I’ve been feeling a little under the weather, so this week I’ve turned over my column to famed Graphic Designer/Astrologer Samoht Naphets, who has probed the cosmos and shuffled through his Illustrator-designed star charts to plot your course through this month in the creative cosmos. Enjoy!

Aries (Mar. 21 - April 19): With your Moon House in the Wacom Constellation, it will be difficult to stop you from purchasing an iPod you don’t really need. Don’t worry — your credit card is over the limit anyway and your current iPod just needs a little shim to steady the hard drive. Bad day for formatting DVDs.

Taurus (April 20 - May 20): Bad week for the Bull as you move through the influence of Uranus. Eat fiber and try not sitting at your desk too long.

Gemini (May 21 - June 20): Remember that you said you were waiting for that one cosmic sign as to when you should tell your boss to stick it, reformat your hard drive, toss your ID badge on her desk, light a cigarette and smoke it all the way out of the building? Guess what…that time hasn’t come yet. While you’re waiting, use the upper management email addresses for your porn accounts.

Cancer (June 21 - July 22): Bad day for a wireless connection. Worse day for a wire-filled connection. Stay at home, eat Cheetos and upgrade your copy of Adobe Creative Suite. Wash your hands to avoid cross-cheeto contamination.

Leo (July 23 - Aug. 22): This is your month to shine! With your sign ascending into the House of 802.11n, every design project you touch will turn to gold. Unfortunately, Aries, Taurus, Gemini and Cancer people will hate you for it. Try not to leave work alone, and take a Virgo, Aquarius or Sagittarius with you. Make sure none of them run as fast as you — it will help create plausible deniability.

Virgo (Aug. 23 - Sept. 22): A perfect time for that long-hidden desire for the potato-shaped, yet oddly attractive IT tech who is also a sensual Pisces. Think of the body odor as “musk” — it’ll help fan the flames of passion, and also divert your attention from the massive World of Warcraft Action Figure display in his studio apartment.

Libra (Sept. 23 - Oct. 22): Like all Libras, you strive for balance today, which is why you will balance equal amounts of brilliant graphic design at your current crap job with portfolio building and resume updating. Tonight: take a break from the usual drinking and passing out, and do laundry; you have a job interview tomorrow and don’t have any clean clothes.

Scorpio (Oct. 23 - Nov. 21): You will download an illegal copy of Photoshop today from some obscure Russian site. You will think you’re very clever until you realize you can’t read Cyrillic. Smooth move, Comrade.

Sagittarius (Nov. 22 - Dec. 21): Fate smiles upon you as you are blessed with a brand new computer at work. Then fate kicks you in the dangly bits when you discover a “Vista” sticker on the front of it. Then fate smiles again, as the boss has hired someone whose sole job is to click on all those pop-up approval windows.

Capricorn (Dec. 22 - Jan. 19): You will make the sudden and unexpected decision to try self-employment this week when someone from upper management sticks their head in the door and says “Hey — I finally got a copy of InDesign so I don’t have to bother you all the time! Can you drop by and teach me how to use it in about an hour?”

Aquarius (Jan. 20 - Feb. 18): A Leo will ask you if you’d like to walk out of work together. If you’re a professional runner, say yes. If not…suggest the Sagittarius with the powdered donut habit.

Pisces (Feb. 19 - Mar. 20): Frank, you owe me 20 bucks for getting the hot GD Virgo to even THINK of making out with your lumpy body. I’ll take PayPal, and don’t make me wait.

Thomas (Tom) Stephan | Director of Something Clever
BoDo Author | Dyer Straits | Working Pro bono

On the last post, photographers answered the question, “As a professional designer, what are the main points you want clients (potential and present) to know before contacting you about a project?” Another way to learn how to work with photographers is to find out what not to do.

So, borrowing from what could potentially be a leap over hindsight, I asked the question, “When working with designers, what do you see as the top problem areas?”

Bill

No major problems! However, sometimes a designer or art director will say something like: “well, this will only take you half-a-day” — while I know it will take longer.

I’d prefer it if they’d just describe the job, and then ask me how long I think it will take to do. Designers’ time estimates sometimes fail to factor in such things as packing, loading, unloading, setting up, breaking down, repacking and reloading the lighting equipment — not to mention the time spend in digital post production.

I shoot all-digital — almost always RAW files. My rule of thumb is that the post-production time needed to perform digital processing and preliminary color correction and optimization of the pictures, and then produce digital contact sheets, or an on-line gallery for the client, plus a few samples of fully optimized images, will take me at least as long as the photo-shoot itself did.

Also . . . if the time and money required to produce a shoot a certain way is too much for the budget the designer has, it’s often possible to do the shoot a different way . . . for instance, without the big lights, and thus without the time and the assistant(s) that the big lights require.

Maybe, for instance, the job could be shot in a quick photojournalistic manner with no lights, or just with small battery powered lights bounced off a wall or a ceiling — this may create a somewhat different look and feeling than my the big lights do, but it can be extremely effective for certain projects.

All this should be discussed candidly, but one problem is that it’s often hard to find out what the designer’s true budget really is for the job.

Many times I will ask up-front, how much are you planning to allocate for all this photography, what is your budget? And the designer or art buyer will say, “Oh, we don’t have any budget number in mind, just give us an estimate.” Then I put together an estimate for them — which for a complex shoot may take me hours of work — and when I deliver the estimate, sometimes the reply is “Oh, that’s much more than our budget, which x dollars!” Well, only the day before, the designer told me they had no specific budget number in mind.

Of course, if you read and believe some books on negotiating, it’s smart to do that. According to some business gurus, the party who gives a price first in a negotiation is at a disadvantage — hence the coy little charade by the designer or art buyer.

But I think it’s dumb. I’d rather get at least a ballpark estimate or range from the designer or art buyer, so I can either craft an appropriate photographic approach that will do the job within their range, or tell them I can’t do the job that I believe they want within their range — and not waste my time on putting together a great proposal that will be out of their area of possibility.

I think being realistic and candid about the budget range is actually a smarter way for the designer to go. And it by no means precludes responsible negotiating. Indeed, it may result in a better result for the designer — and for their client.

Bill Wisser | Advertising and Editorial Photographer
Bill Wisser Photo.com | The Naked Eye

Bruce

Low level experience combined with the need to CYA can be tough on a photographer. This isn’t limited to designers nor is it limited to photographers. Experience helps give the designers the confidence to let go a measure of creative vision thus giving the photographer some room to breath and add greater value. I love them all but many of my best designer clients are very fastidious about the finest detail which can detract from the emotion of a photograph and can even add needless tension to the set.

Bruce DeBoer | Photographer
DeBoerWorks Photographic Productions

Damian Counsell

I’ve only ever worked for one designer—and he’s a friend who’s done me plenty of favours so I did the jobs for free. I imagine the most likely source of trouble would be if the client was unclear about his or her goals. It’s harder to score a bullseye if you don’t know where the target is.

Damian Counsell | Photographer
Sepial fine film photography | The Wedding Photography Blog

Dave

The single biggest issue is that fine art photography sites need to be changing all the time. Suppose that you are a great (but unknown) fine art photographer. You have say 50 wonderful images to display. Oh - make it a hundred. The typical potential buyer, assuming that they find your site somehow, will browse through images, and maybe email you, but they won’t buy anything at the time. They need a reason to return.

Generally this means that the website has to be changing in some way. If it means adding photographs, then the site has to make this easy for the photographer to do. But the biggest single issue is that the fine art photographer doesn’t have money for online advertising. And frankly, even if he/she does - online advertising doesn’t work well for fine art photography.

So that means you are reliant on the search engine for exposure. What follows is that the web designer should be totally conversant with how search engines work - esp. Google - and has to think twice for example when they are going to design the site in Flash. In other words, the very design of the site is related to how visible it will be.

So those are the biggest problems I see with designers: not having a site that is easily updateable by the photographer, and not being concerned enough with the sites’ search visibility.

Dave Beckerman | Photographer / Owner
Dave Beckerman Photography | Black and White Photography

Jeffrey

Not to drive this into the ground, but designers need to know what they want or don’t want. If a designer doesn’t know what they want that’s fine… really, it’s just they have to be honest about it. Clients call me all the time and not really know what they want but they know they like my creative result so I’m asked produce a similar result (or something new). Good communication is very important, it amazing how “creative communicators” often fail to communicate with each other. Some clients know what they want but have difficulty explaining their ideas or their client’s ideas. I might add if I don’t understand your needs it is up to me to tell you and be sure I understand your needs before I accept the project. Communication is a two way street.

Jeffrey Jacobs | Photographer / President
Jeffrey Jacobs Photography Inc.

Jon

Copyright & licensing:

Designers who don’t want to understand the way professional photographers charge. Many a time a call has ended with “that includes the copyright doesn’t it”? I’m afraid it doesn’t! It’s equally as important for designers to protect the intellectual property rights in their designs as it is for photographers to protect the intellectual property rights in their images. I have met many young (and old!) designers who routinely throw copyright in for free with their designs which is quite unbelievable.

Selling the copyright to your designs or images is a bad business decision. Even if (what may appear at the time to be) a large amount of money is offered for your copyright you have no way of knowing what uses your work will be put to, or how valuable your work really is to the client. What may appear to you as a major payday now could be folly in years to come if your logo or image is reused worldwide in prolific ad campaigns or becomes the “signature logo/image” for your client’s business. This is why licencing your work is best - you get usage fees based upon the use of your work.

If someone is offering you $$$ for your copyright then it figures that it must be valuable to your client have that copyright! So by retaining your copyright and licencing your work - if your logo/image goes big time then you will get royalties proportionate to its use rather than a lump sum up front that may equate to a couple of years use only. Good at the time but 10 years down the line when you’re getting no revenue but seeing your work everywhere will you feel it was a good deal?

Jon Boyes | Advertising and Editorial Photographer
Jon Boyes

Patrick

Designers/clients who do not take the time to give final approval of an important large image before the set has been struck and upon reviewing the image at a later date decide they would like to make adjustments. Although the designer cannot always be available during the shoot, they should make time for approval via jpeg emails or other means. Reshoots for minor adjustments are demoralizing, a waste time and cost money.

Designer/clients often expect electronic post processing and/or color correcting to be done at no charge, when in fact, these processes take additional time, expertise, and should be charged accordingly. In the old days of film, this work was farmed out to film strippers and film retouchers and was invoiced separately.

Patrick Chuprina | Photographer
Chuprina Studios

Rochelle

Designers need to provide adequate direction as to the photography that they are looking for. I would really discourage photographers from agreeing to do a lengthy photo shoot without any guidelines, because none of those images could end up being used, causing a re-shoot, more cost and delays. Plus, the frustration is not usually conducive to creative thought!

Rochelle Dahl | Photographer & Designer
Rochelle Dahl Designs

Tom

Be sure to talk to the photographer about the intent/purpose of the project and allow them a chance to offer their experience on what they can bring to the project. We all (designers included) grit our teeth at those clients who want to have complete and total control over project and micromanage the process. Make sure all the decision makers are involved early in the project and everyone is working towards the same goal.

Tom Smalling | Photographer
Tom Smalling Photography & Design | Tom Smalling’s Photography Blog

Will

Lack of focus on one problem at a time, some designers will bounce between projects and problems. While multi-tasking is essential, having a predefined work flow can make a project run smoother.

Will Williams | Photographer and Designer
Perspective-Images.com

Next up is question three where I asked our photographers, “How do you work?” When writer Tom Chandler was asked the same question, he gave the honest answer, “Some days more slowly than others.” Yeah, I sure can relate.

until the next
Designers WW,
cat

When I asked designers how they should be chosen for a project, the majority chimed in with word of mouth. Other suggestions were: research, RFPs, references, successful projects, portfolios, networking, style and attitude.

To find out if writers were chosen any differently than designers, I asked the same question, “How should a company or individual in your profession be chosen?”

Cheryl

portfolio on website

Cheryl Stephens | Mentor/Muse
plainlanguage.com | Building Rapport | Building Rapport : CafePress.com

Liz

What to look for in a writer is a paradox, but recognizable. Given that all candidates can write, the most important qualities are curiosity, a positive “can do” attitude, and patient, listening skills. Look for curiosity about who you serve, who your market is. Look for patience and a strong desire to understand the idiosyncrasies of your work. Look for someone who doesn’t give up when the work doesn’t go well — writing is hard enough, it’s easy to get angry with the words.

What you want from a writer is someone who gets to know you, who wants to care about what you care about. To put it in a more thinking way, you want a writer who sits with you and looks at your market. Too often a writer will look AT YOU as the market, writing only for YOUR approval. That puts you in a position to do all of the thinking. If the writer is looking at the market with you, you can bounce ideas off each other and together you’ll build a more holistic and cohesive piece.

ME (Liz) Strauss | Writer | Career coach | Strategic planner
Successful Blog | Letting Liz Be | Liz Strauss.com | The Blog Herald | Performancing.com | Write With ME

Louise

I don’t think there are any set rules for this. I’ve been offered work through word of mouth recommendation quite often, but I’ve also been approached because someone found me in the phone book. Designers seeking a copywriter should ideally look for skill and experience first. Qualifications can be useful but many skilled copywriters don’t have them. Asking for a range of work samples or looking at a portfolio is often the best clue as to whether the copywriter is competent. Price is also important, but paying a lot does not necessarily guarantee you are hiring the best. Designers should also seek a copywriter with whom they have a rapport, as they will be working closely together.

Louise Bolotin | Writer, consultant
PlainText Editorial Consultancy

Nancy

Experience, talent, word of mouth-all these factors are important. The least important factor in my opinion is price. I’ve been in this business for twenty years and am not interested in working with designers or clients who don’t appreciate the value of my time.

Nancy Friedman | Chief Wordworker
Wordworking | Away With Words

Roy

No writer will be a perfect collaborator. The fleas come with the dog. But I want to work with writers who are curious, passionate, and practical. I want writers who can meet and beat deadlines, who are willing to talk about their process, who enjoy feedback.

Roy Peter Clark | America’s writing coach
Poynter Online - Writing Tools | Book: Writing Tools: 50 Essential Strategies for Every Writer

Tom

Choose a writer for your project based on your goals. In simple terms, don’t hire a technical writer to deliver killer direct response copy. Or a killer direct response guy when you want a fluffy branding piece. Be smart.

Also, each writer has a specific “voice.” Make sure that voice (and their temperament) is right for the job.

Tom Chandler | copywriting : online/blogging : marketing plans
Chandler Writes. You Profit. | The Copywriter Underground

tom

On the quality of their portfolio.

tom mullen | writer & proprietor
EXIT3A.com | ANONYMOUS, JR

I’ve read a about writers selling on voice, similar to designers selling their talents (at times) on style. Makes sense when you think about it. Not everyone is suitable to every job that comes along.

Following the format for the DWW series, next up will be How Writers Work.

until the next
Designers WW,
cat

In the previous post of the Designers Working With Writers series, our guest writers shared their feelings about working with designers. Two or more creatives clashing on a project can be a recipe for disaster. However, if we understand how each works within their own expertise, then the door is open to finding a solution.

With this in mind, the next question we asked our Writers was:

How do you work?

Liz

I guess you would say that I’m an undisciplined, disciplined writer. This much I know for sure. I’m not a prototype, an archetype, or even regular, but then I’m not sure that I know a writer who is.

I work in a variety of ways to suit the kind of writing that I’m doing and my background has led me to write for every age from preschool through professors of engineering and in every imaginable genre from fiction, poetry, copywriting, how-to, technical, inspirational, and self-help, which could be the result of having written all of the rest.

When I write the “softer” genres, I often hope to work at night or early in the morning. I Like quiet with time for reflecting to do some serious introspection. I think slowly and often listen to music before I begin to let my thoughts come together. When I have a point of view and message, I write as if I’m on a journey from beginning to end. I might edit a bit as I go, but mostly I get the message out. Then I let the piece sit for a short while. When I return to it, I change all of the clumsy words and take out all of the words that I realize don’t need to be there. It’s really quite fun to edit out the unnecessary words and details. And I’m quite lethal.

When I write the “more structured” genres — things that require research, detail, and accuracy — I’m a top down writer. I plan my work in pieces or sections, the way a designer might storyboard a multi-piece design. I define my ending point — that closing conclusion that I want to be the end that satisfies the reader. Then I determine what would be the corresponding beginning to echo or reflect that ending. Usually I’m doing this first, because the middle is the hardest part for me.

If I have a sense of the beginning and the ending, then I can map out what goes in between. First I do that with the broadest brush strokes and quickly. Then I go back to fill in the details. Each time I return to read it, I challenge the details a little harder to make sure that I’ve not left something out.

For that kind of writing I’m highly focused. I often walk around to find the words and to read what I wrote. I rehearse sentences in my head before I write them, because I find putting the words on paper in such detail visually distracts me from what the words mean. So I get the meaning and the words together before I commit them to the text on screen or paper.

Two things are true of every writer, we have to use both ego and self-doubt to write anything worth writing. And no one can help us write. In those ways, writers are like designers.

ME (Liz) Strauss | Writer | Career coach | Strategic planner
Successful Blog | Letting Liz Be | Liz Strauss.com | The Blog Herald | Performancing.com | Write With ME

Roy

For me, writing is a process, a set of rational steps: the search for an idea; the collection of important stuff; working toward a focus; finding a structure; creating an early draft; revising. I want to involve collaborators as early in the process as possible. I want them to be able to plan and rehearse.

Roy Peter Clark | America’s writing coach
Poynter Online - Writing Tools | Book: Writing Tools: 50 Essential Strategies for Every Writer

Tom

Some days more slowly than others.

Tom Chandler | copywriting : online/blogging : marketing plans
Chandler Writes. You Profit. | The Copywriter Underground

tom

Depends on the project. Mostly I work remote, via iSight, to concept/present. I’ll collaborate w/designers, art directors, or I’ll work alone. It just depends on the scope of the assignment.

tom mullen | writer & proprietor
EXIT3A.com | ANONYMOUS, JR

Following the set format for the DWW series, next up will be How to Choose a Writer.

until the next
Designers WW,
jay, taking over from cat for this post

For new business owners, it’s invaluable to know what could, and often does go wrong. Equally valuable is being told industry specific treats.

In the first section of the Designers Working With Series, designers shared their problems with clients.

So for the (hopefully) nip-in-the-bud realities when working with writers, I asked:

When working with designers, what do you see as the top problem areas?

Cheryl

They don’t try to understand my target reader.
They submit alternate proposals that are too similar.

Cheryl Stephens | Mentor/Muse
plainlanguage.com | Building Rapport | Building Rapport : CafePress.com

Gerald

Number one: Ego. A designer needs to have a rather large ego, but needs to keep it under control in service of her client. Many do not do this well. My book, “Becoming a Technical Leader,” deals with this problem, as does my book (with my wife) “General Principles of System Design“.

Number two: Maybe related to number one: Inability to listen and really hear. My book on feedback (with Charlie and Edie Seashore) “What Did You Say?: The Art of Giving and Receiving Feedback” deals with this problem.

Number three: Inability to surface assumptions (his or the client’s) and to do the work to clarify them. My two books with Don Gause, “Are Your Lights On?: How to Know What the Problem Really Is” and “Exploring Requirements: Quality before Design,” deal with this problem.

And, of course, many designers are simply poor communicators, either in writing or face-to-face, and my writing book and my consulting books deal with this problem.

Gerald M. Weinberg | Writer, consultant
Weinberg on Writing | The Secrets of Consulting | gerald weinberg books and leadership courses

Judy

They just want to get things DONE. Fast. Unless they have had to write a website, they probably don’t understand the various facets that go into writing an effective website. Like studying writing, demographic, search engines, visitor trends every day, most days.

There are more things, but at least this gives you an idea. And the following is part of what I send to people who want a new website or a makeover:

1. Why do you want a website?
2. How much business do you expect it to bring in percentage over what you’re bringing in now?
3. What are your target audience demographics? In other words, who do you want to reach? Be as specific as possible (age range, profession, income, interests, etc.).
4. How does your business benefit your target audience?
5. What problems do your prospects have that your business solves?
6. What can your business offer your visitors (what’s in it for them?)
7. List features of your services.
8. Do you perceive your website as a static but attractive online brochure, or do you perceive it as interactive and offering various elements that will make people want to return?
9. Do you have a budget set up for website startup?
10. Describe your business.
11. Do you have a business slogan or “tag line”?
12. What is the approximate number of pages you have or will have?
13. Do you have any content ready that can be used as a basis for your site? Examples: Welcome message, mission/vision statement for your business, company overview, business philosophy, and why visitors should do business with you rather than a competitor.
14. How do people learn about your business now?
15. How much time will you be able to spend online, responding to inquiries, etc.? Once a day? Several times a day?
16. Do you have a company logo?
17. How can you encourage repeat visitors and referrals?
18. Who is you online competition?
19. Describe your ideal client(s).

Judy Vorfeld | Webmaster Services; Editing and Writing Services
www.EditingAndWritingServices.com | Judy’s Blog

Liz

Listening, Personal involvement, Trust, Commitment to the Work, Ego. In a mix on both sides, make for a messy relationship in any creative endeavor.

All of which are fixed by a high trust relationship that is built on communication.

To make the best product, both parties need creative input and deep personal investment, they need to trust each’s commitment to the work, setting aside ego by realizing that what’s on the page or the screen is the work not them. It is at best difficult at moments to do that.

In a great relationship, two ground rules are set –implicitly or explicitly.
They are that:

1. It’s about the work and each person has a right and a duty to say what he or she thinks about the whether the work is going in the right direction without feeling that it will hurt the relationship or that he or she will be thought of as difficult.
2. Both people agree that when someone finds something about the work that isn’t working, if they find a way to solve it that meets the needs of both parties, the work always becomes better than if one person had won out over the other. In other words, working through problems for solutions that meet everyone’s needs gives me the best of two minds on the problem. I want an equal partner who listens and takes on my problems as part of his or her challenge. A client relationship doesn’t work for me. A prima donna makes me very unhappy. A designer who sees me as someone who comes from a place of personal taste make me what to sit him or her down to read my resume. :)

Designers need to know that they are as easily swayed by their own personal tastes and quirks as editors and publishers. They also need to know that I speak for my market, not for my personal taste. I ask for different things depending on who my readers will be.

I need feedback and partnership to get to the vision. I don’t like to make work for anyone.

ME (Liz) Strauss | Writer | Career coach | Strategic planner
Successful Blog | Letting Liz Be | Liz Strauss.com | The Blog Herald | Performancing.com | Write With ME

Louise

The biggest problem is when designers focus only on the design. The copy is equally important - design and words need to be in harmony with each other. If the designer forgets this, it makes working together very difficult and also means that the project may not be 100% successful. Sometimes designers need to be willing to accept advice or criticism from a copywriter and be prepared to modify the design. Another problem is that designers can occasionally become obsessed with cramming in too much design, especially fancy stuff like Flash, and be unwilling to recognise that less is often more.

The main problems are not passing on a proper brief from the client (do web pages need to be search-engine optimised, for example? If yes, I need to use key words), and not allowing me any time to proofread before publication (because the copy I send will be perfect when it leaves me and errors always creep in at the design end when being laid out) - this last point is very important as the projects I work on with designers rarely involve bringing in an additional proofreader.

I’m not sure how helpful these responses are going to be as I very rarely work FOR the designer as opposed to WITH the designer. Usually, I’m hired separately by the client and invoice separately, but obviously I need to have close and regular contact with the designer as I can’t work in a vacuum. I can’t say I’ve encountered any major problems to date - so far, I’ve been lucky enough to work with designers who understand that the copy is as important as the design. Usually, the problems lie with the client being uncontactable at a crucial point or unclear about what they want.

Louise Bolotin | Writer, consultant
PlainText Editorial Consultancy

Lynn

I have had the good fortune to work with wonderful designers. For me, the key is recognizing when there is a fit and when there isn’t. If people can tell at the beginning that their business styles, aesthetics, or budgets don’t match, they should not work together and should not feel guilty about it.

It would be a problem if designers did not return phone calls or reply to email, did not keep their commitments, or did charge for services that had not been agreed upon in advance. I am glad to say that has not been my experience.

Here is the answer to the question you did not ask:

Having a good design is the difference between having a lackluster presentation and earning instant admiration. Before any words make an impression, the design does. I am grateful every day that I work with excellent, happy designers. I count them among my most valuable partners.

Lynn Gaertner-Johnston | Founder, Business Writing Specialist
Syntax Training: Tools for Better Business Writing | Business Writing Blog

Matthew

Briefing aside, the biggest issue with web and print designers is that they view copy as a commodity. They don’t seem to understand the writer’s process, the need for interviews and research, time to write well, edit and rework if necessary. They just see a bunch of ‘lorem ipsum’ and say to themselves “writer to insert copy here.” A bit more mutual understanding would help everyone. Not all designers are like this of course!

Matthew Stibbe | Writer-in-chief
Articulate Marketing | Bad Language

Nancy

Not being regarded as a full partner on the project. (I must say this happens rarely; I’m fortunate to work with some very experienced, knowledgeable, and sensitive designers.)

Nancy Friedman | Chief Wordworker
Wordworking | Away With Words

Roberta

Underestimating the time/cost needed to complete a project

• Forgetting that the work, while still very much a creative enterprise, is not about the artist — it’s all about meeting the objective of the promotion. In short, it’s business.
• Sloppy final art — fonts and images missing, items not labeled, PMS colors not identified, no folding dummy, etc.
• Too casual approach to returning calls and emails

Roberta Rosenberg | Pres/CEO
MGP DIRECT, INC. | The Copywriting Maven

Roy

Writers can be assholes. They act as if the designer is there to service the writer. The writer can be a narcissist and forget that the designer needs to be brought into the conversation. The designer needs time, so it’s imperative that the writer meet deadlines and provide as much advanced information as possible.

Roy Peter Clark | America’s writing coach
Poynter Online - Writing Tools | Book: Writing Tools: 50 Essential Strategies for Every Writer

Tom

If I have one rant in me, it’s about designers who render headlines and copy unreadable.

We’re trying to sell something, and setting a headline in four different sizes or copy in heavily leaded 7 point type might impress design students, but if the average person can’t read it, we’ve failed.

The testing doesn’t lie; your average person can’t (or won’t) read type that’s set outside a fairly narrow set of parameters. Don’t get too cute.

Tom Chandler | copywriting : online/blogging : marketing plans
Chandler Writes. You Profit. | The Copywriter Underground

tom

Thinking of writers as simply wordsmiths rather than idea generators. Writers think visually/idea first and words second.

tom mullen | writer & proprietor
EXIT3A.com | ANONYMOUS, JR

Following the set format for the DWW series, next up will be How Writers Work: The Process

until the next
Designers WW,
cat

Classic branding and marketing favors specialization. According to the conventional wisdom, the narrower you define your area of expertise, the higher the perceived value of your expertise.

But, in practice, conventional wisdom creates serious limitations. In actuality, designers who are able to write enjoy a major advantage over their competition. Being able to write as well as design offers graphic designers numerous practical and profitable dividends.

Writing and trust
The ability to write permits you to create a presence that promotes your “obvious expert” status and creates familiarity and trust that translates into more sales opportunities and less buyer resistance for your design business.

As a designer, your biggest “competition” is not the designer across the street–or across the Internet. Rather, your biggest competitors are anonymity and your prospect’s fear of making a mistake. Writing eliminates both obstacles by giving you a way to demonstrate your expertise before you talk to, or meet, a prospective client. Writing attracts new prospects, pre-sold on your expertise. You’re not a stranger, you’re a trusted advisor.

Books
Books are the most powerful form of “writing as promotion.” There’s magic to your name on a published book. A book becomes your most effective business card, attracting attention from like-minded prospects around the world. A well-written book does more than communicate facts, it communicates a style that projects your personality to prospects before your opening words.

I became aware of the power of a book to project an author’s “likeability” through exposure to Jan V. White’s classic Editing by Design. Editing by Design was a “high personality” book that not only communicated a design philosophy, but did it in a way that made it mandatory that I meet Jan face-to-face.

Roy Paul Nelson’s books Publication Design and Advertising Design reinforced the power of a book to encourage a face-to-face relationship, as do books by designers such as Doyald Young, Alex White, and Jim Krause.

Do books do more than create clients? Well, check out the size of the audience the next time Edward Tufte, author of Envisioning Information and The Visual Display of Quantitative Information comes to town! His day-long seminars fill huge hotel ballrooms, several days in a row.

Consider the task of choosing a designer from a prospect’s point of view. They can hire a familiar face who has established their expertise and style by writing a book, or the prospect can hire a stranger who may have an impressive portfolio, but, “Who are they, really?”

Articles and speaking
The next best thing to a book is an article, or series of articles, that communicate your style and position you as an expert. If you have a type problem, and are a reader of publications like How or Print, why not go right to the best and hire Allan Haley, whom you also remember from his articles in U&lc.

One of the nicest things about writing books and articles is that they inevitably lead to speaking opportunities. And, when you’re in front of a room, displaying examples of your work, your desirability as a designer shoots through the roof! After your talk, prospects will come to you with business card in hand, asking how they can contact you to discuss upcoming their projects. This is a far different scenario than the typical struggle for new business.

The power extends beyond the walls of the room where you are presenting. The mere fact that you are a speaker at MacWorld, a How Design Conference, or any of dozens of other events positions you to prospects–even though they may never attend one of the events, themselves.

Preparing better marketing materials
The ability to write pays off in the ability to prepare better marketing materials for yourself. Designers like Canada’s Maria G. Nozza’s website is an example of effective writing in action. Her downloadable PublicationWise newsletter and her DesignWise blog, available at www.mygraphicsnotebook.com, showcase her expertise in a way that proves her competence better than any amount of conventional marketing could ever do.

Once you become comfortable as a writer, you’ll find it easier and easier to maintain an up-to-date website, promoted through short, frequent e-mail tips. Between the quality of your newsletters and the frequency of your e-mails, your career trajectory will take flight.

Additional income sources
Consistent monthly cash flow can transform your attitudes as much as your business. When you begin the month without needing to worry about meeting the rent and health insurance payments, your stress level will drop. This enables you to create better designs in less time.

Although books and articles, by themselves, will rarely provide consistent monthly cash flow, enterprising designers can easily come up with other ways to turn them into cash. John McWade, for example, plus Before & After, www.bamag.com, a subscription publication available on line and in print.

Other opportunities include creating back-end profits through special reports, tutorials, audio recordings, and Camtasia training videos delivered as downloadable e-books, CD-ROMs, DVDs, or website streaming content.

The goal, of course, is not to succumb to the “publishing” model, but, rather, use ancillary profits from publishing to provide a cushion freeing you from the need to spend every hour on billable client projects.

Writing, better design, and more money
As your writing skills improve, you’ll inevitably become a better, more profitable designer. Although design should remain your primary task, your ability to provide “design-plus” services can increase your earning power while helping you deliver better projects.

Designing from a writer’s perspective, or writing from a designer’s perspective, breaks down the walls that often arise between writing and design. At minimum, your comfort with words helps you offer a “total solution” to those clients who will appreciate the convenience and unified perspective of “one-stop shopping.”

More important, as a designer/writer, your designs will improve to the extent that you feel comfortable tweaking copy at the last minute so it will better fit available space. Slight edits can often convert three line headlines into two line headlines. Likewise, minor word substitutions or transpositions can often eliminate distracting widows and orphans.

In short, the ability to write will result in a better partnership between design and message.

Where do you start?
The starting point is to recognize that there are numerous transferable skills between design and writing. Design is often based on communicating hierarchy and sequence; so is writing. Successful designs are based on simplicity and a lack of clutter; so is writing. Design is also based on taking changes, thinking “outside of the box; so is writing.

Design is also based on craftsmanship, an unwillingness to accept “good” in order to get the job done, when you know that by taking a little more time and fine-tuning the details, you can make the project considerably better. Attention to detail, and an unwillingness to compromise standards, is also a writer’s trait.

By analyzing the skills and abilities that contribute to your design success, and transferring them to writing, you’ll be able to do a better job of promoting yourself and creating endless new profit opportunities.

Roger C. Parker is the author of Design to Sell and the Content Catalyst and Planning Catalyst. Subscribe to his free Design to Sell newsletter at www.designtosellonline.com.

This article first appeared on Designers who Blog’s New Year’s Resolution: Learn to Write series. All posts can be accessed via the Writing Resolve.

In the first part of the Designers Working With Series, to set the stage I asked designers, “As a professional designer, what are the main points you want clients (potential and present) to know before contacting you about a project?”

For the writers section of DWW, I asked the same question, but with a twist.

As a professional writer, what are the main points that you’d expect / want designers to know before contacting you about a project?

If you’ve read the designers section of the series you’ll notice that some answers below are similar. Some are markedly different. All are information rich.

Cheryl

I would like them to surf the net in the topic area of the piece.
I would like them to know about designing information pieces for the public.

Cheryl Stephens | Mentor/Muse
plainlanguage.com | Building Rapport | Building Rapport : CafePress.com

Gerald

I am both a designer and a writer, so I have high expectations of designers. Just last month, I worked with a young designer, Brandon Swann, on the cover design for my new novel, “The Aremac Project” (you can see his design on my website home page now). I expected him to know how to listen to my requirements and ideas, then take his own initiative to present me with at least three sketches of possible solutions to the design problem. I expected him to know something about the purposes of book covers in general–what they were supposed to accomplish–and to balance his creative urges with my needs as a client. I expected him to be prepared to go back and forth with me and my publisher as we refined the design, and to complete his assignments as agreed.

Brandon, by the way, did all of these things and produced a striking and effective cover.

Gerald M. Weinberg | Writer, consultant
Weinberg on Writing | The Secrets of Consulting | gerald weinberg books and leadership courses

Judy

• I’d need to know the target market demographics.
• I’d need to know the product/service well. As many documents, brochures, data as possible. I can only write about what I know.
• I’d need to know the needs the target market has for the product/service.
• I’d need to know the competition.
• I’d need to why the products/service is superior to the competition.
• I’d need to know how they want my text presented, e.g., Word documents.
• I’d need to know if they’ll allow me to write so it’s targeting both the intended market and search engines.
• I’d need to know how strong the calls to action should be.
• I’d need to know if there’s a particular style guide (Chicago, Gregg, Hacker, APA, AP etc.) they want followed.

Judy Vorfeld | Webmaster Services; Editing and Writing Services
www.EditingAndWritingServices.com | Judy’s Blog

Liz

When I work with a designer, I’d hope that he or she would be interested enough to know my writing — the flavors, the colors, the people who read it — about what similar works in that genre look like, maybe have some idea of the difference between my three blogs and the information I post at each, and some sense of what blogs of similar nature look like already.

I would hope that he or she came with questions about my thoughts or ideas and ready to steer me toward those that could be accomplished easily. I’m not one who likes to make work. So an idea designer would be open enough to say, “How important is that to you? If we go that way it will take 5 hours, but I could suggest this, which is close, and it would take about 20 minutes.”

I want to be flexible and participate with ideas without getting in the way. I can only do that when my designer comes prepared to crawl into my head so that she or he understand the vision I’m going for and then channel my questions and suggestions to keep us headed toward that big picture idea.

ME (Liz) Strauss | Writer | Career coach | Strategic planner
Successful Blog | Letting Liz Be | Liz Strauss.com | The Blog Herald | Performancing.com | Write With ME

Louise

I’d like to think that the designer has been properly briefed by the client and in turn that the designer has advised the client on what is actually possible. I’d expect the budget to be clear as well.

I want to be clear about the expected total number of pages, whether web or print, approximate word count per page, and final deadlines, so that I have time to schedule the work properly and price accordingly. Being told the client’s budget is vital. I expect designers to build in time for drafts and final versions for the deadlines. I also like to see a draft template of the design, as that helps with pitching the tone of the copy. And I expect designers to allow me to be able to contact the client directly if I have any questions about the copy.

Louise Bolotin | Writer, consultant
PlainText Editorial Consultancy

Lynn

Regarding the design of business documents, I expect designers to understand the basic rules of document design, of course. These are things like having no text widows or rivers and following the rules of proximity—for example, that headings are closer to what they introduce than to what comes above them. This is important on the page and on the screen. I also expect them to accept that the text must be readable. When designers place screened images over the words or render the words in faint type, they may have a wonderful visual concept, but if it cheats the words, it won’t work for what I write.

I do not expect designers to be proofreaders or editors, but if they catch an error or make a subtle suggestion, I love it. I feel that I am receiving a special gift of their attention. I expect them not to introduce new errors into the text.

In their business dealings with me, I expect designers to be able to describe in writing their deliverables and any relevant steps in the process, and I need them to make realistic time commitments. I hope they will also be clear with me about what they expect from me. I need them to communicate like professionals—that is, in complete sentences that make sense. If they don’t, I will worry that they will not provide a professional design.

Lynn Gaertner-Johnston | Founder, Business Writing Specialist
Syntax Training: Tools for Better Business Writing | Business Writing Blog

Matthew

What I need from designers is a clear brief. Pretty much every problem with the writing can be traced back to a poor or non-existent brief.

Matthew Stibbe | Writer-in-chief
Articulate Marketing | Bad Language

Nancy

What kind of writing is required? Creating a branding message through taglines, headlines, and other “identity” copy is very different from writing web site FAQ. Please be sure that you’re hiring me for my skills and experience and not simply looking for “verbiage” (boy, do I hate the way that word is misused!).

Nancy Friedman | Chief Wordworker
Wordworking | Away With Words

Roberta

As a direct response marketing writer and consultant, I’ve worked with many print and web graphic artists. What I look for is:

• an understanding of each medium, and the experience to know when design needs to take the lead of a project and when it needs to support and showcase content instead
• experience in the industry my client serves, someone who takes the work seriously whether it’s a sexy project or a workhorse
• an understanding of what things cost vis a vis results (If you’re going to show me a square envelope knowing my client pays a postal surcharge to mail it, tell me how well the promotion did, even with the bigger expense.)
• ability to set and satisfy timelines and deadlines

But please don’t show me any awards you’ve won. Instead, give me a list of happy clients who will sing your praises.

Roberta Rosenberg | Pres/CEO
MGP DIRECT, INC. | The Copywriting Maven

Roy

Do you mean “the main points you’d expect / want designers to know” about working with writers, or about the project itself? (Hey, I’m an editor. I edit nearly everything, including interview questions.)

Well, I’ve been lucky enough to have never had a bad working relationship with a designer, so I’m going to generalize from some things I’ve learned about this business in general.

About working with writers:

1. You never err by bringing the writer in early.
2. Just as design is vastly more than color coordination and snappy graphics, good writing is vastly more than just correct spelling and grammar. (Some people don’t seem to get that.)
3. Closely related to #2, writers are not commodities. As much as possible, you need to match the writer’s expertise to the project. For example, what industries have they worked with? (For example, healthcare, financial, construction, biotechnology, food and dining.) What type of writing are they best at? (Direct mail copy, online, speech writing, journalism, and whitepapers are just a few writing specialties.)

About the project itself:

1. It’s nice to have a good idea about what kind of tone you want. Things like formal vs. informal, light vs. serious, consumer vs. business-to-business. At the same time, be willing to explore this with the writer.
2. As much of the demographics of the target audience as possible.
3. Depending on the scope and budget of the project, you may need more than just a writer. I don’t care how good a writer is; we can always benefit from a good editor looking over our shoulders.

Roy Jacobsen
Writing Plain and Simple

Roy

I love designers. How they think, how they imagine, how they see the world. I want to tap into that creative energy, but I want the process to be reciprocal. I want to listen – and be listened to. I want to be a partner, a collaborator – not a boss or a client. Most of all, I need conversation about the focus, the tone, the look, the voice of the project.

Roy Peter Clark | America’s writing coach
Poynter Online - Writing Tools | Book: Writing Tools: 50 Essential Strategies for Every Writer

Tom

I fill out a Creative Brief for every significant project. It doesn’t provide all the information I need to write a project, but it’s an excellent start.

At the very least, I need to know:

• What is this product?
• Who are we selling to?
• Why would anyone buy it?
• What is our key selling proposition?
• What is the tone?
• What is the offer/call to action?
• Visuals?
• When & Whatever?

In truth, the sooner I’m in on a project the better.

Tom Chandler | copywriting : online/blogging : marketing plans
Chandler Writes. You Profit. | The Copywriter Underground

tom

Budget, deadline-turnaround

tom mullen | writer & proprietor
EXIT3A.com | ANONYMOUS, JR

Following the set format for the DWW series, next up will be Writers Working With Designers: The Problem Areas

until the next
Designers WW,
cat

Designers Summary

It’s a wrap. The designers section of the Designers Working With Series that is. We’ve focused for three weeks on seven questions put to designers.

1. As a professional designer, what are the main points you want clients (potential and present) to know before contacting you about a project?
2. When working with clients, what do you see as the top problem areas?
3. How do you work?
4. How should a company or individual in your profession be chosen?
5. At what point should your profession be brought into a project?
6. How do you charge?
7. How can a designer improve their skills in your industry?

In the introduction, Josh Jeffryes brought up the point that building a successful business takes more that talent. It takes business savvy.

The first question was about what we want clients to know before contacting us. Adrian shared that he expects a client to be familiar enough with his work that they can trust him with their project. Andy looks for clients to have done some prep work about the project’s goals and budget. Anna finds it’s important to educate our clients about the value of design. Brian wrote that clients have expectations, but so do we. Chris looks for an understanding that design isn’t a commodity. Dan shared that design has value and that value is worth something. Daniel tells us he wants everybody to be happy, but especially the audience. Danita told us of the importance of branding and understanding some basic design terminology. Dawn believes in building partnerships. Metin expects clients to understand that he is an experienced professional. Neil wants clients to know that good design requires two things – time and money. Nigel wants clients to know their budget. Roger believes communication is key. Scott needs clients to tell him the problem. Stefan has the client’s best interest in mind, while Tamar has the target audience in mind. Finally, Von gets to the point that he’s not cheap or simply a hired pair of hands.

The answers have been written with the client in mind, but a clear message comes through for the designer - designers need to communicate how they work, and this includes their expectations of the client / designer relationship.

Our next post was A Client’s Guide to Professional Conduct in the Design Industry. It centered around professional conduct, the Designer/Client relationship and the idea that a designer is a professional collaborator and not an employee, and brings a set of skills to the client that is geared towards expanding their business.

Building on the previous post about what designers expect of their clients, in the second question we addressed specific problem areas. Adrian suggests poor communication. Andy says it’s unrealistic or inflated expectations. Brian mentions proofing, unreasonable expectations and that clients don’t always understand the value we bring to the table. Chris chimes in with the same. Daniel feels clients are sometimes not clear about what they’re trying to accomplish. Danita sees a lack of understanding. Dan says he generally has better success with more experienced clients. Dawn is concerned with clients who don’t understand the importance of consistency and can’t make up their mind. Metin needs trust while Neil is another who wants clients to have a clear picture of what they’re trying to accomplish. Nigel thinks some clients don’t read proposal thoroughly. Roger wants clients to focus on marketing issues. Scott looks for clear communication and responsiveness. Stefan sees a need for education. Von sees a problem with communication and a reliance on tools rather then creativity.

Brian Sooy authored a post about client management. He tells of the importance of having clear policies and procedures and leading the client through the process. He writes that we must be proactive when it comes to client management by anticipating deadlines, respecting timelines and how having an awareness of your client’s needs will allow you to manage your time and lead your clients.

In question three we looked at how we work – our process. Andy’s into research, planning and relationship building. Anna seeks to insure needs are met. Brian runs a tight ship with no uncompensated thinking. Chris is more informal and flexible, yet professional. Dagmar works from a home office and also on-site. Daniel rarely meets face to face and taps into email and Skype for communications. Dan’s 4-D process is define, design, develop and deploy. Roger’s another one where distance isn’t an issue. Scott’s into research and Stefan works on building relationships.

Follow on the process path, Neil whipped up The Power of Process. In it he writes, “Without a workable process in place, one that’s sound and repeatable, things can erode into happenstance and you lose control. Not good.” He goes on to guide you through a three step process to keep your projects on task and on target.

Question four dealt with how to choose a designer. Andy suggests research and recommendations and Anna opts for portfolios and word of mouth. Brian agrees on word of mouth but also adds networking. Chris also believes in networking and word of mouth as do Dan and Daniel. Dagmar digs presentations and Leslie and Stefan say to search around where designers lurk. Metin’s on the side of portfolio as does Neil but also adds Google and portfolios. Roger prefers style and attitude over an impressive portfolio. Scott likes RFPs, references and successful projects.

Question five addressed when a designer should be brought in. Everyone is pretty much in agreement – bring in designers as soon as the scope of the project has been determined (if needed, sometime sooner).

In question six we tackled the big question – how to charge for our services. Andy charges based on time spent on the project balanced with fees data for previous gigs. Anna charges by the hour, while Brian goes for fee-based and hourly, depending on the type of project. Leslie, Chris and Dan suggests payments in 50/50 or thirds. Dagmar’s another who uses both hourly and by the project. Daniel also leans towards charging by the project. Like several others, Metin and Neil use both methods. Roger says to get some money upfront and arrange benchmark-based payments. Scott puts forward the interesting suggestion of allowing clients to buy blocks of time for projects – say 20 hours and they can do whatever they want with that time. Stefan goes for 50% upfront and the remainder upon completion.

The last question, seven, shared how a designer can improve their skills. Andy goes for new challenges. Anna’s about practice, practice, practice. Chris advises Self teaching, going to school and visit forums as part of a lifetime of learning. Dagmar buys into the three “R’s” – Reading, Research and Rendering. Daniel improves through reading, while Dan’s all for being a design investigator. Leslie believes in self-assignments, creative play, reading and exposing yourself to other creative media and products. Neil’s also a believer in books, but also workshops and resources like Lynda.com. Roger suggests that the big challenge is not “skills” as much as it is enthusiasm and inspiration.

As you’ve most likely noticed, quite a few designers took the time to contribute to the series. A special thanks goes out to …

Adrian E. Hanft | Art Director | Photographer
Be A Design Group | Found Photography | Adrian3

Andy Budd | Managing Director | Web Designer | Author
Andy Budd::Blogography | CSS Mastery

Anna Corpron & Sean Auyeung | Interdisciplinary Design Practice
Sub-Studio | sub-studio design blog

Brian Sooy | Design Consultant
Brian Sooy & Co | Altered Ego Fonts

Chris Tomlinson | Communication Designer | Printer
Gonink | Gonink blog

Dagmar Jeffrey | Principal Arche-tech
NO!SPEC Brainstorming Team Member | Arche-BLogGER

Daniel Will-Harris | Communication Designer
Will-Harris House | Schmoozeletter

Danita Reynolds | Communication Designer
Creative Expertise | Creative Expertise blog

Dan Sturdivant | Communication Designer | Editor
TexasDesign.com

Dawn Burgess | Communication Designer
abdfla.com

Leslie Burns-Dell’Acqua | Creative/Marketing Consultant & Coach
Burns Auto Parts–Consultants | Burns Auto Parts blog | Podcast | Book

Metin Seven | Communication Designer
Seven’s Heaven - design and illustration

Neil (nt) Tortorella | Marketing Manager
Tortorella Design | The Marketing Mind | Creative Latitude | BoDo Team | Marketing Minute

Nigel Gordijk | Web Designer | Consultant
Common Sense Design | Common Sense Small Business Toolkit | Creative Latitude

Roger C Parker | Designer | Writer | Marketing Consultant
Design To Sell Online | Roger C. Parker Design to Sell Blog | Design to Sell

Scott Boms | Communication Designer
Wishingline DS

Stefan Bean | President/Creative Director
Pulse Creative Partners, Inc. | BoDo Author | Bean’s Biz

Tamar Wallace | Communication Designer
Tamar Graphics | Tamar Graphics blog

Von R. Glitschka | Illustrator
Glitschka Studios | IllustrationClass.com | Art Backwash | Three Thumbs Up Award

Coming next is the writers segment of the Designers Working With Series.

until the next
Designers WW,
cat