Jeff Fisher LogoMotives: September 2007

Toot! Toot!:
Jeff Fisher is having an Identity Crisis!*

24 September 2007
For immediate release

(Portland, Ore) -- Identity Crisis! 50 Redesigns That Transformed Stale Identities Into Successful Brands, the new book from Jeff Fisher, the Engineer of Creative Identity for the Portland-based design firm Jeff Fisher LogoMotives, has been released by publisher HOW Books, an imprint of F+W Publications, Inc. The book is currently available from all major online booksellers and will soon be on bookstore shelves internationally.

Identity Crisis! takes a fresh look at 50 before and after case studies, from designers and firms from around the world, by exploring the process of redesigning existing identities to help businesses refine their image, communicate with customers, and find success. Designers seeking inspiration - and any business considering a graphic makeover - will be presented an inside look at the challenges of redesigning identities and visual examples of creative and strategic thinking in achieving the desired results.

Jack Anderson, of the Seattle firm Hornall Anderson Design Works wrote the foreward for Identity Crisis! "Words of Wisdom," throughout the book, were provided by Sean Adams/AdamsMorika, Inc, Bob Domenz/Avenue, Tony Spaeth/Identityworks, Debbie Millman/Sterling Brands, Jack Yan/Jack Yan & Associates, design educator and author Robin Landa, Robynne Raye/Modern Dog Design Co., Mark E. Sackett/Reflectur, and the author.

Case studies presented in the volume include projects from the following firms: 3 Dogz Creative Inc. (Toronto, ONT, Canada), Advertising By Design (Clermont, FL USA), angryporcupine*design (Park City, UT USA), Avenue (Chicago, IL USA), b-design (San Diego, CA USA), biz-R (Totnes, Devon, UK), Brainforest, Inc. (Chicago, IL USA), Breathewords (Caldas da Rainha, Portugal), CC Graphic Design (Salt Lake City, UT USA), Common Sense Design (New Hamburg, ONT Canada), Connacher Design (Stamford, CT USA), Finamore Design (Brooklyn, NY USA), Fullblast, Inc. (Portland, OR USA), Glitschka Studios (Salem, OR USA), Graphicwise, Inc. (Irvine, CA USA), Hornall Anderson Design Works (Seattle, WA USA), and Identityworks (Rye, NY USA).

Other firms represented include: Jeff Fisher LogoMotives (Portland, OR USA), John Silver Design Bothell, WA (USA), MasonBaronet (Dallas, TX USA), Mayhem Studios (Los Angeles, CA USA), Modern Dog Design Co. (Seattle, WA USA), MyBrand (Lisbon, Portugal), nHarmony, Inc. (Muncie, IN USA), Octavo Designs (Frederick, MD USA), Paragon Integrated Marketing Communications (Salmiya, Kuwait), RDQ - Rdqlus Design Quantum (Omaha, NE USA), Round2 Communications - R2i (Baltimore, MD USA), Sayles Graphic Design (Des Moines, IA USA), Shapiro Design Associates Inc. (Irvington, NY USA), Shine Advertising Co. (Madison, WI USA), Sockeye Creative (Portland, OR USA), Studio GT&P (Foligno, PG Italy), Subplot Design Inc. (Vancouver, BC Canada), and Willoughby Design Group (Kansas City, MO USA)

Title: Identity Crisis! 50 Redesigns That Transformed Stale Identities Into Successful Brands
Hardbound: 216 pages
Publisher: HOW Books, an imprint of F+W Publications
Release: September 2007
ISBN: 1581809395
Price: $35.00

For more information, visit the Identity Crisis! blog. A downloadable PDF file of some teaser spreads is also available from the publisher at HOW Blog.

Jeff Fisher has received nearly 575 regional, national and international graphic design awards for his logo and corporate identity efforts. His work is featured in nearly 100 books on the design of logos, the business of graphic design, design education, and small business marketing. In addition, Fisher also writes for CreativeLatitude.com, HOW Magazine and other design resources; and speaks about the design profession to high school classes, college students, and at international design industry events.

Fisher is a member of the HOW Magazine Editorial Advisory Board, the HOW Design Conference Advisory Council and the UCDA Designer Magazine Editorial Advisory Board. His first book, The Savvy Designer's Guide to Success, was released by HOW Design Books in late 2004.

(* If I don't "toot!" my own horn, no one else will.)

eSelf Promotion

October 2001

eSelf Promotion
HOW Magazine Self-Promotion Issue
by Ilise Benun

If you're like most designers, you slapped together a Web site and called it a marketing tool. Guess what? There's more to online marketing than creating a Web site. In fact, you don't even need a Web site to master online marketing. What you need is an online presence, which means having the capacity to either 1) send samples of your work via email; or 2) post samples in cyberspace, either at a fee-based online directory, such as Theispot.com, or a free portfolio site like About.com or Portfolios.com. Online self-promotion comes with three major benefits: It provides anytime access to you and examples of your work; it expands your exposure and increases your visibility and it shows that you're up-to-date on visual marketing.

But just knowing this is not enough. To accomplish anything, you need a plan. Not just a plan in your head, but a real plan, written down on paper (OK, maybe on a computer screen). Unless you have a regular routine you can follow, your efforts will yield inconsistent results at best - and this applies especially to online marketing.

The three sample plans introduced throughout this article are more like to-do lists, with daily, weekly, monthly quarterly and annual activities. If you diligently follow one of these plans, you'll create an online presence that makes you more visible month after month. Here's what you need to start:

• An email address with a signature file that includes all of your contact information

• One-, two- and three-line blurbs about your services

• A package to send via old-fashioned mail at a moment's notice

KEEPING IT SIMPLE

Encino-based illustrator Roxanna Villa is very pro-active about her online marketing efforts, and her results show it. Villa, who's been in business for 16 years, has found posting her portfolio on Theispot Showcase to be "phenomenally effective." For $650 per page, she can post a 12-image portfolio, her bio and a contact page, through which people can send her email messages. This charge is pretty standard for fee-based portfolio sites; The Workbook charges $575 for advertisers in its print directory and $1,000 for online-only portfolios. Villa's digital portfolio was rated No. 1 (most often viewed) on the site for several weeks in 1999. There are currently 800+ portfolios on the site.

Villa's online marketing tactics are similar to those in the Simple Plan. Besides having her portfolio posted online, she also maintains her own web page ( www.roxanavilla.com ) with her contact information and a work sample. In addition to expanding her Web site to showcase her body of work, each day Villa culls email addresses from the messages she receives and adds them to her mailing list. Each week she surfs the Web for names and addresses of art directors to add to her list.

"When I see an illustration in one of the annuals, I'll look at who the art director is, get their info online, then send them a promo pack of samples and put them into my database," Villa says. Although she hasn't registered her site with search engines, prospects are using them to find Villa anyway. A name search on Yahoo! lists Villa's Web site first, followed by links from magazines where her illustrations are posted, other client Web sites and book sites with information about a meditation kit she created. That's the beauty of the Web: Because of links and electronic "crawlers," search engines can find a site and index it without the site owner taking an active role. All you have to do is make sure your site's homepage contains keywords in a blurb and in the source code

GETTING AGGESSIVE

"Marketing and promotion is all about getting your name out there in front of the people you target as clients," say Jeff Fisher, a very ambitious promoter. Before Fisher posted his Web site ( www.jfisherlogomotives.com ) in the fall of 1998, about 90% of his business came from the local Portland, OR, market. Now, almost three years later, his clients hail from as far away as Hawaii, Massachusetts, Italy and Ireland. Local clients comprise only 20% of his workload. Fisher attributes this growth directly to his active online marketing. "This wouldn't have been possible for me without the use of the Internet and email as marketing tools," he says.

Fisher's routine aligns closely with the Ambitious Plan. His Web browser opens to his own Web site each morning as his computer starts up so he can easily verify that the site is functioning without glitches. Then he spends a half hour visiting online discussion forums, such as HOWdesign.com and www.graphicdesign.about.com, contributing to discussions on marketing and corporate identity. Unlike chat rooms, where little valuable information is exchanged, viable forums offer an environment where people who need help can post questions, while others with reply with ideas and hints, resources and links to sites with more information. Plus, becoming an active forum participant increases online visibility.

Fisher began participating on forums as an antidote to the isolation of being a one-person, home-based business. He wasn't prepared for the forums to actually drive clients his way, but they did. "Clients searching for graphic designers on the Web often end up on the design forums," Fisher says. "Several have contacted me via email saying the liked my responses on the forums, so they went to my site and contacted me for more information about potential projects."

He's also been invited to contribute to articles and books written by authors who have visited the forums doing research, resulting in tremendous publicity. Now he's such an avid forum participant that he receives automatic messages when a response has been submitted to one of his posts. (This service is only available on some forums.)

Email is another effective online marketing tool for Fisher. Twice monthly he sends out email press releases to his constantly expanding list of recipients, which includes press contacts; former, current and prospective clients; vendors; other designers; colleagues; friends and family. His list is growing daily as more people contact him.

With the subject line "Toot! Toot!" these marketing messages announce design awards, new clients, completed projects and details about press coverage Fisher has received. (He also sends hard copies of all press releases to media sources via snail mail.) Fisher's logo incorporates the image of a steam engine, so the combined concept of "tooting his own horn" and the train imagery is a natural connection to the "Toot! Toot!" subject line.

Fisher regularly checks the reports provided by his Web host to see who is visiting his site, which averages approximately 500 unique visitors pre day. "Ten percent of the traffic to my site is from other countries," he says. "And over half is from colleges and universities - which I suspect includes design students and instructors."

Fisher is so gung ho about his online marketing that he doesn't even have a business card, doesn't meet with clients and doesn’t send direct mail to promote his site. "For me, a postcard promoting my site is not worth the time, effort or expense," he says. "However, my Web address is on every piece of printed material that goes out of my office for any reason. Writers and editors are finding me and doing a great deal of promotion for me when they list my Web site in their articles. Clients are finding me, and now I am scheduling projects at least a month out."

GOING FOR IT

The extraordinary hype surrounding the Internet has pushed expectations of the Web out of the ballpark. Many people still think all they have to do is post a Web site and qualified prospects will magically visit and instantly bestow projects. But as with all marketing, you can't just sit back and wait for people to come to you. A simple glance at the three online marketing plans we've outlined here reveals that there's a lot more you could, and should, be doing. Once you schedule online promotion tasks into your routine, you'll begin to see consistent, positive results.

1. THE WEB SITE-LESS PLAN

This plan is for those who want to start marketing online while in the process of creating their Web site. This plan requires more time proactively looking for prospects and projects - surfing job sites and auction sites to see what work is available - than other plans.

DAILY TASKS

• Check job sites such as Monster.com and auction sites like eLance.com for available projects

• Check in with your favorite discussion forum and contribute three questions or answers

• Skim a few of your favorite online newsletters for useful tips

WEEKLY TASKS:

• Surf for opportunities to be listed in online directories and bookmark all possibilities• Get listed in one online directory or free portfolio site

MONTHLY TASK - YOUR WEB SITE:

• Continue surfing the Web to see the sites of others and evaluate how they work

• Continue working on your Web site

2. THE SIMPLE PLAN

This plan works well if you have a Web site but don't want to spend too much time promoting it. It will keep you involved in spreading the word. Do everything in the Web Site-Less Plan, plus the following:

DAILY TASKS

• Check your Web site to make sure it's working properly

WEEKLY TASKS:

• Surf for linking opportunities and bookmark all possibilities

• Get listed in one search engine or online directory

• Check you placement on search engines

MONTHY TASK - YOUR LINKS PAGE:

• Send an email message to the Webmasters about linking to or from their sites

• Check to see if any links you've requested have been posted

• Send out a bunch of postcards promoting your site

QUARTERLY TASKS:

• Analyze your Web reports

• Make changes based on your analysis, such as additions, deletions and revisions to the navigation

ANNUAL TASKS:

• Update your Web site: Add new work, remove old work and add links

3. THE AMBITIOUS PLAN

WEEKLY TASKS:

• Send an email message to five Webmasters requesting links from their sites

MONTHY TASKS - EMAIL MARKETING CAMPAIGN AND CONTINUOUS SITE UPDATING:

• Develop monthly email marketing messages to send to your permission-based email list

QUARTERLY TASKS:

• Check you placement in five search engines and re-submit if necessary

• Improve your links page by adding to it

• Find other email newsletters in which your Web site can be featured

• Update your Web site. Add new work, remove old work and add links

• Make changes based on your Web reports

This article originally appeared in HOW Magazine's 2001 Self-Promotion Annual (October 2001). The article is posted on this site with permission of both HOW and the author.

Seen and Noted

May 2001

Seen and Noted
Graphic Design:usa

Personal Services Logos

(Clockwise from upper left)

Monroe Orthodontics
Client: Monroe Orthodontics
Location: Aloha and Rainier, OR USA

Monroe Orthodontics wanted a unique identity to convey their unique methods of dealing with child and adult patients - complete with a subliminal smile and braces. The logo appears in the books Logo Design for Small Business 2 and Logos from North to South America (Spain).

Gina's Italy
Client: Gina's Italy
Location: Bend, OR USA

Gina's Italy specializes in offering unique, small group tours to Italy. The font, illustration and overall design give the company a desired rustic sophistication - with a hint of an old luggage sticker. The logo appears in the books Letterhead and Logo Design 5 and The Best of Letterhead and Logo Design.

Emerge
Client: Emerge Medical Spa at Bridgeport
Location: Tigard, OR USA

The Emerge logo incorporates the traditional symbolism of dragonfly imagery. The input of a psychic and use of runes within the design were part of the design process. The logo appears in the books Basic Identity (Digital edition, Index Book, Spain, 2011), The Big Book of Logos 5 (Paperback, Harper Design, USA, 2007), Basic Identity (Index Book, Spain, 2011), 100's Visual Logos and Letterheads (Angela Patchell Books, UK, 2008), The Big Book of Logos 5 (Harper Design, USA, 2007), and American Corporate Identity 2008 (HBI, USA 2007). It also won an American Corporate Identity 23 award.

Deschutes Plumbing
Client: Deschutes Plumbing
Location: Bend, OR USA

This is a logo for a plumbing contractor located in the resort community of Bend, OR - near the Deschutes River and the Three Sisters Mountains. It is featured in the book New Logo & Trademark Design (Japan).

When a "contest" is not a contest

by Jeff Fisher, Engineer of Creative Identity, Jeff Fisher LogoMotives

It may bark like a dog and look like a dog but, is it really always a dog?

A similar query may arise with many “design contests,” especially those popping up all over the Internet on a daily basis. Business and organizations, with the ability to pay going rates for professional graphic design services, have found the lure of winning a “contest” will reel in large numbers of designers for the chance of a few minutes of fame, a little glory and perhaps cash or prizes not nearly worth the value of the design effort on the open market. In return, those conducting these design lotteries often get a virtual menu of design options, and the rights to use all entries as they please, with little need of valuable prize options or the outlay of much cash.

Some blame for the proliferation of “design contests” must fall on the design community itself. For a great many designers, such activities appear to be an opportunity to gain some quick income. In the excitement of the moment it is often forgotten that winning is not a sure thing and the “fine print’ of the competition rules may be even more detrimental to a designer. The only thing worse than a client, or potential client, who does not value the efforts of a professional graphic designer, is a designer who doesn’t appreciate the value of their own time and work. Participation in such “competitions” certainly devalues the efforts of the creative individual and encourages others in the business community to seek inexpensive design work in a similar manner.

In most cases the target of such “contests” is the somewhat naive, and not so business savvy, designer. For that reason many of the “competitions” are often posted on newsgroups, or venues like Yahoo Groups, frequented a great deal by “newbies” to the industry. Those conducting such competitive ventures are not always seeking to take advantage of designers not knowing better. Some simply need to be educated about the design profession and all designers need to take it upon themselves to aid in that education process.

Other businesses holding design competitions are very much aware of what they are doing. Recently, on a design-related Yahoo Group, a firm posted a letterhead “design contest.” This company, which sold document templates, was offering small cash prizes for the top three designs. No additional residuals were to be offered to the selected designs that would eventually be sold for use by others. In fact, the fine print of the competition noted that all submissions to the “contest” became the property of the company and could be used as they saw fit - meaning the firm could use and sell the designs of non-winners without any form of compensation. A few days following the posting of the names of “winners” the web site of the “contest,” and the company, no longer existed.

The similarity to speculative design work is blatant in many of these “competitions.” (Additional inormations about dealing with “spec” work situations can be found on NO!SPEC). Designers are being asked to create work for the chance that their work might be selected or used by the client. In these cases the carrot being dangled is often a prize of significantly less value than the designer could earn if contracted directly to produce the work. Instead of committing themselves and contracting with one design professional, the business or organization in question is setting up a veritable smorgasbord of creative possibilities for themselves, with little consideration for the individual designer or the value of their time and talents.

In March 2004, a “contest” for a logo, web site design and collateral materials was posted on the Internet forum at Designers-Network.com. Immediately, designers from all over the world pounced on the poster of the message and his offer of a $1000 prize for a great deal of speculative work. Those responding to the post invested a great deal thought in putting together their arguments against the practice of such competitions. Some provided information about the actual value of a designer’s work. Others posted messages outlining the evils of “spec” work. A few questioned the turning over of all rights on a project to a for-profit venture. The individual posting the message about the event was initially stunned by the reaction but then responded that he had decided to cancel the contest as a result.

Some producing and promoting similar “design contests” should simply know better than to solicit design work in such a manner. Naming names is not necessary, but recently a well-known writer, the writer’s publisher, a stock photo company and an online payment company began a competition to design the cover of the author’s book. The competition was then promoted by a variety of design industry and business web sites that supposedly support the efforts of the “little guy” in the design profession. The “prize” package for the winner included a camera (valued at approximately $1000), a signed copy of the book and a credit for the stock photo company. It was necessary to pay a $1.00 entry fee through the online payment firm in which the author has some financial interest.

As Creative Latitude’s own Neil Tortorella noted, in one of the Internet discussions of this specific competitive event, The Graphic Artist Guild Handbook of Pricing & Ethical Guidelines (10th Ed.) estimates a typical fee for One/First Concept of a mass market hardcover book to be $2,000 - $3,500 US, with licensed rights for first edition only.”

The rules for the “contest” were clearly posted for all to read, and agree to, before submitting a design. And there it was: “All entries become the property of Sponsors. By entering the Contest, the winner agrees to assign all of his or her rights, title and interest in the entry (including all copyrights, trademarks, design rights, moral rights and all other intellectual property rights) to the Sponsors or their designee(s).” A designer would be submitting a speculative design to an established publisher - and giving up all rights to the work. It makes it tough for all designers when those supposedly “in the know” about the industry, and aware of the value of a designer’s creative efforts, are working against them in the guise of a “contest.”

Various online forums presented lively interaction between posters on this particular book cover situation, with mixed reactions from those joining the discussions. In general, the more established the design professional the more likely they had a negative reaction to the “contest.” Designers with less experience in the industry seemed to look at it as a great opportunity for exposure; rather than a situation that would be taking advantage of their talents and wasting their limited valuable time. The biggest disappointment was the attitude of the author in question. He basically blew off all criticisms with a response of suggesting designers not enter the “contest” if they didn’t like the event or did not want to abide by the rules.

Over two decades ago the Graphic Artists Guild established “Suggested Guidelines for Art Competitions and Contests” through their Graphic Artists Guild Foundation, with a supporting grant from the National Endowment for the Arts. The organization conducted a nationwide survey of art and design competition holders, as well as jurors and competition entrants, in determining recommendations for competitions and contests conducted by art-related organizations/associations, for-profit companies desiring work for commercial purposes; and nonprofit organizations. Serious consideration of such recommendations is now more important than ever to those in the design profession attempting to wade through the competitive offerings promoted via the Internet.

In all cases, the Graphic Artists Guild (GAG) suggests that those conducting competitions initially review existing work of designers or artists, rather than requiring the execution of newly created, speculative work. Through a process of elimination, finalists are then asked to possibly submit rough sketches prior to being named the finalist for the project contract. A number of guideline recommendations then help the event sponsor select a final art piece or design. The organization also stresses that any prize awarded should be commensurate with the fair market value of the work being done. GAG also recommends that the individual creating the work should retain a variety of rights for the work done.

The most legitimate design contests are often those conducted by nonprofit organizations. Still, such organizations may benefit from knowledge of the GAG established “Suggested Guidelines for Art Competitions and Contests.” While smaller, budget-challenged, nonprofits seldom seem to be intentionally taking advantage of designers, there is still room for some improvement when it comes to establishing specific contest rules and conducting the competitions. It is the prerogative of many in the design profession to make some concessions about these issues when dealing with project opportunities for nonprofit causes in which they have strong personal interests.

It should be noted that the “contests” covered in this article are not the industry awards designers either love, or love to hate. (Those competitions have already been examined in another Creative Latitude article) The “design contests” that are not always what they seem are most often requests for newly designed work to be used in the marketing and promotion of a business, service or product - to the financial gain of the entity presenting the opportunity.

In considering possible participation in such events, designers should review suggested competition guidelines - such as those recommended by GAG - and do a little online research of the business or organization conducting the activity. Carefully read all of the rules presented by the sponsor and give consideration to the actual market value of the work being requested. By doing so, a design professional can make an informed decision about possible participation in what someone else is referring to as a “contest.” The investment in time in learning about such issues will also make a designer better informed when finding it necessary to educate those promoting so-called “contests” about the errors of their ways.

Designers beware! The beast known as a “contest” may look like a dog and bark like a dog. However, be careful when you go to pet, or play with, this animal. Its bite could be much worse than its bark.

This article originally appeared on CreativeLatitude.com in April 2004. It was also published on Pixelgirlpresents.com, GDC.net - Society of Graphic Designers of Canada, TheCreativeForum.com, Commpiled.com, Singapore.net and NO-SPEC.com

Grow Your Client Base: Pressing For Success

August 2000

Pressing for Success
By Jeffery D. Zbar

Name: Jeff Fisher
Company: Jeff Fisher LogoMotives
Location: Portland, Ore.
Occupation: Graphic designer

When he's not leading an online chat on graphic design, Jeff Fisher, president of Jeff Fisher LogoMotives in Portland, Ore., is writing news releases about his newest account or industry award, a client's completed project, or the latest book in which his work has been featured.

Business development starts when Fisher completes a client's project. Because up to 80 percent of his work comes from referrals, Fisher keeps in touch with past clients through e-mail notices and press releases. This not only results in referrals, but also keeps Fisher in mind for new work. One client has been with five companies during the course of an 18-year business relationship with Fisher, and has used Fisher at each.

Getting Creative Using a Power Mac clone in his office and a Macintosh Powerbook when he travels, Fisher opens up one of three press release templates, each with his "Toot! Toot!" heading and a LogoMotives steam-engine-inspired logo. He customizes the release in Microsoft Word, and attaches sample art files in GIF or JPEG format from Macromedia FreeHand into outbound e-mails. Fisher also maintains two list groups: one for publications and editors, and another for designers, clients, friends, and business associates. He imports the release, art, and lists to Outlook Express for distribution.His Web site ( www.jfisherlogomotives.com ) has replaced costly four-color brochures, and he prints press releases on a laser printer. This has been a boon to business: Roughly 40 percent of his new work is with clients who have read about him. Another 30 percent are those who were reminded about him by an article.

"It doesn't take a lot of time or energy, and the results have been astounding. Once I began using the 'Toot! Toot!', I began to get even more press exposure." From his home office, Fisher serves clients throughout the United States and Europe; his work has won over 200 design honors, including a nod from the Central Oregon Ad Club for a holiday card design and a certificate of excellence from PRINT magazine for a logo design.

"I no longer do any traditional print advertising. That budget goes to pay entry fees in design competitions around the world," Fisher says. "Many clients have come my way after viewing my work in design annuals or books on design."

Finally, Fisher has turned the Internet into his own professional directory. He's listed as a resource on CreativePro.com, Guru.com, and Designers-Network.com. He's involved in online graphic design forums, including Commarts.com, Graphic-design.about.com and Mediadrone.com. The directory and chats have resulted in new clients and authors seeking Fisher's content for books, he says.

This article originally appeared in Home Office Computing Magazine and is reprinted courtesy of writer Jeffery D. Zbar. Additional examples of Jeffery Zbar's writing can be found at www.goinsoho.com.

Event Logos

(Clockwise from upper left)

Portland Iron Chef
Client: Children's Relief Nursery
Location: Portland USA

This identity represents an anuual fund-raising event of the Children's Relief Nursery, an organization battling abuse and neglect in children birth through three by partnering with caregivers committed to strengthening their families. The culinary competition, based loosely on the Iron Chef television show, features well-known chefs from local restaurants.

triangle productions! 14th anniversary
Client: triangle productions!
Location: Portland, OR USA

Stylized images of the traditional drama and comedy masks make an appearance in this anniversary logo of a theatre company. I have mixed feelings about the fact that most people see either the "14" or the two masks of tragedy and comedy in the logo - but not both design elements. The few that do "get it" have an "aha!" moment that is very gratifying to me. It is one of my personal logo design favorites. The image is featured in the book 100's Visual Logos and Letterheads.

The Spring Showcase Art & Gift Sale
Client: The Philoptochos of the Holy Trinity Greek Orthodox Church
Location: Portland, OR USA

This image, for a church fund-raising event, was designed taking a one-color print requirement into consideration. The logo is featured in The Big Book of Logos 5.

Coffee Cares
Client: Our House of Portland
Location: Portland, OR USA

This pro-bono effort was for an event of baristas, bakeries and bistros raising funds for local AIDS organizations. An AIDS ribbon is formed by the steam over the coffee cup in the design. The logo appears in the books Restaurant Graphics 2, Typography and Blue is Hot,Red is Cool: Choosing the Right Color for Your Logo.

Don't Shoot The Client

A veteran designers shares hard-learned advice on how to wrangle nitpicky, indecisive and flat-out boneheaded clients—before a showdown occurs.

by Jeff Fisher, Engineer of Creative Identity, Jeff Fisher LogoMotives

It's a law of graphic design: Clients are capable of extraordinary stupidity. In March 2003, I started a discussion thread about "stupid client tricks" on the HOWdesign.com forum. More than 100 posts later, it became evident that stupid clients are the norm and that designers need methods for dealing with them in a positive manner.

At times, working with challenging clients is similar to attempting to coordinate the wild-horse race at a rodeo, or playing the ringmaster at an old-fashioned Wild West show. There are too many participants, lots of bucking, riders being thrown in every direction, a variety of obstacles in the way, vast amounts of dirt tossed about—and even a little manure to avoid.

Heading 'Em Off at the Pass
It's possible to avoid potential stupid client tricks before they actually happen by preparing a program for the upcoming spectacle.

Starting a project on the same page as your client is a no-brainer. In her book Graphically Speaking (HOW Design Books), author Lisa Buchanan, a Cincinnati-based designer, provides a sample survey of questions to present to a client prior to beginning a project. The questionnaire evolved out of responses from more than 50 design firms that were asked, "What questions do you typically discuss with a client?" I've used a similar customized list of questions with clients for many years.

Francesca De Lorme, of ARTiculate Communications & Design in East Burke, VT, says: "When clients insist upon having their own way, we always treat them with respect and listen to what they have to say while attempting to do the following: 1) Explain concisely what problems will result from their insistence; and 2) show them examples of the type of problem that will result if they insist on doing it their way.

"We maintain files of 'the good, the bad and the ugly' that we've collected over the years for just that purpose, and find that showing our clients someone else's mistakes can sometimes help them avoid making their own," she continues. "About 85% of the time, this solves the problem."

"Most stupid client tricks I see are in requests for design elements and concepts," says Shawn Parker of Top Frog Graphics in Denver. "If clients want something questionable, do a mock-up of how you think it should be done. They'll most likely see that there's a better way to do it; at the very least, you'll probably end up at a compromise between the good and bad."

Rounding Up the Herd
Bringing a client who's drifting off to the frontiers of Stupid Land back to the major issues that need to be addressed on a project often takes more than a lasso and a cattle prod. In roping clients back into focusing on a project, Triad Design Group in Boonton, NJ, turns the tables by reiterating information already provided by the customer. "We remind them of the objectives that they provided at the onset of the project," say Christina Laios and Rob Lembo, Triad partners. "This works really well because they will rarely contradict themselves. It also reinforces their own importance in the project and actually makes them feel smarter."

Presenting the financial implications of real or perceived stupidity to a client is a great way to get his attention and get a project back on track. (Project fees should be exponentially escalated in direct correlation to the overt stupidity of the client.) "Bad ideas are often best exposed by showing how they'll affect the bottom line," Parker says.

Rumble at the Chuck Wagon
That rumbling in your stomach isn't necessarily hunger or gastrointestinal distress. Often it's the built-in alarm know as "gut instinct" demanding your immediate attention. After 20 years as a designer, I've finally learned to trust my instincts, and I've saved myself from a lot of stress, grief and temporary insanity by listening to that inner voice when it yells, "Head for the hills!"

That sixth sense comes primarily from watching for patterns in client behavior. "I think my gut instincts have developed over time, and I can usually predict, from a pre-project needs-assessment meeting with the client, which clients I'll likely find to be difficult to deal with," De Lorme says. "I've also learned about some particular themes of stupid client tricks that repeat themselves, and I try to head them off in advance."

Laios and Lembo agree: "No matter how much we want to believe that a client or situation is going to be different than before, when we listen to our gut instincts, we avoid a lot of problems."

While designers often bump up fees to cover pain-in-the-butt clients, some customers aren't even worth that. "Sometimes you know it's gonna be a money-losing situation or that you just don't have the brain capacity to deal with it at a particular point in time," Parker says. "There's nothing wrong with letting a job go for the sake of your personal mental health."

High Noon
A shootout is not the answer to most disagreements with argumentative clients. You need to pick your battles.

Recently, I knew I was in trouble when a client asked how he could maintain the unusual position of the company's logo when importing it into any software program. Still, I wasn't prepared when the client asked me to rotate the logo by 2 1/2 degrees. If such a precise request doesn't qualify as a stupid client trick, I don't know what does. I know it was petty but, to satisfy nothing more than my own ego, I rotated the artwork just 1 1/4 degrees and presented the finished logo to a thrilled client. The issue wasn't worth an all-out battle with the client. With his request, he got the satisfaction of playing art director. My action allows me a silly little smile every time I see that company's identity.

"As long as I believe doing it the client's way won't completely waste money and it doesn't violate my own ethical values, I'll go ahead and do what the client asks—it's her money and her project," De Lorme says. "If I've given the best ideas for the project and my well-considered professional advice, and she still wants to proceed despite my concerns, then I'll usually go ahead and do what she asks."

Letting Clients Shoot Themselves in the Foot
At times you need to let clients be "right" to prove just how wrong they may be—and the mistakes can be costly.

Years ago, I was hired to create the identity for a luxury hotel. Supposedly, I was hired for my expertise, but the opinion of the facility's interior designer kept getting in my way. The hotel management seemed to value her opinion more than mine. It was as if two bulls were going at each other when it came to the issue of the logo color on the stationery and all other printed items. I had my recommendations. The interior designer felt her selection (a vibrant orange) would work better with the hotel color scheme.

I wasn't going to win this showdown, and I had to step back and let the client (and the interior designer) shoot themselves in both feet. Tens of thousands of pieces were printed and delivered. With that very orange logo, the project was dubbed the "Taco Bell Hotel." The management was mortified by the result and recycled all the printed materials. They reprinted everything using my color recommendations. The client never again questioned my opinion.

Showdown at the OK Corral
Does "OK" really mean all is right in the poker game we call "project management," or does one of the players have an ace up his sleeve? Designers need to know all the players, the cards they hold and who really has the power to play the game. "If there are business partners involved, get signatures from all parties before finalizing the artwork," Parker advises. "We did have one company threaten to refuse payment to us because one principal did something that the other didn't approve of in the course of a project."

Riding Off Into the Sunset
It's not as if the town's not big enough for both you and your client. By projecting confidence, communicating effectively and delivering on your promises, you can show the client you're in control of the project and develop a mutually beneficial relationship. In her book The Graphic Designer's Guide to Clients (Allworth Press), New York City-based designer Ellen Shapiro writes, "You were hired to make the right choices. You should be able to justify those choices if asked. And the answer should make business sense."

Shapiro adds, "And while you're at it, don't fall into the clichZs associated with Ôflaky creatives.' Don't miss deadlines. Show up on time—no, 10 minutes early—for meetings. Be prepared. Look and act businesslike."

By expecting the most of yourself, and subtly demanding the best of your client, a two-person Technicolor ride into the sunset can result—instead of someone ending up buried under a dead tree on Boot Hill.

This article appeared in the April 2004 issue of HOW Magazine and was posted on Commpiled.com in January 2005.

Restaurant Logos

(Clockwise from upper left)

Celilo Restaurant and Lounge
Client: The Governor Hotel - Celilo
Location: Portland, OR USA

When the Governor Hotel opened in Portland, Celilo - with executive chef George Poston - was its signature restaurant. With much of the hotel decor related to the Northwest journeys of explorers Lewis & Clark, the letterforms used to create the identity were actually taken from the historic handwritten journals of Meriwether Lewis. The logo is featured in the book Restaurant Graphics 2.

Nancy's Kitchen
Client: Nancy's Kitchen
Location: Portland, OR USA

A carnival vendor caricature of owner Nancy Lee is the centerpiece for the logo representing her Northwest Portland eatery.

Ultimate Burrito
Client: Ultimate Burrito
Location: Beaverton, OR USA

Simply creating a burrito-shaped graphic treatment resulted in the successful logo for this establishment. The image is highlighted in the books Bullet-Proof Logos and Restaurant Graphics 2.

Mount Tam Brew House
Client: Mount Tam Brew House
Location: San Rafael, CA USA

The foam on a mug of beer represent clouds, or fog, sitting on the top of Mount Tamalpais in this identity for a Marin County brew pub.

On the Right Track

June 2000

Just Out Newsmagazine - Feature Story - by Marc Acito

Internationally recognized designer Jeff Fisher engineers his business his own way

Jeff Fisher works in his underwear.

No, he's not a go-go boy; he's an award-winning graphic designer whose internationally acclaimed design studio, Jeff Fisher LogoMotives, in housed on the second floor of his North Portland home. With the majority of his clients communicating with him electronically from out of state, Fisher can roll out of bed and go straight to work in his skivvies.

"I certainly don't plan on using video conferencing anytime soon," he says.

He may have to change his mind, though, given his growing popularity. In the last five years, Fisher's designs have garnered more than 235 design awards. In addition, examples of his work are represented in more than 40 publications on graphic design.

Locally, his roster of queer clients reads like the index of the Just Out Pocketbook: Our House of Portland, Cascade AIDS Project, Portland Area Business Association, Metropolitan Community Church, Love Makes a Family, Pride Northwest, Metropolitan Human Rights center, Rob Buckmaster Fund, Rose City Softball Association…as well as numerous gay-owned businesses, such as Balloons on Broadway and Bridgetown Realty.

A founding member of PABA, Portland's unofficial "gay and lesbian chamber of commerce," the 44-year-old Fisher provides inspiration to anyone who worries you can't be out and successful in business at the same time.

"When I first came out in 1984, I lost a job with an ad agency due to the fact I was gay," he says. "At the time, the owner simply told me he was taking his business in another direction. Later I learned from former co-workers that it made the owner very uncomfortable to have an openly gay person on staff. I vowed that I would never again allow myself to get into a similar employment situation."

Since then, Fisher has bucked conventional wisdom by focusing almost exclusively on logo design while growing his business with a fearless and tireless knack for unconventional self-promotion.

"If I don't toot my own horn, no one else will," reads one of his relentless press releases, replete with LogoMotives' toot-toot train engine logo.

"My friends call me a 'media whore,'" Fisher says, but his international recognition speaks for itself.

(Those who'd like to learn more about Fisher's innovative approach to marketing should consult Off the Wall Marketing Ideas by Nancy Michaels and Debbi J. Karpowicz, which features a section on Fisher.)

Yet, despite all of Fisher's mainstream success, Portland's gay community remains the cornerstone of LogoMotives' business. Nowhere is this more evident than in Fisher's long-standing relationship with Don Horn, founder and artistic director of Triangle Productions.

Since he met Horn at the benefit opening of the gay theater company's first play, Fisher has designed hundreds of pieces for Triangle Productions, including the logos for more than 50 shows. And those projects led Fisher to one of the more gratifying breakthroughs of his career.

"For many years no 'gay-identified' logo project of mine had eve won a design award, " he says. "But since 1995 my logo designs for Triangle Productions have won over 60 design awards."

Fisher cites his working relationship with Horn as one of his most special.

"Don always provides me with the scripts of the shows he plans to present for the next season and allows me to just 'go for it' with the design process," says Fisher. "Not many clients give a designer complete creative freedom."

In 1996, Horn even asked Fisher to co-direct the play Party."I was turning 40 at the time, " recalls Fisher, "and getting to spend every evening with seven nude men for several months was not a bad way to get through my first midlife crisis."

However, according to Fisher, the one element most responsible for the success of his business is his partner, Ed Cunningham. Much in the same way that his business has thrived by breaking the rules, so has his relationship.

"When Ed and I met," Fisher says, "it shattered the potential relationship rules I had set up for myself: No dating guys who were much younger - he was 23 and ten years younger than me. No serious dating of anyone I met in a bar - I don't know where that one came from. No dating of anyone without a real job - Ed was still in college and working part-time."

Yet the same evening the two of them met, Fisher turned to a friend and said, "I just met the man I'm going to spend the rest of my life with."

Fisher followed his instincts with the same positive results he's had professionally - last month he and Cunningham celebrated their 10-year anniversary.

Will Rogers once said, "Even if you are on the right track, you'll get run over if you just sit there."

With the courage to lay down his own tracks, Jeff Fisher is driving LogoMotives higher and higher.

This article reprinted courtesy of the author and Just Out.

Are Your Prospects Worthy?

June 2000

1099 Magazine - Getting Work Column - by Linda Formichelli

When a potential client calls and haggles about your rates, solicits advice, asks for free samples, and requests your brochure, you think, "Oh boy! Another sucker -- I mean, someone else in need of my fine services." You scurry around the office like an ant in heat, leaving your current work to gather dust while you fulfill the burning desires of this enticing new prospect. Then -- nothing.

Don't feel bad. Odds are the caller didn't have the money, the authority, the need, or the desire to hire you in the first place. By qualifying or screening your prospects -- and culling out tire kickers -- you can spend more time with those who are serious about hiring you and less time with those who are merely lonely and looking for a friend.

Interrogate Them

The easiest way to qualify a prospect may be to come right out and ask. In his book How to Succeed as an Independent Consultant (John Wiley & Sons, 1993), Herman Holtz suggests asking such questions as:

• Has this project been budgeted yet?
• Who will have to sign off on this?
• Has an official decision been made yet to go ahead with this project?
• When would you need me to start on this?

The secret is to ask these questions in a neutral, non-ominous tone. The answers should tip you off on whether the prospect has an actual project planned and budgeted or is just wasting your time.

Rate Them

You can find out right away whether the prospect is serious by cutting to the chase: your rates. If you state your rates up front and the prospect reaches for the smelling salts, you know you should cut your losses and split. "Occasionally I will get the response, 'My (insert any relative here) has a computer and said the project could be done for $150,'" says Jeff Fisher, an IP graphic designer and owner of LogoMotives. "I have learned to be rather blunt with such prospects and will suggest they hire that relative if money is the primary issue."

Other danger signs: the prospect asks what he can get for one-third your quoted rate, offers you a cut of future profits in trade for work now, or proposes paying you off in backrubs.

Be Paranoid

A little sleuthing ahead of time can save you grief in the long run when you're pitching a new prospect. "When the time comes to pitch a new, unfamiliar client, I will contact the Better Business Bureau, Dow Jones, or industry organizations to find out about them," says communications consultant Carla McClanahan. "For example, if the prospect is in the food industry, I would contact respected vendors, chefs, other agencies, or even sales reps within the food publications to determine the prospect's reputation." Sound paranoid? Maybe, but it beats spending months slaving away for a bum client.

Be Up Front

Asking for a deposit before starting work is a good way to identify window-shoppers. Many IPs charge 50 percent up front with the remainder due upon completion of the project; another popular option is to charge a third up front, a third at some threshold stage of the job, and the final third upon approval of the completed work. Tell prospects that you have a deposit policy, and you'll see just how serious they are.

"I require a 50 percent deposit on work, as well as a signed estimate that outlines the scope of work," says Lori Oliva, an IP content strategist and public relations consultant. "A deposit tells me that a client is serious about the project at hand and is ready to move, and a carefully detailed estimate tells them exactly what I will do for how much."

Charge It

Charge for advice. Free work attracts bargain hunters, so attach a price tag to every syllable that leaves your lips. You can always offer to refund the money once the client hires you, or credit the amount towards the price of an assignment.

Some IPs go further, and charge for proposals or even for price quotations. "I charge up front for quotes that involve in-depth calculations and variables," says Mark Cappitella, an IP puzzle maker. "The potential client pays in advance by corporate or personal credit card for the cost of the quote ($50 - $100), which is credited in full if they actually place an order. If they don't wish to pay, I bid them good day."

Flash Your Contract

Want to find out if a prospect really intends to hire you or is just yanking your frank? Show him a typical contract (if you have one). If he runs screaming in the other direction, chances are he was unqualified to hire you.

Jeff Fisher includes a copy of his standard contract in his promotional packet. "I have found that including the project agreement is a very successful qualifier," he says. "It shows the potential client that I do mean business."

Trust Your Gut

Remember the time you had a bad feeling about that Girl Scout, and she turned out to be an escaped criminal in disguise, and you never got your cookies, and you said to yourself, "I knew I should I have trusted my instincts instead of giving her six bucks for Thin Mints"? Well, that same feeling will keep you from becoming a casualty of a poser prospect.

"I look for indecisiveness in that first critical meeting. If prospects make their creatives come up with a lot of ideas and don't give any hint as to what they're looking for, chances are they don't know what they want," says Oliva. "Also, if a prospect says they were unhappy with a prior freelancer or company, but don't give concrete reasons why they were dissatisfied, I take that as a red flag."

Rejoice!

Qualifying prospects may seem like a pain in the wazoo, but think of it this way: when you were a wage slave, employers qualified you for jobs, raises, and promotions. Now, as an IP, you get to qualify them to determine whether they're worthy of being your clients.

Preaching What You Practice:
Speaking in Graphic Tongues to the Masses

by Jeff Fisher, Engineer of Creative Identity, Jeff Fisher LogoMotives

Outside of the creative industries, graphic design is seldom a religious experience for most people in the business world. In fact, a great number of professionals in other industries probably don't have a clue what you, as a designer, do for a living - or what you may be capable of contributing to the success of their own businesses. Yes, it's sacrilege.

One of the most effective, inexpensive and under-used methods of converting these naivetes - or total disbelievers in some cases - is putting yourself in front of a congregation to speak about what your profession entails and how those in the pews can benefit from the knowledge you are willing to share.

You may feel unqualified to minister to others, in a public forum, about your talents, skills and methods of doing business. Excuse me, but what is taking place each time you meet with a client, or committee, to make a presentation? It usually begins with speaking in a strange language commonly known as "design speak" in conveying your own expertise, proposing what you feel will most benefit the potential convert, or justifying an ethereal graphic concept. Multiply your audience of a few by ten-fold, or several hundred-fold, and you can find yourself preaching before a crowded room with ease and confidence.

Appropriate pulpits for your proselytizing are everywhere, and may include:

• High school, college and design school classes
• Neighborhood associations, local business groups, Chambers of Commerce
• Nonprofit organizations
• Professional business organizations and industry associations
• Seminars, workshops and conferences

Reach out to your local Chamber of Commerce, business-networking groups, nonprofit organizations and others like those mentioned to offer your services as a guest speaker at meetings, luncheons, or conferences. Most will have assigned an individual responsibility for coordinating programs and speakers.

In preparing your creative sermon, you must determine what your audience might desire to hear. For high school and college design classes I have discussed graphic design as a legitimate career option. A university marketing course, studying the creation of business plans, requested that I speak about the role of identity design in marketing a new company. I spoke about nonprofit organizations making the best use of designers to an association of nonprofit development and marketing directors. To a local Chamber of Commerce, and a regional association of landscape designers, a program regarding the role of graphics in the marketing of small businesses was presented. Educators from Small Business Development Centers asked that I address a workshop on the topic of how graphic design needs play a role in any preliminary business plan. Ask what they wish to hear, and you will speak it.

Practice before you preach. Most organizations or groups will schedule a guest speaker calendar several months or even a year in advance, giving presenters a great deal of time to plan and rehearse. Go into the situation well prepared. Rehearse the presentation of your topic several times in front of family, peers or even a mirror. Make sure the flow of the speech is smooth and seamless. Avoid simply standing at a podium to read your speech. Practice moving around the "stage" and perfect some hand gestures to stress important points. Remember that you are the "entertainment" for what may otherwise be a somewhat boring event. If you are enthusiastic and animated about your topic, the attendees will be drawn in to what you are saying. Always allow time for questions from the audience.

Ministering to any group often necessitates providing the possibly converted with a tract, outlining your main points, for future study and reflection. Handouts are a must. Be sure each person leaving the presentation goes away with some valuable printed information related to the discussion and your contact information.

With a few well-received presentations in your repertoire, it's easy to fill in as a speaker at the last minute if another backs out of a scheduled appearance. A very grateful Chamber of Commerce breakfast group once called me to fill in for someone with about 16 hours notice.

An invitation to present what you know as the gospel, to any audience, also results in the opportunity for a variety of promotional efforts. Many groups will send out press information about upcoming speakers to the business section of local papers for use in the weekly event calendar or "business briefs." Often associations will promote upcoming events on the organization web site, in a newsletter to be sent to the membership, or through a direct mail piece mailed to interested individuals. Make it easy for people putting such items together. Provide them with a short biography, an outline of your presentation (including a "jazzy" topic title) and a professional photo of yourself.

Anyone making such presentations needs to spread the word about their speaking engagements as well. Send out a press release to your mailing and email lists. Post your upcoming presentation schedule on your own web site. Market your public appearances just as you would promote your work efforts.

Singing one's own praises through press releases, writing articles as "the expert," and speaking before crowds all combine to present a solid marketing base for your design work. In a very short time each begins to play off the other. Traditional self-promotion may lead to the writing of articles. The articles may lead to public appearances. The speeches may lead to writing a book - or speaking at a higher level of industry exposure. It all eventually evolves into more desired work coming your way.

There really is such a thing as a "free lunch" and often it is part of the deal when making such presentations. In addition, most organizations inviting a speaker will offer an honorarium for valuable time being spent before their group. It may be a small as $25 from groups with limited budgets; to several thousand dollars, accommodations and travel expenses for presentations on a national level. Be sure to express your appreciation for the opportunity to speak before such groups - and for the fee received. Being appropriately thankful can lead to an invitation for a return engagement in the future.

In 2003 I was part of a panel discussion, with the somewhat irreverent title of "Designers in Handcuffs," before a HOW Design Conference audience of over 600 design professionals. The experience was a bit daunting. Afterwards I was even more stunned as young designers came up to ask for my autograph. I didn't take it all too seriously, and certainly had a great laugh when a book publisher mentioned that "you guys are like rock stars." That may have been stretching things a bit. However, the experience did provide real evidence of the impact of my own business marketing over the past ten years. It made me realize that putting what you know "out there" in front of the masses, can be as valuable a promotional tool as presenting the design work you create.

Make it your mission to go out into the world and preach the benefits of graphic design to those not yet informed.

Say "hallelujah" somebody!

This article was originally posted on Creative Latitude in December 2003. It later appeared on CreativePublic.com and COmmpiled.com.

A Winning Strategy:
Industry awards as a marketing tool

by Jeff Fisher, Engineer of Creative Identity, Jeff Fisher LogoMotives

(NOTE: In dealing with the issue of speculative, or "spec," design there is often confusion with the terms "contest" and "competition." A legitimate design "competition" will always be for design work already created by a designer and most often in use by the client. Such competitions will not require designers to create new work on a "spec" basis to be considered for awards, recognition or prizes. Design competitions may be a valuable marketing and promotion tool for design professionals.)

In 1995 something "clicked" within me and my business began an adventure in a new and exciting direction. First of all, I made a conscious decision to focus on the aspect of the design business I had always enjoyed the most: identity design. Secondly, I finally adopted the business name I had kicked for the previous ten years: Jeff Fisher LogoMotives. The final major change came in the way I marketed and promoted myself.

I decided to no longer make use of direct mail or print advertising as a major sales tool. That bordered on sacrilege for a designer with an advertising education background. Instead, I started to give more attention to those creative industry award mailings that seemed to come my way at an increasing pace. Previously, such pieces had been sent flying towards the circular file in the corner of my studio. I simply could not justify the cost of the entry fees; especially in the case of some of my pro bono design efforts. When I was paid nothing for the finished project, could I afford to pay a high entry fee to enter a design competition?

By allocating my traditional advertising and printing budget to cover the cost of competition entry fees, the prospect of becoming an "award-winning designer" suddenly seemed more attainable. I realized that the return on the investment was much more than a certificate to hang on my studio wall and the validation creative types require on a regular basis.

Those in the creative occupations of writing, advertising, public relations, marketing, design, illustration, photography and related fields may wish to pay more attention to the available industry award possibilities. The results can have a dramatic impact on the promotion of personal creative efforts, or that of a client's company.

Bragging Rights
Receiving an industry award gives me the immediate opportunity to promote my business by "tooting my own horn" through press releases announcing the achievement. I send out releases with the heading "Toot! Toot!" as a reference to my train-related business name and logo. In 1995 I was sending the press missives to local newspapers, business publications and trade magazines. I currently have a self-compiled email press release list that is much more extensive. The press releases are sent out via email and traditional snail mail. Many editors still appreciate opening an envelope and the volume of email received on a daily basis may overwhelm some.

The sending of pertinent news information to the media may result in a snowballing effect. In many cases items have appeared in "Business Brief" publication columns. Newspapers, magazines and webzines have then written articles about my business. Specific design projects were featured in magazines after winning an award. I've been asked to write articles for Internet sources and traditional publications. My business has also become a case study in numerous marketing, design and promotion books. All have resulted in potential clients coming my way.

Annuals and Books
The competitions most valuable to me as a graphic designer are those resulting in work being featured in a design annual or graphic design book on a specific topic. My work has received international exposure in volumes published in Japan, Korea and the United States.

As a high school and college student, with hopes of becoming a successful graphic designer, I spent a great deal of time in libraries pouring over the designs of professionals from around the world. I dreamed that some day my own design efforts might appear in these glossy publications that I could not afford to purchase. I looked at the books as sources of design inspiration, not a future method of marketing and promotion. At the time I was much more interested in the "ego strokes" that might eventually come with being a published, award-winning designer.

Nearly 20 years later the proverbial "light bulb" went off in my head when a client mentioned she had spent the previous evening researching illustration annuals for an artist with the style being sought for a current project. In the juried Illustration Annual of Communication Arts she found just the illustrator, with a studio in Toronto. I had never before seriously considered such publications as a marketing tool and method for advertising creative work worldwide.

Today at least 30% of my business is due to identity examples being published in design annuals, or books resulting from design competitions. Numerous times potential clients have called, or emailed, saying "I was in my local Barnes & Noble bookstore and came across examples of your work in a design book" Like my media releases, this exposure also led to articles about my business, inclusion in other books, and requests to write articles or be quoted as an industry expert.

I especially appreciate design competitions, editors, writers and publishers providing a complimentary copy of the book in which my work is featured. The volumes featuring specific projects also make great client gifts. I assume clients, pleased to have their work featured in such a manner, also purchase a number of books.

The Happy Client
Clients are most often thrilled to have their work win an industry award. They enjoy seeing their name in print, or their project published in an industry annual, when the award is promoted. Winning an award often provides tremendous validation in regards to project choices made by the client. Within corporate structures, an industry honor is occasionally an excellent "I told you so" to be used by the client contact in the firm. The recognition also showcases the client's efforts within their own industry, increasing visibility among their peers. Such an award may also increase the value of a creative professional's work in the client's eyes.

Clients may be an excellent source of information about competitions that are specific to their own industry. Research such opportunities with client contacts, their marketing specialist or the public relations person for the firm. Most industries have yearly competitions that may be announced through trade publications, industry associations or Internet resources.

Many industry award organizations provide certificates or plaques for both winning designer and client. Others offer trophies or certificates at a cost in addition to the entry fees paid. Often the expense provides yet another way of marketing - this time on the reception area wall of an appreciative client's office.

With the signing of my project agreement, clients give me permission to use the project in the promotion of my own business, which includes industry award competitions. Obtaining authorization initially is much easier than attempting to track down a former client months, or years, later for such approval.

Serious Considerations
Often the awards offering the most promotion "mileage" will be those with established reputations and longevity in a field of expertise, or the business arena of a given client. With that in mind, greater consideration should be given to competitions sponsored by respected industry associations or organizations. Annual honors produced by major industry publications, such as the HOW International Design Competition and HOW Interactive Competition, Print's Regional Design Annual, the competitions of Communication Arts and Graphis, and others, also carry a lot of prestige with an award. The added bonus of winning pieces of work being published in an industry magazine comes with competitions conducted by the publications.

Be leery of competitions that seem to be "award for sale" offerings; with nearly everyone entering receiving recognition of some sort. The value in many awards is the fact a limited number of entries are honored.

Entering award competitions can be expensive. It is necessary to carefully weigh the value of the possible result against the cost of submitting examples of work. In my case, entry fee costs replaced previous budget expenditures related to print advertising and direct mail.

A new trend seems to be evolving with many competitions establishing an entry fee cap after submission of a certain number of entries. In these situations it is easier to justify submitting a larger number of entries - and perhaps more pro bono efforts. With relatively low entry costs, and a cap on fees, there is hope for a greater return on the entry fee investment. Quite a few design competitions also offer student entry fee rates to individuals just beginning design careers. I know of one competition that pro-rates fees based on the annual income of an individual designer or smaller firm.

In some cases it is also necessary to consider the value of paying a "publication fee" once a project has been selected for an honor. These are fees sometimes charged by award organizers, or book publishers, to print recognized work in the annual or book promoting the honorees, the contest for a given year and the future of the competition. Supposedly these fees help the producer of the book recoup some of their production and administration costs.

Some industry competitive events will also charge a "hanging fee" for the installation of winning entries in a gallery setting, or in conjunction with an industry trade show or conference. Again, the value in paying such a fee is in potential exposure to professional peers and potential clients. A client particularly pleased with efforts on a project may be able to assist with competition entries by sponsoring the fees incurred for their industry specific awards.

LogoLounge.com offers yet another method to market and promote design work through a competition. For an annual membership fee, designers are offered the opportunity to upload images to a Web site featuring thousands of designs. A panel of industry professionals then judges those designs for possible inclusion in an upcoming volume of winning submissions.

A Measure of Success?
The strategy of marketing my business through industry awards has paid off in a big way. Since 1995 I have received over 400 design honors, providing many opportunities for promotion. My work has also been displayed in over 60 newspapers, magazines, design annuals, graphic design books and volumes on the marketing of small businesses. With "award-winning designer" a seemingly permanent addition to my name, many new clients come my way. Still, especially with limited wall space for the display of design honors, a satisfied client is the best reward of all.

This article originally appeared on Creative Latitude in 2002 and Commpiled.com in 2005. In this updated form it again was posted on Creative Latitude and also appeared on the NO!SPEC website.

A list of design competition call for entries deadlines is posted on a regular basis on bLog-oMotives.

Creative Services Logos

(Clockwise from upper left)

TraveLady Media
Client: TraveLady Media
Location: Portland, OR USA

In updating an existing graphic the travel bag of the image became a television for a company promoting media for women who travel. The design was honored with a 2003 American Graphic Design Award, and is featured in the books Logo Design for Small Business 2 (Signcraft, USA, 2004) and 100's Visual Logos and Letterheads (Angela Patchell Books, UK, 2008).

Janet Loughrey Horticulture Photography
Client: Janet Loughrey
Location: Portland, OR USA

Logo for a photographer specializing in horticulture photography. The logo appears in The New Big Book of Logos, and the Japanese volumes New Logo & Trademark Design and New Logo & Trademark Collection.

Good Pig, Bad Pig
Client: Good Pig, Bad Pig
Location: Portland, OR USA

Owner Brett Bigham provided the illustration for his greeting card company identity. The logo appears in the books Really Good Logos, Explained, 100's Visual Logos and Letterheads and Logos from North to South America (Spain).

Bella Terra Landscape Designs
Client: Bella Terra Landscape Designs
Location: Portland, OR USA

The client desired a rustic, earthy identity conveying an image of the Italian countryside. The logo will appear in The Big Book of Logos 5.

Education Logos

(Clockwise from upper left)

Valley Catholic High School
Client: Valley Catholic High School
Location: Beaverton, OR USA

I designed this logo back in the late 1980's. I recently came across all the rough concepts in a box of files and wrote about the process of redesigning the logo at bLog-oMotives.

Frame the Future - Buckman Arts Magnet
Client: Buckman Elementary School
Location: Portland, OR USA

A logo designed for the annual Buckman School Auction was given a new life in identifying the school as an arts magnet program. The logo appears in the book The Big Book of Logos 4.

Reading is Number 1
Client: James John School
Location: Portland, OR USA

One of several logos designed for James John School, this identity represents the schools reading program for elementary students. It is showcased in the book Logos from North to South America (Spain).

Buckman School
Client: Buckman School.
Location: Portland, OR USA

Buckman School is an arts magnet elementary school in the Portland Public School system. The logo, symbolizing students "reaching for the stars" in arts achievement, is featured in The Big Book of Logos.

Theatre Logos

(Clockwise from upper left)

Party!
Client: triangle productions!
Location: Portland, OR USA

Logo for the hit theatrical production Party! In addition to designing all graphics for the show, I directed the seven-man cast - with the entire cast ending up nude onstage in the last act while while playing a party game. The image is featured in the books New Logo and Trademark Design (P.I.E. Books, Japan, 1998), The New Big Book of Logos (Harper Design, USA, 2003), The New Big Book of Logos (Paper, Harper Design, USA, 2003) and Logo and Trademark Collection (P.I.E. Books, Japan, 2004).

Shopping and F***ing
Client: triangle productions!
Location: Portland, OR USA

This is the identity for the triangle productions! theatrical presentation "Shopping and F***ing." The logo appears in the The Big Book of Logos 4, 100's Visual Logos and Letterheads and Really Good Logos, Explained.

Veronica's Position
Client: triangle productions!
Location: Portland, OR USA

Sex, politics, theatre and art are combined in this star-spangled farce set in Washington, D.C. With a sofa playing a role in the play the design kind of presented itself. I purposely used the color combination based on the director's plan for the show. The logo appears in The Big Book of Logos 3 and Logos From North to South America (Spain).

Dishin' With Divine
Client: triangle productions!
Location: Portland, OR USA

The logo for a play about the infamous female impersonator Divine. I also designed a Divine paper doll book to be sold during the show.

NOTE: Many of the logos designed for theatre presentations are available for licensing through the Theatre Logos Agency.

Jeff Fisher LogoMotives in Design|Business Books

The Graphic Designer's Guide to Clients, by Ellen Shapiro (Allworth Press, Second Edition, USA, 2014) | Published inclusion: Comments on crowdsourcing and logo contest sites.

Logo Nest 03 - B&W Edition, (Logo Nest, Serbia, 2014) | Published projects: [A collection of logos designed specifically to be used originally in black and white] Balloons on Broadway, Cat Adoption Team, Chameleon, DataDork, Good Pig – Bad Pig, Historic Kenton Firehouse Committee, Lake Oswego Car Wash, Jeff Fisher LogoMotives, Hamburger Mary’s – Seattle, City of Portland Neighborhood Service Center, Peggy Sundays, James John School – Reading is Number 1, W.C. Winks Hardware, and WordWright

1000 Dog Portraits, by Robynne Raye | Modern Dog (Rockport Publishers, USA, 2014) | Published project: I was honored to be asked by Robynne Raye to submit my personal interpretation for the chapter, "How Many Ways Can You Draw a Beagle?"

Design: Logo, by Paul Howalt and Von Glitschka (Rockport Publishers, USA, 2013) | Published project: Starlight Run.

Graphic Design Solutions; 5th Edition, by Robin Landa (Wadsworth, USA, 2013) | Project published in this textbook: Holocaust Remembrance Project identity redesign for the Holland & Knight Charitable Foundation.

Logo 3, (Zeixs, 2013) | Published projects: Cat Adoption Team concept, Black Dog Furniture Design, Chameleon, Oregon Chapter: Association of Legal Administrators, Girls’ Night Out, Shopping and F***ing, Things You Shouldn’t Say Past Midnight, Pajama Parties, Starlight Run, Stumptown Clowns, and North Portland Pride BBQ and Festival

Logopond - Identity Inspiration : V1, by David Blanchet (Logopond, 2012) | Published projects: DataDork, A Rubber's Ducky, Balaboosta, For The Birds, Portland Pride '97, Central Oregon Air Show, 2 Boys in a Bed on a Cold Winter's Night, and Deschutes Plumbing

I Heart Logos, Season Three (iheartlogos.com, USA, 2012) | Published projects: North Portland Business Association and A Rubber's Ducky

LogoBook, (Index Book, Spain, 2012) | Published project: Cat Adoption Team concept

The Best of Letterhead and Logo Design (Digital edition, Rockport Publishers, USA, 2012) | Published projects: Black Dog Furniture Design, The Food Chain, Girls' Night Out, Kimberly Waters, Peggy Sundays and W.C. Winks Hardware

Logo Nest 02 (Logo Nest, 2012) | Published projects: Cat Adoption Team concept, St. Johns Window Project and DataDork. In addition to submitted logos being included in the book, the editor/publisher of Logo Nest 02 asked me to write a chapter for the volume.

Mastering Type: The Essential Guide to Typography for Print and Web Design, by Denise Bosler (HOW Books, USA, 2012) | Published project: St. Johns Window Project

Basic Identity (Digital edition, Index Book, Spain, 2012) | Published project: Emerge Medical Spa at Bridgeport identity and branding

Basic Logos (Digital edition, Index Book, Spain, 2012) | Published projects: Just Out newsmagazine and Chameleon

The Best of Letterhead and Logo Design (Paperback, Rockport Publishers, USA, 2012) | Published projects: Black Dog Furniture Design, The Food Chain, Girls' Night Out, Kimberly Waters, Peggy Sundays and W.C. Winks Hardware

Big Book of Logos 5, By David E. Carter and Suzanna Stephens (Paperback, Harper Design, USA, 2012) | Published projects: Afriend, Balaboosta, Bella Terra, Benicia Historical Museum, Diversity Training, Emerge, Jeff Fisher & Ed Cunningham, Four Rivers Community School, I DO!, Long-Distance Designer, Mike Verbout, Young Native Writers, Neighborhood Service Center, Just Out, NoBox Design, North Portland Business Association, North Portland Pride, Our House, The Parenting Alliance, Portsmouth Neighborhood Association, Fall Thesis 2004, Fall Thesis 2005, Residence XII Golf Tourney, Night of Miracles Auction, Spring Showcase, Thomas F. Fallon, Tilikum, Tsunami icon, Twisted Elegance, VanderVeer Center, and St. Johns Window Project

Letterhead and Logo Design 11, by Design Army (Paperback, Rockport Publishers, USA, 2012) | Published project: Cat Adoption Project concept

I Heart Logos, Season Two (iheartlogos.com, USA, 2011) | Published project: Historic Kenton Firehouse Committee

Relogo: Re-designing the Brand (Sandu Publishing, China, 2011) | Published project: This book of identity redesigns includes my 2011 reworking of my own 1997 logo design for Portland law firm Samuels Yoelin Kantor.

Design Matters: An Essential Primer-Brochures, Logos, Packaging, Portfolios, by Capsule, Michelle Taute, Maura Kellera (Paperback, Rockport Publishers, USA, 2011) | This book includes portfolio recommendations from Jeff Fisher

Starting Your Career as a Freelance Web Designer, by Neil Tortorella (Allworth Press, USA, 2011) | For the first time, I was asked to write a blurb for the back cover a book.

Tipos, by Tamye Riggs (Parramón, Spain, 2011) | Published project: Vista House

Breaking Into Freelance Illustration: A Guide for Artists, Designers and Illustrators, by Holly DeWolf (Kindle Edition, HOW Books, USA, 2011) | A couple of great mentions of Jeff Fisher LogoMotives

I Heart Logos, Season One (Kindle Edition, iheartlogos.com, USA, 2011) | Published projects: DataDork, Stumptown Clowns and Cat Adoption Team concept

Designing for the Greater Good: The Best in Cause-Related Marketing and Nonprofit Design, by Peleg Top and Jonathan Cleveland (Kindle eBook, HarperCollins, USA, 2011) | Published project: Cat Adoption Team concept

Best of Business Card Design 6, by Blackcoffee Design (Kindle Edition, Rockport Publishers, USA, 2011) | Published project: Slick business card

RIPE: Rich, Rewarding Work After 50, by Julia Moulden (Canada Limited, Canada, 2011)

Logo Design, Vol. 3, edited by Julius Wiedemann (Taschen, Germany, 2011) | Published projects: Cat Adoption Team concept, The Sentinel, Holocaust Remembrance Project, Balaboosta, Historic Kenton Firehouse Committee, and Stumptown Clowns

Letterhead and Logo Design 11, by Design Army (Kindle Edition, Rockport Publishers, USA, 2011) | Published project: Cat Adoption Team concept

Logo Nest 01 (Logo Nest, Australia, 2011) | Published projects: Stumptown Clowns and Historic Kenton Firehouse Committee

LogoLounge: Master Library, Volume 3: 3000 Shapes and Symbols, by Bill Gardner and Catharine Fishel (Rockport Publishers, USA, 2011) | Published project: Nicolas Rolin Winery

The Designer's Guide to Business and Careers: How to Succeed on the Job or on Your Own, by Peg Faimon (Kindle Edition, HOW Books, USA 2011)

I Heart Logos, Season One (iheartlogos.com, USA, 2011) | Published projects: DataDork, Stumptown Clowns and Cat Adoption Team concept

Basic Identity (Index Book, Spain, 2011) | Published project: Emerge Medical Spa at Bridgeport identity and branding

2011 Artist's and Graphic Designer's Market (Writers Digest Books, USA, 2010) | Thist edition includes a 5-page article I wrote about how to catch the eye of art directors and creative directors – and get the gig. The piece is illustrated with my Chameleon, Cat Adoption Team, DataDork, Holocaust Remembrance Project and Jeff Fisher LogoMotives designs.

Type Rules: The Designer's Guide to Professional Typography, Third Edition, by Ilene Strizver (Kindle edition, Wiley, USA, 2010) | Published project: Jeff Fisher LogoMotives

The Graphic Designer’s Guide to Better Business Writing, by Barbara Janoff and Ruth Cash-Smith (Kindle Edition, Allworth Press, USA, 2010)

Coming Together: Font Aid IV - Haiti Edition (The Society of Typographic Aficionados (SOTA), USA, 2010) | Font Aid IV, sponsored by the The Society of Typographic Aficionados (SOTA), brought together nearly 400 type designers, graphic designers, and other artists from around the world to create the font “Coming Together” to benefit the victims of the January 2010, Haiti earthquake. The font consists entirely of ampersands, to represent the idea of people coming together to help one another. All money raised by the project is being donated to Doctors Without Borders to help with their relief efforts in Haiti.

Font: Classic Typography for Contemporary Design, by Tamye Riggs (Paperback, Rotovision, UK, 2010) | Published project: Vista House

Design DNA: Logos: 500+ International Logos Deconstructed, by Matthew Healey (Rockport Publishers, USA, 2010) | Published projects: Balaboosta and VanderVeer Center identity case studies.

LogoLounge, Volume 4, by Bill Gardner and Catharine Fishel (Paper Mini, Rockport, USA, 2010) | Published project: Personal identity for Micki King of Chameleon Salon

LogoLounge: Master Library, Volume 2: 3000 Animal and Mythology Logos, by Bill Gardner and Catharine Fishel (Rockport Publishers, USA, 2010) | Published projects: When Pigs Fly, Black Dog Furniture Designs, Reed College Fall Thesis 2007, Chinese Student Association, Good Pig Bad Pig and Cat Adoption Team concept.

1000 Retail Graphics, by JGA (Kindle Edition, Rockport Publishers, USA, 2010) | Published project: W.C. Winks Hardware

The Best of Letterhead and Logo Design (Rockport Publishers, USA, 2010) | Published Projects: Black Dog Furniture Design, The Food Chain, Girls' Night Out, Kimberly Waters, Peggy Sundays and W.C. Winks Hardware

Perfect Match Art Primary 5, by Prisca Ko Hak Moi (Pearson Education South Asia and Ministry of Education Singapore, Singapore, 2010) | Published project: Cat Adoption Team concept

Logoliscious, by Peleg Top (HarperCollins, USA, 2010) | Published projects: 2 Boys in a Bed on a Cold Winter's Night, Chameleon, Holocaust Remembrance Project, DataDork and Cat Adoption Team concept

Designing for the Greater Good: The Best in Cause-Related Marketing and Nonprofit Design, by Peleg Top and Jonathan Cleveland (HarperCollins, USA, 2010) | Published project: Cat Adoption Team concept

Design Matters: Portfolios 01: An Essential Primer for Today's Competitive Market, by Maura Keller (Rockport Publishers, USA, 2010) | The book includes portfolio recommendations from Jeff Fisher

Type Rules: The Designer's Guide to Professional Typography, Third Edition, by Ilene Strizver (Wiley, USA, 2010) | Published project: Jeff Fisher LogoMotives

For A Good Cause: Solidarity Design, by Cactus Disseny (Index Book, Spain, 2010) | Published project: Cat Adoption Team concept

Basic Logos (Index Book, Spain, 2010) | Published projects: Just Out newsmagazine and Chameleon

American Advertising & Design 25, by Suzanna MW Stephens (Collins Design, USA 2010) | Published projects: Jeff Fisher LogoMotives, Holocaust Remembrance Project, Vista House, The Sentinel and Cat Adoption Team concept

LogoLounge Master Library, Volume 1: 3,000 Initials & Crest Logos, by Bill Gardner and Catharine Fishel (Rockport Publishers, USA, 2010) | Published project: Samuels Yoelin Kantor Seymour & Spinrad

Logomania (Logos Books, Italy, 2010) | Published projects: Chameleon and Just Out

LogoLounge, Volume 4, by Bill Gardner and Catharine Fishel (Paper, Rockport, USA, 2009) | Published project: Personal identity for Micki King of Chameleon Salon

Font: Classic Typography for Contemporary Design, by Tamye Riggs (Rotovision, UK, 2009) | Published project: Vista House

Retro Style Graphics, by Grant Friedman (Angela Patchell Books, UK, 2009) | Published project: Coyner's Auto Body

Letterhead and Logo Design 11, by Design Army (Rockport Publishers, USA, 2009) | Published project: Cat Adoption Team concept

Celebration Graphics Sourcebook: Festive Designs from All Cultures, by John Stones (Rockport Publishers, USA, 2009) | Published project: In March 2004 my partner Ed and I were able to get married in Portland. This graphic was created for our wedding invitation, wedding announcement and summer reception.

1000 Retail Graphics, by JGA (Paper, Rockport Publishers, USA, 2009) | Published project: W.C. Winks Hardware

1000 Restaurant Bar & Cafe Graphics, by Luke Herriott (Paper, Rockport, USA, 2009) | Published projects: Logos for Glo's Broiler, Balaboosta, North Bank Cafe and La Patisserie; menu design for Indies

Design for Special Events, by Peleg Top (Paper, Rockport Publishers, USA, 2009) | Published project: Sisters Rodeo

Typeface: Classic Typography for Contemporary Design, by Tamye Riggs (Princeton Architectural Press, USA, 2009) | Published project: Vista House

Relaxing Graphics (PIE Books, Japan, 2009) | Published projects: Tilikum for George Fox University and Bella Terra Landscape Designs

Killed Ideas, Volume 1, Limited Edition Hardcover Book from Blurb.com (Blurb, USA 2009) | Published project: Cat Adoption Team concept

Meishi - Little Graphic Art Gallery Of The World (International Creators Organisation, Japan 2009) | Published project: Jeff Fisher LogoMotives business card

The Designer's Guide to Business and Careers: How to Succeed on the Job or on Your Own, by Peg Faimon (HOW Books, USA 2009)

Caffeine for the Creative Team: 200 Exercises to Inspire Group Innovation, by Stefan Mumaw and Wendy Lee Oldfield (HOW Books, USA 2009)

Works in Progress: Graphics for Visual Presentations (PIE Books, Japan, 2009) | Published project: Balaboosta identity process

Big Book of Layouts, by David E. Carter (Paper, Collins Design, USA, 2009) | Published project: VanderVeer Center full page magazine ad

Letterhead and Business Cards (Zeixs, Germany 2009) | Published project: Jeff Fisher LogoMotives business card

Blogs: Mad About Design (maomao publications, Spain, 2009)

Stories That Sell: Turn Satisfied Customers into Your Most Powerful Sales & Marketing Asset, by Casey Hibbard (AIM Publishers, USA, 2009) | The small-budget media relations of Jeff Fisher LogoMotives are featured as a case study in the book.

The Savvy Designer's Guide to Success: Ideas and tactics for a killer career, by Jeff Fisher (PDF on CD, HOW Design Books, USA, 2008)

100's Visual Logos & Letterheads, by Matthew Woolman (Angela Patchell Books, UK, 2008) | Published projects: Good Pig Bad Pig, Just Out, Black Dog Furniture Design, Thomas Fallon Architect, Our House of Portland, Balaboosta, North Bank Cafe, Native Youth Internship Program, TraveLady Media, Emerge Medical Spa at Bridgeport, AFriend, VanderVeer Center, Chameleon, Neighborhood Service Center, North Portland Pride BBQ and Festival, Young Natives Writers Essay Contest, St. Johns Window Project, triangle productions! 14th Anniversary, The Dream State, Seacoast AIDS Walk, Shopping and F***ing, Holocaust Remembrance Project, Benicia Historical Museum, Tilikum, Valles Caldera National Preserve and Vista House

Big Book of Business Cards, by David E. Carter (Paper, Collins Design, USA, 2008) | Published projects: Business cards for Slick Hair Salon, Pearl Real Estate and Jeff Fisher LogoMotives

The Designer's Guide To Marketing And Pricing: How To Win Clients And What To Charge Them, by Ilise Benun and Peleg Top (HOW Books, USA, 2008)

Really Good Logos Explained: Top Design Professionals Critique 500 Logos and Explain What Makes Them Work, by Margo Chase, Rian Hughes, Ron Miriello, and Alex White (Rockport Publishers, USA, 2008) | Published projects: Good Pig, Bad Pig identity; Shopping and F***ing logo

Design for Special Events, by Peleg Top (Rockport Publishers, USA, 2008) | Published project: Sisters Rodeo

A Tribute to Celebrities, by Pedro Guitton (Index Book, Spain, 2008) | Published project: Designers and illustrators from around the world were asked to create graphic representations of people respected in a wide variety of industries. I choose Milton Glaser.

LogoLounge, Volume 4, by Bill Gardner and Catharine Fishel (Rockport, USA, 2008) | Published project: Personal identity for Micki King of Chameleon Salon

Identity Crisis!:50 Redesigns That Transformed Stale Identities into Successful Brands, by Jeff Fisher (HOW Books, USA, 2007)

Big Book of Letterheads, by David E. Carter (Harper Design, USA, 2007) | Published projects: Stationery packages for Pearl Real Estate and VanderVeer Center

The Art of Self Promotion, by Ilise Benun (Marketing Mentor Press, USA, 2007) | Published content: Ilise featured one of my "Toot! Toot!" press releases in this compilation of articles from her Art of Self Promotion newsletters.

Big Book of Logos 5, By David E. Carter and Suzanna Stephens (Harper Design, USA, 2007) | Published projects: Afriend, Balaboosta, Bella Terra, Benicia Historical Museum, Diversity Training, Emerge, Jeff Fisher & Ed Cunningham, Four Rivers Community School, I DO!, Long-Distance Designer, Mike Verbout, Young Native Writers, Neighborhood Service Center, Just Out, NoBox Design, North Portland Business Association, North Portland Pride, Our House, The Parenting Alliance, Portsmouth Neighborhood Association, Fall Thesis 2004, Fall Thesis 2005, Residence XII Golf Tourney, Night of Miracles Auction, Spring Showcase, Thomas F. Fallon, Tilikum, Tsunami icon, Twisted Elegance, VanderVeer Center, and St. Johns Window Project

Eating & Designing, Marta Aymerich (Index Book, Spain, 2007) | Published projects: Celilo Restaurant & Lounge (The Governor Hotel, Portland) and Hamburger Mary's (Seattle)

Logos from North to South America, by Pedro Guitton (Paper-mini, Index Book, Spain, 2005) | Published projects: Kimberly Waters, George Fox University 2002, James John Reading, James John School, Reed College Fall Thesis 1999, Reed College Fall Thesis 2002, Reed College Fall Thesis 2001, Reed College Fall Thesis 2002, Jeff Fisher LogoMotives, Good Pig Bad Pig, Lone Star Site Design, When Pigs Fly, As Bees in Honey Drown, Triangle Productions! 12th Season, Veronica's Position, Buttonberry Books, The Dream State, Triangle Productions! 11th Season, Naked Boys Singing, Will Rogers Follies, Girls' Night Out, Caught in the Net, Oregon Family OUTings, Buckman Auction, Vista House, Heart of the Pearl, Sing Out Productions, Walk Your Talk, W.C. Winks, New England Firewood Company, Cooke Stationery Company, Harrison Flowers, Balloons on Broadway, A Rubber's Ducky, Seacoast AIDS Walk, Diva, Monroe Orthodontics, Hospice of Humbolt, Oregon Adult Soccer Association (round), Cascade Cup 2003, Cascade Cup 2001, Big Daddy, Peninsula Clean Team, Coyner's Auto Body, Valles Caldera, North Portland Business Association

American Corporate Identity 2008, By David E. Carter (HBI, 2007) | Published projects: Emerge Medical Spa at Bridgeport and North Portland Pride BBQ and Festival

LogoLounge, Volume 2, by Bill Gardner and Catharine Fishel (Paper-mini, Rockport Publishers, USA, 2007) | Published project: Valles Caldera National Preserve

1000 Retail Graphics, by JGA (Rockport Publishers, USA, 2007)

1000 Diseños Comerciales, by JGA (Index Book, Spain, 2007)

1000 soluzioni grafiche per vendere, by JGA (Logos Books, Italy, 2007)

1000 Restaurant Bar & Cafe Graphics, by Luke Herriott (Rockport, USA, 2007)

1000 Diseños de restaurantes, bares y cafés, by Luke Herriott (Index Book, Spain, 2007)

The Graphic Designer’s Guide to Better Business Writing, by Barbara Janoff and Ruth Cash-Smith (Allworth Press, USA, 2007)

Best of Business Card Design 6, by Blackcoffee Design (Paperback, Rockport Publishers, USA, 2006) | Published project: Slick business card

Fashion Identity, by Pedro Guitton (Index Book, Spain, 2007)

American Corporate Identity 2007, by David E. Carter (HBI, USA, 2006)

Caffeine for the Creative Mind, by Stefan Mumaw and Wendy Lee Oldfield (HOW Design Books, USA, 2006)

LogoLounge, Volume 1, by Bill Gardner (Paper-mini, Rockport Publishers, USA, 2006)

The Best of Letterhead and Logo Design (Paper-mini, Rockport Publishers, USA, 2006)

The Best of the Best of Business Card Design (Paper, Rockport Publishers, USA, 2006)

Building Letters Three: Tsunami Edition (Czech Republic, 2006) | The Building Letters Three Tsunami Edition is a magazine for graphic designers and typographers. The project raises money to help those affected by the Asian Tsunami in 2004, an event which dominated the news for such a short time, but where people still need our help, long after the cameras have gone home.

Creatively Self-Employed, by Kristen Fischer (iUniverse, USA, 2006)

Big Book of Layouts, by David E. Carter (Harper Design, USA, 2006) | Published project: VanderVeer Center full page magazine ad

LogoLounge, Volume 2, by Bill Gardner and Catharine Fishel (Rockport Publishers, USA, 2005) | Published project: Valles Caldera National Preserve

Logos Cafe, by Pedro Guitton (Page One, Singapore 2005) | Published projects: Kimberly Waters, George Fox University 2002, James John Reading, James John School, Reed College Fall Thesis 1999, Reed College Fall Thesis 2002, Reed College Fall Thesis 2001, Reed College Fall Thesis 2002, Jeff Fisher LogoMotives, Good Pig Bad Pig, Lone Star Site Design, When Pigs Fly, As Bees in Honey Drown, Triangle Productions! 12th Season, Veronica's Position, Buttonberry Books, The Dream State, Triangle Productions! 11th Season, Naked Boys Singing, Will Rogers Follies, Girls' Night Out, Caught in the Net, Oregon Family OUTings, Buckman Auction, Vista House, Heart of the Pearl, Sing Out Productions, Walk Your Talk, W.C. Winks, New England Firewood Company, Cooke Stationery Company, Harrison Flowers, Balloons on Broadway, A Rubber's Ducky, Seacoast AIDS Walk, Diva, Monroe Orthodontics, Hospice of Humbolt, Oregon Adult Soccer Association (round), Cascade Cup 2003, Cascade Cup 2001, Big Daddy, Peninsula Clean Team, Coyner's Auto Body, Valles Caldera, North Portland Business Association

Big Book of Logos 4, by David E. Carter (Harper Design, USA, 2005)

Logos Redesigned: How 200 Companies Successfully Changed Their Image, by David E. Carter (Harper Design, USA, 2005) | Published projects: Joy Creek Nursery, Smith Freed, Tel-Med, Balloons on Broadway and Lampros Steel

The Design of Dissent, by Milton Glaser and Mirko Ilic (Rockport Publishers, USA, 2005)

Graphic Designer’s Print & Color Handbook, by Constance Sidles, Rick Sutherland, and Barb Karg (Rockport Publishers, USA, 2005)

American Corporate Identity 2006, by David E. Carter (HBI, USA, 2005)

Big Book of Business Cards, by David E. Carter (Harper Design, USA, 2005)

Logos from North to South America, by Pedro Guitton (Index Book, Spain, 2005) | Published projects: Kimberly Waters, George Fox University 2002, James John Reading, James John School, Reed College Fall Thesis 1999, Reed College Fall Thesis 2002, Reed College Fall Thesis 2001, Reed College Fall Thesis 2002, Jeff Fisher LogoMotives, Good Pig Bad Pig, Lone Star Site Design, When Pigs Fly, As Bees in Honey Drown, Triangle Productions! 12th Season, Veronica's Position, Buttonberry Books, The Dream State, Triangle Productions! 11th Season, Naked Boys Singing, Will Rogers Follies, Girls' Night Out, Caught in the Net, Oregon Family OUTings, Buckman Auction, Vista House, Heart of the Pearl, Sing Out Productions, Walk Your Talk, W.C. Winks, New England Firewood Company, Cooke Stationery Company, Harrison Flowers, Balloons on Broadway, A Rubber's Ducky, Seacoast AIDS Walk, Diva, Monroe Orthodontics, Hospice of Humbolt, Oregon Adult Soccer Association (round), Cascade Cup 2003, Cascade Cup 2001, Big Daddy, Peninsula Clean Team, Coyner's Auto Body, Valles Caldera, North Portland Business Association

World Business Cards Today (P.I.E. Books, Japan, 2005)

The Savvy Designer's Guide to Success: Ideas and tactics for a killer career, by Jeff Fisher (HOW Design Books, USA, 2004)

The Best of the Best of Business Card Design (Rockport Publishers, USA, 2004)

The Best of the Best of Brochure Design (Rockport Publishers, USA, 2004)

Graphis Logo 6 (Graphis, 2004)

World Corporate Profile Graphics (P.I.E. Books, Japan, 2004)

Logo & Trademark Collection (P.I.E. Books, Japan, 2004)

Best of Business Card Design 6, by Blackcoffee Design (Rockport Publishers, USA, 2004) | Published project: Slick business card

The Best of Letterhead and Logo Design (Rockport Publishers, USA, 2004)

New Business Card Collection 2 (P.I.E. Books, Japan, 2004)

Event Postcard Collection (P.I.E. Books, Japan, 2004)

Logo Design for Small Business 2, by Dan Antonelli (Signcraft, USA, 2004)

New Logo: One - A Collection of Corporate Identities (Page One Publishing, Singapore (2004)

New Logo: Two - A Collection of Corporate Identities (Page One Publishing, Singapore (2004)

New Logo World (P.I.E. Books, Japan, 2003)

Environment/Welfare-related Graphics (P.I.E. Books, Japan, 2003)

American Corporate Identity 2004, by David E. Carter (HBI, USA, 2003)

The Big Book of New Design Ideas, by David E. Carter (HDI, USA, 2003)

LogoLounge, Volume 1, by Bill Gardner (Rockport Publishers,USA, 2003)

Global Corporate Identity, by David E. Carter (HBI, USA, 2003)

Identity Solutions: How to create effective brands with letterheads, logos and business cards, by Cheryl Cullen and Amy Schell (HOW Design Books, USA, 2003)

The Third Big Book of Logos, by David E. Carter (HBI, USA, 2002)

Designers in Handcuffs: How to Work Under Constraints, by Pat Matson Knapp (HOW Design Books, USA, 2002)

Graphically Speaking: A Visual Lexicon for Achieving Better Designer-Client Communication, by Lisa Buchanan (HOW Design Books, USA, 2002)

PRINT's Regional Design Annual (2002)

Idea Revolution: Guidelines and Prompts for Brainstorming Alone, in Groups or With Clients, by Clare Warmke and Lisa Buchanan (HOW Design Books, USA, 2002)

American Corporate Identity 2003, by David E. Carter (HBI, USA, 2002)

American Corporate Identity 2002, by David E. Carter (HBI, USA, 2001)

Logo World (P.I.E. Books, Japan -2001)

Event Postcard Design (P.I.E. Books, Japan -2001)

Blue is Hot, Red is Cool, by David E. Carter (HBI, USA, 2001)

Letterhead & Logo Design 7, by Sayles Graphic Design (Rockport Publishers, USA, 2001)

Graphic Designers Digital Printing and Prepress Handbook, by Constance Sidles (Rockport Publishers, USA, 2001)

The Big Book of Designs for Letterheads and Websites, by David E. Carter (HBI, USA, 2001)

PRINT’s Best Logos & Symbols 6 (RC Publications, USA, 2000) | Published project: Jeff Fisher LogoMotives

Off The Wall Marketing Ideas, by Nancy Michaels and Debbi J. Karpowicz (Adams Media Corporation, USA, 2000)

Bullet-Proof Logos: Creating great designs which avoid legal problems, by David E. Carter (HBI, USA, 2000)

Self Promotion Online: Marketing Your Creative Services Using Web Sites, Email and Digital Portfolios, by Ilise Benun (HOW Design Books, USA, 2000)

Graphic Idea Resource: PrePress, by Constance Sidles (Rockport Publishers, USA, 2000)

American Corporate Identity 2001, by David E. Carter (HBI, USA, 2000)

The New Big Book of Logos, by David E. Carter (HBI, USA, 2000)

The Best in World Trademarks 1- Corporate Identity (Dongnam Books - Korea, 2000)

American Corporate Identity 2000, by David E. Carter (Hearst Books International, USA, 1999)

The Big Book of Logos, by David E. Carter (Hearst Books International, USA, 1999)

The Best of Brochure Design 5 (Rockport Publishers, USA, 1999)

New Business Card Graphics 2 (P.I.E. Books, Japan - 1999)

American Corporate Identity ‘99 (Hearst Books International, USA, 1998)

PRINT’s Best Logos & Symbols 5, by David E. Carter (RC Publications, USA, 1998) | Published project: Jeff Maul

Design Library: More Logos & Letterheads (Rockport Publishers, USA, 1998)

Design Library: Retail & Restaurant, by Stephen Knapp (Rockport Publishers, USA, 1998)

Design Library: More Business Cards (Rockport Publishers, USA, 1998)

Design Library: Typography, by Stephen Knapp (Rockport Publishers, USA, 1998)

1998 PRINT’s Regional Design Annual

The Best of Business Card Design 3 (Rockport Publishers, USA, 1998)

Graphic Idea Resource: Paper - Building Great Designs With Paper, by Lesa Sawahata (Rockport Publishers, USA, 1998)

International Logos and Trademarks 4 (Madison Square Press, USA, 1998)

Letterhead & Logo Design 5 (Rockport Publishers, USA, 1998)

New Logo & Trademark Design (P.I.E. Books, Japan -1998)

1997 PRINT’s Regional Design Annual

Great T-Shirt Graphics 3 (Rockport Publishers, USA, 1997)

International Logos and Trademarks 3 (Design Editions, USA, 1997)

1996 PRINT’s Regional Design Annual

Letterhead & Logo Design 4 (Rockport Publishers, USA, 1996)

Restaurant Graphics 2 (Rockport Publishers, 1996)

1995 PRINT’s Regional Design Annual

American Hotel Identity Graphics (Boutique-sha, Japan -1994)

I encourage designers to purchase, or order, the books displayed from their local independent bookstores. The links provided offer content information, some images included in books, ISBN info, reviews and ordering details for some books not offered through traditional retailers.

Toot! Toot!:
Jeff Fisher is having an Identity Crisis!*

eSelf Promotion

Seen and Noted

Personal Services Logos

When a "contest" is not a contest

Grow Your Client Base: Pressing For Success

Event Logos

Don't Shoot The Client

Restaurant Logos

On the Right Track

Are Your Prospects Worthy?

Preaching What You Practice:
Speaking in Graphic Tongues to the Masses

A Winning Strategy:
Industry awards as a marketing tool

Creative Services Logos

Education Logos

Theatre Logos

Jeff Fisher LogoMotives in Design|Business Books

LOGO DESIGN PORTFOLIO

THE BLOG-OMOTIVES TRACK

LOGOMOTIVES DESIGN TRACKS

CONTACT

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