Working for little or no money – what can you gain from it? Weigh up the pros and cons, and don’t forget to state preconditions. And, above all, remember: An assignment where the client doesn’t pay full price is a real agreement, too.
Sooner or later, every designer is asked to work for little or no money. An organisation is in the starting phase and can’t afford the investment (yet). The organisation is completely dependent on subsidies and sponsors, and has no money to spend at all. Or the organisation simply would like to work with a good designer, but can’t pay full price.
An exchange
The point of departure, of course, has to be that you’re favourably disposed towards the organisation concerned and the request it’s making. In addition, your agency has to be capable of doing the work. You must guarantee that you can handle the project and be prepared to make time free for it. In any case, taking on the project should not put the continuity of your own agency at risk.
Assuming there are no impediments in this regard, how do you set out to work? Start by making good agreements. Realise that this assignment is also a rock-solid agreement between a client and a contractor – with all the associated rights and obligations. And be aware that the exchange aspect is important here as well for the feeling you have about and during the project. Normally, you make your designing talents available at an hourly rate or for a project price. With ‘voluntary’ projects, you get something different for your efforts. A good feeling, for instance, because you’re helping a good cause. A great case for your portfolio. Or the project gives you the opportunity to expand your network quickly with valuable contacts. This makes being clear towards each other all the more important. Money as a means of exchange is relatively simple. It’s clear to everyone. You develop a logo for 5000 euros. Not too many misunderstandings can arise. Although... But when have your expectations been met with regard to the exchange? What makes this a worthwhile case for you?
Getting cracking on a project? Here are a couple of tips.
State explicitly why you’ve said ‘yes’ to such a request. What’s your reasoning? Does the rest of your agency support your reasoning? And why does this reasoning justify the work you’ll do?
Always draw up a quote that indicates the commercial value of the assignment, and say what the discount is that you’re giving. This cuts both ways. The client understands what a project would normally cost. That’s essential. And everybody likes to receive gifts.
Make agreements about the time you’ll be spending on the project. Will you be doing this during normal hours or during your ‘downtime’? What happens if a well paying client needs to be served? Will it be given precedence?
Assist the client in preparing its instructions properly. The better its briefing, copy and illustrations, as well as its comments on your design proposals, are, the more efficiently you’ll be able to work.
Make arrangements with each other on how you’ll be dealing with risks. Working for little money is one thing; putting money into a project is something else.
Discuss with each other the expectations regarding the quality of the printed materials and other items you produce. What is quality, anyway? Does the colour have to be exact, for example? Or is meeting the deadline what’s most important?
Determine with each other how long the cooperation will last and what you’ll be doing during that period. It won’t be the first time that a change in management results in the cooperation being assessed anew.
Decide as well how you’ll work with each other and, if it comes to this, how you’ll terminate the cooperation. How will copyrights be dealt with, for instance? What do your general terms and conditions have to say about this, and do you perhaps need to make supplemental agreements?
Bite the bullet
It’s often difficult to raise these issues at the beginning of the cooperation. You’re flattered and want to get going. You’d like to show that you’re enthusiastic about the project and the cooperation. You don’t want to focus too much on the possible obstacles.
Still, you have to bite the bullet. View this as the first test. If you can’t talk about the parameters at this stage, then that certainly won’t be possible when genuine problems arise.
27 Jul 2009
Pulling Out All the Stops
Design can contribute greatly to innovation. And yet, innovation within the sector itself is rather disappointing. How do you respond to clients that are becoming increasingly critical about the contribution made by the design and designer to the business operations?
The Netherlands, of course, has quite a number of top-class designers in the creation and design fields. Designers who make a difference – both in the Netherlands and throughout the rest of the world. Designers who come up with truly novel ideas – with designs such as the Senseo or the individuality of the Effenaar.
The majority of designers provide fine solutions for their clients’ design needs. Ordinary, respectable, appropriate solutions. Within an extensive, fixed framework. These partnerships with, for example, magazine publishers, insurance companies and government bodies are often excellent and long lasting. Clients and contractors know what to expect from each other and how to contact one another, and generate a continuous stream of communications or products.
Design practice
In their own design practices, conceptual designers and “all-round” designers often do not show much innovation. Both types of designers do not take advantage of opportunities.
I can discern four roles which design practice entails: being a designer, seller, entrepreneur and service provider.
The Designer
True innovation can primarily be found in the designer’s core business. A designer puts all its creativity into this. One designer sees being innovative as its goal, and is successful in this. Another designer thinks it’s more important to provide an appropriate solution for a design problem and to work on developing a long-term relationship with the client. This designer often regards itself as innovative, too, because isn’t this by definition part of a creative profession?
The Seller
The average designer only plays the role of seller to a very limited extent. Designers are conservative or passive, certainly not innovative, with respect to the way in which they present themselves in the market. Very few designers have given a lot of consideration to their own positions and proposals.
Take a tour through designer websites, and try to imagine what a client’s reaction would be. How does the one designer distinguish itself from the other? Assuming that the average client does not know or hardly knows who or what it’s looking for...how does it make a choice?
There aren’t many designers who take an explicit position. PingPong: “We are storytellers. The stories we tell are yours.” Stone Twins: “… passionate about achieving memorable, durable and engaging creative solutions for each and every project.” That’s pretty explicit – these designers have made a choice. Many agencies don’t go beyond: “We’re X and we focus on ...”. And then comes a specific sector. Or: “We’re an agency for visual communication ... etc.”
You see the same thing happen with designer presentations to potential clients. Work is presented: “... This is what we did”. That’s tiresome, almost intimidating. How useful is this to you as a client? What you’re shown are the answers to other clients’ questions. Solutions for problems that aren’t yours. You feel almost compelled to say something about the work before you. Many clients are unable to judge creative work or assess its value, let alone talk about this.
Why do designers pay so little attention to the manner of presentation – on the Internet, in preliminary interviews or during pitches? And why does this so seldom result in new, original and, above all, worthwhile presentations that give potential clients a good idea of the agency’s added value? Perhaps it’s insecurity.
The Entrepreneur
Enterprising designers know what they have to offer. They’re self-confident with clients. At the start of the cooperation with clients: that’s where there’s room for innovation. It’s rare for an agency’s involvement with a client to be expressed in a different kind of remuneration. This can be interesting, and partly determine what the cooperation in the project will look like.
Making proper agreements is therefore crucial. General terms and conditions, contracts, copyrights and other rights: these are all moments when you should be enterprising, keep a good eye on your own business interests, take different approaches, distinguish yourself from others and be innovative.
The Service Provider
Its offer. A quick survey of clients reveals that there are many opportunities that aren’t exploited. Merely because the designer doesn’t respond to its client’s needs. That’s a shame, certainly these days, because the designer loses opportunities and, as a result, turnover.
Designers can make a true difference if they gear their offers each time to the clients’ wishes. Start by asking questions. What is your client concerned about? Where does your role come in? What solution can you offer the client?
Be active in this regard. As the process unfolds, there will be developments that you may be able to capitalise on. Do this! Take on such a role if it’s right for you.
It’s also important that you understand your own position. That you know where your limits lie. That you try to develop a relationship with the client based on equality. That’s often difficult, certainly if you work with larger organisations where every little detail is formally regulated. Yet it’s precisely those situations in which it’s crucial that you also know when to say ‘no’.
Designers need to focus more on the total process and not just the end result. In the many projects that I’ve done for various agencies and clients, the design, or the quality of this, was seldom a problem. The risks more often had to do with presentations, scheduling, money or expectations.
Keep your expectations realistic with respect to your client. Sometimes, the benefit from a project does not come from the fact that you’ve utilised your creativity to the fullest. Sometimes, the benefit comes from the fact that your design proposals have brought to light the real problem.
Know what’s going on with your client. Make sure that you’re up-to-date on the organisation; make an investment in this. You’d be astonished at how many designers work for provinces and still don’t know after a year how the formal decision-making works. That’s lethal – for the project, for your own motivation and for your credibility.
In terms of the agreements you make, it’s also essential for you to know what the key factors are. In working for the government, for instance. Usually, the amount stated in the quote isn’t the most important element. The manageability of the project is frequently much more important. So that the client knows: we’re staying within the parameters that we agreed on and that were laid down in the formal procedures. Make sure that you know what your client’s issues are and how a potential buyer would look at your quote.
The future
The rise of such countries as India, Brazil and China (and the quality of the designers in those countries), more critical clients, companies in which design is becoming more and more important, increasing brand orientation, other, spontaneous forms of cooperation... This is what the future holds.
The future demands a designer who can not only provide a fine design solution. The future demands a designer who can think strategically. A designer who knows what its design can mean for more efficient business operations and which savings this might bring. The designer of the future realises that clients will be critical about the design’s effect on consumers and other stakeholders.
It’s time to be innovative. To contemplate the questions what you’re good at, how you can present this in the market and how you can be distinctive. This is the time to understand that you’re a designer, seller, entrepreneur and service provider all in one.
The Netherlands, of course, has quite a number of top-class designers in the creation and design fields. Designers who make a difference – both in the Netherlands and throughout the rest of the world. Designers who come up with truly novel ideas – with designs such as the Senseo or the individuality of the Effenaar.
The majority of designers provide fine solutions for their clients’ design needs. Ordinary, respectable, appropriate solutions. Within an extensive, fixed framework. These partnerships with, for example, magazine publishers, insurance companies and government bodies are often excellent and long lasting. Clients and contractors know what to expect from each other and how to contact one another, and generate a continuous stream of communications or products.
Design practice
In their own design practices, conceptual designers and “all-round” designers often do not show much innovation. Both types of designers do not take advantage of opportunities.
I can discern four roles which design practice entails: being a designer, seller, entrepreneur and service provider.
The Designer
True innovation can primarily be found in the designer’s core business. A designer puts all its creativity into this. One designer sees being innovative as its goal, and is successful in this. Another designer thinks it’s more important to provide an appropriate solution for a design problem and to work on developing a long-term relationship with the client. This designer often regards itself as innovative, too, because isn’t this by definition part of a creative profession?
The Seller
The average designer only plays the role of seller to a very limited extent. Designers are conservative or passive, certainly not innovative, with respect to the way in which they present themselves in the market. Very few designers have given a lot of consideration to their own positions and proposals.
Take a tour through designer websites, and try to imagine what a client’s reaction would be. How does the one designer distinguish itself from the other? Assuming that the average client does not know or hardly knows who or what it’s looking for...how does it make a choice?
There aren’t many designers who take an explicit position. PingPong: “We are storytellers. The stories we tell are yours.” Stone Twins: “… passionate about achieving memorable, durable and engaging creative solutions for each and every project.” That’s pretty explicit – these designers have made a choice. Many agencies don’t go beyond: “We’re X and we focus on ...”. And then comes a specific sector. Or: “We’re an agency for visual communication ... etc.”
You see the same thing happen with designer presentations to potential clients. Work is presented: “... This is what we did”. That’s tiresome, almost intimidating. How useful is this to you as a client? What you’re shown are the answers to other clients’ questions. Solutions for problems that aren’t yours. You feel almost compelled to say something about the work before you. Many clients are unable to judge creative work or assess its value, let alone talk about this.
Why do designers pay so little attention to the manner of presentation – on the Internet, in preliminary interviews or during pitches? And why does this so seldom result in new, original and, above all, worthwhile presentations that give potential clients a good idea of the agency’s added value? Perhaps it’s insecurity.
The Entrepreneur
Enterprising designers know what they have to offer. They’re self-confident with clients. At the start of the cooperation with clients: that’s where there’s room for innovation. It’s rare for an agency’s involvement with a client to be expressed in a different kind of remuneration. This can be interesting, and partly determine what the cooperation in the project will look like.
Making proper agreements is therefore crucial. General terms and conditions, contracts, copyrights and other rights: these are all moments when you should be enterprising, keep a good eye on your own business interests, take different approaches, distinguish yourself from others and be innovative.
The Service Provider
Its offer. A quick survey of clients reveals that there are many opportunities that aren’t exploited. Merely because the designer doesn’t respond to its client’s needs. That’s a shame, certainly these days, because the designer loses opportunities and, as a result, turnover.
Designers can make a true difference if they gear their offers each time to the clients’ wishes. Start by asking questions. What is your client concerned about? Where does your role come in? What solution can you offer the client?
Be active in this regard. As the process unfolds, there will be developments that you may be able to capitalise on. Do this! Take on such a role if it’s right for you.
It’s also important that you understand your own position. That you know where your limits lie. That you try to develop a relationship with the client based on equality. That’s often difficult, certainly if you work with larger organisations where every little detail is formally regulated. Yet it’s precisely those situations in which it’s crucial that you also know when to say ‘no’.
Designers need to focus more on the total process and not just the end result. In the many projects that I’ve done for various agencies and clients, the design, or the quality of this, was seldom a problem. The risks more often had to do with presentations, scheduling, money or expectations.
Keep your expectations realistic with respect to your client. Sometimes, the benefit from a project does not come from the fact that you’ve utilised your creativity to the fullest. Sometimes, the benefit comes from the fact that your design proposals have brought to light the real problem.
Know what’s going on with your client. Make sure that you’re up-to-date on the organisation; make an investment in this. You’d be astonished at how many designers work for provinces and still don’t know after a year how the formal decision-making works. That’s lethal – for the project, for your own motivation and for your credibility.
In terms of the agreements you make, it’s also essential for you to know what the key factors are. In working for the government, for instance. Usually, the amount stated in the quote isn’t the most important element. The manageability of the project is frequently much more important. So that the client knows: we’re staying within the parameters that we agreed on and that were laid down in the formal procedures. Make sure that you know what your client’s issues are and how a potential buyer would look at your quote.
The future
The rise of such countries as India, Brazil and China (and the quality of the designers in those countries), more critical clients, companies in which design is becoming more and more important, increasing brand orientation, other, spontaneous forms of cooperation... This is what the future holds.
The future demands a designer who can not only provide a fine design solution. The future demands a designer who can think strategically. A designer who knows what its design can mean for more efficient business operations and which savings this might bring. The designer of the future realises that clients will be critical about the design’s effect on consumers and other stakeholders.
It’s time to be innovative. To contemplate the questions what you’re good at, how you can present this in the market and how you can be distinctive. This is the time to understand that you’re a designer, seller, entrepreneur and service provider all in one.
14 Jul 2009
Cityroofs
Roofs offer unprecedented possibilities to improve the living climate of our modern population. Cityroofs develops roof space that is beautiful, safe, and contributes to a better environment. Man and the way he thinks about the place he resides, works and lives - and the demands he puts to it - continuously change.
Roel Stavorinus worked in a collaboration with Gé Smit and Job Rompa to develop a strategy and an identity for this new international brand. Cityroofs was introduced to the market at the Ecobuild fair in London, at the 3rd of March 2009.
Roel Stavorinus worked in a collaboration with Gé Smit and Job Rompa to develop a strategy and an identity for this new international brand. Cityroofs was introduced to the market at the Ecobuild fair in London, at the 3rd of March 2009.
Croon Davidovich Lawyers
Croon Davidovich Lawyers in Amsterdam started off two years ago with five partners. In the meantime the company grew steadily into a succesful businesses focussed law firm.
At the moment Roel is managing the restyling of the old indentity into a more modern and professional one. The new website will be online in September 2009.
In this project Roel collaborates with design consultancy Commercial Art, who are based in London, UK.
At the moment Roel is managing the restyling of the old indentity into a more modern and professional one. The new website will be online in September 2009.
In this project Roel collaborates with design consultancy Commercial Art, who are based in London, UK.
Province of Noord-Holland
The Netherlands is divided into 12 different sections: provinces.
Dutch provinces bridge the gap between central government and local authorities. Under the Dutch constitution, government is actually exercised by the provincial council, together with the provincial executive. The Queen’s Commissioner chairs both bodies.
Noord-Holland is famous for Schiphol Airport, one of the major gateways to Europe. Amsterdam, the capital of the Netherlands, is also situated in the province.
Three years ago the council decided to restyle the corporate identity, for the old one didn't fit the ambitions of the province anymore. Roel was projectmanager for the province and responsible for developing a new visual identity.
In January 2009 the new identity was implemented. At this moment, July 2009, we are almost finished implementing the new housestyle in every aspect of the provincial organisation.
EdenSpiekermann were responsible for concept and design. Funcke Communication and Design did the execution and implementation.
Dutch provinces bridge the gap between central government and local authorities. Under the Dutch constitution, government is actually exercised by the provincial council, together with the provincial executive. The Queen’s Commissioner chairs both bodies.
Noord-Holland is famous for Schiphol Airport, one of the major gateways to Europe. Amsterdam, the capital of the Netherlands, is also situated in the province.
Three years ago the council decided to restyle the corporate identity, for the old one didn't fit the ambitions of the province anymore. Roel was projectmanager for the province and responsible for developing a new visual identity.
In January 2009 the new identity was implemented. At this moment, July 2009, we are almost finished implementing the new housestyle in every aspect of the provincial organisation.
EdenSpiekermann were responsible for concept and design. Funcke Communication and Design did the execution and implementation.
Roel, Design Management & Communication
Roel is an independent Design Management-consultancy specializing in graphic and corporate identity design. We consult closely with clients, helping them achieve their company objectives by maximizing the role of (communication) design within their business.
Roels owner/director, Roel Stavorinus, acts as an advisor and intermediary on large, complex communication design projects. We help both design agencies and business clients to make design-relevant decisions and to manage and monitor the process.
A thorough knowledge of the Dutch (design) market has led to collaborations with several major Dutch design agencies. We offer a comprehensive range of services covering: strategic direction; management of the design process; and design implementation of complex identities.
Roel, Designmanagement & Communication is the perfect link to European design projects. We form the connection between design agencies and commissioning companies on a daily basis.
Roel offers...
Roel offers services in design-and project management for design agencies and clients.
Clients...
Roel works for a wide variety of clients in the public and private sector. Amongst them are Province of Noord-Holland, Pictoright, Cityroofs, Croon Davidovich lawyers.
Awards...
Dutch Housestyle Award for the corporate identity of Pictoright.
Contact information...
Roel, Design Management & Communication
Roel Stavorinus
PO Box 31
NL 1000 AA Amsterdam
Roels owner/director, Roel Stavorinus, acts as an advisor and intermediary on large, complex communication design projects. We help both design agencies and business clients to make design-relevant decisions and to manage and monitor the process.
A thorough knowledge of the Dutch (design) market has led to collaborations with several major Dutch design agencies. We offer a comprehensive range of services covering: strategic direction; management of the design process; and design implementation of complex identities.
Roel, Designmanagement & Communication is the perfect link to European design projects. We form the connection between design agencies and commissioning companies on a daily basis.
Roel offers...
Roel offers services in design-and project management for design agencies and clients.
Clients...
Roel works for a wide variety of clients in the public and private sector. Amongst them are Province of Noord-Holland, Pictoright, Cityroofs, Croon Davidovich lawyers.
Awards...
Dutch Housestyle Award for the corporate identity of Pictoright.
Contact information...
Roel, Design Management & Communication
Roel Stavorinus
PO Box 31
NL 1000 AA Amsterdam
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