Ben Bleikamp wrote a short, thought-provoking post titled, Hire Good Designers that inspired this post.

Poor design is everywhere, and this is a good thing. It makes the job of finding a good designer that much easier, if you’re willing to do a little homework.

When a new client calls us, I often get asked seemingly odd questions like, “Have you designed a pet store website before?” when approached to design a pet store website. No matter how I answer, I am suspect, which makes me wonder if the client has any idea what answer they were hoping for.

If I answer, “Yes,” the client wants to know which site to make sure that it’s not a competitor site. (I’m a professional — I don’t compare notes between clients in the same industry or market.)

If I answer “No, I haven’t designed a pet store website, but I have the relevant experience needed to do just that for you,” the reply is occasionally an equally befuddling decline since I ‘lack relevant experience.’ Which is, well, patently incorrect. I have 26 years of relevant experience in graphic design, website design and advertising, and I’ve done retail design with great success. It’s not the industry experience that is relevant — it’s the design experience.

Design is design is design
It’s not the industry or technology that you should be seeking. As Bleikamp points out, “Don’t search for a WordPress Designer.” You need to hire a good designer, plain and simple. Some of the base skills a good graphic designer possesses are objectivity, experience, passion for problem-solving, originality and solid strategy skills.

In his bestseller, “On Writing,” Stephen King points out that “It is impossible to make a competent writer out of a bad writer.” The same thing goes for graphic designers. You either got it, or you don’t. If you hire a designer who knows how to design blogs, but doesn’t know the first thing about designing identity or the components of a strong brand, they’re not magically going to acquire that critical knowledge along the way.

A good designer has a myriad of experience in design disciplines, and knows more than a thing or two about marketing and strategy. Without that knowledge, they’re essentially just creating art. You don’t need art. You need good design.

Two good rules of thumb when hiring a designer are:
1. Price is not the first consideration. It really is a case of you get what you pay for.
2. Hire a designer you can communicate well — and laugh — with.

Know what to ask
I don’t expect a prospective client to know the difference between good and poor design. Coming into a hiring conversation, however, it would be helpful to us both if the client knew which questions to ask to find the designer who is right for them. So here’s a list of helpful, relevant questions to ask when you need to hire a good designer.

1. What are your core talents and skills?
2. What are your weaknesses?
3. Do you do your own design work? Or farm it out?
4. Can you take a project through all stages, start to finish? What parts can you not handle?
5. What makes you a good communicator?
6. How do you approach problem-solving?
7. Where does strategy fit into your process?
8. What is your minimum project fee?

Start with the goal in mind, ask good questions, and you’ll stand a much greater chance of finding a good graphic designer or web designer you like.

Type is one of the primary ways you express your brand. When used in your corporate identity, it exudes a personality and imparts character. It has the power to stand out, and people really take notice. Like all things ‘brand’, it’s preferable for your text to have a unique character that actually describes your brand.

Type can express virtually any characteristic, such as wisdom, nostalgia, historical, modern, cutting edge, rebellious, conservative. You name it, it can be done with type.

What is Custom Type?
One element of graphic design that most people take for granted is type. The letters you read on every website, and in books, newspapers, magazines, advertisements, and packages have all been carefully drawn, refined, and programmed into a font by skilled graphic designers. Custom type is a typeface which has been drawn and programmed specifically for you. That means that no other business has the same type in use.

A custom typeface can be drawn from scratch, or it can be an edit to the shapes of an existing typeface. It can be just the characters used in your name, or it can be an entire alphabet, with numbers and punctuation.

Custom typefaces are common in the world of publishing. Publications such as The Wall Street Journal, Dwell and Esquire utilize custom type to add to their unique voices. From corporations to non-profits to the arts, organizations use custom type to bring a more memorable look to their identity, advertising, and other marketing communications.

How do custom typefaces work?
Since people remember information first by shape, then by color, and third by type, custom type works in double capacity — with shape and type — to make your logo and communications more memorable.

Why not use the system fonts on your computer for your logo?
Virtually everyone is familiar with system fonts, so they don’t stand out. Also, system fonts are designed for optimum on-screen readability. They are generally not optimized for print, which means they can be harder to read off screen. Are there exceptions? Sure, but they are few and far between.

When should custom type be considered?
Custom type most commonly comes into the picture with logo design, but it can also be considered for all brand and marketing communications, including advertising and collateral.

When you want your identity to speak with a voice that is unique to your business, to communicate with purpose, and embody a character all its own, you should consider custom type design.

Question for Clients: Does working with the one design firm or ad agency mean limiting opportunity for creative solutions? Nope — in fact, it increases the likelihood of getting the creative you really need. A firm that screens you first is a firm that respects you as a client and values the relationship.

Question for Designers: Does sidling up with your ideal clients mean turning away work that isn’t an absolute ideal? Heck no! We take on clients of all shapes and sizes, yet it’s good to know what works well in advance so we can make sure all client relationships rock.

The purpose of screening is to ensure we can provide the attention and value a client actually needs. It’s about identifying needs, assessing reciprocity, and determining best possible outcomes.

The first two methods had to do with budgeting and service needs. The next few are centered on good communication.

3. Project Scope
Sometimes a prospective client comes in describing a 3-panel brochure, but they’re really talking about a 36-page catalog; or a 5-page website, but it’s really 29 pages. Sometimes a client thinks they need just one ad, but we find out it needs to be produced in nine sizes — in three days.

A few smart questions help us to give the client clarity of project scope. Sometimes a client is well-prepared with a great project brief that is totally clear and concise, but more often than not they need help in defining their projects. Having the skill to help them goes a long ways towards knowing if the project is a good fit. It also provides us both the chance to see how we work together in the span of just a few short minutes.

4. Mutual Listening and Good Communication
Our proposals are super-clear, spelling things out in finite detail so that a client knows exactly what we will be doing on a project. It’s the best way to set up realistic expectations, set timeline goals, and avoid any unnecessary surprises.

If a prospective client doesn’t read the proposal, there are usually two reasons: 1) They’re super busy, or 2) They aren’t paying attention. If they’re just too busy to read long documents, but we can get things spelled out clearly with conversations and summaries, that rocks, and we’ll move forward.

Sometimes it becomes clear, however, that even after a detailed proposal and Q & A over the phone, plus several email exchanges, a prospective client just is not understanding the necessities of the project. That can leave us vulnerable to unrealistic expectations. On the rare occasion that this happens, it’s often best to wish the client (sincerely!) good luck on their project.

5. Difficulty Factor
If you get the feeling in your conversations with a prospective client that there is a lack of chemistry, or that the prospective client is not being totally forthright with their goals, project details, or expectations, it may be best to refer them on.

As I mentioned in Part 1, Train of Thought is an anomaly. Some of our best clients have been on the eccentric side of things. Since we’re super creative (read n-u-t-s), the tough clients can be a good fit for us. We can handle tough personalities, giant egos, super sensitive people, über-perfectionists, and even sweet people too! We can’t handle them all though — we have our limits.

Conclusion
Knowing our limitations, asking the tough questions at the start, being confident in our strengths, and communicating with clarity helps us take on the right clients to ensure we can enjoy doing great work and providing valuable solutions.

What if you could work only with clients who fit your ideal client criteria? You can, and it isn’t all that hard. You just have to know your capabilities and limitations inside out. I’m sharing these tips to help other businesspeople hone in on their ideal clients.

Train of Thought is a bit of an anomaly in that the firm has remained virtually the same size — by choice — for the entirety of our 19 years. We know how to attract exactly the types of clients and projects that suit us best, and we have the wisdom to turn away work that is not a mutually good match.

How can we turn away work at our size? I learned long ago that we can’t satisfy every client, though we’re pretty good at it with most. There are a few indicators that I’ve learned to look out for over the years which tell us early on if there’s a potential for a good or bad fit.

How did we get so good at figuring this out? It’s all about listening and learning.

1. Budget
I always ask budget right up front. If the prospective client says, “I have no idea,” that’s often a good indicator that they haven’t really planned for the project, which usually results in a search for the lowest price or a ton of tire-kicking.

We’re a high quality firm, with fair pricing, but we certainly don’t win jobs based on a low price. If price is the number one factor, I generally take a pass. Sometimes I’ll take the questioning to the next step, particularly if we get along well right from the start.

I don’t always dismiss the project based on that first question because sometimes the client needs a little help determining the budget, and we’re quite adept at helping clients figure out a realistic budget that fits with their goals. A little budget and goal alignment goes a long ways.

On the other hand, if a client has a clear idea of budget, or if they don’t flinch or fall over when I quote the price, there is the potential for great work together.

Quick Aside: Why is budget so important? We enjoy working with clients who allow us to do great work. If the budget is too low, we can’t dedicate the time and resources needed to do an outstanding job. If we take a project with a rock-bottom budget, we’ll be marketing for the next project while finishing this one, and I much prefer to not divide attention that way. If the budget is reasonable, however, we can place an intense focus on the project and really help the client.

2. Services Scope
If a prospective client says, “We know exactly what we want,” and they go on to describe it in finite detail, it often means they have little idea why they need a professional design firm or ad agency, nor what will actually constitute effective design or advertising.

These can be the most frustrating of clients because they will fight tooth and nail to keep the concepts theirs regardless of potential effectiveness. I can easily give up control, but I cannot produce poor work — I just don’t have it in me.

Clients who know exactly what they want are usually looking for yes-men, or basically, a production artist to produce their idea. Our strengths are our strategy and creative, so if we won’t be allowed to flex those muscles, it’s not a good mutual fit. We want to feel good about our work, and for us, that means being creative.

Read Part 2: Good communication, here.

Have you ever chosen a work of art in an art show opening, frame shop, or *gasp* online catalog? Do you recall glazing over all of the choices until you came to the one that shined like a beacon to some part of your mind, practically screaming out to you, ‘Pick me! I’m the one! I was made just for you!’? Think about that feeling for a second. It’s a special one. And it has nothing at all to do with strategy, graphic design or marketing.

So why mention it?

Well, it goes like this: Design or advertising without strategy is essentially nothing more than art. Art is wonderful stuff, but it has little practical application or value in marketing communications. Strategy, on the other hand, allows your company to exceed expectations in its marketing efforts.

As my awesome great aunt CeCe once wrote to me in a care package over 20 years ago:
Art is great
and work is neat
But everybody’s
got to eat.

What makes art a valuable part of your marketing? Strategy.

What is design and advertising’s best friend? Strategy.

What’s the number one thing clients try to avoid in their marketing? Come on, take a guess — Why it’s Strategy!

Strategy makes it easier for you to eat, so why do people run, kick and scream to avoid it? Why? Well, first off, making art is a heckuva lot easier. Strategy punches holes in weak concepts. It forces you to take your marketing seriously. Probably its worst offense is appearing to take the fun out of art. But honestly, strategy is incredibly fun. You may need to adjust your idea of fun, but as a benefit, you also get to raise your aspirations to an all-time high.

Strategy at its best
Let’s take a look at Lance Armstrong’s record seven Tour de France titles. People say that his dominance wasn’t fun. He turned winning the Tour into a science, methodically attacking absolutely every aspect of the race, from weighing out each meal on a scale, to his training, attack strategies, playing off the media to gain advantages, and surrounding himself with some of the sport’s top riders as lieutenants. After he did all that (and more), he rode his heart out to claim the victories.

Now, Mr. Armstrong has been gifted with exceptional physiology, and many claim that’s why he wins. While this may be true, it is advantageous for people to think that way. When you discard something great to prove you are not worthy, you are in fact employing a kill-strategy to avoid doing the one thing that can help you succeed. Why do that? It’s easier.

If you need proof to accept this, take a look at Armstrong’s competitors. During his reign as Tour champion, he released a book with his coach and even had a tv program detailing his training methods and life. What did his competitors and other people say then? Impossible. No one can train that hard and be so self-disciplined. Why would they say that? Simple, it’s easier.

What it takes
Everyone knows that it takes hard work to succeed. It takes a few other things too, such as calculated risk-taking, preparation, dedication, self-discipline, and strategy.

Big businesses have a sometimes not-so-obvious advantage here because they have the larger budgets and people to examine concepts from more angles. And sometimes, they do it. Those are the companies that live, thrive and dominate a market.

Small businesses, on the other hand, rarely have the people or organizational structure to even think about strategy. They are usually too close to their work to have the objectivity needed to succeed. The result is marketing that often falls on its face. Oddly, they are ok with that because it justifies not putting in the key efforts it takes to succeed. Of course, it also gives business owners justification to not budget for strong marketing efforts.

People get to go home early, there’s less to manage, less to spend, less outsider involvement, less less, less. And less profits.

Why would anyone sabotage their own business like that? Well, honestly, it’s easier to make just enough money to be profitable than it is to be wildly profitable. It’s not nearly as much fun though.

Strategy is so much fun!
In spite of Lance Armstrong’s methodical approach to winning the Tour de France, I would be willing to place a level bet that he was having fun. And so was everyone around him. Were there hard times and tough moments? Of course. Everyone had to rise to the occasion, with the benefit being greater success for nearly anyone willing to work alongside him.

It’s the same for business. When you get a high response to a measured effort, you feel awesome. Big smiles abound, everyone feels happy, and you increase profits.

Where there’s a leader there is success, and people will follow. If you own a business, you’re a leader, whether you like it or not. If you share your plan with your employees, they will follow you. The more detail you provide, the more personally invested they become. (If you fail to show a clear vision, you have a higher turnover rate.)

Now, apply purpose, vision, and strategy to your branding and marketing, and what have you got? You have the means to develop strategic plans for success. You have an identity that your employees can relate to. You have a brand that people can believe in. You have marketing that is wildly successful. You have increased sales.

First things first
It doesn’t work the other way around. You cannot show people a business that doesn’t believe in itself, and expect them to believe in you. You cannot passively market to prospective clients, and turn them into believers.

It has to start from within. You believe in yourself, and others will believe in you. Your employees believe in the company, and your prospective customers believe in what you are selling. You market to them with strategy, they buy, and you exceed your sales goals.

Do you think Lance Armstrong’s lieutenants, staff, and entourage went into his first Tour de France thinking he would win seven of them? Nope. But they came to believe in him. He built a following by first believing in himself, then he strategically attacked the race he wanted to dominate. And it worked.

What are you trying to win?
Lance Armstrong used strategy to make an art of winning the Tour de France. Whether you’re trying to win more clients, repeat business, a warmer feeling in your heart, or the front spot in the water cooler line, you can do the same.

2009 marks the fourth year running that Train of Thought has acted as design firm, providing graphic design services and printing management, for the Seattle International Bicycle Expo, a Cascade Bicycle Club event. It is a great source of pride to be able to help the nation’s largest bicycle advocacy organization inspire more people to ride their bikes.

This year we designed the event poster, all print and online advertising, T-shirts and direct mail.

The Bicycle Expo runs from March 14-15, 2009, at Warren G. Magnuson Park, Hanger 30. More info is available at http://cascade.org/expo