Staying on the Road

“A design brief is your project road map.”

 (“Building a Case for Design,” HOW magazine, February 2001, by P. M. Knapp)

Once all of the information has been extracted from the client, a design brief is formed which  clearly states the desired outcomes.  It also keeps the design work on track and in focus throughout the project.  This is becomes even more important when the project is heavily constrained by a tight budget or deadline.

A design brief also gives the designer a safety net in that the brief can be signed off by the client like a proof.  This means that the client can read and possibly correct the designer’s interpretation of their vision.  It also gives the designer grounds to charge more than the initial quote if the client requests changes that are not inline with the original brief.

Once the brief is settled the designer must give a quote.  This should not be an estimate given over the phone, during the first contact. Time should be taken to break down the project into its various stages, in order to estimate accurately how much time each stage will take.

“As a student it’s hard to quantify the value of your time.  Your lack of experience should be matched by your keenness to please.”

(Michael Agzarian, Senior Lecturer in Graphic Design, CSU Wagga Wagga)

Everything and every minute of work should be charged out from the first meeting to the last including expenses such as travel, phone calls, faxes, couriers and materials.  A journal should be used to document it all, allowing for the production of a concise itemization for the client at billing time.  Giving an exact breakdown can often prevent needless squabbling if the job runs over the original quote.  Also accurately recording details over the course of a career develops an understanding of exactly how much time is needed to complete certain facets of a particular job.

Documenting how much time was spent on particular jobs can be completed in a log book.  Often, however, entries are not logged until the end of the project and estimates must be relied apon.  A much more accurate way of tracking time is by using one of the many tools available for download from the internet.

One example of a timing tool is “TimeKeeper”, which is a basic stopwatch-style timer that can be paused during breaks.  It also produces a log file which states the job name, start time, end time, break time, total duration and comments where details can be entered by the user. 

TimeKeeper can be downloaded for free at myzips.com.

“With its small footprint and intuitive interface, this freeware proves that great things come in small packages.”

(TimeKeeper review, by myzips.com)

Alternatively, (for AU$55.79)  “Job Timer 3″ offers the user much more.  With an easy to use setup wizard, the program guides the user through a setup which allows a designer to charge by the hour at different rates for various tasks.  The user can also charge a set fee for other services which require a one-off flat payment.  Synchronising with the user’s computer clock, Job Timer sets alarms and lunch break.  The program’s amazing ergonomic features monitor each individual users mouse and keyboard interactivity and compare their workrate to other sessions.  Job Timer detects which application is active at all times and monitors the user’s workrate in relation to that type of software.  When the situation arises, when the user exceeds their normal workrate the program can notify the user.  It will also notify the use to stretch at regular intervals.

“Job Timer is designed to keep track of how much time you spend on a job.  It figures out the cost of the job. Editable fields so you can name your section and price and customizable for each customer.  It also includes a built in printable Invoice.  The most accurate windows time piece in the world. guaranteed.”

(Job Timer 3 review, by IverTech.com)

A picture paints a thousand words

It is always a good idea to take visual aids to a design briefing.  They can help the client to choose what they want in relation to other designs and also help communication between the parties by introducing a visual level.  One reference book that was designed solely for the purpose of improving communication during the briefing is “Graphic Design Speak: A Visual Dictionary for Clients and Designers” – by Anistatia Miller, Jared Brown.

“What does a client or art director really mean when they say “I want a clean look” or “The design should be bold”? Graphic Design Speak offers the answers in an easy-to-follow format that both clients and designers can use as points of reference in design briefs or strategy meetings. This book is an essential tool for any designer seeking to gain a better knowledge of the wants and needs of their clients. “

- Amazon Editorial Review

Other visual references that are extremely useful in this situation are the client’s competitor’s logo and marketing material, the designer’s portfolio, and colour and paper swatches.  All of this material helps to communicate what the client wants and as equally important – what they definitely don’t want.

Speak business not design

As a designer, you should always use language that has universal meaning.  Whilst, clients are often impressed by designers who use graphic language (which they don’t understand and assume it’s relevant), it causes great misunderstanding and confusion and is detrimental to the outcome of the design.  Instead, the designer should try to tie in the design concepts with something tangible that clients can grasp. 

Words like avant garde and conservative often fail to get a client’s response, as many are not familair with art/design teminology, just as the designer may not be familiar with the client’s own business jargon.  Therefore it’s often best for the designer to use metaphors to help the client visualize.

Eg.
“Should this animation give the feeling of screaming down a roller coaster at 200 miles per hour or a leisurely stroll down the boardwalk?”

(Russ Volckmann, Volksmedia)

Designers must develop verbal communication skills to avoid misunderstandings of the client’s desires and the designer’s solutions, as it is important to absorb every bit of applicable information about a project.  The level of skill in asking all the right questions is crucial.

 “The difference between the right word and a word is the difference between lightning and a lightning bug”

(Mark Twain)

 Finally, when words fail to express a client’s vision, the designer must utilise their drawing skills.  This has the advantage of the client being able to instantly and visually comprehend the basis of the ideas.  This often paves the way for instant feedback from the client in regards to pursuing the idea.

“It’s ironic that we are in the communications business, and many of us are notorious for our inability to communicate”

(Willie Baronet, GroupBaronet, Dallas, TX)

Meeting the Dreadline

In virtually all cases the client will tell the designer when the job should be completed. The designer should then give an immediate indication as to whether it can be done in the time.  If it seems impossible, the designer should say so straight away, as working under absurd pressure can affect the quality of the work produced.

Often deadlines are something which many designers dread due to having too much to do in too little time.  When agreeing on a deadline, the designer must always allow plenty of time for things to go wrong.  This is because only the more technical elements of the design process, such as printing, can be forecast with any degree of accuracy.

There are many tools in arms reach of designers that are available and distributed (often for free) on the internet.  One such program that can help in mangaging one’s time and keeping to deadlines is “Screen Notes“.  Screen Notes is a simple application that allows the user to make sticky notes that can be set to pop-up at desired time and date.  The software is simple, effective, easy to use, and can be downloaded for $US14.95 (or 30-trial for free) here.

More information on time management and keeping deadlines can be found at my fellow student’s blogs by reading “An in depth study of work and working methodologies” and “MPI305 Is My Life”.

Play to the audience

“We always dive into the briefing by comparing the product with existing items, examining the manufacturing processes, and investigating competitors before describing what the client really wants.”
 – Kees Uittenhout (Designstudio Kees Uittenhout BMO)

To communicate the look and feel of a design, it is important for the designer to grasp an understanding of what the client wants and to recognize their audience.  This is essential as the market can often dictate the level of design.  Most clients usually have a fairly clear picture of the type of people who make up their market.  However, it is always up to the designer to ask for relevant information, so the design can be modified accordingly.

Project Requirements

The first thing a designer needs to consider when taking on a new job, is whether they’re capable of doing it, and if not do they have the resources to outsource it to someone who can.  Even when a firm has a quiet period and the cash flow is poor, they should never overestimate their own capabilities.  Doing so can put designers under unreasonable pressure and will seldom result in delivering a desirable solution for the client.  For this reason it is essential to establish the scale and complexity of any task during the initial stages of the first briefing.

It is only after all of the fundamental facts are established, that the designer should then decide whether or not to accept the commission.  Some people will make this decision at the first briefing.  However, every aspect of a job, such as the costing and schedule, should be given careful thought before the work is undertaken, and it is not always possible to give an immediate answer.
One of the essential factors that has to be considered before commencing work on a project is the budget.  Clients always have a budget even if they say they don’t. There is always a limit to how much they are willing to pay, whether it be $100 or a $1000 000.

Another factor that must be discussed is the general format and how unique the design should be.  If it requires mass-production then the design may be constrained in colours, size and shape.  Time and money will be saved by establishing all of the projects contraints before the project begins.

Divulging the right information the first time!

“Achieve results by becoming an investigative reporter and identifying what the client is truly looking for in the design.”

(Christine Cashen, motivational speaker, Dallas, TX)

It is imperitve that the designer asks a lot of Questions before they start the job, to avoid working on designs that aren’t consistent with the client’s vision.

Also, it is common place for people to call up a design firm, and not really know what they really want.  They will simply present their business problem to the designer and expect a solution.  It is always the designer’s responsibility to get the information that is needed for the job.  Doing this successfully, results in the designer saving time wastage and utter frustration.

The first step is to define what exactly is the client’s problem and what they hope to achieve from your work.  What does the client want when potential customers see the design for the first time?  Should the solution sell products, inform customers of specials, or educate them about services?  These are all important questions that help the designer remain on track throughout the design process.

The designer should always be present at the first meeting with the client if possible. This prevents the ‘chinese whispers’ effect when information is regurgitated to the designer. Not only does this make communication much more productive, but instant feedback can be given to the designer on their ideas if they have any.

It is also imperative that the person responsible for approving the design, is the person that is helping the designer to create the brief. Not having this direct contact can cause major delays and frustration for all parties involved.

“When hired by ad agencies to do independent design work, I have experienced situations in which I had no direct contact with the client. Often this is because the agency doesn’t want its client to know the work is being done outside the firm.”

(Jeff Fisher, Jeff Fisher LogoMotives, Portland, OR)

Existing practice in the local design industry

After surveying local businesses I found that there were vast differences in the work methods that were used by local designers. A major contributor to this fact, were the constraints that were placed on the designer, such as the client’s budget and deadline. These constraints were obviously much tighter for the designers who worked in printeries as apposed to those who were in design studios. This however, did not appear to impact greatly on their choice of tools to help them manage their projects more efficiently.

During the first contact with the client, there appeared to be little organization in regards to documented procedures or guidelines, except in regards to the print process where more definitive answers can be obtained. In the area of briefing the clients about their vision, and extracting information in regards to what the client expects from the design, none of the designers I interviewed had any set list of questions to ask the client. Rather, the people who briefed the client were often either the art/director or the business owner, and hence relied upon their own experience in the industry and were confident enough to not need an aid in the form of a questionnaire. Some firms noted that they had previously used a set list of questions, but it soon became obsolete as they developed experience in dealing with clients.

It became clear that experience is a valued commodity in the design industry, especially when dealing with clients. However, the purpose of my research was to immediately address my own working methods. This experience can only be achieved by learning from years of both project success and failure.

Primary Research

The initial research of how I can improve the effectiveness of my communication with the client, will involve studying how proffesionals in the local design industry are working.  This will hopefully give me some great ideas by viewing a wide range of different approaches to the problem.  I have arranged to visit both local printeries and graphic design agencies, which should give me an insight into how different approaches may be necessary for differing working environments and projects.

I have produced a questionnaire to assist me in interviewing the designers and to help keep the communication relevant.  I have estimate that each meeting should take approximately 10-15min and all of the designers have kindly allocated some time for me.  The list of businesses I am interviewing designers from include:

• Simply Graphics
• Snap Printing
• Advision
• QuickPrint
• Brb Design

Example of the Problem

“Bad communication … is the root of the majority of frustration encountered during client projects.”

(Shawn Parr, CEO of San Diego-based advertising agency Bulldog Drummond)

In 2004, I was part of a team of designers and programmers, involved in setting up a website for a client.  I had previously designed many websites, but none of this intensity (which included database driven product information, forms and CSS).  A lot of time was spent learning and experimenting with the code, but little time was spent with details as to what the client actually wanted out of this product.  It was impossible to meet the client personally due to the distance involved and most communication was via email, and in times of desperation there was also frustrating telephone calls.
At the beginning of the project I was given complete creative freedom and came up with a basic concept design of what the site may look like.  The client liked it and requested that I continue to work with the design.  After many minor requests such as adjusting text size and colours, there appeared no end in sight.  The client continued to send more photos to replace the previous ones they had emailed.

After much of this both parties became frustrated and it was at this point that I rang up the client and asked a multitude of questions regarding what he really wants.  I then designed the site to match the client’s tastes and in doing so disregarded some of my own.
Not long after gathering the required information, the project was complete and the client was pleased.  This however, was many months past the desired timeframe that we had estimated. 

Due to the reasonably large sum of money involved and our lack of experience, part of the contract stated that we were prepared to rework the site to the clients satisfaction at no extra charge.  Many lessons were learnt and this has prompted me to address my work methods. It has made me aware of the need for some kind of organisational structure, that helps me to deal with encapsulating what the client wants from my services, and hence prevent future problems such as this.