3 Signs That You’ll Probably Regret Having Taken That Project, and How to Do Damage Control. Every so often, the startling realization comes to light, “this project is going to be a nightmare!” We can sit and dwell over how miserable we’re going to be until the project is over, or we can dig our heals in and make the best of the situation.

Good LUCK!

You’ve taken on a project that was pulled from another designer (or the client told you their designer was no longer available to work on it). From what the client describes, it sounds like the designer was incompetent, but when you get an email from the previous designer sending you the files, their email messages only reads “Good Luck!”. And the files don’t look all bad. Yeah, that’s a bad sign!

Damage Control: While there are plenty of times when projects were rightfully pulled from a not-so-great designer, there are also instances where you realize that it wasn’t the designer at all, but a client that was all over the place and expected too much for very little.

You’ve already taken the project and it would not be professional to run screaming to the hills, so the key here is CLEAR COMMUNICATION. Start with an outline of the work that will be done. Discuss as much as possible up front and ever assume that because you did work outside of the project scope, the client will be more than happy to pay for your extra time. Chances are they expect the estimate to stick no matter what kind of unreasonable requests are made, so always alert them of additional costs before you make any updates.

Note For Next Time: If you know up-front that the project was already started by someone else and was pulled due to unsatisfactory work, or even if they tell you the designer is no longer able to work on the project, find out why prior to accepting the work. Try to get specific examples, dig a little if the only response you get is “They were not professional” or “I didn’t like the designs they were showing me”. If you can ask to see what they have done already that’s even better. If the work truly looks bad, then it’s fairly safe. However, if it’s no as bad as they described it, this should be a red flag.

Who’s In Charge Here?

You get a project from Joe, he briefs you on the project and you’re all set with direction. You submit the first round of design. A day or two later you get an email at from Steve with feedback, and an email a half hour later with conflicting feedback from Carol. You weren’t even aware you’d be dealing with more than one reviewer!

Damage Control: Write an email to (or call) Joe and explain to him that in order to avoid conflicting direction and/or unnecessary rounds of revisions, there should be one Primary Contact Person (PCP). Whether it’s Joe or they decide on another person to take on the responsibility, all feedback should be filtered through one main contact. This way that person can manage conflicting information before it even reaches you.

If the PCP would still prefer that you send all revisions to a group of people, that’s fine. However, just make it clear that all feedback should be filtered back to you by one person.

Note For Next Time: I always include a clause in my project agreement explaining that all projects should have a PCP. It’s a short and simple note and it really does save you headaches later on.

Here Today, Gone Tomorrow

You submit your first round of designs and are really excited to get feedback. You pretty much know you nailed it. Three days go by… nothing. A week passes and not even a confirmation that they received the email. You follow-up and nothing still. Two weeks later you get an email saying they were on vacation in Costa Rica and list a slew of changes, all due tomorrow!

Damage Control: If this is a one time incident with a loyal client, it was likely an oversight. I always do my best to meet their timeline even though, yes it will be at the expense of my beauty rest. Is it ok to throw in that you will have to spend all night doing those changes? Probably not, however if you plan to charge rush fees, you MUST tell them upfront. If it’s absolutely impossible for you to get all the changes done in time, write them a polite email stating that there are too many changes to get done in the time they’re requesting and that you’ll get it to them by X/XX. Most clients are reasonable and will understand.

If however, this is not a first time offense, and has started to become a pattern, it’s important to put a stop to it as early as possible. Write them a note – this should be in writing (email) so you have back-up – and state that moving forward you’ll require X days notice (whatever works for you and/or the particular project) for revisions. This way they know that it will take you that amount of time to provide updated art. Be clear on whether or not you’ll accept rush projects (anything less than the timing you provide) and whether there is a rush charges involved. In my experience a rush charge will often times make a client realize that maybe they don’t need it NOW NOW NOW!

And of course, it’s good to note that not all projects will require a rush fee even if it’s on short notice. This should be decided on a case by case basis.

What are you problem projects and how have you resolved them?
These are just three examples, but we’ve all experienced difficult projects. How do you manage the unexpected?

Related posts:

1. How to Avoid the Drama of Working with Friends and Family
2. Are You a Design Partner or a Service Provider?
3. Spec Work: Not Always Black & White

We’ve all heard people say “don’t move in with your best friend, don’t work with family”. And I’m sure we’ve all heard the horror stories, some going as far as long time family feuds. It seems we’re meant to choose between helping out a family member or friend, or preserving the relationship we have with them. Which hardly seems fair, because if you have a skill to share, who better to share it with than those closest to you? So is it possible to work with friends and family without the seemingly inevitable conflict? Absolutely, if approached the right way.

I was listening to a friend complain about a project she did for a close friend that ended in disaster, and this wasn’t the first person I’ve heard with a similar story. I’ve done a few project for friends and family, and so far haven’t had any major issues *knock on wood*. However, in all the stories I’ve heard the common denominator was “I thought” or “I just assumed” or some variation. And therein lies the problem!

Common assumptions made by friends/family
The ridiculously low family discount, if not free project
Sometimes the conflict starts before the project even begins. Your uncle, cousin, friend’s friend assumes the project will be done as a favor, ie. for free, or that they will pay peanuts for the work. It is important for the designer to also let them know how much this project would normally cost, not just tell them “I’ll do it for $XX”. If they see the discount, they’ll appreciate the price and your generosity. As a client, if the project is beyond your budget, have a discussion of what can be done to reduce the rate either by removing some of the unnecessary frills or maybe bartering.
Unlimited revisions
Generally speaking, designers include a limited number of revisions on a project in order to stay within budget. Friends and family, don’t always know this, so it’s important to make any and all limitations very clear up front.
Maintenance
Similar to the unlimited revisions assumption, sometimes people assume, in the case of a website for example, that they’ll be able to ask you to make revisions even after the project is complete with no additional charges. Sometimes, they assume this goes on in perpetuity, which is never the case. It’s important to discuss if any changes are included post completion, but generally unless it is an error, there are no revisions included. It’s important to discuss how future updates will be done. Hourly rate, monthly maintenance for a agreed upon fee, a tutorial so that the client can make updates on their own…

Common assumptions made by the designer
It’s just a quick project
Let’s face it, it rarely is. We’ve all heard the “I would do it myself, but…” or “it should only take you a few hours to do”. It may be the case, but not always. Clients don’t always have a clear understanding of what your job entails, and in the case of friends and family, it’s my experience that they understand even less! So it’s important to get all the details up front so both parties are clear on what’s expected and there are no big surprises down the line
They’re gonna love anything I design
Famous last words, LOL. Most if not all of us have been guilty of this one. The little bit of ego that creeps up when you’re doing a favor. It’s the word “favor” that does it. You assume they’ll just be grateful for having something, anything. And though we provide good quality work (if you do a favor, do it right, never phone it in), it may not be what they wanted exactly. Make sure you ask comprehensive questions about what they’re looking for; color, style, brand message, dealine… treat it as any other client.
It’s just this once
It very well may be that you do such a great job that your friend/family member will be back for more! if the price (or free project) is a one time only deal, make sure it’s clear. This way if they come back to you in a few months with a similar project, they know to expect a different price. It’s also important to note this in the case they want to refer you to their friends and family. You don’t want them coming to you expecting the same price you did as a favor.

The most important thing is to keep clear and constant communication from beginning to end. Never assume anything, it’s better to ask. Keep the project as professional as possible. This doesn’t mean you can’t joke around on an email or that there will only be business talk while the project is in progress. Of course not, but you have to take the same precautions you would with someone you don’t know.

Here are some things to remember:
You still need a contract.
Yes, I said you need a contract. Particularly with friends of friend, but also with direct friends or family members. It covers you both from any misunderstandings along the line. I also find that if they have to sign something, they’ll be more careful of paying attention to terms. This way any concerns can be addressed up front.
Payment up-front.
This one’s a tricky one. Most family members might feel a little offended by the request of money upfront, as it implies you don’t trust them to pay up. And this may well be the case! You may laugh, but we all have that cousin or friend that will pay you back… and will pay you back… and three months later is still working on paying you back. My recommendation is, if the project is minor enough that you can forfeit payment without hurting, then let them pay you at the end. However, when the price is higher, you want some payment upfront. You may split the project into smaller payments thirds or quarters instead of half, but since the problems usually arise from assumptions, DON’T assume they’ll pay you on time.
Have assessment forms?
Use them! Most of us have project assessment forms that we provide to clients, and in this case, your friend/family member is your client. Treat this project as you would any other one. An assessment form will help them think and get a clearer idea of what they want and will limit the “I changed my mind” halfway through the project.
Set a timeline both parties can stick to.
Only start the project if both parties can dedicate time to it. Designers tend to take their time because it’s just a favor to a friend and may not be paying as much as other clients (if at all). Family gets caught up with personal stuff and don’t provide timely feedback
Always let them know they’re getting a discount.
No, this is not so you can come swooping in like the savior or the day, or to make them be ever so grateful to you. This is more practical than that. If they want your help on another project further down the line, they need to know what it will cost realistically. The case may be that you can give them the same discount then, but you may not be able to. You also don’t want your discounted price getting our if they should refer you to someone they know. If the discount they received is very big, then it would be best you ask them not to provide it at all if they refer you. If you’re giving them a deep basement discount price and they divulge it to their friend who is now coming to you for a website, logo etc, they will definitely feel cheated when you quote them a 2, 3, 4 times higher rate. Even if they know your friend got a discount, it might influence their decision.
Friends and family discounts don’t necessarily carry over.
When a friend/family member is asking you to “do a favor for a friend” the discount should be less than the friend/family discount (ie 5-10% vs. 10-20%). You don’t know them and don’t know how easy they are to work with. Also remember that if they then refer you to THEIR friend and also expect them to “do a favor” for them, you’re discounting based on an already discounted price. Make sure they’re aware that a referred client might not necessarily receive the same discount, and ask them not to provide the price they paid.

These of course are just some guidelines to help make your projects move along smoothly. That said, always keep in mind that you’re in no obligation to offer a discount to friends and family and that in some instances, it’s best to pass on the project. Hopefully these are just rare instances.

So did I miss anything?
Do you have any other suggestions to keep in mind when working with friends and family? Feel free to share them!

Related posts:

1. Houston, We Have a Problem!
2. Why Does a Logo Cost More Than $50?
3. Xerpi.com

Logo design pricing can be a frustrating subject for designers and clients alike. To a designer, it’s obvious that a logo should cost more than $50 or $100. So why is this not obvious to the client as well? The reason why is quite simple. Go to your search engine and look for “logo design”. Chances are you’ll get something that looks like this:

Custom logo designs for $50, $100, $149. No wonder a client will expect to get a similar figure when they receive an estimate. This is the first thing they see!

But a logo should not cost $50, and here’s why:

Your logo represents your company
Perception is important, and a logo will set the tone for your company’s brand. It will be used on your business card, letterhead, website, products, sales collateral… in essence anything that you sell or use as a selling tool. You want to ensure the proper message is presented to the customer. You want to inspire confidence, recognition and trust, while showing the company’s personality.

A logo should be original, customized to your industry and target audience
Someone who is charging $50 can’t possibly be spending the proper amount of time on research. There’s more to logo design than drawing a pretty picture. There has to be a clear understanding of the brand’s message, who your competition is and what sets you apart from them.

Logo design is a pretty extensive process
Clients don’t always understand what goes into designing a logo, and it’s really a comprehensive exercise:

• Design Brief – The client will fill out a brand assessment questionnaire which the designer will use to gain a better understanding of the company, it’s current standing in the industry and the desired perception it wants their clients to take away.

• Research – The designer must understand the client’s competition and how they present themselves to prospective customers. They will want to research what is working for them, and what will set the company apart.

• Conceptualizing and Sketching – The designer will put together some sketches and narrow down a few rough drafts

• Design Execution – The sketches will have to be rendered on the computer to ensure they’re polished and ready for the client to review

• Refinements – Once the client has selected their preferred logo, there will be some adjustments needed to finalize the design.

• Final Files and Logo Guide – The finalized logo will be provided in various formats (print ready, web ready, color, black and white etc). This will be accompanied by a logo sheet or brand manual (depending on the client’s needs/budget), which will provide color breakdowns, font usage and alternate variations of the logo where applicable.

You and your logo will be together for a long time
A logo must have longevity. Chances are you won’t be reinventing your brand every few years. It’s important to remain recognizable and constantly changing your logo will only confuse your customers. A logo should be considered an investment, not an impulse purchase.

Your logo should look polished and professional
First impressions count, and they’re not always easily changed. Anyone can type a company name and pick a clipart image to go along with it, but is that what you want your logo to look like? Something that was put together in Word with whatever default font your computer brought? Absolutely not! Regardless of whether you run a suit-and-tie type of business or a more fun, relaxed one, attention to detail is very important.

So then, what is the magic number?

The truth is, there isn’t a magic dollar figure. Can you pay $100 for a logo? Yes. Can you pay $1,000? Yes. Can you pay $10,000+? Yes. Design fees will vary depending on your needs and who you hire:

Size matters
The size of your company can affect pricing. The larger your company, the more extensive your needs will be, and therefore will require additional research and possibly more initial design options and revisions.

Project scope
Some clients know exactly what they want, they just need someone to execute their vision. Others barely have their name selected and really don’t even know where to begin. The amount of time and effort that will go into your logo will affect the fees involved.

Experience makes a difference
A more experienced designer will have higher fees than someone who is just starting out. A new designer is still building their portfolio and acquiring skills; they might take lower paying jobs in order to get their name out. Depending on your needs however, you might want to go with a more reputable freelancer or a branding agency.

A designer’s interest in your brand
Just as a new designer might take a pay cut in order to add more pieces to their portfolio, any designer can have a personal interest in a brand. It can be a cause they believe in, a new industry they want to tap into or they may be doing a favor to someone. This of course, is always at the designer’s discretion.

Number of concepts and revisions
A way to bring costs down is to limit the number of initial designs and revisions included at no extra charge. Designers can lower their prices in order to accommodate a client’s budget, but this should never be done without applying some additional limitations to the project scope. They may provide 3 initial designs instead of 6, or 2 rounds of revisions instead of 3. When doing this, clear communication is essential.

Finding a good match
Cheap isn’t always bad and expensive is not always better. You have to find a designer that has a body of work that feels right for what your needs are. A good logo is one that you’ll remember, that inspires you to learn more about the company. A dollar figure won’t get you this, but a clear communication and a good relationship with your designer will.

Additional resources
6 Reasons Why a Logo Should Cost More Than Your Lunch
How Much Does Logo Design Cost
Why Logos Should Cost More Than $300
Why Logo Design Does Not Cost $5
How Much Should You Pay For A Logo Design?

In the end…
Your logo represents your company and your company is worth more than $50, don’t you think?

Related posts:

1. Are You a Design Partner or a Service Provider?
2. Spec Work: Not Always Black & White
3. How to Avoid the Drama of Working with Friends and Family

What would Mary Poppins do?
Volume 4, Number 3 | March 2010

Clawing my way out of confusion into some kind of clarity continues to be a highly illuminating process.

While I’ve been down the confusion-to-clarity road before, I have a greater sense of urgency at (almost) 49 than I did at 29 or 39 because HEY, life is short!

On the other hand, these days I also have a far lower tolerance for doing things I dislike. Because (you guessed it) Hey, life is SHORT.

So how to reconcile these two seemingly opposite forces: the desire to really, really move things along, and the incredible resistance to much of the drudgery involved in improving one’s life and outlook?

Enter the nanny
One nice thing about all the decluttering I’ve been doing is that it’s opened up more room for weird ideas to float in and out. And a couple of weeks ago, when I was casting about for a weekly “focus” theme in my Google Wave with Dave™ experiment, “Mary Poppins” popped into my head.

For those of you who are too young to remember the Disney movie (and not young enough to have seen the new theatrical musical production), there’s one really great song in the show titled “A Spoonful of Sugar.” Okay, maybe it’s just a silly song, but it carries a great message sung by the great Julie Andrews (and paraphrased by me):

Inject a little good times into your work and your work becomes a lot more fun.

In the song sequence, new nanny to Jane and Michael Banks informs her charges that while they must tidy up their room, there’s no reason they can’t make a game of it.

Reframing work as play
Mary had the advantage of special effects to turn cleaning into the good times. (And hey, if I could snap my fingers and make stuff happen, I’d be snapping for way bigger stuff than automagically-folded laundry.) But even without magical powers, there are lots of earthly ways to make tedious or frustrating to-dos fun.

For cleaning and decluttering (two of my not-favorite things), feng shui is the original flavor of awesome. Those Chinese, they knew a thing or two about a thing or two. And while you may not believe in chi or the auspiciousness of placing certain things here or there, the overlay that feng shui provides–the baguas, the elements, the “cures” — is like turning your living space into a gigantic game board. In case you haven’t heard me mention it a million times already, this is my favorite feng-shui-can-be-fun book.

For becoming a better writer and/or speaker, a program like Toastmasters is wonderful. It breaks down the terrifying, monolithic thing of learning to tell stories into really small, manageable and fun steps. But it also forces you to write, which is still mandatory work for writers.

The Moth storytelling slams are another good bet for would-be writers or performers living in some major U.S. metros, as are Ignites, which happen all over the world. As chief storyteller Ira Glass says, the secret to telling better stories is to do it more often, among good people and with deadlines, where possible.

For boring or repetitive work, nothing beats zen buddhism. I understand that for some people, getting numbers to reconcile is a fun game in and of itself; for me, entering data into QuickBooks or processing paperwork is much more likely to become interesting if I bring (or keep bringing back) my full attention to it. Or hey, if you’re not into the feng shui cure, above, cleaning is a natural candidate for the zen treatment. (Sweeping Changes, a wonderful book I learned of via a reader on my blog, might be helpful if you’re interested in trying this.)

Meta-Mary secrets
Your games will vary, but some general questions may be good reframing devices or starting points:

* Is this more like a puzzle, a race or a treasure hunt?
* Is this a team or a solo sport?
* What are the pieces or components to this challenge?
* How does it break up into innings, matches or other game-like segments?
* What will I “win” at the end?
* What badges (skills, experiences, knowledge) will I collect along the way?
* How do I suit up for it? Is there a uniform or equipment I can use? (And if so, how can I repurpose what I already have or scavenge/borrow it so I don’t have to outlay cash to do the equipping?)

As you can see by that last point, once you start playing Mary Poppins, you get better at seeing everything through a Mary Poppins lens. Not only do you start looking for the sport in everything, you also look for opportunities within those opportunities.

I’ll be sharing more reframing solutions in coming issues, as well as on the blog. If you have any particular conundrums you’d like to see turned into a game — or if you’ve managed to turn any icky things into really fun, Mary Poppins-style “wins” — please let me know!

What Would Mary Poppins Do? can be seen here.

I’ve been reading Colleen’s newsletter for a little while now, and it’s always informative and insightful. Please visit her website when you have a chance and if you like this article, sign up to her newsletter to continue to receive more!

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Colleen Wainwright is a a writer-speaker-illuminator who started calling herself “the communicatrix” when she hit three hyphens. For more about Colleen, to read her exciting posts or to hire her, please visit http://www.communicatrix.com

Related posts:

1. Roomba Art?
2. Inc.’s Great Garage Hunt
3. What Daily Meditation Can Do for Your Creativity

Do you have your client’s best interest in mind or are you just looking to provide a service and collect a check? Do find yourself making suggestions on how to improve your client’s business, website, branding etc, or is “they didn’t ask for that” a regular phrase you use? Really think about this for a minute, because it makes all the difference in the world.

A service provider literally does what they are told to, whether they agree with it or not, whether they know of a better, more effective way to approach a project or not. Generally their main goal is to find a way to do the work with as little effort as possible so they can make a bigger profit. They’re there to collect a paycheck. You asked for a yellow logo, I gave you a yellow logo. If all you want is to make ends meet and sit back and take what comes… then this is probably where you’ll be best suited.

I’m hopeful, however, that you strive to be more than this. So what makes a design partner “better” than a service provider? Communication and an understanding of your client’s needs. Always being willing to offer your expertise and making it your goal to help your client succeed. You asked for a yellow logo, I gave you a yellow logo, but not only that, here is a blue logo because I feel it better portrays your company, your market etc*. Maybe your client asked for a yellow logo because it’s their favorite color, not realizing what that color might represent in terms of brand value. Maybe they asked for yellow because a lot of their competition is using yellow and they want to work similarly, but you know blue might make them stand apart.

*Notice we’re still providing the client with what they want. The goal here is not to only provide the blue logo because you feel it’s better, but to offer your professional opinion as a suggestion.

A design partner is someone their clients can turn to. They are trusted because of their knowledge and more importantly their desire for their clients to do well. After all, if your clients are doing well, you’ll profit as well either by exposure, repeat business or referrals.

As a designer, you should strive to be a partner to your clients, and as a client, you should always consider working with someone who has your best interest in mind. This will always workout to be a win-win situation.

Related posts:

1. 45 Checklists for Web Design
2. Why Does a Logo Cost More Than $50?
3. Spec Work: Not Always Black & White