FREELANCERS AND STUDIO HEADS, learn what your rates say about your brand, and discover how to make more money by raising your rate strategically.

A List Apart: Pricing Strategy for Creatives by JASON BLUMER.

Illustration by Kevin Cornell for A List Apart Magazine.

TOMORROW, WHICH IS also my birthday, I begin teaching “Selling Design” to second-year students in the MFA Interaction Design program at School of Visual Arts, New York. Liz Danzico and Steve Heller created and direct the MFA program, and this is my second year teaching this class, whose curriculum I pull out of my little blue beanie.

In this class we explore collaboration and persuasion for interaction designers. Whether you work in a startup, studio, or traditional company; whether you design print, products, purely digital experiences, or any combination thereof; whether you’re the sole proprietor, part of a tightly focused team, or a link in a long chain of connected professionals, it is only by collaborating skillfully with others—and persuading them tactfully and convincingly when points of view differ and yours is right—that you can hope to create designs that make a dent in the universe.

During this spring semester, we’ll explore collaboration and persuasion from many points of view, and hear from (and interact with) many accomplished designers who will serve as special guest speakers. For our opening get-acquainted session, we’ll focus on texts that explore the some of the most basic, traditional (and rarely taught) aspects of design professionalism from the worlds of web, interaction, and print design:

Demystifying Design

by Jeff Gothelf – A List Apart

1. Draw together
2. Show raw work (frequently)
3. Teach the discipline
4. Be transparent
5. Take credit for your wins

Design Criticism and the Creative Process

by Cassie McDaniel – A List Apart

• Critique as collaborative tool
• Presenting designs
• What is good feedback?
• Negotiate criticism
• The designer as collaborator

Personality in Design

by Aarron Walter – A List Apart

• Personality is the platform for emotion
• A history of personality in design
• Personas
• Creating a design persona for your website [or other project]
• Tapbots: Robot love
• Caronmade: octopi, unicorns, and mustachios
• Housing Works: a name with a face
• The power of personality

Design Professionalism

by Andy Rutledge

You should read this entire brief book, but for now, sample these bits:

• Distractions: Contests and Awards
• Distractions: Pitches and Spec Work
• Conclusion: A Gestalt

Do You Suck at Selling Your Ideas?

by Sam Harrison – HOW Magazine

Dyson is used as an example of a product that currently dominates the market, even though nobody initially believed in the inventor’s idea. Lessons:

1. Tell a personal story
2. Create emotional experiences for decision makers
3. See what’s behind rejections

How to sell your design effectively to the client

by Arfa Mirza, Smashing Magazine

1. Understand the nature of your client
2. Have a rationale for every part of your design
3. Show the best design options only
4. Defend your design, but don’t become defensive
5. Solicit good feedback and benefit from it

Money: How to sell the value of design – an email conversation

by Jacob Cass – Just Creative

Narrative of standing up to new-client pressure to do something against the designer’s self-interest, or which devalues design. Story told here is about money but it could be about any designer/client conflict in which the designer needs to gently educate the client. (Some designer/client conflicts require the client to educate the designer, but that’s another matter.)

How to choose a logo designer

by Jacob Cass – Just Creative

Basic article outlines ten background materials any designer (not just logo designers) should prepare to encourage confidence on the client’s part:

1. Experience
2. Positive testimonials
3. A thorough design process
4. Awards won/published work
5. A strong portfolio
6. Price
7. Design affiliations
8. Great customer service
9. Business Professionalism
10. Appropriate questions

THE FIRST THING I got about the web was its ability to empower the maker. The year was 1995, and I was tinkering at my first website. The medium was raw and ugly, like a forceps baby; yet even in its blind, howling state, it made me a writer, a designer, and a publisher — ambitions which had eluded me during more than a decade of underachieving desert wanderings.

I say “it made me” but I made it, too. You get the power by using it. Nobody confers it on you.

I also got that the power was not for me alone: it was conferred in equal measure on everyone with whom I worked, although not everyone would have the time or desire to use the power fully.

The luckiest makers

Empowerment and desire. It takes extraordinary commitment, luck, and talent to become a maker in, say, music or film, because the production and distribution costs and risks in these fields almost always demand rich outside investors and tightly controlling corporate structures. (Film has held up better than music under these conditions.)

Music and film fill my life, and, from afar, I love many artists involved in these enterprises. But they are mostly closed to you and me, where the web is wide open, and always has been. We all know gifted, hard working musicians who deserve wide acclaim but do not receive it, even after decades of toil. The web is far kinder to makers.

To care is to share

Not only does the web make publishers of those willing to put in the work, it also makes most of us free sharers of our hard-won trade, craft, and business secrets. The minute we grab hold of a new angle on design, interaction, code, or content, we share it with a friend — or with friends we haven’t met yet. This sharing started in news groups and message boards, and flowered on what came to be called blogs, but it can also slip the bounds of its containing medium, empowering makers to create books, meet-ups, magazines, conferences, products, you name it. It is tough to break into traditional book publishing the normal way but comparatively easy to do it from the web, provided you have put in the early work of community building.

The beauty is that the community building doesn’t feel like work; it feels like goofing off with your friends (because, mostly, it is). You don’t have to turn your readers into customers. Indeed, if you feel like you’re turning your readers into customers, you’re doing it wrong.

If you see a chance, take it

The corollary to all this empowerment is that it’s up to each of us to do something positive with it. I sometimes become impatient when members of our community spend their energy publicly lamenting that a website about cats isn’t about dogs. Their energy would be so much better spent starting bow-wow.com. The feeling that something is missing from a beloved online resource (or conference, or product) can be a wonderful motivator to start your own. I created A List Apart because I felt that webmonkey.com wasn’t enough about design and highfive.com was too much about it. If this porridge is too hot and that porridge is too cold, I better make some fresh, eh?

I apologize if I sometimes seem snippy with whiners. My goal is never to make anyone feel bad, especially not anyone in this community. My message to my peers since the days of “Ask Dr Web” has always been: “you can do this! Go do it.” That is still what I say to you all.

RECENTLY A COMPANY CALLED Touristeye has been emailing Gowalla users, encouraging them to migrate their data to Touristeye now that the Gowalla service is closing down. The emails tell you how a Gowalla friend (who is named) has just migrated her/his data to Touristeye and invite you to join her or him. Although Touristeye does not claim to be a Gowalla partner, there is a strong implication that the migration is seamless and that it was authorized by Gowalla. Not so.

Gowalla has not created a migration tool for Touristeye or released any migration tool as yet; the Austin-based check-in tool has no affiliation with Touristeye, and did not authorize Touristeye to reach out to Gowalla customers.

I can’t fault Touristeye for trying to increase its customer base by reaching out to the abandoned Gowalla community, and I have no opinion on Touristeye’s service, as I haven’t tried it. If Touristeye appeals to you, by all means check it out. Personally, I have replaced my Gowalla fix with (yes, four) four apps: Foursquare (for social check-ins and tips about places), Instagram (for photos and seamless Foursquare integration), Path (for the aesthetic rush I miss), and Facebook (because my people who don’t know from Foursquare, Instagram, and Path are there; and Facebook’s new Timeline even makes it fun).

An official Gowalla migration tool is coming is coming soon.

NOW ONLINE for your pleasure! In Episode No. 61 of The Big Web Show (“everything web that matters”), I interview Khoi Vinh, co-creator of Mixel, former NYTimes.com Design Director, co-founder of NYC design studio Behavior, and more.

In this episode we discuss Khoi’s career, including his fine-art background, art school, and design classes, his time at AIGA, how he came to love the grid, why he joined the NYTimes.com and why he left, and more. We also explore the inspiration that led Khoi to combine social with collage, and talk about the choice every design studio faces as it begins to succeed: get bigger, or get more selective? Don’t miss this free-ranging exchange of ideas with one of webdom’s nicest and most influential designers.

• 5by5 | The Big Web Show No. 61: Khoi Vinh
• Audio RSS feed
• iTunes Audio

The Big Web Show features special guests and topics like web publishing, art direction, content strategy, typography, web technology, and more. This episode is sponsored by Happy Cog Hosting, TinyLetter, and Uncle Slam.

Other recent Big Web Show episodes:

• Episode 60: Josh Williams of Gowalla
• Episode 59: Mike Monteiro of Mule Design

TYPEKIT FOUNDER JEFFREY VEEN has always shared knowledge freely, whether writing great books about web design and user experience, or (in this case) happily sharing a key secret of his business’ success: raising money isn’t about raising money – it’s about people.

Building Typekit on relationships by Jeffrey Veen.

IT’S BEEN CALLED the Gig Economy, Freelance Nation, the Rise of the Creative Class, and the e-conomy, with the “e” standing for electronic, entrepreneurial, or perhaps eclectic. Everywhere we look, we can see the U.S. workforce undergoing a massive change. No longer do we work at the same company for 25 years, waiting for the gold watch, expecting the benefits and security that come with full-time employment. We’re no longer simply lawyers, or photographers, or writers. Instead, we’re part-time lawyers-cum- amateur photographers who write on the side.

Today, careers consist of piecing together various types of work, juggling multiple clients, learning to be marketing and accounting experts, and creating offices in bedrooms/coffee shops/coworking spaces. Independent workers abound. We call them freelancers, contractors, sole proprietors, consultants, temps, and the self-employed.

And, perhaps most surprisingly, many of them love it.

via The Freelance Surge Is the Industrial Revolution of Our Time – Sara Horowitz – Business – The Atlantic.

IN ISSUE NO. 334 of A List Apart, for people who make websites:

Marry Your Clients: Learn to keep the client/agency relationship warm and passionate over time.

Being Human is Good Business: Turn word of mouth into your strongest brand asset through genuine, personalized, compassionate customer service.

Illustration by Kevin Cornell for A List Apart Magazine.

• The Heads-Up Grid is an overlay grid for use during in-browser website development, built with HTML + CSS + JavaScript. http://t.co/EcgTkcD #
• Golden Grid System – a folding grid for responsive design. h/t @malarkey http://j.mp/mZnVJi #
• Nice responsive redesign! Well done, Meltmedia! http://t.co/tQQGW8J #
• RT @jasonsantamaria: I’m writing a book about typography for @abookapart! Lucky number 7: http://t.co/7CkSz0l #
• I love how everything Apple does, even slipping on a banana peel, is perceived as strategic. #
• Paul draws a napkin map of London. http://t.co/p4co2ZM #

Okay, that last one isn’t a web design link and the Apple comment could go either way, but that’s how I roll. Follow me on Twitter for more snarkeractive funucation!

To Whom it may Concern,

I recently discovered your “Home” page here:

http://www.zeldman.com/2010/10/17/ipad-as-the-new-flash/

Would you please consider adding a link to my website called Job-Applications.com? It is a resource that provides hundreds of printable and online applications for retail stores, department stores, pharmacies, grocery stores, restaurants, shops, etc. Its a great way for people to find part time and full time work quickly.

If you think it would be of use to your visitors, would you please consider adding a link to my website on your page here:

http://www.zeldman.com/2010/10/17/ipad-as-the-new-flash/

Here is the HTML link you could add: Job-Applications.com – Find hundreds of online applications and printable job forms.

Please let me know if you have any questions.

Thanks!

[Name withheld]

ISSUE NO. 330 of A List Apart for people who make websites tackles the thorny problem of using paper or PDF to convince potential clients you’re the right team for the job.

RFPs: The Least Creative Way to Hire People

by Greg Hoy

If you work in any kind of service industry you’ve undoubtedly come across the Request For Proposal, or “RFP.” Alas, in practice, RFPs are the least creative way to hire creative people. The rigidity of the process, and the lack of meaningful dialogue makes this little more than a game of roulette. How can we successfully navigate the heartburn-inducing RFP process? And what can we as an industry do to turn RFPs into the exception rather than the default means of hiring an agency?

A Modest Proposal

by Nathan Peretic

Comedy is easy, proposals are hard. A compelling proposal requires more than a jumble of clichés and a nervous estimate of costs. It needs structure, organization, and joie de vivre. Learn the key questions every client needs answered—and how to use them as the basis of a proposal that convinces your client you’re the right team for the job.

YOU FIND ME ENSCONCED in the fabulous Buckhead, Atlanta Intercontinental Hotel, preparing to unleash An Event Apart Atlanta 2011, three days of design, code, and content strategy for people who make websites. Eric Meyer and I co-founded our traveling web conference in December, 2005; in 2006 we chose Atlanta for our second event, and it was the worst show we’ve ever done. We hosted at Turner Field, not realizing that half the audience would be forced to crane their necks around pillars if they wanted to see our speakers or the screen on which slides were projected.

Also not realizing that Turner Field’s promised contractual ability to deliver Wi-Fi was more theoretical than factual: the venue’s A/V guy spent the entire show trying to get an internet connection going. You could watch audience members twitchily check their laptops for email every fourteen seconds, then make the “no internet” face that is not unlike the face addicts make when the crack dealer is late, then check their laptops again.

The food was good, our speakers (including local hero Todd Dominey) had wise lessons to impart, and most attendees had a pretty good time, but Eric and I still shudder to remember everything that went wrong with that gig.

Not to jinx anything, but times have changed. We are now a major three-day event, thanks to a kick-ass staff and the wonderful community that has made this show its home. We thank you from the bottoms of our big grateful hearts.

I will see several hundred of you for the next three days. Those not attending may follow along:

• An Event Apart Atlanta three-day schedule
• A Feed Apart – live tweeting, Monday through Wednesday
• AEA Atlanta Flickr Group
• An Event Apart Facebook page

I HIRED JASON SANTA MARIA after reading this post on his site.

The year was 2004. Douglas Bowman, one of my partners on a major project, had just injured himself and was unable to work. I needed someone talented and disciplined enough to jump into Doug’s shoes and brain—to finish Doug’s part of the project as Doug would have finished it.

I lack the ability to emulate other designers (especially classy ones like Douglas Bowman) and I was a Photoshop guy whereas Doug worked in Illustrator, so I knew I needed a freelancer. But who?

A Google search on Illustrator and web design led me to a post by a guy I’d never heard of. The post was enjoyably written and reflected a mature and coherent attitude not simply toward the technique it described, but to the practice of design itself. Yes, the blog itself was intriguingly and skillfully designed, and that certainly didn’t hurt. But what made me hire Jason was not the artistry of his website’s design nor the demonstration that he possessed the technical skill I sought, but the fact that he had an evolved point of view about web design.

Anyone can write a how-to. Not everyone thinks to write a why.

Jason had.

I offered him the thankless task of aping another designer’s style for not a ton of money under extreme time pressure, and to my pleased surprise, he accepted. He did so well, and performed so selflessly, that I hired him for another project, this time one with full creative freedom. I have never regretted those decisions.

Just about everyone I know and work with I first met online. And, although well-done portfolio services have their place, neither I nor anyone at Happy Cog has ever hired someone purely (or even largely) on the basis of their portfolio. It’s all about how you present yourself online. Before I even meet you, do I feel like I know you—or like I wish I knew you?

Have you got a point of view? Are you sharing it?

IN MY APPRENTICE DAYS, I worked for Marvin Honig, a Hall of Fame copywriter who created indelible commercials for Alka-Seltzer, Cracker Jack, and Volkswagen during the 1960s and 1970s, and who assumed creative leadership of Doyle Dane Bernbach upon legendary founder Bill Bernbach’s death. It was not one of those bloody successions that stain the pages of history and advertising. Bill chose Marvin to carry on in his place.

By the time I met Marvin, he and I were toiling at Campbell-Mithun-Esty. He had been brought in to radically upgrade the financially successful but talent-challenged agency’s creative product. I was there because it was the first job I could get in New York.

Marvin was gentle. He never told you how stale your ideas were or how disappointed he was in you for not working harder. He made you believe you were the future, not only of the place, but of the profession.

Besides his warmth, what I remember most is a piece of advice he gave me: “If you’re not a creative director by the time you’re 40, get out of the business.”

Continue reading But What I Really Want to Do is Direct at Cognition, the blog of Happy Cog.

2011/03 Mike Monteiro | F*ck You. Pay Me. from SanFrancisco/CreativeMornings on Vimeo.