas. The book outlines the importance of the three factors of growth in ideas: increased efficiency in organization and execution, calling on the power of community and leadership capability to shepherd those ideas to a workable state.
“You control the platform of your ideas” … Well, with websites and Facebook, who can refute that? (Ideation is not really discussed). The book principly maintains that the ideas are 1% idea and 99% perspiration, meaning it’s the whole process after the idea is in place that projects an idea into action.
The book’s a solid read that can help anyone designer’s included get on the train to more productivity.
Recently, I listened to an online interview between Carlos Castellanos who maintains a blog on becoming a success as an artist called “Drawn By Success” and Mark Simon who is a reputed animator.
The interview was great and connected me (and perhaps you) with what should be understood as the gospel about how we get hired for jobs either freelance or long term. Feel free to listen to the interview here (one hour long)
#1. ” We Hire People We Know And Trust”.
Just today I came from a project meeting where my name was passed back and forth through some friends of mine who know my work. Equally important these peple know and understand the work that I do and trust the way that I’ve done it. Hence, I met two people with active projects and whether I get the work (I won’t call it irrelevant) but it’s a shot on goal to borrow a soccer term. Being considered for good work is what it’s all about.
One of the amazing things about the hiring process when it comes to CEOs, actors, baseball players (managers for that matter) and something random, like chefs, increasingly we find that who gets hired is the people who is a known quantity—even if she isn’t the best—she is someone we can rely on.
Think about that. Do people patronize McDonald’s because it’s the best? It’s perhaps the one restaurant you might expect to be most similar in Baltimore as it is in Beijing. Don’t discount the importance of your network in connecting you to who needs work and the messy business of making sure people know you.
2. “If We Can’t Hire Someone We Know And Trust, We Ask Someone We Know And Trust.”
Perhaps you’ve gotten this email—I sure have: Looking for a “blah, blah, blah” with experience as a “such and such” with managerial experience. If you’ve gotten that email, and can replay with someone who is a fit, odds are that the person will be top-of list. My true story had me looking for an IT department head who has run a department of 50 people. Well no takers there, but certainly you want your contacts to have an idea of what you do so that a possibility like this can be connected. This means regularly communicating about your work proactively however you do it.
#3. “If neither of the first two work, I Look For Portfolios and Samples of People That I Kept.”
Well, let’s say you’re not that well-connected and your peeps don’t know what you’re up to, then you’ve got to bring the hammer down on putting work in front of the people in position to hire. And note that the key here was to do work that is worthy of keeping, so don’t ease up here. Show work your proud of and work you think won’t hit the circular file.
#4. “Next I go on online portfolios…”
AIGA’ers know about Behance and hopefully you’re either using that or some method of having your work be available at a glance. Let’s face it if someone wants to see our stuff, it’s gotta be there. They want to know whether you are as the English say “chalk or cheese” just to begin with. The conversation seriously begins there.
So, the work has to be hot. It needs to represent your competency and your passion tot he point where these people feel comfortable giving you a call. So keep pruning and growing that portfolio.
I had a neighbor who had an amazing garden. Instead of wishing I could do what she did I just studied for a while and realized that the lady was out there for about an hour every morning each day maintaining her garden. When I can adopt that level of care for my projects, perhaps I won’t have to worry about what I need to do to make my project better. The same goes for the portfolio.
#5. “If none of those work, I post a job … and I’ve never posted a job”.
Mark Simon has never posted a job. He maintains every hire he’s made—freelance or full-time—has been the result of the first 4 steps on the depth chart. the last step, he insists, is flooded with people, so just by the numbers one’s chances of getting work are lowered even if the skill is higher.
It’s shades of the Pareto Principle which maintains that 20% of people get 80% of the work. Conversely, the 80% are breaking their neck for the 20% of projects that actually go to posted projects because they avoid the work to distinguish themselves ahead of the uber-competitive marketplace of $20 logo designs and unlimited revisions or jobs that don’t value the designer’s role in an increasingly designer-centric economy.
“Being a starving artist is for lazy people,” Mark Simon says. So let’s use what he’s saying to go out there snag those better opportunities for our work.
As designers we are visual problem solvers. We work to connect clients with their audiences in a visual way. This was very evident at the Day in the life conference I attended in Baltimore, MD on this past Saturday.
From students to professionals, there were people from non-profits as well as corporations and design firms. There were big ideas and conversations about design and the community that went on through out the day.
Some nuggets of knowledge that people got out of it:
“Great Conference, let’s do it again next year!”
“. . . it’s time to get on twitter!”
“ I am not alone in this business.”
“Baltimore has a beautiful design future — this event proves it.”
This entire event was a hit, and exceeded my expectations. The sessions that I attended were great, and the only problem I had was I left wanting more, but was motivated to do good. I was wishing we had more sessions and the choice of more then 2, and I heard the same from other attendees as well but overall it was a positive experience, High Five to the organizers!
Quoting Ross Nover from free range studios “We can take an idea and make it a valid Credible thing” At free range studio they specialize in designing for social impact not consumption, working to enable and empower their clients to transform their audience.
The discussion was engaging and it was refreshing to see other designers out there similar frustrations, and issues when learning to try and design for their community. There is an idea that you first must raise awareness then engage your audience. Your audience is more impressionable then you think. Some interesting resources and projects they worked on: the story of stuff, no impact project
Another session that I attended: The green movement and the creative industry presented by Eryn Willard from Studio 22. Being a green design firm, they are determined to be sustainable and lower the clients’ footprint at every step. From paper to ink to process, I was educated on the way we print and what is the harm that is done in the process. Learning that there is a life cycle to what we do. When designing sustainably you are impacting the community, environment, and the economy, giving your client and their audience a better life. Here are some interesting resources that were shared during the session: calculate your project footprint, Design ignites change
As designers we have the POWER to influence our audiences and design for social change. Having the opportunity to meet other like-minded individuals and discuss these topics within the confines of a creative space can strengthen our skills and expand our ideas. Here’s to hoping for an even greater session next year!
Recently I attended a resumé workshop for an AIGA Student Chapter. A number of professionals sat through the rudiments of resumé writing—all good stuff, of course and in the end, there was a question and answer period. During that time, I ended up answering a number of questions—maybe because I was most willing to be loquacious than anything else, but I was asked a question that in answering seemed to confound the students.
A student asked me what skills does one need to be a “successful solo designer”. Strike successful and this is something I can answer. I kid. I referenced the television show Master of Kung Fu which aired during the late seventies. The show followed the adventures of Caine who walked the earth, having adventures every week in search of enlightenment presumably. (I included the Wikipedia link). Also, note that Quentin Tarantino was a fan of the series, using David Carradine, the series’ star as Bill in the movies Kill Bill 1 and 2.
Well, the series always started with a flashback to the student’s training, always showing the young student mastering some skill and the flashback would always end with the saying “once you take the pebble from my hand, it’ll be time to leave.” So, the pebble-hand thing is like a final and the lessons is like the work. My point—long-winded as it was—is to say that those lessons become the life’s blood of a young designer’s understanding of business. Those lessons, wide and varied, each become part of the skill set that the young designer must use to stay ahead or at very least keep up with the changing nature of business. For that reason, I suggested that a designer who is planning to be solo should at some point be in the opposite situation—work for a time in a corporation or a design firm, to help them understand themselves.
Anyway, that was main point—which with great difficulty—I explained. The students are about half my age, so the show was lost on them and almost the analogy. I told this story to a colleague and she said: Why didn’t you use Batman Begins?
“To do, is to be.”
~ Socrates
“To be, is to do.”
~ Aristotole
“Art is making something out of nothing and selling it”.
~ Frank Zappa
“Every artist was first an amateur”
~ Ralph Waldo Emerson
“To live a creative life we must lose our fear of being wrong.”
~ Joseph Chilton Pearce
“Creativity is allowing yourself to make mistakes.
Art is knowing which ones to keep.”
~ Scott Adams, The Dilbert Principle
“Do not let what you cannot do interfere with what you can do.”
~ John Wooden
“Don’t worry about people stealing your ideas. If your ideas are any good, you’ll have to ram them down people’s throats.”
~ Howard Aiken
“He who stops being better stops being good.”
~ Oliver Cromwell
“Minds are like parachutes – they only function when open.”
~ Thomas Dewar
“Success is just a matter of attitude.”
~ Darcy E. Gibbons
“Democratic Design. Design with no price tag has no meaning. Good design. Smart solutions. Low prices.”
~ IKEA
“Writers write. Writing is a process. You don’t know what your writing will be like until the end of the process. If writing is your practice, the only way to fail is not to write.”
~ Gail Sher
“No Is Negative. Erase It From Your Agency’s Vocabulary.”
~ Bart Cleveland
“Relinquish your need for external approval. You alone are the judge of your worth.”
~ Deepak Chopra
“Replace fear-motivated behavior with love-motivated behavior.”
~ Deepak Chopra
“Identify your problems but give your power and energy to solutions.”
~ Tony Robbins
From an email to a friend about creative work …
Friend: “I think it turned out kinda nice, but there is nothing but stoney silence coming from him…so i guess that sucks.”
Me: “I’ve been reading alot, lately, to ‘raise my creative game’ and one thing that I read is analyze the movie (your work) when you’re done. If later, you find out it sucks, re-edit it. The best minds make the best failures so they say. Fail and fail again, if necessary.
… As a trumpeter you might appreciate this. when Miles Davis was young (circa 20s) he dropped out of Julliard and played with some heavy-hitters in the jazz world —the likes of Charlie Parker and others, of course. As i remember it (from his auto-biography), he made a mistake in a song once, completely noticeable at least to the band members. The band leader, Parker told him to play the [messed] up note again—and get used to it. [Because] jazz’s existence is based on “changing the thing” (i’m paraphrasing). As far i know this your first movie. you’re not Michael Moore, you’re [you] so do your thing and don’t apologize.”
“…Glaser revealed his design process, he said he starts with a drawing done by hand, scans the image and transfers it into a computer where he modifies it electronically. “I love the computer. I hate stupid work done on the computer,” he also said, “Graphic designers shouldn’t use a computer until they’re 40-45 [years old]””
Read more at: Milton Glaser & Chip Kidd In Conversation, Just Creative Design
http://justcreativedesign.com/2010/03/12/milton-glaser-chip-kidd-in-conversation/
